Alogia - Elegia Balcanica

I’ve been a geek for a long time since I was born. Gamer, Real Good Music Lover, and Comic Book geek, you name it. Never fitting with the cool crowd or anything like that, but being that I am and no stop sign for me, admiring real good music has always been my cup of coffee. From the realms of Progressive Rock, the genres of Metal in the sounds of Power, Symphonic, Prog, and Doom, the Metal genre has always been there for me when I was a little kid since hearing bands like Faith No More, Megadeth, and early Metallica to name a few.

And then, there was this amazing band that just completely took me by surprise this year. A group from Serbia that are in the realms of the Power Metal genre named Alogia and their new album released last year in which this is their fifth album entitled, Elegia Balcanica, it was like something knocked me on the edge of my seat and raised my eyebrows from start to finish.

The band formed 15 years ago by brothers Miroslav and Srdjan Brankovic on guitars and consists of Nikola Mijic on Lead Vocals, Vladimir Ranisavljevic on Bass, and Srdjan Golubica on Drums. Alogia opened for bands such as; Whitesnake, Apocalyptia, Paul Di Anno, original singer of Iron Maiden, and Savatage. They have released now five albums albums, which includes a Live DVD/CD performance ten years ago in Belgrade at the Studentski Kulturni Centar (SKC).

But their fourth album is a combination of Speed, Power, Classical, Orchestral, and intense roaring through the streets thanks to the duo guitar sounds of the Brankovic brothers as they pay tribute to the sounds of the New Wave of British Heavy Metal bands like Iron Maiden, Yngwie Malmsteen, Judas Priest, followed by Luca Turilli’s Rhapsody. They have a driven force and the Balkan atmosphere to fit the vibe that makes it a dependable gem. Almost going about 600 miles per hour throughout the beats and Nikola’s voice resembles Bruce Dickinson and James LaBrie, he can hit those notes at the ranges the instruments takes him to where he goes.

On Elegia Balcanica, it features some amazing riffs and interaction between the band members taking into greater achievements and not to mention Srdjan’s drumming setting up the tempos on his kit to go into overdrive throughout his patterns and Vladimir’s Bass going into some punching modes on the lines he delivers. This is my sixth time listening to their album and my introduction to the world of Alogia, and throughout the nine compositions including a bonus track (Intentionally Blind) featuring Silent Kingdom's singer Amir Hadzic, in which they pay tribute to the late Chuck Schuldiner of Death.

Alogia are for me, going to be one of my favorite bands in the Power and Progressive Metal genre and they have taken it up a notch. So if you epic sounds and sing-along anthem’s, Alogia is the band worth checking out and Elegia Balcanica is the album highly recommend.

White Willow - Storm Season (Expanded Edition)

This is one of the next reissues of the expanded edition’s from one of White Willow’s catalog on the Termo label that is their fourth album and follow up to Sacrament entitled, Storm Season. Originally released on The Laser’s Edge label eleven years ago, it shows White Willow moving from the gentle, folk, and pastoral sounds into a sinister and darker approach that makes it a straightforward record. With the addition of Lars Fredrik Frosilie who brought in his analog sound with the synths, organs, and the Mellotron to come on board, the band went into a heavier sound.

It is almost like the soundtrack of the futuristic atmosphere of a dystopian society gone wrong where it was and the people who were once helpful, turned almost into insanity that is the nightmare they are living in and the music fits the vibe on the lyrics that are strong and raw. Opener, Chemical Sunset begins with a haunting flute introduction featuring a swirling moog and choral voices setting the tone as Sylvia’s voice sends shivers down the spine as the music goes into a classical folky section mixed in with some of the harder edges thanks to the guitars going into that area that flows in very well.

Sally Left resembles an electronic and emotional yet nightmarish touch with a darker version of early Pink Floyd while Soulburn featuring vocalist Finn Coren, whose voice reminded me of Van Der Graaf Generator’s Peter Hammill. It features some of the heavier guitars, dooming bass lines and unexpected keyboard moments as if someone is creeping up behind you, has a Doom-Prog touch.

