Issue 2025-046

Avkrvst — Waving At The Sky

Edwin Roosjen

It almost sounds like a horror movie. In the dark forests of Norway two seven-year-old boys made a pact. Martin Utby and Simon Bergseth made a pact to form a band. Two years ago, using the bandname Avkrvst, they released their debut album The Approbation. After a long dark session in their cabin in the woods, they created the follow-up album Waving at the Sky. Just like on their debut album, the line-up of Avkrvst is completed with Øystein Aadland on bass/keys, Edvard Seim on guitars, and Auver Gaaren on keys. There is a guest appearance by Haken vocalist Ross Jennings.

The music of Avkrvst is progressive metal with influences from Opeth, Riverside, Haken and Porcupine Tree. The opening song of the album, Preceding, starts like a typical Riverside song. The second part of the song is really heavy and fast and could have come from any Opeth album. The progressive metal influences are very clear.

Avkrvst state that the spoken words used in the songs are from a high-profile Norwegian trial dealing with two families who abused their children Waving At The Sky is built around this story and inspired by these events. It is basically a prequel to the story told in their debut album The Approbation. The story on The Approbation was about a man in a cabin who lost his mind. That man is now one of the characters on Waving At The Sky named 'the step dad'. Combine all these aspects and you will get a very dark and scary album indeed.

The Trauma has a lot of Porcupine Tree-like passages, the beginning of the song even sounds like a Porcupine Tree sound. The end has some heavy grunting and screaming, an Opeth ending. This Opeth resemblance continues in Families Are Forever. A slow song with just a slow part of grunting vocals that sounds very ominous. For people who really do not like grunts and such, this is just a minor element on this album. Do not drop this album because you hear a grunt, it is not that much and certainly not over the top screaming.

Conflating Memories sounds pretty uplifting for a dark and heavy album like this. The solos are played in a key that makes it not as dark and the song is filled with melodies. There is even a small part with an experimental flute solo. This more uplifting side continues in The Malovolent Feat, even a nice swinging piece of music is in there. After that it is back to the pounding heavy music with Ghost Of Yesteryear. When the lyrics are sung it is mellow, again some Porcupine Tree feelings there, but in between there are a lot of heavy hitters from especially the bass player. The album ends with the title track Waving At The Sky which is the longest song on the album. This song also combines a lot of Riverside and Porcupine Tree influences.

With their debut album The Approbation Avkrvst surprised a lot of people. And they continue in their musical direction with this new album Waving At The Sky. A typical second album, music style is almost the same, just a bit more mature. If you like the referenced bands, then you should definitely give this one a try. Waving At The Sky is an album that I think will be on many year lists, highly recommended.

Dramanduhr — Vertuhn

Calum Gibson

Dramanduhr have reached out to the world from Sicily to showcase album number 2. Coming three years after the well-received Tramohr, Stefano Eliamo, the man behind the band, has recorded what is described as a “a rite, a journey, an invitation to explore what makes us human and what connects us to everything.”

Opening with orchestral chimes and chants, this soon evolves to encompass some avant-garde riffs and drum work. Various influences abound throughout, from black metal styled blast beats and chugs, to progressive sensibilities, and even some tribal elements.

The majority of the vocals are clean and sung in a language referred to as “Dahrmonium” (a fictional language invented for the band), but there are smatterings of harsh vocals to supplement the heavy musicality as well.

The album straddles that line between slightly quirky musical passages, and early Ulver and Bathroy styled black metal. Hard chugs, and interesting structure with a flowing and oscillating clean style of vocal delivery.

My main criticism with this album, would be the cover. I was disappointed to read it was produced with Open-AI. I won't go into my thoughts on AI, but for me, that sours the taste of the album, leaving a rather bitter ringing behind and rather stunted my enjoyment. So my suggestion for the 3rd album would be using a genuine artist for the imagery.

Fans of the earlier days of Enslaved, Solefeld and Thy Catafalque would probably enjoy this.

Edenya — The Secret Destination You Are Looking For

Greg Cummins

I've been immersing myself in Edenya's new 2025 release, The Secret Destination You Are Looking For and I can honestly say this album isn't just a collection of songs — it's a sonic journey, a place of introspection and emotion that unfolds with each listen. This is the kind of music that doesn't beg for attention but quietly demands it through sheer emotional gravity.

