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Individual Album Reviews :: P
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The opening track is my favorite, along with "Who Turns and Who Dreams", which pull off brilliant, melancholy atmospheres by way of the excellent, layered keyboard arrangements. Some of the tracks unfortunately drift into upbeat, almost neo-prog territory, such as the driving theme of "Illusion on Seven Eighths" and "Shareholder". "Paul's Inheritance" is a nice instrumental closer that simply carries some impressive melodic themes. It's hard to articulate my criticism of the album beyond the fact that many of the arrangements, and really the general approach, seem a tad generic. Given that, I would have hoped that the songwriting could make up for the lack of originality, but it's merely adequate. Still, for what it is it's pretty good, and ardent symphonic rock lovers will probably (and do) find this a top South American album. Personally though, I think there's plenty of other symph albums from both Argentina (Crucis, MIA) and around the world to be put ahead of this one. - Greg Northrup [December 2001] Click Here for Tracklist and Lineup
Info
The album is made up of three extended compositions, all of which carry a consistently solid approach throughout, barraging the listeners with gradually unfolding themes and ideas that build into ferocious, whirling emotional peaks of cascading mellotron, Moog and rhythmic guitar motifs. A phenomenal and undeservedly obscure album that sits nicely along either of the Anglagard CDs as a sterling example of contemporary, uncompromising symphonic prog with a natural, refreshing feel that manages to sound "retro" with out being formulaic or hackneyed. Highly recommended. - Greg Northrup [November 2001] Click Here for Tracklist and Lineup
Info 
Par Lindh Project - Gothic Impressions (1994)[CD - Crimsonic - CLSCD 101 - 1994] Originally
published in Reels of Dreams Unrolled No. 2, May 15th 1997 Instead of Änglagård's violently dynamic mood swings, what we have here is a more even tempered, refined brand of Swedish classical rock with the accent on classical. If Emerson Lake & Palmer operated in the space between classical and rock music, Pär Lindh works in the space between ELP and classical music. While Lindh is obviously heavily influenced by ELP, his career in classical music seems to have tempered any inclinations he may have ever had toward blatant prog rock bombast. Whether this is a good thing or not depends on your point of view. Those legions upon legions of critics who constantly abused ELP for their ultra-bombastic bastardizations of classical pieces might find Lindh's approach more appetizing. His rendition of Mussorgsky's "Night on Bare Mountain" has so little rock music or instrumentation infused into it that a casual listener not very familiar with the piece may not suspect this was a "rock" recording at all. This is because Lindh stays fairly true to the original piece and uses modern keyboards that very convincingly synthesize the sound of a real orchestra. This applies largely to the rest of the album as well. Lindh deftly mixes Mellotrons, Hammond Organ, various synthesizers both old and new and what sounds like a real church pipe organ into a seamless mixture of classically-influenced prog rock. To my ears, however, there is a little too much classical prettiness and not enough bombast. I realize I am probably almost completely alone in that opinion, but I like Keith Emerson's knives-jammed-between-the-keys-of-the-Hammond approach complete with Moog ramblings. I like Pictures at an Exhibition! I like bombast! But that's just me. However, I'm sure the Pretentious Police would find plenty of other things on Gothic Impressions to complain about. The vocals provided by Ralf Glasz and Mathias Jonsson are a little too operatic and snooty sounding even for my tastes. Fortunately, the vocals are kept to a minimum and instrumental passages dominate the album. Easily the best
track on the album is the nearly 20-minute-long "Cathedral."
