A Way out (Unifaun, 2008)

Same old question: should we like bands like Unifaun that explicitly revive classic prog bands' style? Well, the answer is simple to me: yes, if they know how to write good songs and to play them. This is the case with Swedish duo Unifaun, whose only album to date include some very good and very Genesis oriented songs. This Swedish duo includes singer and multi-instrumentalist Nad Sylvan of Steve Hackett live band fame and keyboardist Christian Thordin, AKA Bonamici. 

Above: the dark original 2008 cover art. Below: the Genesis-oriented 2023 reissue painting.

Their self-titled album features many musical solutions related to the ex Charterhouse pupils, but with a distinctive nordic and slightly folk taste I appreciate. The track I choose here is a prog ballad full of dreamy passages and based on really good melodies. The overall effect is mostly similar to Genesis' "Selling England by The Pound" era. Is this a good reason to despise such a song? I don't think so, but let me know your opinions.

Wake up (Coheed And Cambria, 2005)

I know, I know... Coheed and Cambria are famous for their long, hard and intricate tracks, with fast electric guitar and keyboard solos... and after all they're among the best prog metal acts out there! So I apologise for choosing one of their slow tempo and rather acoustic ballads for my blog, but some of you may know how mellow I can be and - most of all - I like this track so much. Many metal and even more-than-metal bands come up with love songs from time to time and when they do so, they're so sweet and sappy than yhey make the likes of Barry Manilow or the Carpenters sound harsh. 

As the number suggests, this album is part of a longer SF concept.

This is not the case with "Wake up" here: it surely is a lovely ballad, but it never goes maudlin and everything in it has an edgy side: the vocals, the guitar touch, even the lyrics, so that the listener swings between love and loneliness, hope and fear all along the song. That said, the main virtue of this track obviously is its melody, so lovely and nonetheless never too predictable. What else? Just enjoy.

Negative Zone (Negative Zone, 2005)

The sole album by this short lived French band is among the best examples of derivative still beautiful music around. Sure, they are in love with Pink Floyd and they re-create all the Cambridge band well known moods, but how convincing and even refreshing are those 

Musea released this album in 2005.

The title track is the lomgest and most diversified one, lining up power keys, Gilmour-like guitars, atmosferic moments and psychedelic loops. And, last but not least, some good melodies. Really, it's a colourful emotional trip I strongly recommend to you all.

Real (Ephrat, 2008)

Ephrat are a very interesting Israeli band, also known for their opening act to Dream Theater's 2009 show in Israel, and they play a dinamic and varied prog rock, melting classic prog, well found melodies, electronic music and hard rock elements. They take their name from their leader Omer Ephrat's surname, but they're more than Omer's brainchild. This song, taken fron their debut album "No One's Words", is a 18 minutes epic, full of changes in both mood and tempo. You'll find in it all,the above elements and much more. 

This album was released by InsideOut label and featured guest musicians as

 Petronella Nettermalm (Paatos) and Daniel Gildenglow (Pain of Salvation).

Ephrat's eclectic approach to prog is highly enjoyable as composition is always the central part of the band's musical blend. "Real" includes welcome references to the sound of such iconic bands as Pink Floyd and Beatles, but also a touch of world music and even horns. Rich as it can be, this song keeps its own coherence and each musician knows how to enrich the plot and never get too showy. Last but not least, Steven Wilson's mix adds a special brilliance to the sound I surely appreciate.

Seventh Hell (Ars Nova, 2009)

This track by the Japanese band Ars Nova is a treat for those into powerful and dynamic symphonic rock. The Seventh Hell album (also titled La Vénus Endormie on the French market) was a turning point in this act's career, marking a substancial enhancement of their line up, adding new players to the original female trio, even if only the dummer Hazimo was credited as an official  member. This opening and title track is simply bombastic, a huge wall of sound where an apparent chaos is perfectly conducted and finalized to build up a well written and shapely instrumental composition. 

This cover art belongs to the French edition of the album.

Apparently, it seemed too explicit for the international market.

Two main themes and several pleasant interludes follow one another and lead the listener through a musical tour de force. All players show their skills, but no one impose herself (or himself). That's saying something, expecially in the prog rock genre! A moderate electronic touch supplements the traditional paraphernalia of a proper prog band. Of course, Keiko Kumagai shows once more her compositional skills and her keyboards wisely combine the individual sounds into an artistic unity. 

