Issue 2024-058
Barock Project — Time Voyager
As a long time fan of Barock Project I was chuffed to see that no-one else from the DPRP crew had nominated to review their new title so it looks like I have this one all to myself. For those not familiar with the band, their current line-up includes Alex Mari (lead vocals, acoustic guitars), Luca Zabbini (keyboards, backing vocals, acoustic guitars), Eric Ombelli (drums), Marco Mazzuoccolo (electric guitars) and Francesco Caliendo (bass). This is also the same group of musicians who were involved with the band's last few albums and by my reckoning, is probably the strongest team yet.
The first spin of this rather lengthy album threw a lot of very diverse material at me from all quadrants of the room. I really wasn't sure if I was listening to the same band that I had know so well. The influences the band have used on this album simply can't be ignored. At one minute I am hearing Dennis De Young (Styx), followed by Brian May's guitar from Queen (Morning Train), with an infusion of impish vocals from Jon Anderson and a smattering of slightly Celtic / folkish infusions by Ian Anderson (Jethro Tull). But wait, there's more. The classical overtones heard throughout the Celtic-infused folk sea shanty, The Lost Ship Tavern, replete with its violin samples are quickly overtaken by some stunning Keith Emerson ballistics that really ignite the senses. If that's not enough, how about we throw in some Spanish styled influences during the adventurous Voyage that would make Jordan Rudess blush. Bring on the castanets! Let's round that out with the alluring Steely Dan sounds you might expect on the slightly jazzy Propoganda. As a curtain closer let's jump on the Jethro Tull bandwagon and show them how things should be done with modern prog music today (Voyager's Homecoming).
One of the really inspiring elements to this new long player from Luca and his team is the extraordinary depth of keyboard jiggery-pokery used to impart the messages that are at the heart of the music. I am having a hard time thinking of any recent album I have reviewed that includes the use of so many brilliantly played keyboards, whether that be a simple piano, synth, organ or other samples and patches. I even reached out to Luca in search of further information as to what keyboards he used on the album. Whether you are a fan of a Weinbach piano, the mighty Hammond C3, Hammond L122s, Yamaha CS15D, Minimoog, Uno Synth Pro IK Multimedia, Yamaha Motif XF, Korg Triton or a smorgasbord of virtual synths such as a Syntronik 2 and Pianoverse, you will have reached keyboard nirvana with this batch of excellent instruments. When you add some thunderous percussive mayhem from the Heavocity Damage 2 effects or some brutal orchestral sounds from the Heavocity Symphonic Destruction kit-bag of effects, you will sit back and admire just how talented Luca is at concocting such an assortment of mesmerising sounds.
But it doesn't just end there by being very dexterous on the keys. Luca is also an extraordinarily gifted song smith and is able to conjure up some truly clever and majestic songs that pull at the heart strings in one moment yet have you reaching for your seat belt when he wants to unleash some further mayhem on the listener. The melodicism with both the underlying music when accompanied by some wonderfully harmonious and uplifting vocals, makes you realise you are hearing something very, very special. I defy anyone who plays this album more than just a handful of times to not be totally mesmerised by the power and allure of the 12 songs on this set. They simply tick every box imaginable. The final track is a prog lover's wet dream.
When you look at the credits for the band's various albums, you will notice that Luca is credited with song composition and in this regard, he is surely a master craftsmen. It's hard to think of any equally talented modern keysman, other than Anthony Kalugen (Karfagen) or Jordan Rudess (Dream Theater) who possess as much ability to throw everything but the kitchen sink at each and every song he composes. On this outing he certainly doesn't disappoint and for my money, this is probably the best album the band have released. The plaintiff piano in many songs are perfectly accompanied by those where Luca tears things apart when his synths unleash their mayhem on the listener. The vocals / lyrics are amongst the best I have heard for ages and begs the question, how can any musician come up with so many excellent songs on the one album. This has rarely been done since prog's heyday in the 70s.
Barock Project 2024 (promo photo)
It's easy to recognise the influence of those master synth players who have come before but let's not ignore some luminaries from the industry such as Keith Emerson, Rick Wakeman, Tomas Bodin, Manfred Mann, Eddie Jobson, John Evans and many others who have guided Luca on his quest to become one of the masters. On Time Traveller, he simply romps it in. While the influence from Keith Emerson is all prevailing, as a classically trained musician, Luca has really found his own way and now revels in creating so many complex, tasteful and enthralling songs that are far greater than the sum of its parts.
