Percy Jones: Tunnels (1993)

Right from the start, we recognize the bass player from Brand X with his fretless sound and his unique style. Here, he is joined by a guitarist and a drummer and the keyboards role is held by a MIDI vibes player. As you might have guessed, the result is a jazz-rock fusion with complex and furious rhythms. Danger! This disc contains raging energy that can make your head spin and involves much improvisation. Its content is for listeners who seek technical performances in a fairly heavy context.



• Kaisen: Gargula (1994)
  
  Kaizen is the project of Brazilian violinist, composer, arranger and producer Kleber Vogel. The band includes keyboards, guitars, bass and drums and they are joined by guests on flute, oboe, bassoon and cello. The use of acoustic as well as electric instruments insures a certain equilibrium to the sound. The compositions, as well as the arrangements show strong classical influences but usually involve rock or jazz rhythms. In fact, the melodic and harmonic work stands out from fairly conservative rhythms. For symphonic rock and violin fans.
  
  
  
• Kaos Moon: After the Storm (1994)
  
  This Canadian band offers a high quality melodic rock. It features guitarist, keyboardist/singer (in English), bassist and drummer. A guest keyboardist also contributes. The music is an efficient blend of catchy melodies and dynamic rhythms. Simple compositions, quality performances and superb production evoke the type of music we should be hearing on the radio between Saga and Queensryche tracks. A complete success in an easily accessible style.
  
  
  
• Landberk: Lonely Land (1992)
  
  First release from these five young Swedish musicians on vocals (in English), keyboards, guitar, bass and drums. The style is strait out from the 70's with a natural (live) sound that relies on gloomy atmospheres rather than technique and production. The arrangements are simple and the use of keyboards is limited to organ, mellotron and piano. The tracks usually include obscure introspective texts and are developed in acoustic as well as electric contexts. This quality production is rather simple, in a style that certainly evokes the early 70's.
  
  
  
• Latte e Miele: Passio secundum mattheum (1972)
  
  This very Italian trio barely enjoyed any success in America during the '70s. The members essentially consist of keyboardist, guitarist and drummer but their versatility insures the presence of bass, violin, flute and vocals. The compositions, in a rock opera format, have a religious theme that is well served by the classical influences. Arrangements vary from acoustic tracks with mellotron to heavier passages with drums, guitar, organ and synthesizer. Despite an early 70's sound, those who know what to expect from the classic Italian style will not be disappointed.
  
  
  Latte e Miele: Papillon (1973)
  
  This Italian classic is amongst those that were re-edited with English vocals during the '70s. The extremely versatile trio features keyboards/vocals, guitars/bass/violin/vocals and drums/flute. The variety of arrangements is undescribable and involves elements of classical (baroque), folk (medieval), jazz (trio) and rock (ELP). The performances show deep classical and jazz roots in contexts that range from acoustic to electric. This impressive production (for a trio) posses all the qualities to please fans of Italian symphonic rock from that era.
  
  
  Latte e Miele: Aquile e scoiattoli (1976)
  
  This second version of the Italian band only includes the original drummer. He is joined by a bassist/guitarist, two keyboardists as well as guests on flutes, violins and saxophone. The style retains its deep classical influences and its mixture of smooth, acoustic (vocals in Italian) and heavier moments with drums, bass, organ and electric guitar. The result is a symphonic rock with strong keyboard presence and the typical Italian touch. A production that deserves attention from fans of the style and era.
  
  
  
• The League of Crafty Guitarists: Show of Hands (1991)
  
  Robert Fripp surprises again with one of his numerous projects. The LCG is a peculiar ensemble formed by over a dozen guitarists (mostly acoustic). The short pieces are in a style that goes back to J.S.Bach (counterpoint) but the execution is more typical of contemporary King Crimson. It features disciplined execution of melodic as well as rhythmic phrases. This innovative production, part of a concept that reaches beyond the music, offers a very rich sound. The arrangements are astonishing and push the use of guitars into new territories.
  
  
  
• Lehmejum: Lehmejum (1993)
  
  This Brazilian trio plays in a format and with an energy that compares to ELP. In fact, the work of the keyboards (lots of organ and piano), bass and drums as well as the live energy is typical of such infernal trios. In this case, the music is completely instrumental and rhythms are often jazzed up. They actually describe their style as ranging from hard symphonic to jazz-fusion. Some rhythms and themes are also Latin jazz flavoured. A spectacular performance on keyboards with driving rhythms.
  
