Io e il tempo (Nuova Era, 1992)

It's impossible to describe here my first reactions when listening to this suite, the title track of Nuova Era's third album, released in 1992. First of all, I feltt many years younger. It was like going back to places I once knew and loved... classical Italian prog of old was coming back to life. But this dejà vu effect wasn't all, 'cause this suite is an excellent piece of music, well written, well performed and well arranged. The melodies are excellent and their reprises are cleverly organised all along the track.

Out of the blue... the good ol' prog was back, stronger than ever.

The instrumental passages are sweet and solid, featuring pleasant interplays between keyboards and guitars. Walter Pini, the mind behind Nuova Era, signed here one of his finest achievements, IMHO, and his brother Ivan provided some very good lyrics about time, childhood and getting old, filled with gentle melancholy. The miracle with this track is that it really sounds new and fresh, despite all the its musical quotations. Really, one of my favourites ever.

Farewell to Old Friends (Sylvan, 2012)

Sylvan's 2 CD album "Sceneries" is a collection of 5 suites of songs and this "Farewell to Old Friends" is the last one. The German band start with a beautiful soft rock ballad including some instrumental passages à la Radiohead, then the rythm rises up just a little and the second catchy and syncopated song comes in, with  a chorus supported by some synfonic keys. Another turning stage and we're in a melodic section Marco Glühmann sings with a growing passion.

Sylvan are enjoying a growing (and deserved) success.

Then, Jan Petersen's electric guitar introduces a heavier and mainly instrumental track with a solid (and difficult) bass and guitar interplay leading to a final and piercing guitar solo. And here, when the last guitar note still lingers on, the piano comes in to draw the background of the last, sweet but not sweetish song. This one features a very good theme and a dreamy guitar solo I especially like. A majestic finale for an excellent suite, the kind of songs that let me think: "Oh my, prog will never die!".

Looking for A Platform (Abel Ganz, 2008)

When Abel Ganz came back in 2008 with their "Shooting Albatross" CD, I was simply amazed. I knew their '80s and '90s music, a fine neo-prog specimen, but this time there was something more. Take this opening epic, for example. It's a 15 minute suite based on beautiful riffs and themes and always movins, changing, weaving, diversifying.

The way we were... Abel Ganz in their '80s line up!

 

The first extra feature is the abundant use of acoustic instruments, so well merged with the rock outfit. Another winning point is the effective musical architecture, lining up gentle and lively sections, theme variations and reprises, slightly folk influences, solos and instrumental drawings. It sounds like Genesis meet Mostly Autumn... and that's saying something! Yes, I admit I like this track very much and I heartily hope Abel Ganz will come back again with another prog gift.

Douce-amère (Maneige, 1977)

This delicious instrumental track comes from the album "Ni vent... ni nouvelle", by one of the most important '70s Québec prog bands. The slight jazzy sound meets here a series of acoustic instruments and a classic influence. The first part of the track is delicate and fizzy, dominated by a xylophone, while in the second half the electric guitar and a stronger rythm section add some solid rock texture to the music.

"Ni vent.. ni nouvelle" was the third album by Maneige.

 

Maybe these two parts correspond to the adjectives in the song title ("Douce-amère" meaning "Bittersweet" or, litterally, "Sweet-Bitter"). The theme is well written and - most of all - well exploited by the band, with pleasant tempo and volume variations. A lively and enjoyable piece of prog indeed.

Le voleur d'extase (Atoll, 1975)

Here's a very, very good specimen of '70s French progressive rock. Taken from "L'araignée mal", released in 1975, this 7'33" track has got everything you need. First, there's a beautiful and sweet sung theme. Second, this theme is interspersed with excellent instrumental passages, Third, there's a clever fusion of electric and acoustic instruments, among which I bring Richard Aubert's violin to your attention.

This cover art was drawn by Yves Uro, also from Metz,

a talented poster artist untimely dead in 1995.

And last but not least, even if the tracks reminds now and there some British bands (Yes, Mahavishu Orchestra and Genesis, but also Gentle Giant), this is a highly original piece of music with a strong French touch. Complex and elaborated, "Le voleur d'extase" can also be gentle and plain, melting jazzy and melodic sections, loud and caressing moments. Yes, those Metz-based musicians knew very well how to be rock and romantic. Listen to this, then let me know...

Seasons End (Marillion, 1989)

As you probably presumed, I like Marillion. And this for many reasons, including this one: they can write songs both prog and catchy. "Seasons End" is one of my favourite ones in this style. Plain as it is, this track is also a brilliant and deep example of prog ballad, where a beautiful melody meets a clever arrangement and, of course, a dreamy Steve Rothery's guitar solo. The lyrics about climate change are worth a careful listening (and eventual reading):

Marillion's line up for "Seasons End": welcome, Mr. H!

We'll tell our children's children why
We grew so tall and reached so high ,
We left our footprints in the earth
And punched a hole right through the sky.

We'll tell them how we changed the world
And how we tamed the sea.
And seasons they'll never know
In England.

The instrumental section leading to the end of the song is also one of my favourite moments, both gentle and tight, with Hogarth's lead voice in the background. Here (and elsewhere too) Mark Kelly leaves his trace choosing the most effective sounds for the song and its message. Excellent song, if ever one was written.

Sé de un lugar (Triana, 1975)

Coming from "El Patio", the first and maybe best known album by Triana, this track is simply stunning, with Jesus de la Rosa's warm voice, spanish guitars, fully progressive keyboards and all the classic features of the so called "Flamenco rock". You'll also find here some acid sounds and a splendid specimen of cante jondo, the deepest and most charming genre of Flamenco.

"El Patio" is one of the greatest albums I've ever listened to.

 

As usual with Triana, you can't really tell the Spanish folk influence from the Progressive rock taste: they created a new standard, often imitated and never overdone. The dramatic atmosphere of this track is further emphasized by the electric guitar, provided by guest Antonio Perez, another welcome and winning point. Last but not least, the tempo changes add a synphonic pace to the song... isn't it enough?