Because this album reaches me on so many levels, I am going to include a very lengthy list of other bands whose music might also be amongst your favourites. If you like any music from Kayak, Camel, Transatlantic, Genesis, Karfagen, Mystery, Greenslade, Neal Morse Band, Unitopia, Gentle Giant, Jethro Tull, The Flower Kings, Mindgames, Millenium, Gordon Giltrap, United Progressive Fraternity, Kansas, Glass Hammer, Spocks Beard, The Watch, Druid, Salem Hill, Nad Sylvan, Malibran, Happy The Man, Il Castello di Atlante, Kotobel, Collage, The Samurai Of Prog, La Maschera Di Cera, Cosmograf, Cast (Mex), U.K., Steve Hackett, I.Q. and Sylvan, then you can take it to the bank, this one will please in many ways. If you look at the above list, you will recognise that for the most part, none of those bands rely on an excessive amount of heavy metallish structures to sell their music. Looked at in another way, they present their music in the purest symphonic / progressive rock style that worked for thousands of bands from the 70's and earned much respect by composing multi faceted albums that despite possessing plenty of melodic segments, also contain enough complexity to ensure things don't get bogged down with too much predictability. Trust me, there is zero predictability on this album as each song is so unique and played to perfection. The band cover a ridiculous amount of territory on this outing and if you have not packed a road map, you will likely lose your way. It is absorbing from start to finish and will have you asking what can the band do next to better this one? Sadly, I don't think it's possible, but I am gladly putting my hand up to review their next album, whenever that may be released.
While I grew up on a diet of essential 70's progressive bands from Italy including PFM, Le Orme, Arti & Mestieri, Banco, Acqua Fragile, Il Balletto Di Bronzo, Maxophone, Allusa Fallax, Il Castello di Atlante and hundreds of others, Barock Project has literally jumped the queue and now headlines that celebrated list of supremely talented musicians that I always refer to for inspiration. I am currently revisiting their earlier albums for a well-earned Adrenalin boost to my ears, just in case I missed hearing something important, previously.
It's hard to pinpoint the best tracks on the album as each song is a masterful effort in its own right. I am reading other reviews that have commented that the last few songs are not as good as the first ones, but I am not noticing that. While your own opinions may vary once you become familiar with the album, be assured, however, there is so much to enjoy on the album as the creativity on display is simply breathtaking. The ripping synth lines alone are worthy of the price of admission. When you backstop that with some propulsive drumming, stratospheric leads breaks from the Fender Strat and Gibson Les Paul you know you have struck a winner. When you add in a vocalist who has enormous range and depth, you have a winning formula that is going to generate a lot of interest from today's fans. If you have yet to dip your toes into any modern prog music from Italy, then please put this one on your shopping list. It simply is that good and one of the finest examples of well executed modern progressive rock music you are likely to hear for some time. After a handful of spins, it has raced to the top of my 10 favourite albums for 2024. This is a stunning album by any measure and is one that you really want / need in your collection.
I only have a small issue with this album however and that is that the digital copy of this great album I was sent for review is marred by there being a number of small timing errors which I am putting down to having been downloaded during some stormy weather. Maybe I am missing a few bytes of digital information here and there and while it might be a little disconcerting when listening under headphones, does not take away for a minute, my pleasure at playing this one from start to finish. As there is no music shop in Australia that stock this title, let alone even be aware of the band (or progressive rock for that matter), I will need to source an original CD when time allows. Despite that small issue however, this excellent album is easily worth at least 3 glasses of my favourite Shiraz. No, bugger that! Just pass me that bottle of Montepulciano please? That's another favourite of mine too!
Kingcrow — Hopium
Fanboy alert! Kingcrow and I go back a long way. Back to 2006, when I was invited to review the third album from an Italian band that no-one had yet heard of. DPRP has constantly and consistently supported this Italian quintet for 21 years; none of their albums have scored less than an eight. We've done interviews and live reviews. My wife and I even sponsored their appearance at ProgPower Europe in The Netherlands a few years ago (and cooked them dinner)! It's been a real pleasure to see their profile slowly growing with each wonderful album.
Looking back on these previous reviews (see below), I feel that I've somewhat run out of superlatives with which to tell anyone who enjoys heavy progressive music that they should enjoy and revere this band.
