Sixth studio album from British six-piece Threshold and in my opinion their best since their debut "Wounded Land" in 1993. It's partly really hard and offensive but melody and choral singing is one of Thresholds trademarks, and they never compromise with those parts. Threshold isn't a typical "prog-metal" band, even though they can't be categorised differently. They are a more unique and explorative band than all the others on the scene are today! If you're into "prog-metal" and haven't heard Threshold yet you just have to try them out - cause it doesn't get any better than this today. "Critical Mass" is a good way to become a Threshold maniac and an absolute must if you have their earlier albums! (review by Stefan Polzer)

A truly beautiful CD mainly based around the lyrics and poems of Charlotte Scholz. The music spans from soulful mysticism through folklore to melodic pop/rock. The lyrics serve as the centre of attention with poetic directness and also as food for thought. Among the participating musicians you'll find Lizette of Lizette&, Jon Gamble of Ritual and Hansi Cross of Cross. The music is very personal and it is all skilfully performed with very intriguing arrangements. It sounds like a blend of rock and world music. While I'm listening to this album I'm struck by the importance of CD's like this one. This album becomes a bridge between life and art and we'll need it to remind us of life's hidden dimensions.
(review by Olov Andersson)

Here's a reunion album that will blow you away. This Swedish prog-band called it a day back in 1981 after 5 albums and now they are back with number 6 after more than 20 years and they sound as hungry as ever. Old fans will find themselves right at home and as soon as the first piece starts playing we are immediately transferred back to the seventies. Usually reunion albums are a little weak and just a sentimental copy of the bands previous work. This is definitely not the case here. This new album is at least as good as their first two albums, if not better.
(review by Olov Andersson)

Trion is a new instrumental band made up of members of Flamborough Head and Odyssice. Their first album is an attempt to recreate the seventies styled progressive music with lots and lots of Mellotron. I can tell right away that they have made a really good job of it. The music is very melody driven and I didn't miss vocals at all. Of course the resemblance to great bands like Yes, Genesis and Greenslade are obvious but one can also add a touch of romance to describe the musical style. The guitar work is almost like a mix of Hackett, Gilmour, Howe and Eddie Mulder's own style in Flamborough Head. As a bonus the artwork by Jasper Joppe Geers is very much in the style of the legendary Roger Dean so you will feel right at home with the whole concept. A truly beautiful debut album. Let's hope for more!
(review by Olov Andersson)

Finally this masterpiece gets a proper (and official) CD release; this one is on my all-time top three list of best albums ever made! There never has been and never will be a band like Twelfth Night again, progressive rock so unique, personal, wide-ranged, breathtaking and innovative is really rare. And with front man and lyricist Geoff Mann (RIP) Twelfth Night reached its peak with "Fact And Fiction". The album is re-mastered and seven bonus tracks have been added, some really great and some more interesting than great. All lyrics are included (goes for bonus tracks as well) and there are new liner notes written by drummer Brian Devoil. All original eight songs on here are pure history of the progressive rock genre and there is no reason why you should live your life without "Fact And Fiction"! (review by Stefan Polzer)

Allan Holdsworth, Bill Bruford, John Wetton and Eddie Jobson, need I say more? For all of you who are familiar with these musicians know what kind of magic they can do in the right collaborations. Sometimes putting together "supergroups", some really good individuals can't work together but UK is the perfect example of "how to do it". Combining Eddie's fine keyboard- and violinplaying, Allan's jazzy guitarstyle, the innovative drumming made by Bill and John's personal voice, UK remains one of the strongest progressive British acts ever. Since they all have worked in different large acts as King Crimson, Yes, Jethro Tull, Soft Machine and Uriah Heep it's no secret that the band has many influences. Great progressive playing with a jazzy touch that reminds me a little bit of Brand X (Phil Collins project band that actually featured Bill Bruford in their early days) and I don't think that I have ever heard John Wetton sung better than this. A true masterpiece of the 70's and I'm sure that if you buy this one you probably can't wait to get your hands on the next one as well, "Danger money".
(review by Göran Johnson)

Imagine the perfect mix UK, Echolyn, Yes and Van Der Graaf. Then add a pinch of King Crimson and a tiny amount of Genesis flavour. Mix it around until it sounds truly unique and you would probably get this. Complex, melodic and pompous and I love it. Awesome!
(review by Hansi Cross)

This groundbreaking band was active during 1969 - 1971 before splitting up and a couple of years later re-unite in 1975. This is an excellent compilation from their first period.
(review by Hansi Cross)

