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.

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.

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!

Războieni (Bucium, 2008)

Violin and distorted guitar aren't an usual combination, but they perfectly open this track, taken from the album "Voievozii" by Romanian band Bucium. It's a folk-prog-rock enthralling epic, also including dramatic vocals, devilish gigas and some beautiful tempo changes. The Balkanian folk side of Războieni  (a little town that also was the battlefield of a major struggle between Moldavian and Ottoman armies) is very well mixed with a solid melody and a rock background.

This is unfortunately the only album by Bucium to date.



 

I also like the suspended, atmospheric instrumental bridge marking the central section of the song, soon enriched by Andy Dumitrescu's voice. The contrast between the baritone singer and the high-pitched violin is one of the trademarks of this track (and of other Bucium's songs too). A modern and fascinating way to relive progfolk music, IMHO.

Metamorphosis (Magenta, 2008)

This suite is the title track of Magenta's fourth studio album, released in 2008, probably their darkest and heaviest one. This track is particularly rich and diversified, including high volume passages, tricky interplays and quiet, even acoustic moments. Christina Booth's voice is constantly in the foreground, with his steady and crystalline timbre, reminding me of Annie Haslam's. Rob Reed's keyboards and inventions make the difference with the average prog records, while Chris Fry's guitars add colourful and streaked tones.

Tim Robinson provides a first rate drumming to this album.

 

As usual with these Welsh musicians, there are many references to the likes of Pink Floyd (Reed's beloved Masters), Genesis and Yes, but the pattern of this suite is so well set up and so beautifully accomplished that the listener never gets bored or jaded. An everchanging choice of sounds, tempos and moods draw a coherent, solid fresco that tick away 23 minutes of progressive glory.

Tombeau de Cherdak (Olive Mess, 2008)

This band from Latvia knows how to set up experimental and intrivated tracks that also have the power to capture the listener's attention, mixing tricky embroideries and charming moods, in the wake of King Crimson, but with an original and interesting approach. "Tombeau de Cherdak" also reminds me of Magma, especially when the vocals come in, but the acoustic guitar touches create a brand new atmosphere, adding some Medieval atmospheres I like very much. 

"Cherdak" was the second studio album by Olive Mess.

So, this is a highly diversified track, ranging from dissonant or free-jazz parts to sweet, fully traditional melodies and from intellectual solutions to moving sketches. The whole "Cherdak" album is packed with unpredictable changes and riveting passages, but I think this song is a very good way to get started with Olive Mess. By the way, the band is named after the French composer Olivier Messiaen. Not for the masses, but...

Посещение / The Visit (7 Ocean, 2008)

Among the many keyboard-oriented bands from Eastern Europe, 7 Ocean surely deserve our attention. Coming from Belarus, these musicians were already active during the '80s, then came back and started a proper discography in 2008. Their first album, called "Таинственная раса странных существ" (or "The Mysterious Race of Strange Entities") starts with this track, a very diversified and theatrically sung one, where leader and keyboardist Alexander Eletsky shows all his talents.

"7 Ocean" are also known as "Seventh Ocean".

I like the tempo changes, the mellow themes and the old fashioned moods they display during this epic. Nothing really new, maybe, especially if you listened to some Eloy albums, but all 7 Ocean do is well found, well performed and even better set up. They probably couldn't afford a first rate production, still their music has a peculiar pathos and a recognizable trademark. That's why I put this song here, hoping some will like it the way I do.

The Garden (Unitopia, 2008)

"The Garden" is the title track of Unitopia's double CD released in 2008 and one of the epics included in it, the longest one with its more than 22 minutes of duration time. Though undivided, it can be considered as a suite, lining up different moments and moods from the pleasant intro where the music comes out from a series of nature effects to some rock, jazz and melodic passages. Such a lushing choice of tempos and atmospheres never break the unity behind the manifold structure of "The Garden" nor its slightly descriptive approach.

"The Garden" was the second studio album by Unitopia.

In fact, the architecture of this song can be diversified, but all its moments are under control and all its parts have the same warm and captivating sound, so that even the most abrupt changes come at the right moment, beautifully adding new scenes and new colours to a coherent big picture. I also like the way each musician adds his own contribution to improve the final effect and never trying to take over the rest of the band.

13th August (From.uz, 2008)

From.uz (or simply Fromuz) state their origins in their very name, as they actually come "from Uz(bekistan)". That said, they already have a rather rich discography and they're an excellent symphonic rock band. This track comes from the "Overlook" album and you'll probably recognise in it some Yes, King Crimson and even Jethro Tull hints (mostly Yes, that's to say), but with a heavier and surprisingly eclectic approach. The symphonic plot is patent and very well exploited, with lushing keyboard / guitar interplays and very, very pleasant tempo changes.

Is it me or there are some familiar flying islands here?

