In The Dark of The Night (Ines, 1994)

Ines Fuchs is a German keyboardist and composer, gathering around her a skilled band of neo-prog influenced musicians, some of them coming from well known German bands, such as Asgard or Anyone's Daughter. This song, a favourite of mine, comes from her first abum, called "Hunting The Fox" and is a fine example of melodic, catching and still intriguing prog song. Ines plays her keys with a beautiful dynamic approach, while the rest of the band provides a liquid groove that perfectly fits the musical theme.

This album was released by "Music Is Intelligence" label.

After a sung section (Ines doesn't sing herself), the second half of "In The Dark of The Night" is a long and enthralling instrumental coda, where the guitars play an essential role. You won't find here too many tempo changes or intricate interplays, but I bet you'll like the way the instruments follow each otheron asolid path leaded by Ines and her rythm section. Enjoyable, that's the word.

Höstsejd (Änglagård, 1994)

It sounds incredible for such a mixed and struggling fandom, but Änglagård are one of the rare bands every prog fan likes and many of them adore. That could be because of their undeniable links with the Golden Era prog rock, or maybe for their morn, heartbreaking atmospheres. Be as it may, this "Höstsejd" ("Autumn Rites") is one of their longest and most interesting songs, taken from the album "Epilog".

This was the band's second CD... their third work came 18 years later!

The ruling mood is that of nostalgy and quiet contemplation, the kind of nature-based atmosphere Swedish bands know how to conjure up and master so well. But there are also many beautiful changes both in volume and in tempo, taking advantage of the band's abundant choice of acoustic and electric instruments. A guest string trio adds the mellow touch an autumnal song surely needs. In short, another masterpiece from one of the most prominent contemporary prog bands.

The Cathedral (Pär Lindh Project, 1994)

Pär Lindh is no doubt one of the most gifted keyboardists of the contemporary progressive rock scene and an excellent composer too, that's why his Project has so many admirers worldwide. "The Cathedral" is an epic coming from the band's debut album. Yes, I consider "Gothic Impressions" as a band's brainchild, even if Pär Lindh's influence is everywhere. Actually, the skilled musicians he gathered for such a project deserve it: you'll find Ralf Glasz's unique voice, for example, and also  Björn Johansson's classical guitar, let alone Anna Holmgren's flute.

"Gothic Impressions" also feature a cameo by Roine Stolt.

The magic of "The Cathedral" mainly resides, OMHO, in its going in and out of its classical, medieval mood. Chuurch organ's solos and bombastic symphonic rock sections follow one another lining up a series of stunning changes. Please don't forget the rythm section, providing blazing lava to the explosive big picture. Last but not least, some of the themes and riffs are so well found that they got indelebly carved into the the listener's mind. Listen to this track, my friends, and let me know...

Pastorale (Jean-Philippe Goude, 1994)

Goude is what I call an eclectic artist and - even more than this - a musician with no bounderies. A member of Magma, a founder of prog rock bands (namely Madame Bertrand), a jazz pianist, a contemporary classical music composer, a successful producer (those of you speaking French will certainly remember Renaud), a prolific soundtrack and TV music composer, a skilled explorer of electronic sounds, a visual artist... just name it!

"Ainsi de nous" gathered twelve short and intense compositions.

What I'm introducing in my blog today is an example of my favourite Goude's side: his sensitive and melancholic tracks. This "Pastorale" has of course a classical inspiration and a contemporary taste, but it is above all a moving composition, opening the secret gateways of soul. Funny to say, this was the theme of a TV book review show titled "Un livre, des livres" ("A book, some books"), but it surely survived its original aim and still offers three minutes of pleasure and reflection. Enjoy.

Permanent Vacation (Galleon, 1994)

Taken from the album "Heritage And Visions", this epic is one of the longest and most diversified tracks by Swedish band Galleon. Even if some of its passages seem to me uselessly long, I must admit there are so many good melodies and so many beautiful changes that I couldn't miss this track in my blog. Relaxing pianos and fast keyboards, strong vocals and ethnic glimpses, shocking contrasts and irregular rythms... what else should I ask for?

"Heritage and Visions" was the second studio work by Galleon.

