Wisdom Of Crowds (2LP Vinyl)

Its been seven years since Phideaux Xavier's last album.  Everyone has been chomping at the bit for this album and I can honestly say he delivers the goods.  If you are unfamiliar with his work you should expect contemporary progressive rock with lots of references to the 70s giants.  A perfect blending of old and new sounds.  (I'm a sucker for the Mellotron sounding bits).  While he originally started out as pretty much a one man show, Phideaux has morphed into a band with 10 musicians contributing, including Discipline's Matthew Kennedy who holds down the bass notes.  There is a lot of music here and its new so its going to take some time to digest.  This will easily sit high on year end top 10 lists.  Buckle yourself in and dig deep into this one.  Well worth the effort.BUY OR DIE!"Arguably no other progressive rock creation in recent years has been shrouded in as much mystery and expectation as Infernal, the latest studio effort from Phideaux. After all, it follows what many fans (myself included) consider to be three of the best genre albums of all time: 2007’s Doomsday Afternoon, 2009’s Number Seven, and 2011’s Snowtorch. (Of course, the prior collections were great as well and paved the way for such distinction.) As such, devotees have spent the last seven years—if not eleven since Infernal concludes the Great Leap/Doomsday Afternoon set—speculating and anticipating how exceptionally it’ll tie into the trilogy, maintain the idiosyncratic brilliance of its predecessors, and rank as one of the top works of its release year.So, was it worth the wait?Well, that depends on what you expect. Upon initial listens, those hoping for a consistent continuation of the aforementioned trio’s robust eccentric intricacy may find it a bit wanting; sure, that side of Phideaux certainly crops up from time to time within its ninety-minute duration (especially during the second half), but Infernal is deceptively unvaried and reductive at first glance since it appears to prioritize straightforward songwriting and lush yet modest arrangements. However, a deeper analysis and appreciation reveals how resourcefully Infernal actually does two things at once: touch upon the styles and stories of its two narrative precursors while also establishing an almost brand-new approach entirely. Thus, the double LP is markedly different from—yet equivalent to—the extraordinary achievements that came before it.Just as The Great Leap and Doomsday Afternoon were different kinds of albums, so too is Infernal (despite featuring the complete Doomsday Afternoon line-up). In fact, during our last correspondence, Phideaux confirmed my conclusion that the first and second discs are meant to channel the first and second entries in the trilogy, respectively, as it simultaneously feels more theatrical (“like a play”) than either of them. Perhaps, then, it’s best to think of Infernal as the BE (Pain of Salvation) or The Lamb Lies Down on Broadway (Genesis) of the band’s discography, as it extends out of its predecessors in the midst of existing as a singular experiment unlike anything else in their catalog.Although the first half of the undertaking captures the more accessible rock nature of The Great Leap overall, it’s still filled with multilayered splendor and a fair amount of complexity. Opener “Cast Out and Cold,” for instance, is a tour-de-force that builds ominously (with effects and harmonies) before instantly evoking the classic Phideaux charm with its blend of male/female lamentations and pastoral instrumentation. In doing so, it sets a great stage on which to introduce the more multifaceted, urgent, and dynamic “The Error Lives On”. Later, “We Only Have Eyes for You” is relatively bouncy and playful (despite being foreboding beneath the surface), whereas “C99” is a venture into sinister surrealism and “Tumbleweed” uses the trademark piano ballad as a poignant cliffhanger. Again, these songs in particular may seem too similar to each other originally, but they eventually become truly essential components in making the record flow like a unified performance filled with captivating melodies, lively textures, poetic lyricism, and entrancing structures.The concluding portion of Infernal absolutely channels Doomsday Afternoon in its heighted emphasis on flamboyant intricacy. This is clear from the start, with “The Order of Protection (One)” contrasting its introductory choral serenity with a latter helping of dissonant tones over mesmerizingly mischievous piano motifs (that—no surprise—are reimagined brilliantly in “The Order of Protection (Two)”). Elsewhere, “In Dissonance We Play” finds a strong balance between solid songwriting and musical showmanship, “The Sleepers Wake” is tenderly enchanting, and “Endgame – An End” wraps things up in a mildly foreseeable yet entirely fitting and satisfying way. Without question, though, the standout track of the whole journey is “From Hydrogen to Love,” a fourteen-minute masterpiece that serves as the “Microdeath Softstar” of Infernal (in more ways than one and I’ll leave it at that).At the risk of