Almost as if it could have been used during the sessions for either The Least We Can Do Is Wave to Each Other or Pawn Hearts, but it is a powerful song that will make you take notice. As I’ve mentioned, the band have a folkier side. Which they haven’t forgotten on the short piece, Endless Science that has an acoustic and moog/mellotron vibe that gives the band a break for their ominous side and get back into a relaxation for a short moment.

Insomnia begins with the line “The End of the Night seems so long and hard to bear/And the blood upon my hands cannot be my own.” Sylvia sings it so beautifully and you could tell White Willow show a little bit of their VDGG side on this composition as Lars and drummer Aage Moltke Schou do this amazing improvisation before Sylvia and the piano come in to give them a little break for a few minutes and then the band comes in for a closing finale as Marther Berger Walthinsen’s bass just nails it on each moment he goes in a different part of the lines on the fret.

It goes into the styles of King Crimson and a darker spacey finale to close it off with an ominous tone that just gave me goosebumps at the end. The title track is a surreal composition that Syliva’s voice goes into a double-tracking vocal and the guitar is going through a backwards tape and the Mellotron coming in through some passages as the closer, Nightside of Eden sees the band back into the harder edge with a Doom Metal approach, but keeping the touches of the Prog area fit in.

The three bonus tracks that are on here feature the demos of the songs Nightside of Eden and Sally Left done in a different key while the outtake, Headlights which was originally released on the Japanese pressing on the album, is a driven midtempo hard rocking yet almost spaced out adventure into the stars that reminded me of the Hemispheres-era of Rush.

When Storm Season was released, it was the best selling album to date of 2004 on The Laser’s Edge label. And for me, I had a blast listening to the entire album twice and it showed how much they approved their sound. And for me, this is a crowning achievement that they have unleashed and if you enjoyed their first three albums, Storm Season is a highly recommended album to really sink into.

Alco Frisbass - Alco Frisbass

This is a new duo from France considering Fabrice “Chfab” Chouette and Patrick “Paskinei” Dufour that started Alco Frisbass two years ago. Their music is this combination between the Canterbury scene and the Rock in Opposition genre flowing in well together. And their sole self-titled debut album released this year on the Fading Records label, is perhaps an adventure from start to finish.

And with guests including Jacob Holm Lupo of White Willow, Archimede De Martini of Stormy Six, and Thierry Payssan of Minimum Vital, it is a perfect combination on what to expect when you listen to the sounds of Alco Frisbass’ music. It’s this mixture between swarming keyboards with ambient/atmospheric surroundings along with the textures between Caravan, Gong, Gentle Giant, Soft Machine, and Camel to name a few by mixing it up and creating this mysterious wonders on what is to come.

Opener, La Suspension Ethereene starts off with a moody/soothing introduction on the Fender Rhodes, minor sounds from the Piano, and the relaxing Violin sounds done by De Martini that starts off for the first minute and twenty-three seconds. And then, all of a sudden, it becomes a dash towards the door in the RIO format with a hyperactive beat in the styles of Aranis and not to mention the electronic surroundings of the Mellotron coming right behind you.

The midsection becomes a dreamland soundscape as the duo goes into the other worlds that shows where the listener can go into throughout the suspension of time before De Martini and Holm-Lupo really go into the stages of the solo improvisations on their instruments before landing in on the reprise for a closing section.

Pas a Pas is a touch of the electronic and ambient surroundings that sounds like something straight out of the sessions for Franco Battiato’s Fetus-era with some of the ominous backgrounds and futuristic beauty coming into play while Induction Magnetique goes into the tribute to the Canterbury sound of the golden era of the late ‘60s/early ‘70s.

It starts off with an Organ and Drums starting the introduction followed by the Bass and the Fuzztone sounds that resembles Dave Stewart of Egg, Mike Ratledge of Soft Machine, and Dave Sinclair of Caravan. And not to mention the background vocalizations, which shows a touch of the whimsical scenery that gives it the perfect tribute to the genre.