In The Dark (Matthew Parmenter, 2008)

Matthew Parmenter of Discipline fame (see elsewhere in this blog) is a very interesting musician and composer, during both his band member and solo careers. This song, taken from the album "Horror Express", is strongly influenced by Hammill and VDGG moods, and is a highly dramatic one, matching irregular melodies and dark lyrics. Sad and hypnotic passages, based on obsessive piano and percussion paces, deeply dig into the singer's and the listener's souls, with no concessions to easy tunes nor predictable developments.

No doubt this is a disquieting cover art. Well, the music inside too.

Each note here has its own part of sorrow, still the whole composition is such a beautiful emotional clockwork that it mixes sad thoughts and majestic beauty. That's why "In The Dark" isn't a mere musical trip, but an inner experience I highly recommend to you all. And if you happen to share my opinion, don't hesitate and go on discovering other songs by Mr. Parmenter. Something tells me you won't be disappointed.

Divine Attribution (SETI, 2005)

...And now something for those among you loving atmospheric, melodic prog. SETI is an international project aimed to find radio signals coming from intelligent extra-terrestrial forms of life. But since 2005 it is also an interesting chilean prog band. Founded by multi-instrumentalist Claudio Momberg and Others members of Subterra (see elsewhere in this blog). This song comes from their debut album "Life Signs" and has a strong spacey and floydian influence, but also an easy-going melodic pattern in the neo-prog style.

This album also includes an excellent five parts suite.

Some beautiful keyboard and guitar solos perfectly top the cake. The SF theme adds a somehow arcane taste to the song, but it never deviates the band's sound toward math-rock landscapes. There is a warm and dreamy soul behind those radio telescopes...

Remember Us (The Pineapple Thief, 2003)

No doubt the closing track from the album "Variations on A Dream" is one of the best achievements by The Pineapple Thief and not only because of its duration time (some 16 minutes). This song is based on beautiful chords and strongly build on melodic grounds. The instrumental passages are simply perfect, exploring both modern and traditional prog, settng up a deep and atmospheric mood. The central spacey section also has a psychedelic taste, and the following arpeggio introducing the electronic side of the track couldn't be more suitable.

This is the 2011 K-scope remix artwork. The original release

on Cyclops catalogue (2003) came with a different cover.

Different horizons seem to match into an evocative and diversified musical trip, where wonders and emotions follow each other. And if Prog Rock main problem lies on transitions, The Pineapple Thief certainly worked it out, providing unpredictable and moving gateways between their different worlds. In a word, this is an unmissable track, one of the 21st Century milestones of our genre.

Mind over Matter (Us, 2006)

Prog rock ballads are quite rare, so I'm happy to add this "Mind over Matter" to my blog. It's the opening track from the album "The Young and Restless" and has the mellow, pastoral taste of some Golden Era bands (a "Trespass" feeling, if you ask me). The sung melody is simple and effective, while the instrumental breaks are light and redolent. Sure, this is not a musical revolution, but I sometimes indulge to plain and delicate flavours, especially when the musicians know how to write and play their music.

"The Young And Restless" was the fourth studio album by Us.

After all, the Dutch band Us is an experienced one, lining up a rich discography and an indisputable skill when it comes to melodic prog. See how guitars and keyboards melt into a coherent sound in this song and how the vocal harmonies are well found. Six minutes of peace... not a negligible gift nowadays!

The Light (Kansas, 2001)

Released as a digital single and also sdded as a bonus track to the Christmas album "Sounds Like Christmas" by The December People(see elsewhere in this blog), this song has a seasonal flavour, even if in a discreet way. It's a very good track, IMHO,  exploiting all the traditional features of Kansas, from Steve Walsh's powerful vocals to the melodic rock texture.

                            

This single came one year after the reunion album

"Somewhere to Elsewhere"

This catchy and bombastic ballad has a warming and strong arrangement, including symphonic interludes and arena rock solutions. The lyrics about the search of the light is inspired to the three kings' journey, but fits very well into any spiritual quest. A different and proggy way to Christmas, and another living proof of this band's energy and inspiration.