spoiling any more of the LP’s magic (hence why the breakdowns of each disc barely scratched their surfaces), suffice it to say that arguably the chief feats of Infernal are its abundant allusions to past sequences and its refreshing theatricality. Not only does it offer plenty of links—both subtle and overt—to itself, Doomsday Afternoon, and The Great Leap as it develops, but it even throws a nod or two at another full-length triumph (whose identity is then made obvious via a clever anagram). Every one of these connections will delight devotees, as will the brief scattered respites that basically act like soliloquys/monologues/intermissions. Together, these elements make the album feel at once laudably unique and endearingly familiar while also revealing (and justifying) why it took so long for such a passion project to be completed.Ingeniously, Infernal simultaneously pays tribute to the Phideaux legacy and etches itself as a wildly ambitious, enthralling, and fresh entry into it. Although it can be a bit incongruent and underwhelming at first, those who fully internalize all that it offers—and appreciate what it’s doing both expectedly and differently—will find it to be another benchmark creation in the catalog of one of the most distinctive and essential artists in modern progressive rock. Taking that into consideration, a new question must be asked: Is it Phideaux’s greatest achievement to date?Well, it could be." - The Prog Report 

"Men Who Climb Mountains 2019 is an updated version of the 2014 release. This version is the same as the one included in the First 40 Years box set and only now becomes available as a separate release double CD. All the drums have been re recorded by new drummer Jan Vincent Velazco, and the whole album has been remixed by Karl Groom and Nick Barrett."Disc 1Belle AmeBeautiful SoulCome Home JackIn BardoFaces Of LightFaces Of DarknessFor When The Zombies ComeExplorers Of The InfiniteNetherworld Disc 2 Live At TwigsThe VoyagerA Man Of  Nomadic TraitsThis Green And Pleasant LandNostradamusPaintboxKing Of The CastleIndigo FreakshowMasters Of IllusionSpace CadetEdge Of The WorldIt’s only MeOur original write up:Its been three years since the last Pendragon album.  To be honest I hadn't checked in on them in quite some time so it was interesting to listen to their latest - it was very different from what I expected.  Guitarist Nick Barrett has gone all Roger Waters on us - he wrote all the music and lyrics - so this really has evolved very much into a personal vehicle for him.  The usual bandmates of Peter Gee and Clive Nolan are on board and now joined by new drummer Craig Blundell.  Men Who Climb Mountains is a concept album but Barrett isn't spelling it out - you're going to have to work at this one.  The musical mission of the band has clearly changed over the years.  Don't have any hesitation - its full on prog but much more contemporary sounding.  The symphonic flourishes from the old days aren't quite so obvious - which isn't to say you won't notice Clive Nolan's presence.  Its simply that this is a bit more of a guitar driven vehicle than decades ago and Barrett's mournful solos have that nice Hackett-esque feel that always draws my attention.  I have to say I'm impressed.  Highly recommended.

Is Nospūn the best band you've never heard of?  Probably unless you've been paying attention to all the year end best of 2023 lists.  This Georgia based band released their album back in May 2023 digitally and with some gentle arm twisting from the masses they have finally pressed CDs.  What we have here is a band that came out of nowhere, combined some of the best elements of prog metal bands like Dream Theater and Haken, and dropped one hell of an album.  If you are a prog metal fan this one is BUY OR DIE!"2023 has been very busy as far with plenty of new offerings from classic bands and heavyweights just in the first half. But the biggest surprise has been the number of impressive debut albums so far this year, and we have another one to add to that list with ‘Opus’ from the American band prog metal group Nospūn. The group, from North Carolina, has basically come out of nowhere with one of the more impressive prog metal debut albums you’re likely to hear. Released in May of this year, Opus has gained traction the old-fashioned way, word of mouth. So what is this album like? Well, if you like Dream Theater, Haken, Native Construct, BTBAM, and even a little Avenged Sevenfold, this is the album you’ll want to look into.The first thing that is noticeable upon listening to this album is the immaculate production. This is as good-sounding an album as you can hear from any of the major bands that have been doing this for a long time. The production was all done in-house by the band, nothing short of impressive. The other aspect that sticks out is that this band knows what they want to achieve and seemed to have a plan when making this album, from the arranging to the over-sequencing. It all flows and makes sense. Nothing feels disjointed or confused, as you might expect from a debut album.As with many concept