La Danse du Pantin is the ultimate psychedelic-prog trip featuring church-like organs, ominous guitars, ascending organs, and starting back on the trip with a dystopian amusement park like you haven’t seen before turned into madness with a steady pulse. The 12-minute Escamotage starts off with a mysterious tone between the keyboards, fuzz Bass, De Martini’s haunting violin solo, guitar, and drums before going into the spacey voyages resembling the sessions for Camel’s Moonmadness as Fabrice pays tribute on his guitar playing to both Andy Latimer and Robert Fripp.

It is also a chilled-out composition that will take all the stress out at times, but they really go into the stars and into our solar systems on here as the closer, Judith Coupeuse de Tete, is almost like a final curtain call to tell the listener that they have one more to close it off for the perfect slice of cake with the cherry on top.

Beginning with the Fender Rhodes starting off with a magical and yet ascending tone thanks to the Organ coming in that reminded me of something that Alco Frisbass could have scored for Hayao Miyazaki’s Castle in the Sky. And the melody between acoustic and electric guitar along with the drumming and organ sets the mysticism groove of what mysteries and secrets tell in the flying castle thanks to the synths and the mellotron closing it out for a round of applause.

This is my third time listening to Alco Frisbass’ debut and I have to say, I enjoyed it from start to finish. The duo really brought a lot of inspirations and help from friends along with the mastering done by Udi Koomran and the mixing by Paolo “SKE” Botta which is a perfect combination, shows how much work and progress is done on here. I can’t wait to hear more on what the future will be ready for both Fabrice “Chfab” Chouette and Patrick “Paskinel” Dufour.

La Coscienza Di Zeno - La Notte Anche Di Giorno

I have always been a supporter of a band that just completely took me by surprise when I first heard their music back in 2013 and that band was La Coscienza Di Ceno with their second album that was for me, the album of the year two years ago was Sensitivita. And I was blown away from the moment I put it on and listened to it from start to finish and along with their sole self-titled debut album released back in 2011 as well. And it was my introduction to the Fading Records label and of course, the AltrOck label.

This time, they are back this year with their follow up to Sensitivita with La Notte Anche di Giorno and it’s a very mature and welcoming return to see where they left off and back into the structures of Rock Progresivo Italiano and Symphonic Prog rolled into one again released on the Fading Records label which is a part of the AltrOck family. There’s a gentle and orchestral side thanks to the keyboard sections done by both Luca Scherani and Stefano Agnini.

It’s also this wonderful touch of the sound of the Peter Gabriel-era of Genesis, Locanda Delle Fate, Latte E Miele, and Premiata Forneria Marconi’s Storia Di Un Minuto-era and it’s a beautiful homage on here to show that they come into the circle again for more. The compositions are almost like suites because of the titles, which are called; Giovane Figlia and Madre Antica that are both 23 and 20-minute epics that will take your breath away.

The album cover which I was blown away by because it has this artwork that almost reminded me of Disney artist Mary Blair who did the concept art for animated classics including Alice in Wonderland and Cinderella to name a few. But it fits the atmosphere of the music that is on here from start to finish, knowing that LCDZ showed that they have really got something up their sleeves.

There is also some ascending roars and violin and cello melodies done by Melissa Del Lucchese that give it the touching and dramatic moments on here along with Serpico’s guitar giving that driving force while Alessio Calandriello’s voice nails it in each direction where the band goes into the next melody. I am completely blown when I heard this. And the sound of La Coscienza Di Zeno’s music is back in full swing and they showed a lot of hope in here with La Notte Anche Di Giorno.

It looks like 2015 is for me, a very good year for them. And I highly recommend the adventures and beauty of La Coscienza Di Zeno. This is an album that is for me this year, a must have and worth checking out. And I can't wait to hear more of where the group would lead them into the next step. La Notte Anche Di Giorno is a stunning, pure, elegant, and symmetrical follow up.