From the very first track, I was struck by the band's commitment to dynamic contrast. Songs ebb and flow with an almost cinematic quality—think Sigur Rós' patience meets Anathema's emotional weight, all woven with a pastoral sense of space reminiscent of Dead Can Dance. Yet, Edenya never feels like a copy of anyone. They've carved out something uniquely theirs: an interesting body of work that is atmospheric, rich with melancholy and deeply human.

Musically, the album leans into progressive and ethereal rock with strong neoclassical influences. Acoustic guitar often forms the spine of the arrangements but it's what Edenya layers around it that makes this album so engrossing. Lush string textures, piano interludes, ambient synth washes, and delicately phrased electric guitar melodies all work together to support the vocals without ever overwhelming them. There's clear intention in the orchestration—every instrument has space, yet nothing feels sparse.

The time signatures aren't overly complex, but there's a subtle sophistication in how the band plays with rhythmic displacement and phrasing. It's not about technical prowess—it's about emotional timing. Vocally, there's a vulnerability that's hard to fake. The lead singer, Ingrid Denis, (whose voice sits somewhere between the crystalline resonance of Sharon den Adel and the smoky warmth of Anneke van Giersbergen), brings a fragile intensity to the lyrics. There's a sense of internal dialogue, as if the words are being processed in real-time. It makes each track feel honest and immediate, especially when paired with Edenya's poetic lyricism—rich with metaphor, but never obscured.

One of my favorite tracks, Flying Dream, starts with a minimalistic violin motif that gradually expands into a full-band crescendo. The way the violin weaves its magic really elevates this piece and when backstopped with some ethereal and choral work from Ingrid, let's just say the heavens open wide. A truly stunning piece of magic.

Princess Of The Light is another standout track and while heavier than its predecessor, it builds upon the ethereal singing that the band's new vocalist is able to fully exploit. With a driving beat reminiscent of how Steven Wilson gets things moving when he plays with the Porkies, it just works wonders.

The softer tracks (1, 3, 6, 8, 10 for my money) portray exactly where the real talent lies with this band. While the other tracks have their individual merits, they don't possess the same degree of finesse that drenches these softer pieces. The subtlety of the arrangements along with the mesmeric and highly alluring melodies really encapsulate exactly why I have taken so easily to this band. I have simply fallen as a willing victim to its melancholy and charm.

Just as I thought The Outing was going to follow in a similar way to these softer pieces, the Porcupine Tree influence becomes hard to ignore with its slowly building shift into over-drive that revs up proceedings and drives it right out of the park.

Foreign Ground starts with a somewhat rudimentary riff that would not be out of place on a Frijid Pink album and is the only track that I partially skip over. It tries hard to be relevant, but sadly, for my ears, it's a bit too cringe-worthy. That is until 4 minutes into the song when it takes on a whole different perspective. Violins cavort with drums and keys in a playful manner but it all eventually succumbs to that dire riff again after a maniacal outbreak on the guitar. Is it a lost opportunity? Probably, considering the strength of the other tracks and because the song just doesn't seem to fit as cohesively as the others do. It's not a bad song per se but it's not up my cul-de-sac.

The title track at over 9 minutes in duration is where the Dead Can Dance influence is clearly apparent. Softly struck tom-tom drums, (possibly tablas) and a resonating and droning sound of keyboards fight for your attention with sitar and bells in the background. With the anguished injections of Ingrid's softer wails, you have the perfectly formed version of an middle eastern classic. There is not much variation to the song and while it probably runs longer than it should, it just avoids overstaying its welcome. Soaring lead guitar injected towards the end, adds some variety but this doesn't change the structure of the song.

My Burden is an interesting piece as it injects more drive and impetus compared to the others and is probably the most adventurous excursion on offer. Heavier riffs work well while the instrumentation is a lot more exploratory and the ethereal vocals, when used, are straight out of heaven. This is a perfect example of how to meld maniacal mayhem with melody. When it burns, it leaves a mile long scorch mark on the tarmac while the angelic inflections from Ingrid caress like a feather. A great song!