It's an instrumental track, but you'll find some beautiful and rather original vocal harmonies as an additional instrument. I like the way they mix vintage prog and state-of-the-art electronic devices. This song is highly dynamic and now and then adventurous or jazzy. There are many sides to prog, as we all know, and "13th August" features a well done mix of some of them, without any self-conceit and with an overwhelming passion.

Сарабанд / Saraband (Велислав Иванов / Velislav Ivanov, 2008)

Something dark and calm, this time. If you like rather easy and melancholic neo-prog, this Bulgarian artist should be your cup of tea. I like his minimalist kind of prog, based on good melodies and on atmospheric keyboards. No other instruments, apart Velislav's voice, can be heard in this song, taken from the album "Тъй близко до самия небосвод" (something like "So Close to the Sky Itself" in English).

This dark concept album was the second studio work by Ivanov.

No special effects, no tricky arrangements, no great performances... just a young man, his black and white keys, his morn thoughts and his passion for prog music. I can't exactly say why I'm moved by such a bare song and by someone singing in a language I don't understand, but I'm really touched and this is a good reason enough to put this song in my blog. Even more: I like the whole album and once again, please, don't ask me why. Prog is a mystery and may it stay so.

Lehaim To N.E.P. (Disen Gage, 2008)

Nothing would be stranger than a mix of King Crimson, Debussy, Gentle Giant and Weather Report and of course I couldn't imagine that such a thing existed. Not before listening to Disen Gage, a Russian band I came across some years ago via the Internet. As you probably know, I don't like hard core experimental prog, but I'm rather lured by something like that when I also find in it some "real" music and an attempt to communicate.

This album was the third Disen Gage's studio work.

Well, this track, coming from the album "...The Reverse May Be True" is exactly what I'm searching for in the dark universe of crossover prog: these musicians like to explore different and unusual paths, but they also like to play good music. The vague gipsy mood of this instrumental and the way it goes in and out of melody, never too easy and never too tricky, surely please my ears. The band seem to have a great time when playing and their state of mind reaches the listener's soul. So this is music, this is prog. A weird one, maybe, but I like it.

Wartime Chronicles (Andrew Roussak, 2008)

Born in Russia, but especially active in the German prog scene, Andrew Roussak is a talented keyboardist, a very good composer and also a spectacular performer, IMHO. He played with some prog bands  and also won the online competition launched by The Tangent to play in their album COMM. (And that's how I came across his name). This track comes from his solo album "No Trespassing" and perfectly represents Roussak's eclectic and bombastic idea of prog, something between Rick Wakeman and neo-prog bands.

"No Trespassing" was Roussak's debut solo album.

 

"Wartime Chronicles" is full of changes, strong guitar riffs (by guest guitarist Oliver Weisloger) , quick scales, classical refeerences and it's also graced by the clever drumming of Hendrik Plachtzik, let alone Andrew's grand piano. I really like the turning points of this instrumental, some of which are unpredictable and very well found. If you like enthralling and majestic music, try this track!

Over The Hill (Van Der Graaf Generator, 2008)

This song, taken from the album "Trisector", was a pleasant surprise to me and still is one of the recurring tracks in my playlists. A genuine, fully developed, essentially prog VDGG's  song, at last! Not that I don't like their experiments, their wide open minded attitude, their unpredictable paths, but... well, when they come back to good ol' prog, to enjoyable melodies and longer, flushing track, I'm simply happy.

 

"Trisector" was the band's tenth studio album and their second

work after the new century reunion. 

Not only this is a beautiful song, featuring a deep and even catchy theme, but its arrangement is kind of an interplay festival, where all the instruments co-operate in order to create a rather dark and inner musical world, something the entire progressive world tried and imitate, while the band kept on searching new ways. Please listen to Hammill's performance, enjoy the bass lines, taste the vintage keyboards, appeciate the delicate drumming... all is worth a first class rate! When the master comes back home, the whole family celebrates!

Soldat (Direction, 2008)

Direction is a Canadian act whose discography ranges between neo-prog and mainstream rock, including many Golden Era quotations and also a very good composition work. Take this "Soldat" ("Soldier", in English), coming from their album "Est" (meaning "East", of course). There's an excellent theme, growing up measure by measure and incorporating some beautiful instrumental bridges. It's like an expanded ballad, based on a rather martial drumming and a good vocal performance, until a wall of sound instrumental part comes in to enrich the big picture.

"Est" was Direction's fourth studio album.

The final section gets heavier and all the instruments reach their volume peak, introducing a discreet but effective guitar solo. The actual finale is a beautiful series of effects, including bells and vaudeville sounds. A plain neo-prog song, but I don't know why I like it, and I feel at home when listening to it. Thanks, my Canadian friends... better: merci!

Comatose (Pendragon, 2008)

Pendragon's "Pure" album gathered a good deal of positive reviews both on electronic and on printed music magazines, and this "Comatose" clears up the reasons of such a good reception. It's a suite divided into three parts (I. View from The Seashore, II. Space Cadet, III. Home And Dry) and very, very diversified in its moods. Almost metal moments and highly sensitive sections, up tempo riffs and romantic melodies follow one another during the track, providing nearly 20 minutes of real, deep emotions.