Lizards Exist - Lizards Exist

This up-and-coming quartet from Croatia have a touch of the Psychedelic, Krautrock, and Space Rock influences that makes it a sonic adventure into space and time. The name of the band is called Lizards Exist and this is their sole self-titled debut album that was released last year on their Bandcamp website. It is a combination between Ash Ra Tempel, Pink Floyd, Gong, Hansson & Karlsson, and Steven Wilson.

Recorded in March 2014 at Kramasonik Studio in Zagreb, these four compositions including one that clocks in at 17 minutes and 10 seconds, are filled with an adventure into the outer limits that will make you get ready for a session you will never forget to the end of time. The band considers; Boris Brozovic on Drums and Percussions, Sinisa Mraovic on Guitar, Roko Margeta on Keyboards and Synths, and Tihomir Zdjelarevic on Bass.

It is ambient, exhilarating, thrilling, swirling, jazzy, and mysterious at the same time that is in Lizards Exist’s music. It feels as if it was recorded in 1972 and the instruments that they use are analog vintage equipment that is pre-1976. You could tell that the moment you listen to Lizards Exist, its jaw dropping and trippy thanks to Margeta’s keyboard going into the infinite universes that carries the essence of the Atom Heart Mother and Meddle-era. Not to mention the two highlights from the album.

Ljenti hit begins with something straight out of a Steven Wilson solo album for an introduction from the Insurgentes sessions before it kicks into high gear and then going into minor chords in the style of David Gilmour and space rockers, Eloy combined into one. And then in comes Brozovic on the drums going in the styles of Ginger Baker creating some intense drum solo before setting into the cosmos for an organ and guitar climax at the end.

But it’s the 17-minute closer, Anunnaki Dance, that will make you get ready for an adventure back home to Earth. It has this late ‘60s psychedelic score for a sci-fi mystery film set in outer space to search for the missing clue and in the first half of the piece it captures the essence and the surrealism of the rhythm.

And then it goes into the touches again back to Eloy and Floyd as if they did a jam session together before going straight into the darker voyages of the milky way to give Margeta a chance to pay tribute to Richard Wright’s ambient/atmospheric spooky surroundings and it fits the vibe during the midsection. And then the rhythm section goes into a beat of almost 193 that is a shattering and increasing finale before everything calms down as the echoing guitar along with Tihomir’s Bass, and Margeta’s tribute to Hansson and Dave Stewart, (Egg/Arzachel) gives it a chilling ending.

I have listened to their sole self-titled debut album about twice now. And I have to say they are one of the most mind-blowing bands I’ve ever listened to. Lizards Exist are soon hopefully going to get the rocketship for a thrilling and mysterious ride you will never forget in the genre of Space and Progressive Rock by proving to pay tribute to the golden age of the era. So if you love the bands along with Eloy, Bo Hansson, Gong, Pink Floyd, and Arzachel to name a few, Lizards Exist is worth checking out.   

Kestrel - Kestrel

There had been bands that were short-lived and due to bad business in the music industry, lack of promotion and support, or not getting any recognition and it is very hard for them to make into the music scene, but advices are necessary to let them know what is out for them. And one of the bands is a quintet named Kestrel. Kestrel was formed in Newcastle and they released their only sole self-titled debut album forty years ago.

It’s been considered a collector’s item as an overlooked gem in the history of Progressive Rock along with bands like; Cressida, Czar, Fruupp, and Second Hand. The album is hard to find in a vinyl format and not to mention a huge sum for an expensive price including one in Japan. Well this year, it is reissued in a 2-CD set from the good people of Esoteric Recordings that features liner notes done by Metal Hammer/Classic Rock magazine writer, Malcolm Dome that discusses the history of the band and where it went wrong.

The band considers Tom Knowles on Lead Vocals, Dave Black on Guitar and Vocals, John Cook on Keyboards, Fewnick Moir on Bass Guitar, and Dave Whitaker on Drums who was in a previous band from Newcastle trio called Ginhouse. Originally released on the Cube label in 1975, it is a melodic adventure and with a touch of Progressive Pop thrown in that gives it a warm and at times, a symphonic flavor.