Last but not least, the listener will admire some difficult guitar solos and even a hard-like riff. But what I die for are the themes the band wrote and I daresay this is a trademark of Galleon. In short, if you're searching for adventurous and experimental music skip this one, but if you like highly dynamic and passionate prog rock, get a try to this one.

Let There Be Light (Mike Oldfield, 1994)

This is one of my favourite songs when it comes to athmospheric ones. I also like the entire "The Songs of Distant Earth" album, a concept based on Arthur C. Clarke's SF novel bearing the same title. It's a rather different side of Oldfield we appreciate here, less rich in instruments and more polished in sounds. This arcane and even ambient song is strincly connected to the short album intro titled "In The Beginning", but it surely is a self standing track, with a very beautiful melody and a captivating arrangement. 

 

This is the first single CD cover for UK and Europe markets.

"Let There Be Light" was also released as a single compact disc (a two CD set, more exactly) and was enhanced by a beautiful video, also included in the album CD. I admire the way Mike puts his sung line into a fantastic and ethereal background to create a hypnotic and evocative piece of music. Full of surprises, as usual with this artist.

Fatal Illusions (Eloy, 1994)

"Fatal Illusions" comes from the album "The Tides Return Forever" and has a Floydian taste, a pop flavour and an electronic touch. The guitars seem to flow on a pulsing musical ocean, while the mellow intro, some lively sung parts, a melodic theme and a rocky final section follow one another. True, some of these features didn't get old very well and some rythmic sections are too plastic-made for the 21st Century tastes, but the song has strong melodic foundations and very well found changes in both mood and tempo.

With this album Eloy signed their sixteenth studio work.

More than this, there is a balanced mix of catchy tunes and original solutions, spacey atmospheres and solid rock 'n' roll passages. As usual, Eloy put in their music all the musical worlds they visited and enjoyed and keep the song architecture under control. That's why I like them.

The Blues (Collage, 1994)

I do think "Moonshine" is a neo-prog masterpiece and you'll find more than one song from this album in my blog. Collage were at their best during the composition and recording process of this work. Some of the songs are no doubt prog pearls and "The Blues" certainly is. Its rich, flushing texture and its excellent melodies are there to please the prog ears. I also like all those tempo and volume changes, ranging between a sparkling and lively rock and atmospheric, graceful passages.

The 20th anniversary of "Moonshine"... a good reason to celebrate!

 

Robert Amirian's voice is simply perfect, so full of energy and also sensible and delicate when it comes to that. And at minute 4:20 begins what is likely to be my favourite moment: a sudden stop, then a long and enthralling instrumental passage, including some keen guitar / keyboard interplays and solos. A treat, if you ask me. Well, that's enough with descriptions: listen to it, then let me know what you think of it.

The Girl And The Moonman (Moongarden, 1994)

Yes, the Moon rules here: the Moonman, the band called Moongarden and even the album this track comes from, that's titled "Moonsadness". That said, this is a very good suite also when the sun shines, divided into eight parts and displaying both traditional prog and new ideas. The main mood is calm and pensive, but not necessarily sad, as the title would suggest. Cristiano Roversi is one of the best known Italian keyboardlords (and he's also responsible for both the music and the lyrics of this epic), so there's a wide range of keys in this track, as you can easily guess, including vintage and modern sounds.

"Moonsadness" was the band's debut album and the cover art

was inspired by the suite's lyrics teeling a rather strange love story.

 

But all the musicians are great and you'll find here devilish bass lines, dreamy guitar solos by David Cremoni, the other hardcore member of the band, jazzy drumming, an excellent flute work and - last but not least - a passionate and pleasant voice. I especially appreciate the band's three-sided kind of prog: the melodic sections, the jazzy improvisations and the heavier rock moments. It's an always changing musical landscape I don't always find in Italian bands from the '90s and the 2000s. And this is, of course, one of the best reasons why I'm recommending "The Girl And The Moonman" to your kind attention.

Tell (Landberk, 1994)

One of the best Swedish bands of the '90s, Landberk were deliciously dark and melancholy. This song comes from the album "One Man Tell's Another" and features all the most remarkable qualities of the act. The keyboard (mostly Mellotron) backgrounds, the sharp and sometimes piercing guitars, the slow motion melodies, the long intro and - last but not least - the pensive vocals and the pulsing and rich bass lines.

