Beginning to End (Overhead, 2002)

"Beginning to End" is a 20 minutes suite by Overhead, a Finnish band that - at least in their early years - cleverly assimilated and readapted the progressive canons of the Golden Era into a new, flushing and fascinating shape. Sure, this is a somehow naive track, packed with classic influences and easily recognizable sounds, but the band also added original solutions and a good deal of passion. 

 

"Zumanthum" was Overhead's debut album.

The composition is divided into five parts, building up an excellent epic track, higly diversified and coherent too, mainly instrumental and with a deep emotional strength. This music can be traditional in a way, still it seems to me fresh and unaffected, bright and flowing. Be ready to live an enjoyable, all-inclusive travel to the land of Good Ol' Prog!

Stars Fell On Fertile Lands (Holy Lamb, 2002)

Holy Lamb are likely the best known Latvian prog band and, among their studio albums, "Beneath The Skin" still stands as their most original work. It's more a rock opera than a concept album, as it dramatizes a tricky Gods' and Demi-God's story from different points of view, each one acted by a guest vocalist. Nonetheless, I better like to introduce here an instrumental song, a mellow, poetic bridge that I simply love. The way the band creates a sweet but never sweetish world around the listener's head is perfect.

I must admit this cover art isn't the album's best thing. But...

All the instruments come in and add their own recognizable touch, especially the acoustic guitars, drawing their embroideries on a discreet keyboard background. There's a hint of Camel, an echo of King Crimson and a reminiscence of early Genesis, but the track has a strong character of its own. I hope this short sketch will encourage some of you to discover the entire CD and the rest of Holy Lamb's discography. For sure, you won't waste your time...

Muscarin Madness (In The Labyrinth, 2002)

Multi-instrumentalist Peter Lindahl is the brain behind In The Labyrinth, a Swedish folk-prog oriented project that releases fairy and pleasant musical sketches like this "Muscarin Madness", coming from the album "Dryad". So perfectly Swedish, this song also has strong Eastern hints and - as usual with Lindahl - a good deal of different suggestions.

I also like the cover arts of this project's albums.

The sung part is a perfect folk ballad, preceded and enriched here and there by delicate and well played instrumental parts. It sounds like Bo Hansson or like some fairy songs by Jethro Tull, but featuring a perfectly up-to-date sound. This song proves that you can be inspired by ancient and fairy tales and release plain and down-to.earth songs with just a bonus magical atmosphere added. This is In The Labyrinth's secret, I think: sweet but never sweetish, prog but never pomp.

Mei (Echolyn, 2002)

More than a concept album, "Mei" is a concept song, as it only includes this very long and undivided suite lasting some 50 minutes. It would be useless to try a description in a few lines, so I better like to express some of the feelings this musical river inspires me. First of all, the seven piece chamber orchestra joining the band in the studio give a classical-but-never-too-much taste to these abundant materials and also empower the arrangements choices, so that this record is even more eclectic than usual (and that's saying something with Echolyn!).

"Mei" was the Sixth full-lenght studio album by Echolyn.

No doubt, the beautiful melodies are another strong point of "Mei" and so are the careful and tasteful changes in tempo and mood, but please don't forget the lyrics. The whole epic is kind of a road song, dealing with a both real and imaginary trip, an everlasting journey on everchanging roads. Something like a surrealistic Kerouac or a realistic Lamb Lies down on Broadway. Well, the inspirations aren't essential: all that matters here is the beauty of such a progressive masterpiece.

Le fond du ciel (La Tulipe Noire, 2002)

Despite their name and the title of this track, La Tulipe Noire isn't a French or a French speaking band. In fact, they come from Greece and they have a rather long history made of good neo-prog inspired music. This track comes from the album "Faded Leaves" and shows the band's well known ethereal keyboards and the beautiful vocals by Ima. More than this, you'll also enjoy good and vibrant guitars and many pleasant rhytmic tapestries.

"Faded Leaves" was the fourth studio album by La Tulipe Noire.

The sung theme is also good, sharp and neat as in some early IQ songs. The changes always come in due time and cleverly alternate fast and slow moments. If you're into melodic prog rock this band will definitely interest you and this song, in particular, will offer to all listeners an electric extra charge useful in a dull day and active against depressive moods.

