Issue 2025-050
Roland Bühlmann — GAPVIS
Jerry Kranitz
Roland Bühlmann is a Swiss multi-instrumentalist who describes his music as a blend of progressive rock, fusion and ethereal soundscapes. (He is also a 'pinhole' photographer with interesting examples on his web site.) This instrumental set is all Roland playing electric, nylon and bass guitars, an array of keyboards, synthesizers, electronics, plus percussion instruments and objects. His 'sources of inspiration' range from his multi-instrumentalist grandfather, to John Coltrane, Genesis, Terje Rypdal, David Torn, and more. GAPVIS, an acronym formed from the first letters of the six track titles, is Roland's seventh album and my introduction to his music.
I'd say Roland's prog, fusion and soundscapes description is spot on. Genuine opens with a classical guitar pattern that is soon joined by soundscapes and percussion. But just as the intensity level is building it recedes into a darkly spacey passage, which ebbs and flows between atmospheric rocking, acoustic guitar, and haunting electric guitar licks. It's a luscious space-prog-jazz blend.
Autistic begins with more of an electronica vibe, but quickly launches into another spacey prog-jazz workout. At nearly 11 minutes there's a lot happening, with Roland continually but seamlessly shifting gears. There's lots of tasteful and sometimes trippy psychedelic guitar work, plus textural chord patterns and lyrical solos. But we're also treated to nifty synthesizer lines. And while the prog-fusion theme dominates, Roland inserts enough robotic electronica to keep the contrasts interesting.
Perception kicks off with a classical keyboard melody, layers of atmospherics, a syncopated synth pattern and mind-bending guitar notes. Roland lays down a rolling rhythmic groove and space-psychedelic prog-jazzy feel as he gradually develops an intricately arranged theme.
The 10+ minute Views is one of the more intense tracks, taking on an ominous, almost metallic feel. But that soon subsides as the music shifts to a more percussive and hip-shaking jazzy groove over which Roland cranks out guitar leads that linger expressively on each note, though later in the track he rips off some of the most fiery solos of the set. The music weaves its path, finding the sweet spot between composed and freeform jamming. I'm loving these turn on a dime thematic shifts, which Roland excels at doing so fluidly.
On the flip side, Inside is one the dreamier though still rocking tracks. It's a space-prog groover that floats along ominously while butting up against caustic bursts of guitar, screaming solos, chest throbbing bass, Middle Eastern strings and space-ambient waves.
Finally, Secrets is like a tribal jazz and soundscapes brand of King Crimson that also veers into the most overtly classical influenced territory of the set.
In summary, The music on GAPVIS is impressively performed and arranged for a solo work. I had to keep reminding myself that this is Roland on all instruments. 'Fusion' is the key. I love the way Roland incorporates elements of prog, jazz and psychedelia into a spacey, atmospheric whole. And if you like lots of thematic twists and turns, GAPVIS is a roller coaster ride. For (loose) analogies, at times I was reminded of David Torn's Cloud About Mercury album. Other tracks brought to mind Djam Karet at their most spaced out. I'll be checking out Roland's previous albums.
Daal — Decoding the Emptiness
Sergey Nikulichev
Whereas Italian dark prog champions Daal are silent, keeping a low profile with no new releases on the horizon, I am scared that they are done for good. When they release new albums, I am usually equally scared listening to them. Along with Il Segno del Commando, they are my sort-of-favorites from the “giallo”-prog roster, although the genre generally is not quite my cup of tea. But listening to Daal one is always rewarded with new shades and nuances in the rich but somber material. Cinematic soundtracks and RPI, Tangerine Dream and Devil Doll, experimental doom metal and 4AD classics – all these inspirations leave footprints in their material, that, of course, repeats a lot of workbook lessons by the mighty Goblin, but at the same time broadens the limits set up by their 70ies' classics. The masterminds – Alfio Costa (keys, vocals) and Davide Guidoni (drums, percussions) are consistent in their chosen path, as ever.