This was Landberk's third studio album.

In addiction to all that, this track also includes a well found, catchy, hypnotic recurring theme that goes through a series of vocal and instrumental variations and tends to remain impressed in one's mind. Of course, there is a King Crimson's taste here as usual with Landberk, but their unique, half-progressive half-psychedelic sound can't be underrated nor confused with anything else. You simply can't miss this one, my prog friends!

The Great Escape (Marillion, 1994)

I know it's difficult to single out a "Brave" song, as this album is a strong, cohesive compisition, but "The Great Escape" has a distinctive enough structure to stand alone. In addition to this, it also has all the main characters of the album. It mixes a good melody and a creative arrangement with the usual Marillion features, such as Steve Rothery's dreaming guitar, Mark Kelly's ethereal keyboard background, Steve Hogarth's sensitive vocals and so on, but I especially appreciate here the excellent main melody and all its variations. The track includes two more sections called "The Last of You" and "Falling from The Moon", also very good and featuring sad, beautiful lyrics co-credited to Hogarth and Helmer.

 

This song was also released as a single in 1994.

This track is also well known by Marillion fans for its changeable endings, depending on its different editions and supports. The original CD version leads to a happier album finale, "Made Again", intended to raise up the listener's state of mind, while the 2-LP edition also offers an alternate (and sadder) 20 minute water noises to close the work. Finally, a so called spiral remake is also available as a bonus track in the remastered CD released in 1998. Be as it may, this is a great song IMHO, digging into the deepest recesses of human soul.

A Mind Beside Itself (Dream Theater, 1994)

Dream Theater obviously specialised in hard prog songs, seldom long and intricate ones. But they also know how to write plain, beautiful ballads, and this trilogy - taken from the album "Awake" - includes all their main writing habits. In fact, the first movement, "Erotomania", is a funny instrumental track, introducing the concept of the suite, namely madness and its different faces. "Voices" develops that theme in an up tempo and almost chaotic way, depicting mental illness in  its furious phase. But I better like by far the final  "The Silent Man", also released as a single.

 

 "Awake" was the third Dream Theater's studio album.

As I have a melodic, acoustic soul somewhere inside me, I can't deny I appreciate good melodies and well found chords. This section of the trilogy is about the other face of madness, the one dealing with isolation. It's a heartbreaking song, IMHO, and also an uncanny contrast with the previous movement. In a single suite, you'll meet all the moods of Dream Theater.

Moonshine (Collage, 1994)

"Moonshine" is the title track of Collage's work released in 1994 and it's also a very good way to discover why this Polish band is so higly rated by many prog fans. This track is extremely dynamic, driven by aerial keyboard effects and a crystal wall of sound. But you'll also find some quiet and atmospheric passages, announcing the subsequent rushes and rythmic progressions. The main melodies are well found, catchy but never trivial, and the instrumental passages aren't mere bridges between two verses, as they disassemble and reassemble each theme, magnifying the symphonic pattern of the song.

Collage played a lead role in the '90s Polish prog renaissance.

That's why I like each second of these 12:30 minutes of progressive rock, and I often come back to this song. The fact is that such a magniloquent clockwork never sounds artificial or redondant and the music flows naturally from the band to the very heart of the listener. Probably it's only me, but I see bright stars in the sky at midday when "Moonshine" is there.

La cour des miracles (Cafeïne, 1994)

Here you are a traditionally built up prog rock, with a bonus Medieval scent. It's a rather long track (more than eleven minutes), taken from the French band's debut album called "La Citadelle". It all starts with a plain sung theme and some electric guitar riffs, then the track develops in a more interesting and adventurous rhapsody, featuring clever tempo changes and long instrumental sections, where Patrick Jobard's extra-prog dreaming guitar and a profusion of keyboard effects provided by Christophe Houssin draw the crowded underground world of a wretches' refuge.

A Gustave Doré's drawing representing a court of the miracles.

It's the so called "court of miracles" the title suggests, probably under the influence of Victor Hugo's novel Notre-Dame de Paris. Philippe Ladousse's strong and pure voice finishes this charming picture, so full of feeling and invention that I surely rercommend to all the prog fans out there.