Edenya clearly draws from a wide palette of influences—progressive rock, ambient, classical, and alternative. Fans of bands like Antimatter, Dead Can Dance, maybe the Cocteau Twins, early Within Temptation, or even the quieter sides of Riverside will likely find a lot to love here. But what really sets the band's latest album apart is its emotional coherence. Every track feels like part of a whole—not just thematically, but sonically and atmospherically.

If you're someone who appreciates music that's both introspective and expansive—music that doesn't just entertain but invites reflection—this album will likely resonate with you on a deep level. It's not “background music.” It's something you experience, ideally in a quiet space with good headphones and a willingness to feel whatever comes up. Oh, and for my preferred palate, the obligatory glass or three of Shiraz.

Edenya has created something beautiful with their latest album. It's meditative without being soporific, emotional without being overwrought, and musically rich without being indulgent. There's genuine artistry here—not just in the songwriting and production but in the emotional architecture of the album itself. Cheers!

Don Falcone — One Of The Spirits Burning - A Musical Memoir

Jan Buddenberg

Contrary to what may accidentally be interpreted from the above track listing, One Of The Spirits Burning - A Musical Memoir is a 514-paged autobiography written by producer, songwriter, keyboardist, bassist, vocalist, lyricist, and technical writer Don Falcone. A book which, when ordered at Stairway Press, comes along with a free CD memento of studio, live, demo and (as of yet) unreleased tracks of projects glued together over time by Spirits Burning mastermind Falcone.

This enigmatic song selection that covers a broad variety of prog, space-rock, psych, and folk in fairly genre defying ways, can still be acquired via the included coupon even when the book is ordered elsewhere. Which in itself is a great gesture, seeing the compositions are beautifully complementary, highly essential for collectors, and insightfully illustrative for Falcone's engagingly told story. It does however feel slightly awkward having to cut off the bottom half of page 513 in order to secure this completing copy.

Somewhat unintentionally, it is the book itself that provides the solution. Or rather its paperback condition. Unlike Falcone's strong, bonding quality as a musical orchestrator, which has brought together over 250 musicians from the dynasties of Hawkwind, Blue Öyster Cult, Gong, Soft Machine and VDGG on numerous albums to date, the adhesive that binds the book is on occasion barely a match for the page-turning strength of Falcone's narrative. So in the end one is bound to tear out several pages by accident anyway.

Rich in vocabulary, highly detailed in scope, and creatively written with a gargantuan number of informative (humorous) anecdotes and smile-provoking moments of irony that at times unlocks one's own memory, I have to confess this page-turning/tearing quality was not always at play for me. The main reason lies in the fact that I am only familiar with a small part of the names, projects and recordings that Falcone brings to the stage, following Michael Moorcock's foreword.

Written in non-chronological order, this makes the book a slightly challenging read at times. An issue also somewhat operational in the chapters and paragraphs where musically I have little or nothing in common with Falcone's impressive network of musical collaborators. In general, though, Falcone is on a solid captivating story-telling roll. And sometimes even gets truly on fire. Like the thoroughly stimulating passage where he reminisces on a highly flammable incident from his childhood from a third-person perspective.

These enjoyable stories tell about the author's early fascination for poetry and his 'Pizza Boat' college days where he contacts many friends and relations who would play a major part in his future Spirits Burning career. At length, he describes matters such as stage props, royalties/writing credentials, copyright/legal issues, inconvenient (artistic) mistakes, Wikipedia notability, notable successes, and how (not) to market/promote and protect one's music. It offers an outstanding illuminating dive deep into Falcone's work aesthetics, his technical know-how, and his endeavours undertaken with artists like Bridget Wishart (ex-Hawkwind), Albert Bouchard (The Brain Surgeons, Blue Öyster Cult), Michael Moorcock, Daevid Allen (Gong, Soft Machine) and Cyrille Verdeaux (Clearlight). And, as a final example, it provides a valuable educational glimpse of what needed to be planned, organised, arranged, and subsequently sorted in regard to Spirits Burning's debut appearance at Kozfest in 2017.

Before concluding with a discography segment that covers all of Falcone's primary albums and singles (now you tell me!), the musical memoir gains even more substance with a grand 'The Crew' chapter that acknowledges all of the 295 (and counting) musicians and writers who contributed to the modern Spirits Burning. After many memory insertions from several of these contributors in earlier chapters, here a role-reversal takes place with many collaborators now freely permitted to share reflections of their own from their past Spirits Burning experience(s).