So, where are Daal now in 2025? Compared to its predecessor Daedalus (favourably, and deservedly so, reviewed by Jan), Decoding the Emptiness is less airy and colorful. In fact, it may be considered as one of the darkest releases from the band, borrowing heavily from doom metal (pun intended) and building a lot of themes around tritone riffs rather than keyboard arpeggios. Not to the extent, of course, to scare off prog purists, but then be prepared to sit through quite a claustrophobic hour of music. Daal always were a project, which managed to convey images of gloom without wide usage of distortion and metallic clichés, and it's specifically on DTE that they come very close to territorial waters of Swans, Melvins and Boris.
Once the title song opens the album, one is instantly persuaded that all the ingredients are in place, from tsunamis of roaring keyboards to stubborn, no-nonsense drumming. As soon as the vocals kick in, it becomes easy to realize why most of the project's music is instrumental. The vocals are far from being the strong part of Daal's sound and the less they ae used, the better – this title including.
In fact the second track Attic Clouds might have been a great opener itself, really setting the mood for the rest of the album, followed by a calmer, more restrained Twilight to counterbalance it. Both Horror Vacui and Simulacra are great compositions jumping from depressive riffs to sorrowful ambient pieces and back. Mademoiselle X is probably the most accessible and melodic part of the album, and also a much-welcomed chance to catch one's breath before plunging in the murky waters of 13-minute behemoth D.O.O.M. which is a hell of a ride. Some riffs and tones here reminded me of post-Reveries Opeth, justifying both bands' shared love for mood contrasts within one song. Guitar solo, played circa minutes 3-4, almost mimics Michael Akerfeld's voice melodies, intentionally or not. The rest of the music continues the same nerve-wrenching approach, taken by the band in 2025.
The last track Return from the Spiral Mind echoes themes and motives from the Daedalus album (check its first and last tracks), still a rather dingy piece of music, but more soothing and elegiac than most of the music on the CD.
Decoding the Emptiness is not likely to attract a lot of new audience, but will surely meet the fans' expectations. There's a subtle balance between trying something new and staying true to your roots that the band mastered here. Not a masterpiece, but a worthy successor to previous statements.
Flame Drop — Beyond Cosmic Infinity
Jan Buddenberg
One of the finest progressive fusion orientated albums to arrive on my doorstep in 2023 was Flame Drop's outstanding debut Flow. With creative juices between Felix Waldispühl (drums, piano, keyboards, percussion) and Roland Hegi (guitars, bass, synths, drums programming, keyboards) still streaming at an eclectic high following their successful live debut at the warm-up party for the final Night Of The Prog festival at Lorely, St. Goarshausen, they recently presented their second album Beyond Cosmic Infinity.
In line with the magic of Flow the seven well-construed compositions, all again accompanied by beautiful story-strengthening visuals on the band's YouTube channel, each in their own unique and captivating way again roll by with beautiful arrangements. As well as rich instrumental designs and a wonderful adventurous array of emotionally touching moments that made Flow such an exciting album experience two years ago.
No longer fully instrumental on a whole, as elegantly demonstrated in The Beginning which opens the album vastly cosmic in feel with voiceless heavenly choirs amidst dreamy Eloy recalling EM atmospheres, it is Astral Projection that offers a perfect illustration of these wonderful moving designs.
Intricately layered with sequences that find their origin at the far end of the Prog-EM spectrum, this mellow composition soon lifts off with gorgeous guitar-driven fusion. Sound effects and a familiar run of sequenced synths immensely echo impressions of Pink Floyd. A blissfully serene stage of lightening guitar finalises proceedings in breathtaking Steve Vai and John Petrucci tradition.
Evidently rockier in nature and brilliantly revisiting Flame Drop's debut with fabulous guitar work a la Saga, it is the compacted Wonderland that offers plenty of synth spectaculars. Waldispühl playfully explores the full range of his toms and cymbals. Ascending follows with romantic tenderness of piano and graceful rippling guitar circulations. Uplifting melodies are in spirit of Cody Clegg, Baris Dai, and Xavier Boscher, and they project the alluring beauty of Oude Ziel.
Designed with post-rock and soothing synth virtuosity, Hegi's lengthy masterclass in The Cosmic Silence also speaks delectable emotional volumes, which this time around evokes memories of Santana and the instrumental solo material of Neal Schon. The latter comes into view again in the beautiful Legacy Of Dreams which levitates peacefully past entrancing piano movements and extremely soothing guitar melodies.