  
  
• Pär Lindh Project: Gothic Impressions (1994)
  
  This Swedish keyboardist uses analog instruments (organ, Moog, mellotron) to capture the essence of the 70's sound. He is joined by various Swedish talents on vocals (in English), bass, guitar, drums, harp flute, choir, lute and bassoon. The compositions, as well as the performances, show deep classical roots (various era) and themes suggest Gothic or medieval inspiration. Arrangements vary from acoustic folk to heavy symphonic rock in a style that necessarily evokes the acrobatics of a K.Emerson. A brilliant tribute to an era where just about anything was possible for a keyboardists.
  
  
  Pär Lindh Project: Mundus Incompertus (1998)
  
  The project of the Swedish keyboardist involves guitarist, bassist, drummer and singer. Discrete guests are also credited on flute, violin, oboe and trombone. The style remains a keyboard dominated symphonic rock, often based on classical themes (baroque period). In fact, it is the work on organ (Hammond, church) that steals the spotlight. It is powered by slashing rhythms that sometimes evoke the heavy metal sound, even if the guitar often displays a lighter touch. The tone of the music occasionally becomes more gentle during vocal (English, female), piano, mellotron or harpsichord episodes. In summary, we are treated to loads of K.Emerson style organ (NO Moog soloing) while some more delicate parts are periodically introduced. A style that has become familiar, even predictable, to Pär Lindh fans.
  
  
  Pär Lindh & Bjorn Johansson: Bilbo (1996)
  
  This Swedish collaboration features a versatile duo that uses a great variety of instruments. To the multiple keyboards, guitars, bass, drums, percussions and bassoon are added guests on oboe, flute and female vocals (in English). The music is inspired by fantastic themes (Lord Of The Rings) with a strong medieval flavour and shows varied but very appropriate arrangements. A disc where the constant symphonism of the keyboards compliments the baroque sound of the woodwinds as well as the more imposing sounds of electric instruments. A production with strong classical influences where the stronger moments are not always the most explosive ones.
  
  
  
• Lizard: W Gallerii Czasu (1996)
  
  The Polish band shows the usual lineup of five on vocals (in Polish), guitars, keyboards, bass and drums. The style, much like many of the current British bands, is a melodic, symphonic rock based on texts. While this may be a tired old format, the band is very tight, dynamic and seems to have integrated the usual influences into a fresh, accessible blend of their own. The arrangements favour balanced group performance through light as well as heavier parts. While a few guitar solos are present, the compositions mostly involve nicely crafted melodic, harmonic and rhythmic work. This type of high quality production would make a nice addition to the FM radio play lists.
  
  
  
• Locanda delle Fate: forse le lucciole non siamano pui (1977)
  
  This recent re-edition allows the discovery of a typical Italian band of seven members on double- keyboards, double-guitars, vocals (in Italian), bass and drums. The style is a symphonic rock with arrangements and developments that make the most out of a rich and varied instrumentation. The delicate melodic work, shared by vocals, keyboards, guitars and flute, is supported by dynamic rhythms to create a sound that alternates from acoustic to electric. The tasteful double-keyboard work deserves the comparison to Banco as the overall performances to the rest of the Italian classics.
  
  
  
• Los Canarios: Ciclos (1973)
  
  This imposing Spanish ensemble revolves around five members on double-keyboards, guitars, bass and drums. They also use vocals (Spanish, English, Latin), violin, percussions, effects as well as a choir, soloists, and a few more guests. Their symphonic rock, the fruit of a complex collaboration, is based on a classical piece by A.Vivaldi (4 Seasons). The classical themes are recognisable but are developed well beyond their original version to include a wide variety of complex arrangements (rock, opera, pop, electro, jazz, contemporary). However, the work usually relies on the energetic interaction between members of the electric quintet. An ambitious production (2 vinyls) sure to please fans of the Italian classics.
  
  
  
• Magellan: Impending Ascension (1994)
  
  This American band is the project of composer, singer and keyboardist Trent Gardner. He is joined by a guitarist and a bassist and drums are often but efficiently programmed. The style is a fairly heavy and dramatic text-based rock. In fact, the higher pitched vocal harmonies evoke '80's Yes. Here, the symphonic touch of the keyboards is often accompanied by loud guitar riffs and heavy, changing rhythms. An excellent production that brings out the energetic performances with a very contemporary sound.
  
  
  
• Manticore: Time to Fly (1994)
  
  This group of five from Sweden shows the usual lineup on vocals (in English), keyboards, guitars, bass (Rickenbacker) and drums. Their style is typical of the text-based symphonic rock offered by many current British bands, with arrangements which are slightly more favourable to keyboards (analog and digital). The themes are developed by vocals, synths and guitars on usually simple rhythms and a thick symphonic layer. The performances are solid but they rely more on dramatic delivery than virtuosity. A quality production and easily enjoyed music that evokes the recent works by bands like Yes, ELP or Asia.
  