Ilusões (Tésis Ársis, 2002)

A one-man band from Brasil, this Tésis Ársis in the brainchild of Anderson Rodrigues and offers long instrumental tracks, like this "Ilusões", a rather atmospheric epic lasting some 12 minutes and based on ethereal keyboards and well played electric guitars. Sure, this is not a musical revolution, but it's full of real emotions, something I'd like to find in all prog rock tracks.

The debut album by Tésis Ársis includes five long tracks.

The leading guitar has a beautiful, sad touch, something between Hackett and Gilmour, I'd say. Anderson plays all instruments and is also responsible for the drum programming. The main theme is well exploited and the atmospheric bridges are also pleasant. If you like dreaming guitar-driven prog, this is definitely for you.

Terra Hidria (Hidria Spacefolk, 2002)

Those Finnish musicians are among the few space-rockers an old progfan like me can fall in love with. Their instrumental tracks aren't only full of arcane, intricate soundscapes - like Ozric Tentacles, for example - but they also happen to mix acoustic and electronic instruments in an almost perfect way. Different cultures, different moods and different tempos are set up in this "Terra Hidria", the opening track of their "Symbiosis" album, to take the shape of an unpredictable and still fully enjoyable piece of music.

"Symbiosis" was Hidria Spacefolk's debut album.

Strange, yes, but never weird. Tricky, yes, but never Beyond the listener's comprehension. The solos and the interplays aren't mere atmospheres, but they build up a true melody before your very ears, a delicate and well structured castle made of dreamy stuff... wait, I think it was the stuff the dreams are made of, wasn't it? Forget all I wrote, guys, and go straight to the music. Simpler that way.

Sparkles in The Dark (Shakary, 2002)

Here you are a Swiss band from the early 2000s, and this is taken from their second album, called "The Last Summer". I know there's nothing really new here, but the combination between traditional neo-prog and a strong melodic vein is always pleasant to me. The singer, Michael Branzino, has a warm tone and a keen, sensitive approach. I also like the alternate piano / synth background and, of course, the dreamy guitar solo by Mario Krag.

"The Last Summer" came after a double CD debut album.

I also recommend the vocal harmonies and the succulent finale, including pipes (or more likely their sampled sound). It's a relaxing song, based on an excellent theme and very well arranged. That's why Paolo Scandella, aka "Scandy", the man behind Shakary, has many good reasons to be proud of his creature, if you ask me.

The Crawler (Saens, 2002)

I really like the way Saend take neo-prog standards and enrich them with a series of original ideas, eclectic sources and variated moods. This "The Crawler", taken from the album "Escaping from The Hands of God", is a good specimen of such a musical attitude. It includes some Marillion-like melodic lines, but those are mixed with many other things, including a jazzy intro, some unpredictable piano chords, a warm voice and a collection of tempo changes.

This was the second studio album by Saens.

All the instruments are well exploited, even if the piano does play a central role and the guitars are especially good. No, youcan't be bored by such a song, reminding me a turning stage, always leading to something new. Almost 14 minutes of excellent prog rock, if you ask me.

The Truth Will Set You Free (The Flower Kings, 2002)

The quintessential Flower Kings, I'd say. A long - very long: more than 30 minutes - and highly variated suite, including melodies and rythmic sections, long instrumental passages and well written sung sections, electronic effects and acoustic corners, fast tempo progressions and calm interludes. There's all an average prog fan is fond of, with some slightly soul vibrations, as usual with Roine Stolt's band. Most of all, IMHO, this is a collection of well found themes, set up in a pleasant and unpredictable frame, where all the parts perfectlt fit in.

This suite opens the double CD "Unfold The Future".

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Some of the passages are really original (especially some guitar solos), some other are reminiscent of past prog heroes (ah... those vocal harmonies!), but the entire track has a strong character, a well defined structure, so that one can immediately recognise it. A special mention goes to Hasse Bruniusson's creative percussions: if this huge track's never boring, it's also thanks to him, IMHO.