This piece features lots of pipe organ to set the scene of a
Gothic cathedral. One passage from this piece absolutely reeks
of ELP influence. It is the only section where Lindh could actually
be accused of being derivative, but it is also my favorite part
of the album because it's the only place where he truly attempts
to rock. Änglagård's Johan Högberg and Mattias Olsson make some
great contributions on bass and drums on this track. Overall
this is a decent album, but I can think of several CDs on which
I would have rather spent my $20. -
Scott Hamrick [May 1997] Click Here for Tracklist and Lineup Info  Paranoise
- ISHQ (2001)Compared to their previous album, Private Power, this release is a step forward in every respect, launching the band into the big leagues of modern progressive music. The band's sound is essentially the same on a basic level, the melding of ethnic instruments and music of the third world into the modern, aggressive and semi-metallic approach of a western rock band. On Private Power, I questioned how much the western end, that is the band themselves, actually contributed to the otherwise excellent (albeit sampled) folk and ethnic music. However, ISHQ illustrates a marked improvement in this aspect, as the band undoubtedly hits on a much more successful integration of these two worlds. In addition, the band's own compositions, seemingly more influenced and in tune with the music around them, have also seen a major improvement. The music itself is dynamic and always exciting, incorporating exotic tones, colors and instrumentation throughout, and seems to have, for the most part, pushed beyond any of the novelty appeal that the first album may have had. The band's approach is generally to begin with sampled folk music (including famed Iranian vocalist Nusret Fateh Ali Khan), usually mesmerizing singing and/or clapping, and adding a hyper charged, complex rhythmic edge, the end result being a fascinating sound collage that boils over with intensity. Criticisms? Well, the vocals could be stronger, though they have certainly improved along with everything else since Private Power. Seriously, the vocalizations from the samples, or in a similar style, are enough to carry the album themselves, and the incorporation of "rock" vocals, notably only on "ISHQ" and "I'm a User", does disrupt the continuity somewhat. Still, the relative infrequency of these does little to weaken the overall effect of the album. And of course, no review of a Paranoise album would be complete without addressing in some way the heavily political approach of the group. Basically, the band fully adopts the currently vogue (especially at college campuses... sigh...) anti-corporate politics of far left, reproducing the Green Party line with a good amount of accuracy. Generally, the political diatribes and what not are confined to the liner notes or through obtrusive, yet rare, dialogue samples. I've always been skeptical of the purposes of politically motivated rock, but hey its obviously something that these guys feel strongly about, so far be it from me to seriously criticize. In any case, aside from these superfluous inconsistencies, there is little here that should get in the way of enjoying the great music contained herein. I expect this band to keep getting better and better the more familiarity they develop with the regions, peoples and music that influences them. As it stands, ISHQ is one of the most significant releases of 2001. Contact Paranoise at www.paranoise.com. - Greg Northrup [October 2001] Click Here for Tracklist and Lineup Info 
Pataphonie - Le Matin Blanc
(1978)Pataphonie’s second album, Le Matin Blanc, is another highly adventurous French progressive rock outing rescued through the auspices of the Musea subsidiary, Gazul. The album owes as much to the Zeuhl movement as to Rock-In-Opposition, but Pataphonie certainly find a rather unique and highly enjoyable middle ground. Being a trio, the group's sound is stripped down, organic and highly enjoyable. Like a precursor to the contemporary Japanese duo Ruins, the drums and bass rest at the center of the groups sound, weaving fiery, heavily distorted bass lines around dexterous, infectious drumming and thundering snare rolls. Atop this are nimble guitar parts, which range from spacey and melodic to hellishly aggressive. Both guitar and bass alternate between lead and backing roles here, and the particularly satisfying moments come when the bassist drifts into the higher registers for melodic duels with the guitarist, only to kick the distortion into overdrive with the effect of a sledgehammer to the cranium. And that's basically it for the whole album. If any complaint can be made, it's probably that the minimalist instrumentation can get rather same-y by the conclusion, but thalbum'sat shouldn’t stop loveshouldn'tuely improvisational, energetic instrumental prog from sinking their teeth into this recording. Convenient reference points are to Soft Machine, Henry Cow and Magma, but a comparison can perhaps also be made to the later French group Hellebore at their most impassioned. While not quite at the level as any of the above, Le Matin Blanc will almost certainly be a solid and enjoyable pick up for fans of those groups. - Greg Northrup [October 2002] Click Here for Tracklist and Lineup Info 