  
  
• Mary Newsletter: Distratto del sole (1998)
  
  The five Italians write sober, vocal, melodic rock which many would label as electric folk. The arrangements involve vocals, double-guitars (often acoustic and electric), keyboards (often piano or synth), bass and drums. The themes are developed vocally and also on electric guitar or keyboards during instrumental parts. Although it is always present, the rhythm section often displays a light touch without sacrificing dynamic energy. Also note the participation of guests on strings who offer short chamber-music interludes but never fully integrate the group compositions. An excellent quality production for those who appreciate delicate, Italian flavoured rock.
  
  
  
• Mathematicians: Factor of Four (1996)
  
  This American band includes four musicians on guitars, keyboards, bass and drums. A guest also contribute electric violin on a few tracks. The style is an electric and very energetic jazz-rock fusion. The tracks often involve heavy electric guitar riffs and the rhythms are usually high tempo. The performances all show excellent technique in the context of compositions that are designed primarily to showcase soloing. A modest but quality production of interest to those who enjoy jazzed-up instrumental rock.
  
  
  
• Maxophone: Maxophone (1975)
  
  The recent re-edition (1996) of this classic shows Italian symphonic rock at its best, full of nuances and subtleties. The band of six offers rich instrumentation: keyboards, guitars, vocals (in Italian) bass, drums, flutes, percussions, clarinet, saxophone, trombone and horn. Guests also add harp, violin, cello and bass. The compositions show a most complete sound and take advantage of the versatility of the musicians by finding inspiration certainly in rock, but also in jazz and classical music. This energetic music is full of emotions and switches easily from one style to another within the context of the same track. An unavoidable production for fans of the style and era.
  
  
  
• Minimum Vital: Sarabandes (199?)
  
  Minimum Vital regroups four French musicians on keyboards, guitars/voice, bass and drums. The music is based on the compositions and interactions of the Payssan brothers (keyboards and guitars) who can count on a dynamic rhythm section. Their style is inspired by a strange mixture of symphonic rock, jazz et medieval folk. An excellent production blends acoustic and electric sonorities and usually maintains a certain lightness, except for truly heavier arrangements where the electric guitar work intensifies. Fresh music with a variety of influences that can reach the tastes of many.
  
  
  Minimum Vital: La Source (199?)
  
  The foursome from France is back with the compositions of the Payssan brothers (keyboards and guitars). Bass and drums still provide dynamic rhythms and guests on vocals (strange language) are now added. The music retains its lightness, symphonism as well as heavier guitar breaks. Dancing melodies and "modern" keyboard sounds can discourage fans of a more dramatic style; at least until the electric guitar kicks in. A strange blend of folk, rock, classical and jazz where multiple influences are fused in a contemporary sound.
  
  
  
• Miriodor: Jongleries Élastiques (1995)
  
  The Canadian trio includes piano/synths, drums/percussions/synths and saxophone/accordion. A forth member is included on guitars/bass/synths/percussions as well as guests on trombone, violin, cello, flute and trumpet. The result is an unpredictable blend of jazz, rock, classical, folk and circus music! Their style, difficult to describe, is very modern and offers a wide variety arrangements which sound as complex as they sound strange. You will often hear layering of melodies or riffs as well as staccato rhythms. An excellent production which offers, with a certain humour, original and adventurous music to those who like to experience less conventional styles.
  
  
  
• Mongol: Doppler 444 (1997)
  
  The Japanese quartet (keyboards, guitars, bass, drums) offers a loud and intense style of jazz-rock fusion. The guitar (electric and synth) has a strong presence; participating to every riff and offering most solos. Its style occasionally evokes that of A.Holdsworth (tone, fluidity) but also takes-on a more aggressive sound. Not typical in the fusion style, the keyboards introduce a constant symphonism, don't play any featured solos and often have a synthetic sound. The compositions by the keyboardist are finally powered by a dynamic and very energetic rhythms section. The fretless bass insures a jazzy tone while the drumming has more of a rock flavour. Solid performances, a rich production and a rock context that allows a jazzy touch (ex: U.K.) as well as a more heavier one (ex: Dream Theatre).
  
  
  
• Moongarden: Brainstorm of Emptiness (1996)
  
  This Italian production is in the typical style of many British bands. In fact, what we find is a melodic, symphonic rock with the added drama of a strong vocal presence (in English). This low-tone (ex: P.Murphy, D.Sylvian) and versatile voice certainly dominates but it rests on the solid compositions of the keyboardist who obviously favours an excellent delivery by all five members. The familiar format successfully alternates between calm and more vigourous moments and therefore offers a chance for everyone to shine. Fans of the style will recognise a good old recipe while others will appreciate the quality of its ingredients.
  