Toward The Sea (Höstsonaten, 2002)

Höstsonaten are one of the several projects by Italian prog hero Fabio Zuffanti, the man behind Finisterre and La Maschera di Cera, just to name his most known bands. But Höstsonaten offer a very special kind of music, something full of classical inspiration, ambient sounds and strong melodies. This track is part of a 4 CD concept related to the four seasons (not an infrequent theme, I must admit) and more exactly it closes the album "Springsong", the first one of the SeasonCycle Suite to be released, even if it was conceived and credited as the final chapter of the series. 

The SeasonCycle includes: "Summereve", "Autumnsymphony",

"Winterthrough" and, of course, this "Springsong".

 

It's a diversified, challenging composition, including different themes and suggesting a bright, refreshing musical opennes, crossing over genres and formats. It's a visual kind of music, where sounds and landscapes are just as one. A special mention deserves the flushing paintings by Davide Guidoni gracing the CD and, of course, this is what I call music for the hearts and the minds.

In Haze of Time (Trespass, 2002)

When I first read this band's name I imagined a Genesis inspired act, surely not the first one. But when I listened to their debut album and to the title track I'm introducing here, I changed my mind. There's a vintage prog mood, sure, but as varied and eclectic as possible, with many changes, inspirations and good surprises. Old good '70s keyboards, yes, but also jazzy moments, choral arrangements, folk passages and proto-prog scents.

Trespass is a powerful trio... you'd say they're more than three!

 

A funny, rich, pleasant mix from one of the best Israeli prog bands I know of. In addiction to this, a catchy but not trivial sung theme... something I never dislike when it comes with such a colourful instrumental abundance. So, if you want to tumble back the years and also you like to discover something new, this is your cup of tea.

Jurassic Spark (Grand Stand, 2002)

Grand Stand are a Finnish act lovingly caring their Genesis origins and I can't blame them for this. The problem is that their first album was mostly a derivativeone, too much similar to their model (well, more or less, I mean). But their second CD, called "Tricks of Time", is far better. Sure, the Charterhouse band is still there at their side, but many other influences, and a new rhythmic fantasy as well, enrich Grand Stand's musical horizon.

This band also contributed to "Kalevala", a very

good AAVV 3CD concept based on Finnish sagas.

The track is rather long (more than 11 minutes), but features so many changes and moods that you could even ask for more. Olov Andersson's voice is good and strong, but the sung parts are less original than the instrumental ones. These are really  unpredictable and charming moments, with a special mention to Michael Jensen's guitar. A good track for traditional prog fans and maybe for all prog fans.

Travel of Dream (Clepsydra, 2002)

This three parts little suite, taken from the album "Alone", is one of the best songs of Clepsydra, a Swiss band whose music is a clever and personal interpretation of the '80s and '90s so called neo-prog. Their sound is rich and dynamic, as this "Travel of Dreams" proves it very well. Keyboards, guitars and drums are probably the best features here, but the whole piece is worth a keen listening. One of this song's strongest points, IMHO, is the perfect mix of sung themes and instrumental passages.

"Alone" comes with three alternate cover arts. Besides this "fish"

version, you'll find the "octopus" and the "chicken" ones.

You'll find melody everywhere, and dreaming moods, too. This doesn't mean the track's a sweetish one: Clepsydra never goes pomp or bombastic, their music has a neat and discreet nature, and if it's relaxing, it isn't boring. A special mention goes to Aluisio Maggini's voice, both strong and sensitive, and to Marco Cerulli's guitars as his solos probably represent the most recognizable trade mark of Clepsydra. Not made for musical Revolution, but surely made for musical Meditation.

The Pride (Martigan, 2002)

"The Pride" opens the German band Martigan's "Man of The Moment" album, released in 2002. Some say - turning up their nose - this is neo-prog. I call it good prog. It's a highly creative and also enjoyable music, exploiting the very good Kai Marckwordt's voice and a series of rythmic gmmicks, mixing up traditional and programmed drumming.

This was the third Martigan's album.

The vocals play the leading role, that's true, but the rest of the band do their best to improve this song's impact, adding some rock here and there. Each instrument find its own moment of glory, after all, but the inner and passionate side of the song finds its topping with the excellent final guitar solo. Nothing too bombastic here, nothing pretentious neither... just good music, excellent song writing and strong feelings. Isn't it enough for you?