"PROGRESSIVE" & PSYCHEDELIC (POP)/ROCK
review page

Phideaux ('04,'05,'05,'06,'09,'11)
Tea For Two ('06)
Guy Fawkes ('02,'06)
Imogene ('06) / Heavy Water Experiments ('08)
Strings Of Consciousness ('07)
Eyeless in Gaza ('08)
Klaus Nomi ('07)
Sky Cries Mary ('09,'11)
Modest Midget ('10)
Legend ('11)

-moved to different pages :
Patrik Skantze ; Itamar Ziegler ; Welcome ; 9 on Bali ; Chancer Risiko


grading : * ok ** g  ***vg ****perf *****no better example than this: must-have heard, classic
with additional ° some tracks better  ; with ' possibly better for some (viewpoints)

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Bloodfish Rec.Phideaux : Ghost Story (US,2004)***°

It wasn’t easy to place the group's music because it has certain influenced elements of 80’s pop as well as progressive edges. It surely has Xavier Phideaux musical interests and listening pleasures in them. His musical interests span between Van der Graaf Generator, Joy Division, David Bowie, Joy Division and Steeleye Span.

It has lots of fuzz guitars, some electric guitars, partly electrified vocals, .. I don’t know yet which vocalist the singer reminds me of most. Some recognised Al Stewart, but then you could also say it is mixed with elements of someone like Robert Palmer and Gary Newman or so, without a limitation to any of these. The 80’s pop elements surely are there in the song melodies. But it is not only the rhythmical section and ideas, as well as some keyboard touches, which uplift the music beyond any pop music. The musical fundaments are recognisable and highly enjoyable, which makes the album fly by before you know it.

Info on Ghost Story : http://www.bloodfish.com/GhostStoryPage.html
& (with audio) : http://cdbaby.com/cd/phideaux2
& http://www.progarchives.com/Progressive_rock_discography_CD.asp?cd_id=10894
Review : http://www.geocities.com/prognaut/reviews/phideaux2.html
& http://www.artistdirect.com/nad/store/artist/album/0,,292597,00.html
& http://www.dprp.net/reviews/200418.html#phideaux
& http://www.dailyvault.com/2004_04_09-de.html
& http://www.smother.net/reviews/modernrock.php3?ID=393
Spanish review : http://www.eufonia.net/html/phideaux.html
German review : http://www.metal-reviews.de/....next->
Bloodfish Rec.Phideaux : Chupacabras (US,2005)****

The second album starts immediately with more ambitious arrangements (female vocals, and keyboards on the intro “Okay”). The used arrangements and the choice of instruments on the titletrack, "Chupacabras", is much more worked out than before, with more variety, like the best progressive symphonic rock (using sitarguitar, mellotron, vocal arrangements,..). Also the lead vocals are more directing towards sensitive acid folk songwriting compared to the first release which had a more post-80’s influence. The female vocalist is a welcome addition too, as well as the extra band members. The track also has a beautiful acoustic part (flute, acoustic guitar, slide guitar, cello).

On “Party”, this track has again more 'poprock' abilities, in a very positive way, with good vocal colour changes. The track has a New Order like danceable strength. After a calmer track,"Fortress Of Sand", "Ruffian on the stairs" like the two following tracks ("Sunburnt", "Return Of The Ruffian"), have harder elements, with the post-80's elements well performed in a rock context, and with very progressive details. The last calmer track "Titan" shows me once more what a (emotionally) rich voice the vocalist has.

A very strong and original album.

Info on Chupacabras : http://www.bloodfish.com/ChupacabrasPage.html
& (with audio) http://cdbaby.com/cd/phideaux3
& http://www.progarchives.com/Progressive_rock_discography_CD.asp?cd_id=10895
Review : http://www.geocities.com/prognaut/reviews/phideaux3.html
& http://www.dprp.net/reviews/200563.html#phideaux
German review : http://babyblaue-seiten.de/index.php?content=review&albumId=6867
& http://www.bright-eyes.de/baseportal/CDs/kritikendetail&Id==6866        next->
Bloodfish Rec.Phideaux : 313 (US,2005)***

This album is again pop(rock) orientated. Xavier Phideaux has a very colourful voice which is already half of the qualities of the music. "Body to Space" surprisingly has a female vocal arrangement with acoustic guitar and mellotron which goes much more into the acid folk direction. All other tracks have the definite post-80's pop feel.