  
  
• Moria Falls: The Long Goodbye (1995)
  
  This British band features the usual personnel on vocals, guitars, keyboards, bass and drums. This rich production by C.Nolan (Pendragon) is also typical of the British symphonic rock produced since the 80's. The compositions are text-based, often have a ballad feel but always involve an instrumental development which usually culminates with a guitar solo over thick keyboard textures. The performances are solid, dynamic and the simplicity of arrangements gives way to a dramatic delivery. This music is formal, easy to listen to and possesses most of the qualities required to please fans of the style.
  
  
  
• Museo Rosenbach: Zarathustra (1973)
  
  The Italian band includes five members on vocals, keyboards, guitar, bass/piano and drums. Their style, typically Italian, is a symphonic rock based on keyboard work. For example, a lot of organ and mellotron can be heard. Nevertheless, the arrangements favour a group performance with expressive vocals (in Italian), nervous electric guitar work and dynamic rhythms. In fact, even if more delicate moments are present, the band maintains an electric sound and an explosive energy than insure a certain heaviness to the sound. The band then offers a fair compromise between heavy, more delicate, structured or improvised elements. This recent re-edition (1997) is finally unavoidable for classic Italian fans.
  
  
  
• Neuschwanstein: Battlement (1979)
  
  This '92 re-edition presents a German band who's music necessarily evokes the Gabriel era Genesis. The singer's voice (in English) as well as the arrangements are very similar. The use of flutes and acoustic guitars is a bit more sustained though. The compositions are usually text-based but all include tasty instrumental passages. A production that proudly captures the essence of the sound, the style and the era. A disc that will certainly charm the nostalgic but that may be offensive to purists.
  
  
  
• Nightwatch: Twilight (1997)
  
  From Italy, this band of five shows the usual lineup on vocals (in English), guitars, keyboards, bass and drums. Their style is a melodic, dramatic, symphonic rock with influences that necessarily include Marillion and Genesis. The tonalities of the vocals often evoke those of Fish or a young P.Gabriel. The guitar work (acoustic and electric) also conforms to the style while the keyboards (with mellotron) mostly insure a symphonic texture to the sound. The rhythms are also precise, dynamic and often use staccato. In summary, except for a stunning instrumental part, the bands sticks to a credible synthesis of essential elements from a familiar formula that is pretty hard to resist.
  
  
  
• Nightwinds: Nightwinds (1979)
  
  Most people discovered this Canadian band for the first time with its re-edition in 1991. The usual lineup of voice, guitars, keyboards, bass and drums offers a symphonic rock common to English and American bands from that era. The vocals are pretty ordinary but the instrumental work is solid. It is worth noting the superb work of the bassist who, at times, plays in a busy style like G.Lee or C.Squire. A familiar style, solid performances and a FM radio feel that make the listening even easier.
  
  
  
• Nirgal Vallis: Y murio la tarde (1996)
  
  This Mexican band offers very light music with strong folk and other traditional (medieval, baroque) influences. The instrumentation usually involves keyboards, guitars, violin, bass, drums and vocals (female, in Spanish) but flutes, mandolin, kalimba and much acoustic guitar are also present. Despite recordings from different periods ('85 and '95), the band remains true to a very melodic style with light rhythms. Compositions rely on rich and delicate arrangements rather than virtuosity and intensity of performances. A quality production for those who appreciate an acoustic ambience with the light symphonic touch of keyboards.
  
  
  
• Nuova Era: Il passo del soldato (1995)
  
  Excellent Italian band dominated by the compositions and keyboards of very intense keyboardist Walter Pini. His flamboyant style, classical influences and generous use of Hammond organ necessarily bring to mind Keith Emerson at its best. The band also includes an energetic rhythms section (bass and drums) and a very expressive singer (in Italian). The sound is rich and modern but the arrangements are influenced by the 70's classics. A grandiose presentation, explosive energy and an Italian touch will grab you instantly.
  
  
  
• Wittox O'Hara: The Surrealist (1994)
  
  This guitarist from Quebec offers an instrumental music based on guitar work. The arrangements also involves carefully programmed parts of bass, drums and percussions. A guest on tenor saxophone also contributes a few furious improvisations. The result is an experimental music with shades of rock and free-jazz. The rhythmic base often includes bass, drums and vibraphone to which are added crisp sounding acoustic guitar and heavy electric guitar. A fairly intense music that flirts with dissonance.
  
  
  
• Ozric Tentacles: Arborescence (1994)
  
  This prolific British band plays in a style that dates back to the space-rock and psychedelic rock of the early 70's. The tracks consists essentially of guitar improvisations on a backdrop of groovy rhythms by the bass, drums, percussions and synthesizer sequences. The production is rich but retains a natural (live) feel that's perfectly suited for the spontaneity of the performances. Music with an energy that can transport you to far away places... Every collection should include at least one Ozric !
  
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