These recollections are foremost complimentary, ravingly enthusiastic and full of appreciation, admiration, and gratitude towards squad leader Falcone's organising efforts. They brilliantly underscores Falcone's openness to musical input, feedback, and criticism. As well as his humble, honest, candid, and amiable friendly, relaxed personality, which gradually also formed in my mind as I navigated my way through the well-chosen words. From experience, I can surely add the character trait of Falcone being a very patient man, considering the time it took me to read and scribble about this excellent body of work.

With Falcone juggling four to five possible albums at a time on a regular basis, this intriguing musical memoir is bound to be incomplete any day soon. And with the recent release of The End Of All Songs Part 2 by Spirits Burning & Michael Moorcock it now actually is. So when in a few years' time an updated, preferably hard-cover, version of this frequent fun read eventually gets announced, I'll make sure to mark it in my diary to check this upgraded version out.

As it stands for now though; filled to the brim with a dazzling amount of insider information, some of which even new to those within Falcone's close circle of musicians and friends, One Of The Spirits Burning - A Musical Memoir covers a whole lot of interesting ground. And comes highly recommended for (progressive) music fans and those who have a deep fixation for Falcone's many musical projects.

Moonrise — Single Game

Jan Buddenberg

Prospects are looking very bright at the moment for Moonrise fans. Not only did the band up their activity game with continued performances in support of the outstanding Live In Przeciszów, they also recently launched a new EP Single Game when they played the Parkvilla Theater in Alphen aan den Rijn, The Netherlands, on the 30th of May. This as a precursor for an upcoming, as of yet untitled, album which they are currently in the process of recording.

The "they" I refer to here is usually Moonrise's live formation which comprises Kamil Konieczniak, Marcin Staszek, Marcin Kruczek, and Grzegorz Bauer. This is, however, not the line-up as featured on Single Game which only includes Konieczniak (compositions, all instruments), Staszek (vocals) and former Moonrise vocalist Łukasz Gałęziowski (ex-Milennium) as guesting lyricist. Apart from guesting roles, this marks a direct continuation of Moonrise's recording approach as the one taken on Travel Within.

Opener Shadows In The Dark successfully leaves this musical trajectory perfectly intact. Elegant melodies ominously reflect the lyrics, beautifully undulate up and down between movements of mysterious darkness and comforting light, with Staszek's impressive vocal range. The synths and refined guitar riffs often remind of Moonrise's heavier song material. The track gives off impressions of AOR, Journey and Mr. Mister frequently. It ends in a beautifully crafted ambient finale highlighted by reassuringly satisfying grand piano play.

This excellent start is followed by the beautiful Single Game. It was recorded with a wonderful spatial sound that ideally highlights each instrument individually. Marcin impresses again with his strong emotional voice, as Konieczniak follows suit with gracious guitar movements that evoke memories of Neal Schon. A musical reference also faithfully coming into view moments later when the song's slow-building melodies start to harmoniously glow with enchanting Marillion meets Steve Perry appeal.

Smoothly reserved, peacefully serene and mellow-paced, it is Two Roads to conclude the EP with vocals that touch deep. Beautifully immersive guitar work takes the high road until the song's captivating melodies steer into the direction of a wonderful, spiritual coda. As if caught in two minds, at times it gives off the impression of having room to spare for further musical activity.

Single Game is a great warm-up and excellent prelude to Moonrise's eventual fifth studio album. Personally, I hope Bauer and Kruczek will still be called upon along the way. Simply for the reason that Kruczek's melodic play, inspired mostly by David Gilmour, captivates me slightly more than Kamil's foremost demonstrated Steve Rothery-esque style. Regardless of this preference, though, I wholeheartedly recommend every neo-progressive fan to get acquainted with Moonrise, if still applicable, via the highly recommended Single Game.

Phoenyx — Keepers Of The Flame

Greg Cummins

There are some albums that feel like rediscovered treasures. Time capsules of creativity that didn't receive their due when they first came out. Phoenyx's Keepers of the Flame, originally released in the 1990s and now reissued by Prometheus Music in 2025, is exactly that kind of album. It's a vibrant, genre-defying collection that captures a unique moment in musical history, bridging Celtic folk, Pagan-inspired lyricism, and early '90s neo-Renaissance aesthetics with touches of rock and world music fusion.