The 20 page booklet more reads like an art-comic book.

Info on 313 : http://www.bloodfish.com/313Page.html
& http://www.progarchives.com/Progressive_rock_discography_CD.asp?cd_id=11342
German review : http://babyblaue-seiten.de/index.php?albumId=6878&content=review

Label : http://www.bloodfish.com/
Homepage : http://www.myspace.com/phideaux
Info : http://www.progarchives.com/Progressive_rock_discography_BAND.asp?...

Second album for download : http://www.bloodfish.com/FiendDown.html
with info : http://www.bloodfish.com/FiendishPage.html    next->
Bloodfish Rec.          Phideaux : The Great Leap (US,2006)*°°?

The latest album sounded a bit more directing towards the neo-symphonic, which will please some lovers, while it became less my cup of tea. I didn't came to review it properly...

Audio : http://cdbaby.com/cd/phideaux5
Homepage : http://www.bloodfish.com/ & with audio : http://www.myspace.com/phideaux
Other review : http://www.musicstreetjournal.com/phideauxcd06.htm
German reviews : http://www.babyblaue-seiten.de/album_7452.html
& http://www.justforkicks.de/.            2009 album->
Musea Rec.          Phideaux : Number Seven (US,2009)***'

Having started on the edge of some genres, evolving into progressive rock, for the last genre this album, his 7th, sounds like the band’s most convincing musical concept to date in this new field of inspirations. The subject is total fantasy. The music has progressive-symphonic progressions accompanied by keyboards, acoustic and electric guitars and is sung by male and female lead vocalists. Musically it has all the strong aspects the neo-progressive music lovers expect and want to hear. Technically melodically, and with alternations of instruments as well as sonic-wide, this sure is completely successful. Even though for the old progressive and psychedelic music lovers there might be expectations of a lot more being put into the music, for the new scene this band, concept and music will simply sound just perfect.  

Homepage : http://www.bloodfish.com/ & with audio : http://www.myspace.com/phideaux
Description on http://www.lasercd.com/...       next CD->
Blood Fish Rec.          Phideaux : Snowtorch (US,2011)****

There have been a couple of still recent albums by Phideaux which didn’t really grab me so much when digging further into the progressive and symphonic area, but with this album the band seems to get each detail right. The song structure allows some arranged improvisation and progressions, never dominating with one kind of voice or one instrument. The electric guitars add more emotionality, and there's also a bit more distortion which suits the power in the music well. The percussion gives the symphonic progressions the right architectural frame. The keyboard arrangements are not always too complex ; it is the total band performance that gives also the whole symphonic movement solid ground. There are a few additional arrangements with cello that work very well. The female vocalist is rocking and convincing and the changing shapes of the lead singer’s voice works very well too. The last track has a celebratory folk tune marching in, a background public shows its enthusiasm. A very good one. Most people who like the progressive symphonic rock genre a lot possibly should not miss an album with this sort of perfection.

Homepage : http://www.bloodfish.com/ & with audio : http://www.myspace.com/phideaux
Description on http://www.lasercd.com/... & with audio : http://phideaux.bandcamp.com..
Label info : http://www.bloodfish.com/albums_snowtorch.htm
Other reviews : http://www.progarchives.com/album.asp?id=32493
Intrepd Sound Rec.     Imogene (US,2006)***

This band has first of all a very attractive rhythmically driven (Andy Campanella, drums) fuzz bass (David Melbye plays 8-string bass, and CJ Cevanos 4-string bass), and often some Fender Rhodes (Gabe Cohen) or other keyboards, which is a relatively simple but powerful foundation for the songs, that has here and there electric guitar too. The vocals, sometimes slightly distorted, and songs for me have a post-60’s psychedelica association. Bass and drums are the grooves, while the songs at the same time have lightness, with a catchy sunny rhythm, a combination which makes an attractive balance in the group’s sound...