People of the Squares
-Simianometry (2002)Propelled forward by a steady rhythmic pulse, fuzzed out bass, pulsating keyboards and crunchy guitar, People of the Squares explore a wide range of odd rhythms and meters in their unique brand of instrumental rock. The tightly organized arrangements bring to mind the meticulously crafted Math-rock sound of bands like Don Caballero, yet the open-ended compositions allow room for improvisation and a free flowing jazz influence. Almost like a hyper-modern King Crimson, the dark angularity and precise playing emphasize a grittier and heavier Red-era sound. Jamming off the polyrhythmic bent leads to plenty of nice grooves, and quick changes in direction keep the songs from falling into any ruts, while adding an exciting and dynamic element to the texturally sparse landscape. The extended nature of the pieces leaves plenty of room for improvisation between the composed pieces, allowing the band to break loose from the complex arrangements to just shred. The jazzy interludes provide a nice contrast to the heavy passages, adding another dimension and staying away from the tendency to wank some solos out during the improv sections. Keyboards are usually relegated to atmospheric chords rather than carrying the main melodic force, but do come to the fore in places, such as the replicated flute lead in "nova". All this adds up to a varied and intriguing mixture, and an extremely strong debut. Looking forward to seeing what they have up their sleeves for the next album. Visit www.peopleofthesquares.com for some info and the band's mailinglist. - Mike Prete [August 2002] 
Picchio Dal Pozzo - Picchio
Dal Pozzo (1976)Picchio dal Pozzo's debut is considered a classic in some circles, and is certainly not what one would consider to be typical Italian progressive in any way, shape or form. To that end, Picchio dal Pozzo is certainly a refreshing treat to those somewhat burned out on the "classic" Italian progressive sound, but still willing to mine the depths of the country's scene in search of one last undiscovered gem. Picchio dal Pozzo come from a completely different wing of influences than the vaguely orchestral, pastoral, flowery melodicism of many of the country's bands, looking towards jazz, RIO, Frank Zappa, Gong, and especially, Robert Wyatt and the Soft Machine as major influences. Funnily enough, the result is just as beautiful, as angular melodies coexist with fuzzed out guitar, churning horns and soothing, seemingly free form song structures. The tempo is always slow, as sax, piano and otherworldly vocals float just above the mix, creating a exquisite, emotional atmosphere, with just a dash of dissonance, angularity and off-beat sensibility to keep things interesting. It's impossible to pick out standout tracks, as the whole album flows together beautifully. However, the opening of the album, in which acoustic guitar melodies are countered by bell-like chimes, kills me every time. "Cocomelastico" sets the tone perfectly, with its stumbling horn riff, undercut by a surreal walking bassline and shimmering piano. "Sepia", by simple virtue of being the longest piece on the album, actually ends up being the best, delivering on some of the record's most memorable themes. The overall effect is very much like the Robert Wyatt solo material that I have heard, Rock Bottom and Ruth is Stranger than Richard, and in fact, the group actually dedicates the album to one "Roberto Viatti". The vocalist even pays obvious tribute to Wyatt in "Off", during which he imitates Wyatt's charming habit of imitating horn parts with his voice. However, it's definitely the musical and instrumental palette of Wyatt's work that has the most correlation with Picchio dal Pozzo. Waves of sounds gush over the listener, like some kind of morphine induced euphoria, with crisp piano sprinklings offset by some howling saxophone or guitar, but without ever taking away from the overall soothing tone of the album. The result is the most perfect, beautiful form of painkiller. Perfect music. - Greg Northrup [June 2001] 
A Piedi Nudi - Creazione
(1995)While it may
be true that A Piedi Nudi sits at or near the upper
echelon of the 90s resurgence of Italian progressive
rock, I see little reason to place this band on the
same pedestal as the country's true elite, made up
really of the one-two punch of Deus Ex Machina and
DFA. Comparisons to both these bands are applicable,
particularly the former given A Piedi Nudi's tendency
for spastic instrumental passages and stop-on-a-dime
tempo changes, not to mention the sheer bombast of
the whole thing. Still, the group lacks DeM's
eccentricity and DFA's finesse, separating themselves
instead by incorporating a heavy electric guitar presence,
lending a 'metal' feel that is superfluous as often as it
is effective. There is a heavy nod towards the
past of course, particularly towards heavy Italian
prog giants like Semiramis and, in particular, Il Baletto
di Bronzo. Vocalist Carlo Bighetti has an emotive
delivery that often recalls Gianni Leone's famed caterwaul,
while the pyrotechnic surges of the compositions do
their best to hit on the same kind of complex brilliance
as those bands. Unfortunately, what the band
has in chops and musicianship is often lost in atmosphere.