So this time I shall just tell you about the ten songs that make up the band's eighth album, Hopium.
The fun begins with the bouncy rock of the first single Kintsugi. With its trip-hop groove and insanely-memorable chorus, it is probably the catchiest song the band has ever written. Sure to be a live favourite.
Glitch opens in a similar vein but with a clever blending of atmospheres that worked so well on their classic Phlegathon album released back in 2010. Parallel Lines has a somewhat dreamy Porcupine Tree / Anathema vibe. But again Kingcrow sprinkles their own magic to make it very much their own song. The thumping guitar chords that remind me of Mother of Millions, gives this track a strong ending.
New Home Harvest shows their gentler progressive side, and I love the driving intent of Losing Game. The way this song bursts out of its shell at the halfway point is superb. White Rabbit's Hole makes use of its extended play-time to explore various moods and rhythms. I love the big-band feel to the juicy chorus, and the way it cross-fades into a deliciously-heavy guitar section.
Kingcrow (promo photo by Riccardo Nifosì)
We then pass into the poetic Night Time. This offers another highlight as you coast along to its dreamy, late-night-under-the-street-lights mood. Vicious Circle again shows that Kingcrow can pack a punch in a four-minute tune, before we arrive at the longest track.
Hopium offers everything I love and know about Kingcrow, as well as exploring some next textures such as the djenty post-rock closing section. It also shows why Diego Marchesi has become one of my favourite vocalists. Possibly my favourite track.
The reflective Come Through provides a fitting closure to the album. I reach the end, only to hit the play button again. Yes, Hopium is very addictive!
As always with Kingcrow's music, this is most certainly an album that rewards repeat and proper listens. There is absolutely no showcasing, with solos kept to a minimum. Yet there is a depth and complexity to the songwriting that slowly emerges as one becomes familiar with the melodies and the ebb and flow of the heavy and light atmospheres.
For existing fans this is a no-brainer purchase.
For any newcomers, once you too have fallen in love with this album, then I would strongly recommend you read through the reviews below, sample some of the songs and start working backwards to update your collection with all the wonderful music created by Kingcrow; one of the most talented progressive rock and metal bands of this century!
Hopium is the band's first album for the Season Of Mist label and was released on August 23 on CD, vinyl and digital. The band will support Pain of Salvation on their three Italian dates in September.
Kingcrow On DPRP.net
Pangaea — Beowulf
The reissues of their first three albums The Rite Of Passage (1996), Welcome To The Theatre (1998), and A Time And A Place (2002) were an introduction to their new album. In 2005, it seemed the band were in full preparation of a new album called The Reckoning but then went silent. That silence lasted almost 20 years, but now there actually is a follow-up. (It is unknown to me how much of The Reckoning is now making up Beowulf.)
When you get the same line-up to make a new album 22 years after the previous one and that even includes the big-name producer, then expectations will be around the sound of that previous album.
The music has stayed true to form. No need to reinvent something, no need to please some group of listeners (or reviewers for that matter), and it's clear that Pangaea just make the music they like making.
So what we have here is highly melodic prog rock based on melodic rock. Not too complex, with recognisable choruses, and with the longer compositions composed of different sections in true symphonic progressive form. Hard to put under a single banner, except the banner that has Pangaea on it. Reference might include Shadow Gallery on the sound, perhaps Saga on the compositions.
Opener Necromancer is on the heavy side, with lovely touches of organ. A little dark with epic choruses, and the second half is mysterious. A great opener according to my taste. Show Me The Way begins as a ballad with emotional playing on piano and guitar. It turns into a melodic rocker, a bit like Journey but more bluesy. Nice to hear it end in the way it begins rather than the expected repeated chorus.
Although catchy vocal melodies drive part of Masquerade, it is filled with unexpected changes and different multi-layered sections. The acoustic guitar being audible is praise to the mix and production. This is a good example of both sides of the sound of Pangaea.
It took a few spins to get into Wasape. At first, I thought it was too different to be part of the album, but the hypnotic drumming with rocking riffs and different layers of sounds and melodies, and references to native American cultures is actually a wonderful piece on its own (and not for the first time on Pangaea albums). More importantly, although it might be a change of scenery, the atmosphere is actually fitting the whole album just perfectly. Mysterious and intense.