Édentől keletre / East of Eden (Android, 2009)

Even if Hungarian band Android released their debut album in 2009, they have a long history and strong musical roots in the Seventies. The band's two keyboardists (Sándor Milesz and József Tőzsér) drive this title track, but likely the electric guitar solo by János Dudás is the highlight of "Édentől keletre" and gives a special, spiced taste to this maje instrumental work.

Essential and inspiring. A good cover art, IMHO.

That said, there are many other good moments during this 5:30 minutes song: the opening piano arpeggio, the following acid guitar work, the inspiring drums and - last but not least - the basic and effective theme. Anyway, the main reason why this track is worth our attention is the mix of sweetness and toughness it displays, exploiting both the smooth sound of neo-prog and the sharp touch of psych-prog era.

Abstract Malady (Ajalon, 2009)

Ajalon are a very good American trio, playing glorious powerful prog with Christian lyrics and a Seventies mood. Listening to this "Abstract Malady", taken from the album "This Good Place", you'll be no surprised to know that Ajalon started their career signing with Rick Wakeman's label and set up collaborations with Neal Morse. Their flushing kind of music, full of changes and colourful interplays reminds me of Rick's and Neal's passionate compositions and surely include all the main features of the old good progmasters.

 

"The Good Place" was the third studio album by Ajalon.

A special mention goes to keyboardist and guitarist Randy George, equally at his ease when it comes to devilish solos or to relaxed, dreamy parts. This instrumental should describe  an inner malaise, a spiritual mal de vivre and I think it actually does so, lining up harsh and melancholic sections in a well built pattern. A beautiful specimen of prog, IMHO.

The Count of Tuscany (Dream Theater, 2009)

This is a magnificent example of Dream Theater's fully progressive songs and comes from the album "Black Clouds & Silver Linings". True, some distorted guitars and high volume passages are there, but never too intrusive and perfectly mixed with the underlying melodic lines. How beautiful this long track is! The vocal harmonies, the guitars, the unpredictable changes... everything is perfect!

"Black Clouds & Silver Linings" was DT's tenth studio work.

Most of all, this is the brainchild of a well organized band, where each member has its own place and no one uselessly shows off his skills. I like the devilish interplays, the heartbreaking openings on wider horizons and, of course, the atmospheric passages. In short, this is prog rock at its best and even the eccentric lyrics about the Count and his brother are fit into the big picture. Enjoy.

Mare Tenebris (Parthenon, 2005)

This is the title track of a rather obscure prog album from Venezuela, released by a band born in the late Seventies. A series of line-up changes and hiatuses prevented the band from starting an official discography until 2005, but when their debut album finally came, it was a very good one. This track will show you how skilled these musicians are and how rich and diversified their ideas were in CD.

Also the CD packaging has a  weird and tempting look...

The texture of this composition surely reminds me of ELP and other powerful prog bands, but also the quietest moments are very good and highly atmospheric, including clever keyboard and guitar interplays and a brilliant drumming. Drummer Juan Carlos Ballesta and keyboardist Robert Santamaria can be considered as the backbone of this reincarnation of Parthenon and the final result is an exciting symphonic rock I actually recommend to you all.

In The Name of God (Aragon, 2004)

I do think Aragon are an underrated band. These Australian musicians (all born in different European countries) surely like traditional neo-prog atmospheres and melodic songs, but they also know how to write and perform excellent songs, like this "In The Name of God", taken from their 2004 album "The Angels Tear". The acoustic first half is a beautiful and peaceful moment, based on warm and charming chords. The keyboards rise up slowly and the song gets deeper and depper, until the guitars come in for the "rock break".

"The Angels Tear" was the sixth album by Aragon.

The final section is more diversified, but still is down tempo and melodic, with an acid twist here and there. Really, I find  here some 9 minutes of musical pleasure, crowned with the sax solo between minute 7.30 and 8.00... so good! And what about the final gilmour-esque guitar/sax interplay? Well, it tells me: "quick, play this once more!" I'll surely obey.

Египтянин / Egiptyanin (Пикник / Picnic, 2001)

Picnic (in Russian, Пикник) surely are one of the most eccentric and crossover bands from Eastern Europe. Their sound ranges between space rock and folk, including synth rock and many traditionally prog features.This is the title track from their eleventh studio album, obviously dedicated to the Ancient Egypt, one of the band's favourite topics.

