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Volume V - Le Bolero du Veau des Dames is the band's best and strongest album. It's more rocking than the others, and has more energy and variation as well. This would be the recommended starting point, and the most likely to be enjoyed by fellow progheads. This, as with the band's last album, feature full drum set. The mix and production are also the biggest and fully round of the albums.

The leadoff track "Palace" and "Doctor Pleu" are both reminiscent of ELP and Fireballet's first album.

"Styx" has some nice dreamy synth lines and non-vocal singing. "Melba" sounds quite a bit like Gryphon. The title track "Le Bolero du Veau des Dames" starts off with a very regal / royal melody - highly European - and builds up as it goes along, into a prog rock march along the lines of something by Ange or maybe even early Genesis.

Definitely recommended.

Unfortunately, this is second weakest album by the band, after their final album Volume VI - Et s'aimer ... et mourir ... The songs aren't very adventurous or interesting, and it sounds like they were bored or short on material, but went forward with releasing an album anyway.

One of the biggest problems with this album is that most of the songs this time just revolve around repeating a simple riff, not going anywhere in particular. The percussion / drums are especially low-key, and actually the guitars as well.

The other issue is that Charlotte is back on vocals (from the first album), and way more obvious and upfront than before. They have a nice quality, not unlike Annie Haslam doing her non-word thing. But sometimes something good should be used sparingly. They're overdone here, and actually get in the way of the music at times.

The best song is "Po�mes du 17e si�cle". It actually has full drums, rather than some light percussion noodling. Charlotte's doing some strange heaving breathing thing, which is sort of sexual, though not quite to the point of moaning. She laughs a few times too. "Mignonne allons voir si la rose" actually has quite a bit of laughing from her too. For all we know, she could have been higher than a kite when it was recorded. Maybe the whole band was too stoned to put much energy into this album.

This is the debut album of Tony Carey who is an American but living in Germany at this time. He is a multi- instrumentalist and he sings so yeah perfect for that "Do it yourself" album that rarely works for me. He's got three drummers, three guitarists helping out I guess as he needed them. Tony also adds a drum machine(gag) to the proceedings. This is very much a synth driven 80's album that is commercial sounding and poppy. Shocked at any 4 star reviews here but hey we all have different musical tastes. A low 3 stars for this one and there are so many cringe moments on this album for me but then he'll offer up some half decent music. Tony by the way had a cup of coffee with RAINBOW as their keyboardist before going solo.

3.5*

Most of the songs are pretty good, though I find many to be in indistinct and forgettable. Generally speaking the songs are short, maxing out at 6:43 but this time is spent pretty well, the songs all have vocals, done in a manner reminiscent of Richard Sinclair without going so far as to be considered imitative.

Overall while this is a good album, I find if a few tracks had been removed and some redone as instrumentals the album would be a lot better. If you like chill bands like Supersister or Hatfield And The North then give this a spin.

To me this album sounds like a tribute to the heyday of 'progressive melodic rock bands', the socalled AOR, in the Seventies and Eighties. Like Kansas featuring vintage keyboards (Hammond, Minimoog and Mellotron) and acoustic guitars in the dynamic The Pilgrimage. Like Styx with the distinctive cheerful Minimoog flights and fiery guitar in The Tower. And like Journey with Steve Perry inspired vocals and a typical AOR ballad atmosphere in the epic Yettocome ? Itmightbe. The music is very melodic and harmonic with flowing shifting moods, topped with pleasant work on keyboards and guitar, strong vocals and a dynamic rhythm-section.

But Evership has more to offer. The short tracks The Voice Of The Waves and The Voice Of The Evening Wind contain ambient electronic musical landscapes, pretty atmospheric with spacey keyboards. And the final song Wait is a fine ballad featuring a catchy riff on piano, mellow vocals and halfway moving guitar work.

The most alternating and elaborate composition is Crownshine - Allthetime (close to 11 minutes). It starts in a bombastic climate with fat Minimoog runs and propulsive rock guitar riffs. Then lots of changing atmospheres, between mellow and sumptuous, embellished with Minimoog flights, phaser guitar, fiery guitar leads, Mellotron choir, The Charles Heimermann choir, and powerful vocals.

Evership its music is beyond original but it sounds very pleasant, especially if you like Seventies and Eighties Kansas, Styx and Journey.

My rating: 3,5 star

The Galilean Satellites by Rosetta is a landmark album in the Post metal genre, in my opinion at least. It helped establish Post metal as a genuine genre, along with Oceanic by Isis, Somewhere Along the Highway by Cult of Luna, Through Silver In Blood by Neurosis, and Australasia by Pelican. It not only helped establish the genre, it influenced many bands and musicians to go on and create their own music.