Second album after the comeback and the 6th in total. Through the entire career this underrated outfit was led by songwriter Peter Hammill, the man with the most unique and strongest voice in the history of progressive rock. But the other members of VDGG were as important as the man himself in creating the unique sound that perfectly fit the compositions. Keyboardplayer Hugh Banton's use of the Hammond organ was truly masterful and the intelligent arrangements of saxophone (often played through a guitar amplifier) and flute from David Jackson was another important part of the sound. Also drummer Guy Evans had a unique way of handling his instrument with influences from both the progressive rock scene and the jazzrock fusion movement. When they released their debut back in 1969 they were compared to Genesis (both signed to the Charisma label) and most "experts" agreed upon that VDGG had a great future and the record industry expected huge sales, but they were not that certain about Genesis! I guess one could say that these bands had something in common even if they also were unique in their own separate ways. On this classic album we get 5 absolutely brilliant tracks ranging about 10 minutes each. It's powerful, warm and melodic in a symphonic way as well as experimental and at times, a bit rough.

If you already are familiar with VDGG my guess is that you either hate them or own most their albums, but if you haven't heard them yet I strongly suggest this one to start with. Every progger should have at least one of this classic progband's albums in their collection.
(review by Hansi Cross)

In 1977 this Swedish jazz-rock outfit released the very fine self-titled debut, an album which, in style, can be placed somewhere between Brand X and the second Made In Sweden line-up. During the following years they released three more albums which grew rockier, simpler and, in my humble opinion, more boring for each album, but the debut is forever a classic in the progressive fusion genre. A genre that as time went developed in many directions and where Wasa Express definitely is among the heavier one's who blend more rock (and prog) than jazz into the mix, which more broadly is referred to as "fusion".

So, when they now re-unite (well 2 of the 4 original members anyway), what do we get? The answer to that, my friends, is nothing less than a very fine album which sounds pretty much as what could have been if they had not turned into an (almost) ordinary rock band and instead developed within the jazz-rock/fusion style. A very nice surprise! Very nice indeed! Drummer Åke Eriksson still got it. His punchy yet rolling drumming style is not too far from Billy Cobham's or Alphonse Mouzon's. And keyboard player Bo Hallgren is still delivering those nice chord changes on his Fender Rhodes and the swirling, melodic moog solos is a fine as ever. Kind of like a Robin Lumley with a Swedish twist. We also get some fine guest appearances from a couple of guitar and bass players. And don't be fooled by the title. There's nothing "psychedelic" (as in late 60's hippie rock bands) about it. It is not very jazzy. More progrock with some fusion I would say. And there's definitely no "trance" (as in "trance-techno") here. "Psychedelic Jazz Trance" is leaning against the later 70's fusion bands (including there own) but also has a modern touch and it is one of the more pleasant surprises this year.
(review by Hansi Cross)

Despite of the high Genesis clone factor, I truly enjoyed the first album from this 70's sounding Italian outfit. On their debut album "Ghost" we heard a band who easily was described as "If Peter Gabriel never left Genesis and if they continued playing symphonic rock which grown darker as time went by it would most possibly sounded like this". The Watch was at that point a true Genesis clone who, shamelessly, borrowed chord changes and melodies from the aforementioned band. They even took vocal lines from the "Wind and Wuthering period" and transformed them into how it could have sounded if they had been written and performed during the "Foxtrot era". On top of that The Watch has a flute and tambourine playing lead vocalist who sounds (and feels) like a young Peter Gabriel. "Ghost" is one of the albums to which the word "clone" truly applies and, of course, it could have been a ridiculous and embarrassing fiasco. But it was not so because these guys do it with 100% love, a vast portion of talent and for a debut delivered the absolutely best "Genesis album that Genesis never made". And I, who am not very often into clone bands, definitely loved it and it was with great interest I received the follow up named "Vacuum". Would it be a second clone album? If so, could there possibly any more to "steal"? Or had they actually managed to draw their music further into something more of their own? And, if so, would I then like it?

The answer to that is quite interesting. They have now gone from being a clone to being a band who makes music in the Genesis tradition and chord changes are no longer identical with how Genesis themselves wrote. They are in the manor of what Genesis' compositions very well might have developed into if they had chosen a different direction and followed a more symphonic line rather than blending their music with more and more pop elements. And the way in which The Watch does it is not only interesting, it is also very emotional and definitely to my liking. It has a considerable amount of dynamic interplay between punchy majestic pompous parts and enchanting atmospheric moments moving up and down on an emotional scale ranging from darker to more light feelings. It is touching and creates an emotional impact all the way throughout. "Vacuum" is so damn good that I even doubt that Genesis themselves could manage to do such a brilliant album even if they decided to reform and again create symphonic rock music (but it would be very nice to be proven wrong on that statement!). (review by Hansi Cross)

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