This cover art reveals the ironic side of Picnic's songs.

The song has a rather traditional structure, a dreamy, catchy slow tempo ballad with a Floydian finale, where Edmund Shklyarskiy's guitar flies high above the listener. He even creates for this song a new instrument he calls novoegyptian to add a bit of visual show to the live performances. What I especially like in Picnic is the way they mix different elements to build up an evocative, arcane sound that also includes the right dose of irony. A theatrical way to (prog) rock Picnic never gave up during their long and everchanging career.

Coming Around (The Third Ending, 2006)

Here you are another clever band, a Tasmanian one, playing what the papers call "modern prog", whatever that means. I better like to call it prog, as our genre hates barriers and labels. The Third Ending  surely mix some old and beloved sounds and many contemporary ones, as this melodic song will prove. "Coming Around", taken from the band's self-titled debut album, sounds like a soft rock piece, but with a deeper, introspective twist.

I also like the cover art The Third Ending chose for their first CD.

The theme is well found and well performed (Nick Storr is what I call a gifted singer), and the background sounds are  rich, full-bodied but never pompous, and a fine guitar solo by Andrew Curtis also graces the song. Even if the track is catchy and rather traditional in its pattern, you'll find many smart gimmicks, and even some welcome references to the past glory of rock and prog rock. In short, a pleasant and beautifully packed song, something I'll always ask for. Go on, my Aussie friends!

პროლოგი / Prologue (სინათლის წელიწადი / The Light Years, 2004)

I was simply fascinated when I came to listen to this band (their original name shold be pronounced Sinatlis Tselitsadi) from Georgia (the European Georgia, not the USA State) and especially to their debut album called " გზა ცისკენ " (pronounced Gza Tsisken and meaning "Sky Way"). At that time of their career those musicians were far into Symphonic rock and I reckon the entire album is worth your attention, so I put its Prologue here, as it announces all their best features.

The Light Years were a sextet in this album.

 

You'll surely appreciate a captivating recurring riff, some spacey keyboards, a syncopated bridge à la Kate Bush and a heartbreaking string section formed by two violins and one cello. The changes are all well found and even better done, and this opening track creates an electric expectation mood, surely the best viaticum for the following songs. I really like this intro and the whole album... too bad the band decided to get into some major sound changes in recent years! Well, artist must choose freely their own way... I certainly will listen to their future works.

Alberich (Klaus Shulze, 2008)

Klaus Shulze's manifold musical career also includes the live album "Rheingold", entirely made of previously unreleased tracks performed in Lereley during the "Night of The Prog III" festival, with guest singer Lisa Gerrald of Dead Can Dance fame. The very location of this concert is related to the heroes of the epic poem usually called "The Song of The Nibelungs" (or "Nibelungenlied"). This long track, for example, is dedicated to Alberich, the dwarf guardian of the Nibelung's treasure. Instead of his well known obsessive sequenced keyboards, here Shulze prefers (at least in the first section) a dark and spacey atmosphere where Gerrard's extraordinary voice draws striking landscapes and arcane vocalisms.

This breathtaking concert was released as a double CD and as a duble DVD.

As always with Mr. Shulze, this is not an easily enjoyable track, it's an absorbing trip through the weirdest and most charming musical worlds, the same lands Richard Wagner explored in his romantic days.. And if you come across a god or a dwarf or even Siegfried and his dragon, well, don't be surprised: this is another Klaus Shulze's trick!

Harvest of Souls (IQ, 2004)

Taken from the album "Dark Matter", this long suite is another IQ's track I listen to from time to time and I like each time more. First of all, there are excellent melodies sung by Peter Nicholls with his peculiar and sensitive voice, then the instrumental sections are all enjoyable and each one adds a different point of view to a manifold and touching picture. This suite is divided into six sections, rather diverse in tempo and in mood. The first one, First of The Last, has an early Genesis, liquid background on which it flows with grace.

"Dark Matter" surely is among my favourite albums by IQ.

The following sections liven up the song or take it back a fairy mood, but always change something and enrich the song. The large amount of vintage instruments is another special feature of "Harvest of Souls", but - as I said before - the best thing here is the unpredictable (and still so natural) series of conflicting moods lined up all along the track: nostalgy, anger, sweetness, fear... I feel them all running down my spine!