Audio : http://www.cdbaby.com/cd/imogene
& http://www.myspace.com/imogene & & http://www.imogene.info/music.html
Homepage : http://www.imogene.info/; new album under different name->
Intrepid Sound Rec.    Heavy Water Experiments : (US,2008)***°

With a strong start, of a few second of 12-string with dreamy vocals, bells like vibrations, and heavy fuzz guitars, good drumming / percussion, warm arrangements, with a post early 70s feeling of psych songwriting mixed with rock, with well balanced and well arranged tasteful formula, smooth vibe of song based music it seems as if nothing can go wrong after this. But after a couple of songs the music really digs deeper, sinks even into it’s smoothness as if it becomes an automated process, blinded by it’s psychedelic haze, and it loses a bit the clearness, surprise and after a while in it’s trance you even forget how this all started. It is a bit of how our world drags you along. You try to remember good ideas and idealism when you start, but being not consciously and structurally organized with memory enough, you participate so much in what is happening to you you become part of a trance-like state, no longer being able to change anything creatively, there no longer is the distance and freedom in any idea left. This psychedelic music is really fine but the waters weigh heavy.

Heavy Water Experiments seems to be the duo Imogene, with a new name.

Audio & info : http://www.myspace.com/heavywaterexperiments
& http://cdbaby.com/cd/heavywaterex
Homepage : http://www.heavywaterexperiments.com
with audio: http://www.heavywaterexperiments.com/music.html
Review on http://www.lowcut.dk/... & http://www.upstarter.com/...
& http://emediawire.com/releases/2008/9/prweb1329674.htm
& http://www.aquatik.biz/article.cfm/id/367654
& (also in Dutch) : http://www.rockadvice.org/news.php?item.143.7
German review : http://www.babyblaue-seiten.de/album_9345.html
Private      Guy Fawkes : Twice Told Tales -cdr-(I,2002)**°

I leave CDR promo’s more often lying much longer as the last options for reviewing, certainly when it needs more time to get a grip on the music...
This album looks like a book, has a title refering to a book and sounds as if it consists of not tracks, but pages with pictures from a book, which are not seen but heard by ears. Non of these tales tell much of a story, but are like rough fragments, as if browsing a book for the first time...
They are like looped ideas of minimum electronica in some tracks, a classical guitar duet, a Chinese melody with Chinese instruments, a Baroque piano piece, a Rhodes piano improvisation and things like that...
It is a short album, and all tracks are rather short, and I cannot describe the impression it left from me, the same way as from when I’ve looked at a colourful book in a a store, which I laid down afterwards, and looked further for something new..

Info : http://www.myspace.com/guyfavvkes

Private      Guy Fawkes : Ergangene Gedanken -cdr-(I,2006)**°

Also this (second) release cannot be grabbed in one listen. It could be considered as a loose soundtrack, with the real content that still needs to be filled in. Especially the first track sounds like that, (-the title of the album signifies “lost thoughts”-). It has some spreading-around-the-environment diversity of keyboard sounds loops, like ghosts of seagulls, while another, more steady, New Age form of a tune on keyboards, bass and rhythms form another layer, while a more heavy electric guitar, and a bit of trumpet and sax, improvises in the background, fighting against the stream, like a battle causing more chaos than order ; but in the end, trumpet and sax still win in a ‘bebop jazz’ order.
Most of the tracks have a similar struggle between falling apart and building up layers. There are also many acoustic and classical guitar passages. Some of them aren’t played upto a real ending. Some footsteps, and a door click switches to the next track. “The Procession” plays with classical arranged passages, that, like collages, are also dealing with the same kind of struggle. When we come to the last track, a variation of the firstly used musical elements closes the circle a bit (with keyboard layers and with droning sounds, building up, while adding spacey sounds, and with the interaction of some electric guitar. Then, (like some of the inbetween sounds on the Ithaca album), the sound of switching the paper to the next page, in fact closes the music, like turning the page of a script.