The easy-digestible Tomorrow Will Come is coming too soon after Wasape, to be honest, as it is breaking the fading magic of the previous track. Melodic rock with slight progressive touches (outside the choruses, that is) is good in itself though, but I do feel that this, and the next track, are a little in the way of showing the progressive side of the band that was evident in the previous tracks. Without You is also on the AOR side of the spectrum, and in the ballad corner this time. It is the most poppy song on the album. Very Styx, really. I began to think that it was a bit out of place, near the end of the album, but it is the guitar (melodies and solo) that keep it in the flow of the whole album, and basically there was no better place to have these two tracks.
While 38 minutes is a perfect album length in my book, including some joking around within that timeframe is stretching it a little. The effects in the closing track are a little over the top (purely left channel and distant for most of it, overdubs of people talking, laughing, and making noise), and the music might not be too serious, the guitar playing is actually very nice, and this could have been a beautiful brief acoustic ending to the album. The joking is however short, as you can see on the track-listing.
Beowulf is a logical successor to A Time And A Place, as if there was no two-decade gap. While having an excellent producer in Robert Berry resulting in a wonderful sound, I do feel the band have taken a little more responsibility in this department. The end result sounds like there is a little less musical influence by Berry (just an observation) in the musical department than on the previous album. The music has grown, naturally. It is a little more progressive, a little heavier, arrangements feel more confident and adventurous. Way to go guys, just don't spend another two decades for the next one, please.
Tom Penaguin — Tom Penaguin
Tom Penaguin is the guitarist in the French psychedelic stoner rock band Djiin who have occasionally been known to dip their toes into the prog pool, although remain something of an acquired taste. So it was somewhat surprising then Penaguin stepped aside from his band to create a genuinely solo album that could quite easily be mistaken for a long-lost album from the early 1970s Canterbury scene occupied by such greats as Matching Mole, Egg, National Health and Hatfield And The North. However, there is one difference in that Penaguin's album is entirely instrumental, although given that the original bands were fine proponents of lengthy instrumental jams that is no great departure.
The authenticity of the music is down to the fact that Penaguin only used vintage instruments and studio hardware The recording and mixing, except the lengthy Housefly Leg, was entirely in analogue using such classic instruments as Fender Rhodes, Hohner Cembalet II and Pianet T electric pianos, Yamaha YC20 organ, Logan String Melody and Moog Matriarch synthesisers. He has even gone so far as giving his compositions slightly silly names that were popular at the time, particularly by Egg (The Song Of Mcgillicudie The Pusillanimous (Or Don't Worry James, Your Socks Are Hanging In The Coal Cellar With Thomas) for example) of the Hatfields (the absolute masters, you can't beat Fitter Stokes Has A Bath, Lobster In Cleavage Probe or (Big) John Wayne Socks Psychology On The Jaw!)
The music can loosely be described as prog fusion, although I have yet to discover a term that adequately describes this uniquely English style, although anyone familiar with the aforementioned bands will know what to expect. There is a playful joyfulness to the whole album, which is often derived from the fun that Penaguin obviously had in manipulating tapes recorded while he was living in a shared house (The Stove Viewpoint Introduction) or of birds in his garden (at the end of The Stove Packed Up And Left). However, you'd be hard-pressed to identify the sources as most of the tapes have had the pitch and speed altered!
Aborted Long Piece No. 2 displays some Stravinsky influences, and it is a shame that the piece was aborted as it is a greatly diverse musical composition and has lots of dynamic potential. Originally intended to be a side-long (in LP terms) composition with minimum instruments and with a very asymmetrical rhythmic approach, according to the Composer "it failed, so there is only three and a half minutes of it." The two long compositions are just sublime. Housefly Leg was re-recorded on a computer to allow more accurate mixing and spacing of the various instruments, although the organ and guitar solos were kept very close to the original version recorded onto tape. Arrival Of The Giant Hedgehog is the proggiest of the compositions starting out quite sedately it progresses into a lengthy guitar solo over an ever-changing chord progression played on various keyboards ending with a superlative heavier section.
Another abandoned musical idea was to incorporated various musical themes that Penaguin had composed over the years within pieces on the album. However, apparently none of them seemed to fit in smoothly with the newer compositions except on The Stove Packed Up And Left which incorporates a theme originally composed in 2018. In many ways I am glad that this idea was abandoned as this composition is, I feel, the weakest on the album. Although, given the exceptional quality of the rest of the album this is by no means a criticism as the piece if far from being a clunker!