The album consists of two discs, each a little over an hour in length. They are intended to be played at the same time, in a similar vain as Times of Grace by Neurosis. The first disc are the band's regular Post metal, and the second disc is ambient tracks that fit in with the first disc. How apt. Musically, the album's sound is the classic, sludgy Post metal sound, but there are also the quieter, more atmospheric parts to balance out the sound. Lyrically, the album deals with themes of astronomy and space travel, similar to how Cult of Luna would eventually do on their album Mariner with Julie Christmas.

The Galilean Satellites has to be one of my personal favorite Post metal albums. Also, Europa, the second song, has to be one of my favorite songs of all - time, period. This album is essential Post metal listening, and it is key in the development of the genre. In my opinion, if you are a fan of Post metal, or you're getting into the genre, The Galilean Satellites is essential listening.

Metamorphosis, the neo-prog project of keyboardist/vocalist Jean-Pierre Schenk has released its sixth studio album in 2021. The band has Schenk's emotional voice and dark & melancholy style as its main recognizable traits, but there's always some Floydian ('Division Bell'-era) electric guitar as well. The types of synths and metal guitars are tasteful as ever on this record. The atmospheres remind me a bit of Marillion on the 'Clutching at Straws' album, though Metamorphosis is less sophisticated from a compositional point of view. Usually the songs are made up of a few chord patterns and some lead guitar themes. For me personally, the concept album 'Then All Was Silent' (2005) was the record on which Metamorphosis just clicked with me and it has remained on my playlist ever since. The other albums of the band are usually a bit too much alike, and though 'I'm Not a Hero' isn't going to change that completely, it does sound like the band has progressed over the years. The vocals and lyrics by Schenk are still - and I'm glad for it - filled with a childlike hope for a better world and an senior type of sadness because of it. He fights, he struggles, he looses, he simply doesn't have an answer for it all. He drowns in it, and so does the listener. I think this is why I have always had a soft spot for this Schenker and his sorrowful, bleak type of neo-prog. He kind of makes you feel for him - which in turn is a unique musical experience. This album has a strong run of songs with the slow burner 'Dark World' and the catchy title track and it even has an instrumental track 'When Life Starts Again'. 'More is Less' is another strong song. As with almost any album these days the album could have been more tightly knit together had the two least favorite songs been cut from the record. In the end this is a strong release for Metamorphosis and it should appeal to a lot of neo-prog and crossover prog fans out here. I'll round my rating up to a four star rating, because I don't want Schenker to feel even worse about life. That's just me joking, this album will stay on my playlist just like that other fine record.

"Senjutsu" is the 17th album by English metal prog gods Iron Maiden. First of all a brief background of my history with the band. I remember buying "Brave New World" back in 2000 and liking it. But then lost track of them and it wasn't until 2010 when "Final Frontier" came out that I would listen to them again. That was my favourite album by them up until this year. I loved all the longer tracks on the album especially. Then their next album "Book of souls" came out five years in 2015 which I also bought and was a double album. For a band that pushes their sound and their own boundaries a lot this was ambitious even for them and featured their longest track to date which was in the 20 minute ball park.

Here we are though in 2021 and now finally after 6 years we have a new Maiden album. Obviously, there was an extensive "Book of souls" tour, but they also did a tour looking back at an older album too with their "Legacy of the Beast" tour. This year thanks to Tim's Twitter listening party where two of the albums involved were "Powerslave" and "Seventh son of the seventh son" has seen me really get into Maiden in a bigger way than ever before. While I haven't got into the whole back catalogue yet. I have listened to a lot of the 80s stuff and also bought a lot of the live DVDs they have released over the years.

In terms of the build up to "Senjetsu", Maiden did make it fun for fans by giving out t-shirts to famous music friends like Frank Turner and Tim Burgees and getting them to wear the t-shirts or post on social media to create this hype wagon. There was then a countdown to specific day and time at one point which ended up being the premier of a new song which was "Writing on the wall" which was soon followed by the album announcement. "Writing on the wall" I felt shows everything which is good about Maiden; great guitar work, great vocals and all round great song composition. I did see some reaction afterwards from reviewers saying Bruce's voice has gone but I have to disagree with that. I think he still has it.

In terms of the album, like "Book of souls" this is a double album which is roughly 40 minutes per CD. 6 tracks on the first side and 4 tracks on the second side. The first 6 tracks have what I would call some of the more accessible tracks on the album and ones which would appeal to more people. Tracks like "Writing on the Wall", "Stratego" and "Days of Future past" are the shortest tracks on the album. "Stratego" I thought was alright when I first heard it but I think it's a track which fits on the album better than listening to it as an individual track. "Days of Future past" for me is a better track. It has a fast tempo kind of like "The Trooper" without being a carbon copy. For me it's a lot more of a hit than "Stratego" and I think it deserves the single treatment and definitely an appearance in their live set.

Title track "Senjetsu" sets up them album well, being the first track. The big drum comes in straight away and the 8 minutes it lasts for feels like it's over all too soon. Much like other tracks on this album. Another track on the first side is "Lost in a lost world" which is the longest track on the first side at around 9 minutes. I would say this has one of the best outros on the album as it winds down with about a minute to go with Bruce's lyrics slotting in absolutely perfectly with the music.