This new release is free downloadable at http://www.mediafire.com/?3aynunsyn79
Info : http://www.myspace.com/guyfavvkes
Centr.Contr.Intern.    Strings Of Consciousness : Our Moon Is Full (F/UK/US,2007)***°

String Of Consciousness for me has some elements that fit in with the times. A first sort of significance in their group’s name for me is their awareness of the new scenes with all the good contacts, which gave this, now also international, group, a sort of awareness, like guided by some business cooperation...
The founding members had some time worked with two distinctive French independent labels, like Pandemonium (first home of Cerberus Shoal, Guape,..) and BiP_HOp (Erik Friedlander, Rothko,..). While thus living on the top of their sensitive nerves, seeing the more valuable "oil sources" in the post-rock underground waters flooding above the avarage like the valuable parts, they had also experienced some of the different new music possibilities in that field.
Especially he first couple of tracks on their CD makes me similarly conscious of how quickly the modern times evolved and have added so many new forms of expressions and styles in music. It is as if the group bring this compilation of ideas, also like in a string of consciousness, together, and connect this into one power and identity, which, like the logo of the group contains some confusing strings and energies with twists and turns and contrasting directions, and lots of different sounds, but also still hold together with a feeling for how this also could belong together in a natural, even rather complex way when you look into the details (there are no less than 9 people participating!).
A third and last association which makes their name so fit well can be noticed in the later tracks especially, because they are more distinctive of words with music. All tracks have in fact spoken word by an assimilation of many separate guest vocalists, some of which are relatively well known (J.G.Thirlwell (Foetus/Steroid Maximus), Barry Adamson, Eugene Robinson (Oxbow), Scott McCloud (Girls Against Boys), Pete Simonelli (Enablers), Black Sifichi and Lisa Smith-Klossner). These vocalists give extra expression with a literary association (perhaps just a bit inspired by the idea of the dry and intellectual cynical readings by W.S.Borroughs more than once put on music). Some of these tracks more clearly add lush and moody jazz to the mixture of new post-rock ideas, a bit of chamber arrangements and so on.

With the first listen, this album sounds often a bit dry and musically at times slightly confusing, and a bit away from real emotional involvement in the need to express all this, but this is only a first impression.

Strings Of Consciousness are : Raphaelle Rinaudo (harp), Andy Diagram (trumpet / electronics), Nicolas Dick (guitars), Abdenor Natouri (double bass), Perceval Bellone (saxophone, Tibetan bowls, flute, piano), Hervé Vincenti (guitar/laptop), Philippe Petit (Theremin/laptop/turntables), Alison Chesley (cello), Stefano Tedesco (vibraphone).

The group cooperated live before with Bob Mould, The Sea and Cake, Frank Black, Robert Wyatt, Soft Machine, David Thomas/Pere Ubu, Spaceheads & the Deviationists.

Audio : http://www.myspace.com/stringsofconsciousness  & on http://www.virb.com/...
Homepage : http://www.stringsofconsciousness.info/
Other reviews : http://brainwashed.com/index.php?option=com_content&task=view&id=6463
& http://www.greenarrowradio.com/2007/09/22/strings-of-consciousness-our-moon-is-full/
& http://www.drownedinsound.com/release/view/11163
& on http://shop.vh1.com/... & http://www.regenmag.com/...

Label page : http://centralcontrol.co.uk/
Quixote Music          Tea For Two : Twisted (D,2006)***'

First of all, the singer’s voice reminded me very much of a pop voice who made a hit in the eighties, I think it was a song with song lyrics like “It’s aaall so …(magic?)..”, sung with an equally attractively coloured pop voice.

Tea For Two, with this release has that kind of strength which is more difficult to categorize. Their first track, “Spanish Night” fuses in attractive way flamenco themes with pop abilities, while most music has rather progressive rock arrangements, coming rather close to the kind of arrangements with song from Peter Hamill (from Vandergraaf Generator) but perhaps fits well, in an honest retro way, with a few more groups from the British ‘70s era, (getting the idea of Jethro Tull song structures, as well as their folk flute influence into arranged poprock structures here and there, or some Genesis during instrumental parts with symphonic piano combined with guitars, or small details of early Marillion’s symphonic synths, and so on,..) that could all be close influences.

In relatively short tracks there can be happening a lot in the compositions in a short time, giving an impression that some of these tracks are much longer than they are (especially “soundscapes”). The songs themselves have most often a poprock attractiveness. A decent release which becomes more interesting with each listen.

The group exist since 1985. This is their third release.