albums, ‘Opus’ opens with an acoustic/vocal track softly laying the groundwork for the story about “The House at the End,” which of course leads into the “Implosion Overture.” You can immediately tell these are guys that can play; all the elements are there, brilliant fret-work on the guitars (James Nelson), explosive drums (Paul Wood), and complicated bass lines (Cole Millward). The first main track “The Death of Simpson” starts to lay out the story both lyrically and musically, with vocalist Phil Rich displaying a dynamic range that fits perfectly.The strongest section of the album is from tracks 6-9 which is a truly wonderful 4-song stretch beginning with the frantic and fun “Earwyrm,” one of my favorite songs of the year. It is both crazy and gorgeous in one song. “…And Then There Was One” is a slightly mellower turn for the album and features the most singable chorus on the record. “4D Printing” is a wild instrumental with some incredible musicality and heaviness. And what would a prog metal album be without a long epic, which you will get in “Within the Realm of Possibility.” The album closes in epic fashion by wrapping things up with “The House at the Beginning.”Now there are a lot of noticeable influences; you can definitely hear Dream Theater at times, or Haken at times, but the band are also able to mold those into their own sound as the album continues from one song to the next. Hopefully, the band continue to grow more into their own sound on future albums. But if this debut is any indication, we should expect big things from Nospūn in the future. ‘Opus’ from Nospūn is one of the best albums to come out this year and you can expect to see on best of the year lists." - The Prog Report

Virtuoso keyboardist Vivien Lalu has created a new progressive metal epic featuring an all star cast:Band [A-Z]---Martin LeMar (Mekong Delta) - VocalsMike LePond (SymphonyX) - BassSimone Mularoni (DGM) - GuitarsVirgil Donati (PlanetX)- DrumsVivien Lalu (Shadrane) - KeyboardsGuests [A-Z]---Jens Johansson (Stratovarius)Joop Wolters (Shadrane)Jordan Rudess (Dream Theater)Marco Sfogli (James LaBrie)Mike Andersson (Cloudscape, Fullforce)Peter Wildoer (Darkane, James LaBrie)Born of Noelle and Michel Lalu, musicians from the ‘70s French progressive act Polene, Vivien Lalu has released a surplus of recordings through an array of different bands and projects since 1997, as the keyboard player for underground black/doom band Time For A Change. At the turn of the millennium Lalu played keys for two underground progressive metal bands from Paris, Sad Warden and then Mind’s Orchard, and in 2002 was hired by Hubi Meisel (ex-Dreamscape vocalist) to compose and record the keys for his solo album EmOcean, the following year doing the same for Meisel’s sophomore album Kailash, both of which were released by Lion Music.It was at this time Vivien Lalu begins recruiting his own associates from major prog and metal bands — some of which he shares time composing music alongside in progressive metal act Shadrane — and forms his own solo project, LALU. The first full-length Oniric Metal was released on Lion Music in 2005 and began an entirely new chapter for this composer and his insatiable need to create mind-expanding, cinematic music.These accomplishments helped Lalu to begin securing score and soundtrack work for film and television; over the last few years he’s written many cues for the orchestral soundtrack for the Warner Bros movie Seuls Two, for the show Science X made in association with Lucasfilm Ltd. Additionally he joined the production team behind Laszlo Jones in order to assist the recordings and production of Banana Nation (Universal Music Group). He’s composed many soundtracks for French television, music and sound effects for Neko Entertainment, worked as a sound designer for Ubisoft Entertainment and much more.After collaborating with Shadow Gallery for a song on their Digital Ghosts album, and working with Canadian drummer Chris Nalbandian for his Paralysis of Analysis solo album — recording all keys and sharing solos with Derek Sherinian and Alex Argento — Vivien finally settled in and began work on the second LALU opus. Handling all composition and songwriting duties, as well as all keyboards on the massive production, Vivien weaved the cloth of the new album with vocalist Martin LeMar (Mekong Delta), bassist Mike LePond (SymphonyX), guitarist Simone Mularoni (DGM), drummer Virgil Donati (PlanetX), the album’s parts recorded in several countries including the United States (Los Angeles and New York), Germany and Italy, produced by Lalu in his own studio, and mixed at Boumbox Studio in Paris by Yan Memmi (Dio’s Lock Up The Wolves, Marcus Miller’s The Sun Don’t Lie, etc.). Additional contributions from Jens Johansson (Stratovarius), Joop Wolters (Shadrane), Jordan Rudess (Dream Theater), Marco Sfogli (James LaBrie), Mike Andersson (Cloudscape) and Peter Wildoer (James LaBrie) were also carefully built into the album, the final product boasting over fifty minutes of exceptional, massive  cinematic, atmospheric metal Lalu has dubbed, Atomic Ark. 