 

"Pure" was Pendragon's eighth studio album.

Old Pendragon gentle atmospheres are there, but a darker vein runs through this epic, so that the whole composition is a succession of bright and obscure passages, and all the transitions are  brilliant, something I especially appeciate in a prog suite. Two final special mentions go to Nick Barrett's solos (and that's rather obvious) and to Scott Higham's drumming, a most dynamic and creative one... let alone Mr. Nolan's skills. The lyrics are also worth the listener's attention, dealing with violence and human weakness.

Keep The Yellow Intact (Uphill Work, 2008)

Such a beutiful and unusual prog track, this "Keep The Yellow Intact" is. It comes from the album "Conterclockwise", the debut CD by Moscow based band Uphill Work, one of the most original Russian proggers I came across in recent years. The biting, ironic singing, the vaudeville rythm, the excellent piano bridges and the catchy melody are but a few of the strong point of this song. I also recommend the clever succession of sung and instrumental parts and the rather limited duration time, something useful if you want to amaze your listener.

An original cover art for an original band, I'd say.

And actually this song amazes me with his out of time mood, somewhere between a Victorian freak show and an industrial pop piece. Of course, this band also offer more traditional prog songs in their albums - always with an original twist, I must say - but I think this one is perfect to arouse my prog friends curiosity...

Methuselah's Children (Moon Safari, 2008)

Taken from the "Blomljud" double album, this "Methuselah's Children" isn't the longest epic of the lot, despite its more than 15 minutes of length, but it is - IMHO - one of the best and most distinctive tracks in this collection. If you read other posts about Moon Safari's songs in my blog, you probably know I love this Swedish band and their original style, midway between classic prog roots and folk inspiration,with a choral nuance.

"Blomljud" was Moon Safari's second studio work.

The first thing you'll notice in this "Methuselah's Children" will certainly be the flushing, beautiful vocal harmonies, a well known trademark of the band, but this isn't all. Next will come the keyboard progressions, both smooth and fast, the acoustic/electric interplays and - last but not least - the enthralling melodies gracing the whole song. Useful to say, some of the musical themes in this CD return in different songs, a very progressive way to set up a coherent work. I think Moon Safari's world is a sunny day, a blue Northern sky, a 21st Century prog dream.

Brother Where You Bound (Simon Says, 2008)

This is a track for prog lovers, rich in cross-references to classic albums and bands and full of changes, solos, interplays and assorted stuff. In a word, it's a long epic (some 26 minutes) paying respect to the ancient prog gods, but also drawing a 21st Century state of the art for our favourite genre. This is one of those suites you never get tired to listen to from the bombastic intro to the end, going through so many soundscapes,  reprises and musical zigzags.

 

"Tardigrade" is the third Simon Says' studio album.

 

In addiction to this, the musicians are all excellent and especially Magnus Paulsson, whose keyboards are like a flock of birds filling the sky. Really, these guys deserve all your attention and all the positive reviews I read about their works, especially about the "Tardigrade" album featuring this epic, that actually is one of the best gates to their colourful world.

Quest for The Last Virtue (Unifaun, 2008)

Among the huge number of Genesis influenced albums, Unifaun's self named CD still is one of my favourite ones. And in particular, this epic, the longest track in the collection, gathers in its 15 minutes or so of duration many features I love: acoustic and electric instruments merged in a liquid sound, beautiful melodies, instrumental bridges and effective, sensitive vocals.

The Swedish duo Unifaun. I wonder who their tailor is...

These are provided by Nad Sylvan, the singer that Steve Hackett hired for his long series of Genesis revival shows. But the man behind this project actually is Don Bonamici, the composer and keyboard player whose keen love for Genesis shines in this track in all its glory. His "Entangled-like" solo sounds like a clone and still is beautiful, while the subsequent "Earl of Mar-like" chords are another kick inside my stomach. OK, that isn't new, but these musicians really enjoy what they're playing. And so do I.

Mindstreet (Motherjane, 2008)

The first time I listened to this song I was fascinated by the mix of Western and Eastern sounds in it: rock riffs, and atmospheric, vaguely ethnic passages. Also the sung theme reminded me of ancient gods and Asian markets in a prog rock sauce. Then I learned that these musicians were from India and all was clear to me. Actually there are many different worlds in this song and many different influences, as different as Marillion and Ravi Shankar can be.

"Maktub" was the second Motherjane's studio album.

It's an interesting neo-prog style seen through Indian lenses, kind of a familiar music includic some alien, intriguing elements. The electric guitar solos are very good and the rythm accelerations are also well played. There's a genuine creative mood in this song, a regenerating energy and a variated palette of musical solutions. In short, it's worth a keen listening. More than one, IMHO.