Homepage : http://teafortwo.de & with audio : http://myspace.com/t42de
Band introduction : http://www.progarchives.com/...
Short track description : http://forums.rollingstone.com/showthread.php?t=2512
Label info : http://www.quixote-music.de/index.php/cPath/1_2/category/tea-for-two.html
or http://www.teafortwo.de/mp3/twisted/__teafortwo_twisted_info_en.pdf
German reviews : http://www.idioglossia.de/review.php?id=704
& http://www.babyblaue-seiten.de/i...
& http://www.rocktimes.de/gesamt/t/tea_for_two/twisted.html
Beta-Lactam Ring Rec.    Eyeless In Gaza : Summer Salt/Subway Sun -2cd- (UK,2008)***°

Eyeless in Gaza is a band with a starting point and past in the eighties. It is a individualistic duo consisting of Martyn Bates (from which I once heard the very interesting cooperation with M.J.Harris called “Murder Ballads (Incest Songs)” of weird dark folk tales, a double album worth checking out) here with Pete Becker.

This is a luxury box with two CDs with a comparable range of a specific independent style, of which more or less all keeps the 80s/post 80s feeling, of a certain ambient post-industrial darkness surrounding the project. With no doubt Martyn’s soft voice has something charming in the sinister, a rare warmth in a cold environment, without breaking out the winter. No song really comes out completely even when the song structure brings certain emotional movements in the structure, the ambient instrumental environmental structure dominates more in the end, sometimes with driven rhythms, first “rocking” (in the traditional sense of the word) until in a close-your-eyes improvised underground indie-psychedelia way. The percussion sounds cold, industrial, electronic from a cold and harsh sphere and space, it can also drives the mood up hypnotically, from the depth of night, or pulsating with more bodily appearance, motor-like or with up tempo grooviness. Lots of improvised guitars (electric guitars and bass mostly) are cleverly multilayered with individual differences in movements but with the same speed. Sometimes more cosmic ambient keyboards are added too. All that become texturised, droning, slightly echoing, adopted in the same space. The second CD has some acoustic parts, of which “One-legged” is the only completely acoustic track with guitars and flute, showing well Martyn Bates sensitivity. I miss sometimes the lyrical or some textual context, so that all sounds more like a musical improvisation and vision.

This is the standard 2CD edition of 600 copies. 400 copies contain the bonus album "Wildcat Fights".

Homepage : http://www.eyelessingaza.com/ & http://www.myspace.com/eyelessingaza
Band intro in dutch : http://www.darkentries.be/index.php?nav=cds&zoekID=832
& in English : http://en.wikipedia.org/wiki/Eyeless_in_Gaza_(band)
Label info with audio: http://www.blrrecords.com/prod/1902/summer_salt_subway_sun.html
Info on release : http://www.eyelessingaza.com/PhotoGraph.html#30
Interview on http://www.postwave.gr/...
Heliocentric CdsKlaus Nomi (& George Elliott & Page Wood) :
Za Bakdaz (D/US,1983/2007)***'

When I first heard Klaus Nomi, some more than 20 years ago, I pretty much liked his special opera voice, and especially his beautiful interpretation of Purcell and Saint-Saens, and the (rearranged) fragments which became like an identification with his person (and the condition he was in knowing he was not going to last or live that long).
Secondly there were the pop songs, light like cowboy songs and still serious revealing some of the man behind it who was kept hidden behind an alienated robotic fashionable mask (and clothings refering to German's 30's futurism and the charleston period, a strange combination).
I heard he was the first artist to be known to have died of aids, back in 1983.
The contrasts between both worlds seemed to fit somehow, but were still different.

And now we have this release which established an even more serious approach to combine all the contrasting worlds into a new vision. Klaus Nomi before he died had a vision for his latest, unfinished work which was supposed to be called “Za Bakdaz” or Nomi Homeland. What was recorded or sketched was never published before, but George Elliott and Page Wood decided to finish it for him. This gives it a surreal aspect, trying to awake Klaus Nomi from the dead through studio mixes, original recordings and even voice sampling, mixed like a collage that heavily, in order to raise that essence with it. The collage is interesting, fluent in melodies and concept, but also a bit loaded and partially mono-tone in sound despite the many layers that still make it interesting to hear, the result is successful in its purpose to bring together all these elements and ideas as if it crawls from a dark past and studio trickery to a theatrical performance which never really happened like it is. It is as if there is the image and memory of an actorchasing a new story with its shadow. Strange, but enjoyable.