The Pilgrims Inn (Roine Stolt, 1994)

If you like guitar driven tracks, this one's for you. It's a 9 minutes track divided in two parts, coming from Stolte's third solo album, called "The Flower King", announcing in its title (and in some of the musicians involved) the forthcoming band of The Flower Kings. In this instrumental piece, Roine Stolt shows up all his skills, building up an intense and diverse track, where he explores all sides of melodic electric guitar, with his own style and also paying his respect to such masters as Steve Hackett, Steve Howe and David Gilmour.

This solo project virtually started up The Flower King's career.

The main theme of "The Pilgrims Inn" is very well found and I like all its variations, let alone the excellent additional melodies. Keyboards, also played by Stolte, and Ulf Wallander's sax add an atmospheric touch to the song, that I parcularly appreciate, but always changing tempos and moods turn away all risks of humdrum. Definitely one of Roine Stolt's best things I've ever listened to.

One Time (King Crimson, 1994)

I'm in love with this song since I first listened to. It exists in two different studio versions, the first one coming from the "Vroom" EP (1994) and the second one available in the album "Thrack" (1995). As I equally like both, I let you decide wich is your favourite one. For me, I think the "Vroom" version is warmer and I really like the sung part arrangements, while the "Thrack" one is lighter and features a more finished instrumental section. But this is just my humble opinion.

The unfolded booklet of the "Vroom" EP.

For sure, you'll find an outstanding melody in this song: both verse and chorus are so well written that I can't stand re-listening to the track two or three times in a row, something I rarely do. Adrian Belew's vocals are clean and definite as usual, let alone the rest of the band's performance (Levin, Bruford, Fripp, Gunn  and Mastellotto... kind of a wonder team!). Getting more and more experimental and metal, during the '90s the Crimson King never forgot to offer at least one or two "traditional" songs in each album. And they did very, very well. 

Dreams of The Ferryman (Shadowland, 1994)

Among the dozens of bands and musical projects Clive Nolan was involved in, Shadowland deserves a very special place. Not only because they produced three very good neoprog albums back in the '90s (not to mention their 2009 reunion), but also for the energy their performances suggested. This "Dreams of The Ferryman" is undoubtedly one of their best songs, taken from the group's second album "Through The Looking Glass".

A very good album, this was. And still is.

There's a perfect mix of tension and melody here, with a well balanced approach. This is a rock track, no doubt, but its strongest point is the beautiful chorus tune, returning in many variations during the almost 9 minutes of the song. Should I pick out the best moments, I'd choose the stretched instrumental intro, perfectly introducing the Clive's vocals and, of course, Karl Groom's first guitar solo, let alone the aforementioned chorus and the somewhat unsettling finale. What else? Well, just try it...

High Hopes (Pink Floyd, 1994)

I can read your minds: "How comes you present this track with all the PF's masterpieces to write about?" Well, I'm sorry but it happens I like this song very much, I think it's one of the best in Gilmour/Mason's era of the band, an atmospheric, intense, touching piece of art, IMHO. First of all, the music is perfecty Pink Floyd-esque, a rarefied ballad gliding on Rick Wright's keyboards and leading to a long, beautiful guitar solo.

High Hopes was also released as a single b/w "Keep Talking".

And then, the nostalgic lyrics dealing with the end of Youth and its belonging to a peer group perfectly fit in the slow and airy Gilmour's music. One could regret Roger Water's creativity on "The Division Bell" album, but songs like this one remind us how good Gilmour is in writing and performing - with his two old friends - unforgettable tracks, that's why so many of us are waiting for more. Unfortunately, Rick Wright will never come back, claimed by the bell.

In Your Eyes (Collage, 1994)

This track, actually a 14 minute suite, comes from "Moonshine", generally considered as the masterpiece of the polish band Collage. It's an epic, neo-prog song with a very good balance between keyboards and guitars, reminiscent of course of Marillion's first albums but with an original approach and a special taste for melodies. Vocal themes and instrumental passages follow one another with simplicity and there's a solid coherence in every moment of the song.

Believe me: this album is worth listening to.

The strongest qualities in it are levity and fantasy, both in composition and arrangements: I like the way the voice merges with the instruments and also the piano plots announcing tempo changes and new melodies. Please don't expect innovation or turning points in prog history here: this is something you already know, but done at the highest level. Isn't it enough for you? It is for me.