I must confess to not having heard about this band before now which stands to reason as the small run of original CDs was quickly sold out and became as rare as rocking horse poo. The disc literally became unobtainium with copies selling on ebay for up to $500, Yikes! And despite being an active music fan always trolling through the local music stores that stocked imported records and CDs, I never saw this title being available down under in the Antipodes.

Prometheus Music is a small label that has been responsible for issuing a number of titles, predominately within the science fiction / fantasy folk genre. The 2025 reissue is more than just a nostalgic artifact; it feels timely in its revival. Prometheus Music has done an admirable job with the reissuing of the album giving the recordings a new life and accompanying the package with some newly obtained art work. There's a warmth to the production that enhances the organic instrumentation, making it sound less like a dusty archival release and more like something recorded in a woodland glade yesterday.

My enjoyment for much of the prog folk / celtically inspired music I heard as a teenager, began with the likes of Steeleye Span, Fotheringay, Fairport Convention, Malicorne, Pentangle, Dan Ar Bras, Mellow Candle, Spirogyra, Incredible String Band, Horslips, Strawbs and hundreds of other acts but developed to include much of what is available now with few exceptions. It's a subgenre of music that I have actively followed for many decades but still find space in the collection to add some more, particularly if the album in question is good. Thankfully, this album fills that requirement very well.

At its heart, the album is deeply connected to Celtic musical traditions. You hear it in the lilting melodies, the harmonies, the frequent use of traditional instruments like the bodhrán, violin, tambourine, mandala, and flute. But Phoenyx doesn't stop there. They take the Celtic sound and run with it - incorporating influences from Middle Eastern rhythms, early music, and embellish it with frequent flurries of rock and folk.

Songs range from danceable, drum-driven tracks to moody ballads rich with lore and imagery. Some tracks feel like chants, others like tavern songs. This diverse range of music makes the album feel less like a single genre effort and more like a musical journey through a shared cultural dreamscape.

Though each listener will likely have their own favourites, certain songs stand out. Marley O'Reilly is a cracker of a song and is very expressive as to the capabilities of the band as a whole. A celtically inspired collection of songs would not be the same without a jig or two and thankfully the band have obliged by including Banish Misfortune / Lark In The Morning which is a very old standard having been performed by numerous bands since the pyramids were built. Truly!

Additionally, they also throw in Musical Priest / Butterfly / Swallowtail which are lesser known jigs but equally enjoyable pieces that add to the charm. Cat & The Fiddle is another lively and danceable track that fans of the genre will relate to quickly. Other songs embrace a more playful or celebratory tone, perfect for Renaissance fair-goers or fans of traditional folk festivals. Some pieces are instrumental or heavily driven by rhythm, evoking images of fire circles or forest dances. The angst riddled vocals on the final track, Yo Ho are very expressive and include the band's excellent version of Drunken Sailor.

One of the strongest aspects of the album is the vocal work: layered, sometimes choral, always expressive. There's a sense of community embedded in the vocals, as if the songs are meant to be sung with others, not just performed to an audience. Instrumentally, the diversity is a major strength. While rooted in acoustic traditions, the arrangements aren't afraid to experiment with layering, tempo changes, and unexpected transitions. There are moments where the energy surges into something almost tribal or ecstatic - then dips into haunting, contemplative spaces.

The album enjoys a rich diversity. No two songs feel the same, yet they all belong together. Similarly, it exudes a timeless energy and doesn't sound dated despite its '90s origins. It is a spiritually and emotionally accomplished body of work with the lyrics and mood speaking to seekers, dreamers, and lovers of the mythic. Finally, the album is played well by musicians who know their craft well.

Fans of Celtic, Pagan, Renaissance fairs, or folk music traditions will surely lap this us along with fans of those previously mentioned bands.

Keepers of the Flame is an aptly named album. Phoenyx might have vanished from the scene too early, but their music continues to spark connection and creativity decades later. This reissue is not just a historical curiosity; it's a living, breathing work that still speaks, perhaps more clearly now than ever.

If you're looking for music that stirs the blood, opens the heart, and speaks in the voices of ancient winds, this album is certainly worth your time. Well done guys!