Certainly, many of the problems with this album are
aesthetic qualms. Overly crisp production, the
metallish guitar incursions and a gated drum sound contribute
to a sleek, "modern" feel that lacks a certain charm for
me personally. Still, it's probably unfair to really
measure the group against any of the aforementioned
giants, as few bands do. This is not a bad album.
Opener "Memorie" is probably the best track on here,
simply by virtue of throwing the most compelling and
memorable riffs and arrangements out at the listener
before the slight redundancy of the remainder of Creazione
sets in. That said, "Nuova Vita" still manages
to jump out in the latter half of the album as an
outstanding track in its own right, benefiting from
an addictive main theme. A good album, if somewhat
flawed in spots.
- Greg Northrup [February 2002]
Pollen - Pollen (1976)Pollen was a group hailing from Quebec who released a single slab of brilliant, emotional symphonic prog that has served as my introduction to the amazingly rich Canadian scene. The group certainly takes their biggest cue from early Genesis, as well as Ange, though certainly not in a watered down, simplified way at all. This album simply rips. Impeccable musicianship guides the band through distinctive compositions full of layered, intricate themes, gorgeous melodies, soaring atmospheres and everything else a 70s sympho-head like myself craves. Pollen certainly project a haunting, original style with fluid transitions from atmospheric, pastoral beauty and moments of grand, Ange-like fury. The vocalist in particular is less harsh and easier to stomach than Christian DeCamps, and the music is general is more flowing and melodic, with plenty of Hackett-esque guitar work and soaring keyboard melodies reminiscent of Banks. They're not really French technically, but they sound it, similarly evoking Pulsar in their spookier moments. There are
really no dud tracks at all on the album, as it maintains
a consistent flow of superbly melodic, darkly engaging
pieces from beginning to end. "Vieux Corps de
Vie D'Ange" is an up-tempo opener, with jaunty rhythmic
currents and dramatic vocals. The next two
tracks veer more into laid-back, pastoral territory,
producing some extraordinarily beautiful melodic
themes, and a grand, almost orchestral feel.
"Tout L'temps" and "Vivre la Mort" take up the intensity
again, and are probably the two finest cuts on the
album. Supremely aggressive, enthralling rhythms
and melodies coalesce beneath the dramatic and emotional
vocal delivery. "Le Femme Ailee" closes out the album
in superb form, opening with melancholic, acoustic balladry
before building into an active, up-tempo monster with
soaring Moog lines that bring to mind the best work of Novalis.
Overall, this is impeccable symphonic progressive rock,
and should be an extraordinarily easy sell for fans
of that genre. - Greg Northrup [July
2001] 
Priam - ...Three Distances/Irregular
Signs... (1997)...Three Distances/Irregular Signs... is the debut from French instrumental band Priam. They combine various sounds such as fusion, symphonic and space rock as well as some electronic into a blistering combination that can go from blazing, complex passages to mellow electronic ones. The tracks on my CD seem to break up the songs into three different suites, each in turn comprised of three songs, and the album flows very well as a whole. All the musicians are very proficient, as the songs are constantly shifting in both rhythm and time, but it is Casagrande's guitar that dominates the music for the most part. At times his playing is very reminiscent of Andy Latimer, being very melodic and evocative, and I have also seen his playing compared to that of Allan Holdsworth. The band uses their tight playing to wind down long paths within the suites they have created. They have a very good sense of dynamics, never staying at one speed like some other fusion bands tend to do, keeping the music flowing very well and easily sustaining the listener's attention. The whole album is
very solid, and I am hard pressed to really single anything
out as being a stand out. The opening track, "Metamorphosis"
does a great job of capturing the listener, whereas the
26 minute suite, "Intiatic Quotent Of The Monk" is a real
tour-de-force of wonderful playing. I also really
enjoy the small use of sound effects in the later pieces,
such as in "Dream in a Blue Forest".
I am consistently floored by this album whenever I play
it, and would not hesitate to recommend this album to anyone,
particularly fusion fans. The band is said to be working
on the follow up to ...Three Distances/Irregular Signs...
and suffice it to say, this will be an anticipated release
for me personally. - Mike Prete [February 2001] |
Pablo "El Enterrador" -
Pablo "El Enterrador" (1983)
Pangée - Hymnemonde (1995)