A final style expression radiantly transmitted by Hegi on the six-string is that of David Gilmour. This is best demonstrated in The Great Beyond, which to the joy of many a Pink Floyd fan, closes the album with some exceptionally fine slide guitar movements before the composition gravitates towards dreamy atmospheres. Wonderfully arranged and concluded by mighty melancholic guitar work and an appeasing flow of twinkling synths, this is not the only Pink Floyd impression received, for also a high-soaring vocal segment in likeness to The Great Gig In The Sky is presented. Personally, though, I'm not that keen on Jessy Howe's overly enthusiastic groans here.
As the sole dissonance in an otherwise thoroughly enjoyable and beautifully presented harmonious flight of captivating progressive fusion, this moment certainly won't hold me back from attending a Flame Drop gig should a nearby opportunity arise. And neither should this preference in taste distract anyone from checking out the excellent and highly recommended Beyond Cosmic Infinity.
Meanwhile, Flame Drop have announced a 'mini-gig' to take place at DB Records Corner in Kerzers, Switzerland, on 24 November 2025. And for those interested in solo activities, it is good to know that Waldispühl will take the stage at the Artrock Festival in Reichenbach (Germany) on 12 April 2026 as drummer for the first European show of Digital Life Project. Hopefully more announcements will follow, for both are still quite some steps away from my door...
The Guildmaster — Gathering Of Souls
Jerry van Kooten
Marco Barnard and Kimmo Prösti have found the time in their busy schedules to release another Guildmaster album with Alessandro di Benedetti and Rafael Pacha, maintaining the line-up from their previous album, Liber De Dictis.
The album opens with a combination of melodies with touches of Celtic folk, classical or medieval, and neo-prog. Melody is at the top of the priority list as ever. Keyboards and guitar often take place in providing soaring melodies. It soon occurs to me that they hardly ever play at the same time. It all stays very neat and coordinated.
The combination of the aforementioned styles is audible on the next track as well and is basically the foundation for the whole album.
This longer track Where Are You? has a wonderful and long section where the guitar and keyboard sections alternate constantly, and the playing feels a bit more like soloing, letting things go. It's giving a more lively feel to an otherwise well-orchestrated affair.
The keyboards are often in a style that is a mixture of Italian prog and neo-prog. It's lovely to hear the Hammond, as in Lo Prometido Es Deuda, which also has more vintage keyboard sounds (think Greenslade). Mary the Jewess has more Hammond!
The songs and melodies are lovely and beautiful. For my personal taste it lacks a bit of fire. In that respect I have to think of some Camel or Nad Sylvan's solo albums. Just a bit too long in the same kind of beautiful.
If you like the previous Guildmaster albums, you will like this one as well, no doubt. It's housed again in wonderful Ed Unitsky artwork, which is also in the style as the previous albums. It might be fitting that both the contents and packaging advertise the product as not to be a big surprise but as you know what to expect.
Shez Raja — Spellbound
Owen Davies
I was Spellbound in the Maharishi mindtrip as I trod the Lucid Path To the Golden Lotus.
Another release, another musical meditative dusty dawn beckons; twisting robes pulse and gyrate, shifting eyes stare. Intricate hand-spun patterns trace a subtle design; incense rises flutters and falls. Tempos and Tones change. They joust and recede. Appreciative nodding bold memories form. Smile inducing elements fade to nothing as the shimmering sun sets.
Shez Raja's enjoyable release has much to commend it. Its mix of East and Western styles works superbly well in its flavoursome broth of instrumental fusion. Spellbound is uplifting, it is engaging, it is well written and composed. There are many rousing solos that elevate its impressive arrangements to an even higher level. However, it is the overall collective talents of the ensemble more than perhaps any other a factor that ensures that this album consistently ticks all the right boxes.
Spellbound's excellent sound quality; where depth, space, and clarity all have a part to play, makes it relatively easy to appreciate every subtle nuance, frothy interlude, and contemplative pause. It is probably this factor combined with the thoughtful order of the tracks, which offer a range of different styles and influences, that makes this album so enticing.