To be honest I think they could have gotten away with just releasing the first disc as an album itself. Yes, it's 6 tracks but it's also 40 minutes which is more than acceptable for an album. It is nicely contained, has the longer tracks and has the more anthemic tracks. I certainly wouldn't have complained if this was the album. However, if you hear the 4 tracks on the second disc you would probably change your mind. The first disc is excellent, but the second disc reaches places and moments which are out of this world and for me arguably up there with best Iron Maiden have ever done.

The shortest track on this disc is "Darkest Hour" which is still 7 minutes long. Then you have "Death of the Celts" at 10 minutes, "The Parchment" at 12 minutes and "Hell on earth" rounding off the album at 10 minutes. Now I think the best way to get across how good these songs are, is that when you look across at say 5-6 minutes through any of these songs. I don't look at it and go "Oh no another 5 odd minutes to go". At these points I'm thinking "You absolute beauty 5-6 minutes to go". These songs are all absolute epics. I must pay particular attention to "Death of the celts" as this gives me major goosebumps. The long guitar instrumental section on this is just sensational. The way the track progresses and the change in pace along with the interplay between guitarists is this best passage of music I have heard all year. "The Parchment" I feel has an uphill task following this and I think on most other Maiden albums it would stand out a lot more as it well and truly still has its moments. And when I say moments, in Maiden terms moments equals minutes. The way this song builds up and finishes with an epic guitar solo is spot on.

Overall, I think and hope this goes down as a classic Maiden album. I think it's better than "Book of souls" and "Final Frontier which was my favourite album by Maiden for a long time has now been moved off its perch. It's harder to compare it to the classic albums they did in the 80s. This is a very different beast. I have listened to this at least twice a day for the last week and I still think there is more to discover and unlock. One things for sure, if I have an hour and twenty minutes to spare in the coming months I sure know what I am going to be doing with it!

Clannad had been mostly inactive since their then-last studio album Landmarks (1998), when they were asked to perform at Dublin's historic Christ Church Cathedral in 2011. The public response was so enthusiastic that the event turned into three consecutive nights. More live activity followed, and eventually the band -- with P�l Brennan back to the line-up -- also made a new studio album, N�d�r (2013), which however remains their last one today.

The nearly full CD-length set containing 19 tracks has a strong emphasis on the early traditional folk era. I'm not very familiar with it in general, since I found Clannad during their modernly produced pop years and have never really dug deeper into their earliest albums apart from what I've heard on their compilations. That's why I'm not going to deal with things like from which albums they chose the material for this concert. By listening to the CD I can only say the set is pleasant and feels just right for the venue. Most songs are marked as "trad., arr. Clannad". A pity the leaflet doesn't tell what instruments the band members themselves play (harp, acoustic guitar, mandolin, flute, tin whistle, percussion, bass, I suppose). Guest musicians play violin, viola, cello, percussion and keyboards. But it's the marvelous use of harmony vocals what I think is the essence of the band's unique sound, especially when talking of the traditional tunes in Gaelic.

In the midway of the set there are several well known pieces from their more popular era featuring more synth on the background, starting with the mysteriously atmospheric 'Newgrange'. After two delicious trad. tunes they play a six- minute, four-part medley 'Robin of Sherwood' from the early 80's TV series closely associated with Clannad's original music for it. This is a nice gesture instead of performing just the famous theme song 'Robin (The Hooded Man)'. Occasionally the medley reminds me of the folk prog � la Jethro Tull. 'Caislean �ir' is the delicate opening track of Macalla (1985), followed by 'In a Lifetime' from the same album. It was originally a duet with Bono (of U2), and here his place is taken by Brian Kennedy. Agreeing with the previous reviewer, I don't think he fully succeeds in replacing Bono's superb vocals. 'I Will Find You' was a love song on the film The Last of the Mohicans -- also included on Clannad's studio album Banba (1994) -- , and 'Theme from Harry's Game' is undoubtedly THE best remembered, career-turning, popularity-launching song which truly deserves a place here.

This live album with an excellent sound quality and acoustics can be recommended to both longtime fans of the band and newcomers interested in Celtic music, of which genre Clannad is a major legend.

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HERE I COME GOD DAMN CONSTANTINOPLE!!!

Not an album for the faint hearted. So that you understand how inaccessible this band is in general, this is actually one of their most accessible records. The album features polyphony, twisted vocals, acid instrumentation and a very enjoyable silliness present in every track. Some songs are chill, jazzy and mellow, some others are bombastic, insane and over-the-top, and there's no other band capable of merging those two things as well as The Residents.

If you like bands like Primus (a band that would not exist if it wasn't because of The Residents) or Frank Zappa, go check this out. You're probably already used to weird, experimental music. If you're not used to avant-garde, good luck! You'll either love it or hate it!