"“Eye Of The Soundscape” features 13 experimental and highly atmospheric compositions, previously used as bonus material for the “Shrine Of New Generation Slaves” (2103) and “Love, Fear and the Time Machine" (2015) albums, alongside rare cuts (e.g. a new mix of “Rapid Eye Movement” and the single “Rainbow Trip”, so far only released in Poland) as well as 4 new songs (“Where The River Flows”, “Shine”, “Sleepwalkers” and “Eye Of The Soundscape”) into a massive +100 minutes 2CD/3LP package, which showcases RIVERSIDE’s ambient electronic side.RIVERSIDE’s Mariusz Duda explained and introduced this rather unorthodox and experimental release as follows:“I had a feeling that the sixth RIVERSIDE album might be the last chapter of a story. That the future releases might have a different sound, a different character... Unofficially, I called our latest three albums "the crowd trilogy". Each subsequent title was longer by one word – four, five, six. Six words were long enough as a title and I thought that was the one to finish it off with...Before we started a new chapter, perhaps a "new trilogy", I had an idea to release a complementary album. An album in between. An album we had always wanted to record. It wouldn't be just new music but in our case and in such configuration it would definitely be a new quality because we hadn't released such an album before.For years, we have accumulated a lot of material, a part of which was released on bonus discs. I know that some of our listeners still haven't heard those pieces and do not realise that Riverside, basically right from the start, have been experimenting with ambient and progressive electronic music. And that's always been a part of our music DNA.So I presented the idea to the rest of the band and the decision was unanimous. We decided to make a compilation of all our instrumental and ambient pieces, and release it this year as an independent album. Some of the songs would be re-mixed to make them sound better, but most of all, we'd add new compositions.At the beginning of the year, we locked ourselves in the studio and we started to compose. We even published a picture on our facebook page, in which Grudzien is holding a small keyboard as a joke. That was that recording session. We were working with smiles on our faces, genuinely excited, knowing that this time it wasn't just a bonus disc or an addition to something "bigger" but a fully fledged, independent release with that kind of music, full of space, trance, melodies and electronics. The day before I got a text message from Grudzien, "I really can't wait for this release, I have always had a dream for RIVERSIDE to release such an album."The release of “Eye Of The Soundscape” therefor also honours late RIVERSIDE guitarist Piotr Grudzinski, who tragically passed away of natural causes on February 21st, 2016.“Eye Of The Soundscape” is composed of material created between 2007-2016 and concieved in 2015/2016 at Serakos studio in Warsaw with Magda Srzednicka, Robert Srzednicki as well Mariusz Duda as producers, and the release comes packaged in artwork by RIVERSIDE’s longterm design partner Travis Smith (Opeth, Katatonia, Nevermore, etc.)."

"Islands is the new double album by progressive rockers THE FLOWER KINGS. After the group’s much celebrated return in 2019 and the highly successful “Waiting For Miracles”, creative mastermind Roine Stolt (Transatlantic, The Sea Within, Anderson/Stolt etc.) now presents 92 minutes of brand-new music with his competent line-up also featuring Hasse Fröberg, Zach Kamins, Jonas Reingold, Mirko DeMaio and special guest Rob Townsend. Due to the Covid-19-pandemic the album comes out quite a bit sooner than originally planned as Roine explains: “All shows and festivals were cancelled and the future didn’t really ‘unfold’ itself like we had hoped. To sit out the pandemic with no activities was not an option for us. We cannot be stopped by an evil virus. With members living in the USA, Italy, Austria and Sweden the only way was to use the magic of the ’net’ sending files and start building, what now became, a double album of 21 songs.” The 92 minutes long “Islands” features artwork by legend Roger Dean (Yes, Uriah Heep etc.) and all trademark sounds and melodies, the band is known for. From vintage keys to epic guitar solos, from odd drum patterns to symphonic elements, THE FLOWER KINGS present a superb, playful and complex record."