The birth/death of Klaus Nomi is indicated as 1944-1983 & 2007, as if he seemed to have reappeared just that little bit.

Audio on http://www.silverdisc.com/...
Info & audio K.N. : http://www.myspace.com/klausnomioracle
Videos on http://www.youtube.com/... & here
Homepage : http://zabakdaz.com/
Other pages : http://nomi.tribe.net/ & http://pagesperso-orange.fr/klaus.nomi/
& http://www.thenomisong.com/
Info : http://mog.com/tangerman/blog/257488
Description on http://www.theomegaorder.com/s.nl/it.A/id.22960/.f
Other reviews on http://www.popmatters.com/pm/review/klaus-nomi-za-bakdaz
& http://flagpole.com/Weekly/RecRev/KlausNomi.14Jan09

Grading of some other albums :
RCA RecordsKlaus Nomi : Simple Man (US,1982)***°'
BMG Ariola   Klaus Nomi (US,1982)***°°
Trail Rec.Sky Cries Mary : Space Between the drops (US,2009)***'

What I noticed immediately was the beautiful dynamics used in creating and the production of this album. Sky Cries Mary’s music is on the edge of my musical scope but they’re worth mentioning because of the musical qualities, something the group keeps steady and fresh over the over 78 minutes of the album. This is a bit of alternative pop music, with attention to the creation of a moody shoegaze trance of space, with moody excursions -one instrumental, track 6, lasts for nearly 15 minutes- and fine mixes with here and there an ethnic touches (convincing native Indian singing by the lady on the second track, or calm jungle percussion somewhere else) or trance-effects, like slide guitar for instance, or a spoken word into space on the third track. An early 90s sort of cool melancholy is present here as well, while the lead vocalists keep the alternative pop element vivid. They are perfect shoegaze mood creaters.

Homepage : http://www.skycriesmary.com/
Info & audio : http://www.myspace.com/skycriesmary
& http://www.cdbaby.com/Artist/SKYCRIESMARY1
Label info & audio : http://www.trailrecords.net/index.php
Other reviews : -  next album
Trail Rec.Sky Cries Mary : Talking the Stage -live 1997-2005- (US,2011)**°

This is an over 70 minute compilation of live recording from this band, and hell how trippy this band is, it becomes a bit too much for me. The songs are dream-haze provoking, then the band adds more psychedelia to it, sometimes changes to more trance directions. Unless convincing vocalists, the stoner effect doesn’t stop anywhere, and the songs almost sound improvised. The bonus track, a new psychedelic version of the sunshine psych pop track “California dreaming” is a welcome change.

Homepage : http://www.skycriesmary.com/
Info & audio : http://www.myspace.com/skycriesmary
Label info & audio : http://www.trailrecords.net/index.php
Other reviews : -
Multi-Polar MusicModest Midget : The Great Prophecy of a Small Man (NL,2010)*°

Modest Midget is one of those new generation progressive music lovers trying to make their serious love for this style strong by playing their visions into the scene. Like many new bands it is strange how some of the musical structures and elements they use are not of the old progressive nature, but have something of pop sensibilities, like the use of steady rhythms, the sound and melodic inspirations of pop songs. Modest Midget’s lyrics are rather weak and simplistic, the rhythmic structures for progressive standards are also a bit weak. And that is a bit a shame, because “Baby” for instance has a tasty vocal approach against the music. And the incorporated Bach theme on “Contemporary Ache” is interesting, even when I heard much better examples of that from the Italian prog scene in the 70s, its lyrics makes it also more banal. But when the band comes up with different musical themes and works them out instrumentally they show the best side of themselves. In general I can say that Modest Midget’s sound very strongly reminds me of some of the few new Israeli progressive bands that still exist.