If you are a fan of the original Canterbury scene then this is an essential album to add to your collection. On the other hand, if you are a fan of Djiin or prefer to stick to more recently released albums then this is a great release to start your exploration of similar music from the 1970s. Either way you will not be disappointed.
Piglets DDeep Forest — DDeep In Time
The creative minds behind Piglets DDeep Forest are composer/multi-instrumentalist Adam Paluch (guitar, bass, ukelele, percussion, keys) and Monika Paluch-Ferszt (vocals, theremin, lyrics). Joining them on their DDeep In Time debuting mission are Kamil Roloff (guitars), Slawek Puchala (percussion) and their pink team mascot Piglet who as a conventions/patterns defying explorer tags along freely to all rehearsals, recordings and concerts.
Steering well away from any Swinetrek realm I know DDeep In Time offers a nicely construed space rock trip based upon a scientific energy concept. In light of the evidently early Pink Floyd echoing Nuclear Start Up, hypnotically repetitive melodies, and various particles of space rock debris like post rock, this description certainly fits. My inner "Hawkwind"-expectancy radar however primarily detects a psychedelic mixture of atmospheric alternative rock, pop and prog.
Languorously mellow this in the early atomic stages of the album creates doomy counterpart impressions of Edenya thanks to Monika's ethereal bound voice. In dire need of pace and momentum, which Monika in a spoken manner successfully asks for in More Nuclear Fuel, this engaging image thanks to a fusion of bombast and elementary empowering riffs slowly changes into memories of The Gathering's Mandylion in I Need Moderator.
This most promising of songs showcases a fine three-dimensional upgrade in musical diversity, arrangements and ideas, and only falls ever so short in enchantment due to Monika's occasional one-dimensional abstruse vocals. A fate also somewhat befalling upon the Obrasqi reminding album highlight I'll Keep You Warm and the subsequent My Energy Transformation which ends on a delightful heavy rock high.
Well and truly adrift in vastness of space by then, My Journey Into Space continues with a lecturing narrative guided by mellow moving EM melodies. Proggy outbursts surprisingly sparkle with 80s Eloy. After this, the warm embrace of alternative pop melodies of Dark Quark Of Space and the soothing astral reflections in Bonus (Prosiaczek) brings piglets' exploratory voyage to a close.
Showing potential and growing in rewarding upon multiple listens, DDeep In Time is a fine effort worth exploring for the alternative prog orientated fan.
Soft Hearted Scientists — Waltz Of The Weekend
CD 2: Venus Flytrap Song (6:56), Lost Mariners (11:19), Sea Anemones In The Bethnic Abyss (6:24), The Garden Of Wavering Fronds (8:24), My Bike Versus The Dandy Horse (3:49), Waltz Through The Weekend (16:42)
Soft Hearted Scientists is a totally unknown band to me, and I'm sure many of our readers haven't heard of them either. Waltz Of The Weekend is their latest album and the first one we review at the DPRP control tower. It was about time after seven albums. The band describes themselves as a Cardiff-based psychedelic collective with four core members and two floating members. I can´t agree more with the psychedelic mention in that description.
Unfortunately for me there is too much psychedelia on this album. Don't take me wrong, I like a good dose of those wonderful Syd Barret moments, but there has to be something else to keep my mind focused and with this Waltz Of The Weekend I sometimes find myself lost in my thoughts instead of the music. The album has a very nice opening with What Grows Inside The Garden. Of course this reminds us of the sadly deceased first singer of Pink Floyd.
Things keep that way also in the next song, and in the next one... A bit too often. Very similar vocal notes but changing the speed. What started as something quite interesting has become a bit boring just after only three songs. And you know what? Gadzooks! is a very good song, but again I hear more of the same. My mind starts to think about other things, so I have stop and start again.
I'm not going to describe each of the remaining songs since the album keeps presenting the same sound. The copy we received has four extra songs in the form of remixes and even a Mystery Tour Of The Whole Album, which I honestly find somehow interesting and I think I know why: this album has very nice individual songs, with great vocals, instrumentation and very good sounds. But when played all of them in a row, it is just a little too much of the same.
The score reflects the reviewing of the complete album. Do as youngsters do nowadays and play only those songs you like the most, or even only one. I prefer to value albums as unique pieces as long as bands continue to release music in that format. Now it's your turn to check this Waltz Of The Weekend and decide if you have your right dose of psychedelia. Maybe you are one of those who need more.