Songs like the opening track, The Acrobat, has this wonderful improvisation that has a circus-like midsection that Cook does in the styles of Kerry Minnear through the clavinet and Rhodes through a different time signature as it becomes a Jazz rhythm section between Black’s guitar and Moir’s walking bass line. Then, it becomes a moody and ballad-like structure on an ascending groove that almost resembles The Doors Riders on the Storm and Steely Dan that has a beat per minute of 110 on Wind Cloud.

But with a waltz structure for a moody and emotional touch, is evidential on Last Request. It shows Tom Knowles can really sing through his heart and to pay homage to Kevin Godley as the band goes into the style of 10cc not to mention Cook’s organ and the Mellotron by giving it a powerful and ascending sound. John does shine through his keyboards.

In which he does some amazing improvisation on In The War that he goes into some beautiful passages that are Fusion and Orchestral with a funk and soul groove before he sends into the sky again with some angelic touches into the mix. On the closing track, August Carol, this is where the band comes into a full circle. It reminded me of Cressida with an increasing beat and Black’s guitar solo just nails each part as through rhythm and lead on his guitar and Cook gives him a perfect workout.

And then Whitaker’s percussion drum roll comes in before it heads off into the heavens with a Mellotron solo to close the album off for the final curtain to rise with background vocalizations and Black’s solo coming in as it fades into the sunset. The second disc features alternate versions and single versions including outtakes featuring a ballad turned adventurous narrative on The Searcher and Part of the Machine which deals with even though we are being used as a tool, but understanding to be tied up through the work and finding another way to find your heart, but living in a dream.

I have listened to Kestrel’s only sole self-titled debut album about five times now and even though the band broke up after the release to pursue other projects, it would have been interesting to see where the band would go into next. And this is a must have album to listen to. So if you admire Cressida, Moody Blues, Spring, and Fruupp, then Kestrel is the band to check out.

Disharmonic - Magiche Arti e Oscuri Deliri

There’s always a darker side of the Black and Doom Metal genre and the two of them are mixed well together to go into a colder much haunting beat inside the cavernous place. And from the moment I listened to Disharmonic’s Magiche Arti E Oscuri Deliri, in which the title translates to Magical Arts and Dark Delusions, it is for me, one of the scariest albums I’ve listened to from start to finish.

The band formed eighteen years ago in Italy by drummer Lord Daniel Omungus and guitarist Sir Robert Baal. The concept for Disharmonic is to bring in something that was really sulphurous. Disharmonic released two albums, two demos, and one EP. And their new album released this year, is a combination and reminiscent of Paul Chain, Goblin, Devil Doll, and Jacula.

It is almost as if it’s a score for a horror film that both Dario Argento and Alejandro Jodorowsky worked together and almost wished they used a score like this that is off the wall, sinister, and avant-garde. It features some snarling spoken-word dialogue along with operatic, and calming vocals on the album that is almost speaking through at times through an echoplex by giving it a terrifying view of what is to come in a darker way.

Effects filling the halls as if you as a listener are inside an insane asylum filled with the nightmares and terrors that realizing that there’s no hope of turning back to getting out alive. The music itself fits the concept very well. The Guitars give it the heavy, dark, psych and doomy atmosphere that resembles Tony Iommi and Mercyful Fate coming at you like a terrifying beast ready to rein terror.

You could imagine the essence of Black Sabbath’s first sole self-titled debut album along with Antonius Rex music flowing in parts of the compositions that almost could have been a part of the sessions of Tardo Pede in Magiam Versus and Disharmonic are capturing those vibes to show the touches of Rex’s sound as a tribute and homage. While this was my introduction to the music of Disharmonic, this wasn’t an easy album to listen to from beginning, middle, and end.

However, this is a very interesting and yet terrifying album I’ve listened to. And Disharmonic have really shown a lot of the ideas in their sound, that they really gave me a chill and shiver down my spine. And since listening to the album around my third or fourth time, I have to admit this will really give you goose bumps from the moment you put it on and knowing they have done something ominous, raw, and powerful to give you a nightmare for the rest of eternity.