Homepage : http://www.modestmidget.com/
Info & audio : http://www.cdbaby.com/cd/modestmidget
& http://www.myspace.com/modestmidget
Other reviews : http://wildysworld.blogspot.com/...
& http://www.dprp.net/reviews/201019.php#modestmidget
& http://www.musicstreetjournal.com/index_cdreviews_display.cfm?id=102580
German review : http://www.babyblaue-seiten.de/index.php?content=review&albumId=10571
No Fish Prod.Legend : Cardinal Points (US,2010)****

I recall Legend’s three first releases well, of which I liked “Tripple Aspect” best. I remember them as a band which had a (neo-)pagan association, who made a kind of folk-rock with a symphonic sound added to it, with a just slightly bombastic but still strengthening effect coming from these arrangements, but with the folk-rock vocal strength still on top. It belonged just a bit more to the progressive rock genre simply because of blown up enrichment in the arrangements.
In the meanwhile it seems I missed a couple of albums. When I was able to check the last one I must admit it is at least as good as my previous favourite.

Also here, the songs still matter most. “Carved In Stone” introduces itself with didgeridoo and voice and keyboard textures first. Then it gets quickly layers of keyboards and also electric guitars and some accents of vocal harmonies. Also this is putting a more bombastic effect on the music, but the effect of this is balanced well and only provides a better “rock” sound. The musical arrangements fit very well into the rhythmical accents. There is not too much musical change in the song itself but the celebrative “folk-rock” elements with its “rock” accents are attractive, and the music theme succeeds well to make a 13-minute track sound like a shorter rocker.
“Whisper On The Wind” brings into the arrangement something I have not heard before by this group yet, which is a small part of a nearly danceable Electro-layer, a new element to the rock part of the track/music. The singer’s lead voice still is powerful after all those years, a second voice is like a strengthening of its feminine aspect. The song calms down with a small picking improvised guitar lead with keyboard textures and percussion, then there has been added a slowly progressing electric guitar improvisation to this. The electro element returns partly while the electric guitar is getting much wilder, before calming down to new absorption into the keyboards domination, followed by a renewed calmer part of a near oriental dance led by guitars in combination with the keyboards in close cooperation grooving hypnotically.
“Spark To A Flame”’s first part shows a strong rocking track, well arranged to give full effect to the words and song. This track suddenly changes to a second part with humiditised-windy keyboards, (church-like) organ and a moodier singing. After a next keyboards part with some sequenced rhythms the track returns to the original power of the song, with only one longer emotional hard rock guitar solo to expect to conclude this, making another over 13 minute track convincing throughout the workoutsof its parts.
The last song, “Drop In The Ocean” has a few more composed instrumental changes with most symphonic effects : it is most worked out by its keyboards. There is some part with fast piano arranged within a rhythm, then the keyboards and guitars change in sections, with slower parts of the song. A sudden change shows a picking guitar part with flute and water stream in the background, a peaceful intermezzo, before a few more small changes led by more keyboards contributions.

Homepage : http://www.stevepaine.org/
Other reviews : http://www.progarchives.com/album.asp?id=32653
& http://www.prog-sphere.com/2011/06/28/legend-cardinal-points/
& http://www.progressiveworld.net/html/modules.php?name=News&file=article&sid=2793
& http://www.jerrylucky.com/reviews%20k-o_056.htm
& http://www.prognaut.com/reviews/legend.html
& http://www.cybercauldron.co.uk/cardinal-points-by-legend

I once played Legend on a neo-Pagan event : http://www.psychedelicfolk.com/wicca.html
Acuarela Discs    Manyfingers : Our Worn Shadow (UK,2006)****'

review of this moody multilayered-minimalist, slightly jazzy, mostly acoustic album moved to
http://psychedelicfolk.com/psychfolkpopreview4.html


Mi Mo Sound Rec.  Patrik Skantze and the Free Souls Society :
Fiction at first view (S,200?)****

review of this progressive singer-songwriter album moved to
http://singersong.homestead.com/PatrikSkantze.html


Fat-Cat Rec.Welcome : "Sirs" (UK,2006)****

review moved to
http://psychemusic.org/sixties.html#anchor_154


CropCircleCollective     9 On Bali : Sanur (US,2007)**°


review moved to
http://progressive.homestead.com/INDOREVIEWS2.html#anchor_79


Itamar Music      Itamar Ziegler (IS/US,2002)****


review moved to
http://singersong.homestead.com/itamarziegler.html

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