The album features such notable guitarists as John Etheridge and Guthrie Govan. Raja is an accomplished bass player. His boisterous style, pure tone and immaculate sense of rhythm is at the forefront of several of the tunes.
Traditional instruments such as the sitar, sarangi, bansuri and tabla are used to good effect. This might be expected on an album that sets out and manages so successfully to fuse elements of Asian music with Western Jazz fusion.
Certainly, the most distinctive pieces are undoubtedly the ones which explore this mix of styles. The standout pieces are Maharishi mindtrip which features a wonderful Sarangi solo that is underpinned by a flowing bass line; the beautifully formed and lilting Together we fly which highlights the sitar of Roopa Panesar and the expressive wordless vocals of Fiza Haider. During Lucid Path To the Golden Lotus,the enchanting mix of bansuri and tabla offers an exotic air that conjures up images of hazy vistas and open plains.
Nevertheless, my favourite of the East meets West tunes is probably Through The Multiverse, It includes the masterful sitar tones of Panesar and a cheek-throbbing sax solo by Tony Koff. The glue that holds this satisfying piece together is however, without doubt the expressive drumming of Sophie Alloway and the propulsive yet melodic bottom end groove created by Raja.
The album begins with a rhythmic and somewhat typical fusion piece. Whilst I enjoyed it, it was perhaps a tad too representative of its genre for my own taste. Etheridge's tasteful guitar work elevates the piece somewhat, but the live interpretation of Quantum Spirits which features Guthrie Govan is altogether more exciting. In a live setting this tune comes alive and the interplay between the players is quite stunning. Govan's magnificent and evocative solo is simply quite superb.
Etheridge plays aggressively in Vishnu. It's a great fusion piece with interesting changes of pace and many changes in direction. I particularly liked Denis Chambers striking kit work that takes a predominant role in the mid-point of the tune. Raja's flowing bass solo which follows shows his mastery of the higher notes on his custom hand-crafted 5-string bass.
If you enjoy the music of bands and artists such as, Shakti, Sarathy Korwar and Zoe Rahman, then Spellbound might well be appealing.
I certainly went through the multiverse, whilst listening to this album. In fact, I was totally Spellbound!
Triangle — Se7en
Martin Burns
Rotterdam-based quartet Triangle share a long history with DPRP: Square The Circle was released and reviewed in 1999. Retreat followed in 2004 and after a long silence there was Alert & Alive. Safe Ground from 2022 was not reviewed, probably because it was uploaded as single tracks between 2019 and 2022.
Triangle have reduced their line to a trio with long-term keyboard player and vocalist Martijn Paaschens' departure for new adventures in the USA. This leaves the remaining three, guitarist Roland van der Stoep, Jan Willem Verkerk on bass and drummer Paul van der Zwaal, to share the keyboard duties between them. This has had no effect on the balance of keyboards and guitars on their new release Se7en.
Triangle's Se7en mixes heavy prog guitars with neo-prog keys and melodic sensibility. These seven instrumentals see melodies developed and spread over the instrumentation, and I am particularly taken with Verkerk's bass playing, which puts me in mind of Mike Rutherford's playing on Genesis' The Lamb Lies Down On Broadway.
The opening title track sets the template for the album, bass runs, screaming guitar solos, thick layers of keyboards and pounding drums. Mixing fast and slow with loud and quiet passages, there is always something going on to hold the ear. There is a nice dark synth passage and winning use of choral effects.
Add into this progressive intricacy the additional colours of flute on The Tree and sax and piano on Pyrrhic Victory. String synths and fretless bass slides on the slower, bluesy Exit Way Back. The longer closing track Sign builds and grows in prog fashion from stately string synths to full on heavy prog.
I do, however, have a small problem with the album over all, and that is with the guitar solos. Each one seems to scream at you from close to the pickups, and for some tracks the solos seem almost indistinguishable. So much so I ended up reducing the volume when the guitar solos came along. This lack of variation I found a little wearing at times, though on some tracks there is more variation (Exit Way Back, Se7en, Sign) and these tracks I would return to more often.
For me, because of the guitar solo sound, Triangle's Se7en is a frustrating listen that I wanted to like more than I do, but respect to the band for having a vision and sticking to it consistently on this release.