Another Day - Another Hand - Dream Theater - Comedy (CD, Album)

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Kaitlynn - Prom Night. Bustin Makes Me Feel Good. In One Ear. Rubber Sidewalks Intro. Sacrificed Sons. Sacrified Sons. Scene Eight: Finally Free. Scene Four: Beyond This Life. Scene One: Regression. Scene Six: Home. Scene Three: Through My Words. Silent Man. Solitary Album). Space Dye-vest. Space-dye Vest. Status Seeker.

Strange Deja Vu. Take Away My Pain. Take The Time. The Answer Lies Within. The Best Of Times. The Big Medley. The Count Of Tuscany. The Dark Eternal Night. The Killing Hand. The Looking Glass. The Ministry Of Lost Album). The Mirror. The Root Of All Evil. The Shattered Fortress. The Silent Man. Spanish progressive rock band Crash mentioned at the time how one of their most ambitious long pieces was sliced into four or five different tracks by their record company.

Some influential pop music critics in the UK, USA and other countries frequently launched vicious attacks against progressive rock, calling it pompous, self-indulgent and bombastic. Much of their vitriol was nothing more than projection rather than honest critical reviews. One of the biggest problems with progressive rock is the fact that many acts changed genre throughout their career.

Radio friendly groups such as Styx, Asia, Foreigner, Saga, Toto, Supertramp, and Journey were categorized by the pop music media as progressive rock when they clearly were not, even if the line-ups included former progressive rock musicians. Or if the band did include a track or two that bore all the hallmarks of a Progressive Rock composition as many of these bands did especially on their early album releases.

Asia had fantasy-style covers and featured prominent musicians from some of the finest progressive rock groups, such as Yes, Album) Crimson, Emerson Lake and Palmer and hard rock band Uriah Heep.

However, all their musical pieces were short pop songs intended for commercial radio. Unfortunately, many pop critics regarded as progressive rock any band that used a large number of keyboards. Some of these bands and others took what they learned or created in the progressive rock sphere and attempted to incorporate it into their newer shorter compositions to varying degrees of success.

Rush, for example, on their last couple albums went back to instrumentals, slightly longer compositions and even the use of the Mellotron. While it seemed like progressive rock was on its way out in the late s, many fans across the globe were not ready to give up. This became the period of collectors and mail order companies. The word got around that there were progressive rock recordings worldwide and music fans found ways to acquire LPs through travel, Another Day - Another Hand - Dream Theater - Comedy (CD and pen pals.

Registered postal packages circulated worldwide, bringing cherished treasures to collectors. Japanese collectors and specialty stores were especially good at discovering progressive rock from all corners of the world. Sometimes they introduced rare albums by European bands to Europeans themselves. Despite the difficulties, there were still musicians who braved the odds and continued to perform progressive rock.

One of the finest British progressive rock bands of the s, UK, was formed during that period. Despite all the efforts of the media and the critics, Progressive Rock never completely vanished from the music scene.

By the late seventies many upcoming British musicians and bands raised on Progressive Rock began charting their own brand of the genre. In the s, progressive rock experienced a comeback. Some critics and fans call it the Neoprog era. The progressive rock renaissance took place in many nations during the s, although, once more, it was UK bands that initially re-popularized the genre.

The most influential was Marillion, a group inspired by early Genesis. Japan went from an importer of international progressive rock to developing an explosion of first rate bands influenced by the s pioneers. Music enthusiasts turned their interest in progressive rock into a profession. Specialized magazines and fanzines sprouted in various parts of the world. Marquee also became an importer of international progressive rock, including rare recordings from all parts of the world.

The eye-catching artwork immediately appeals, and opening the digipack reveals further lovely graphics. The accompanying booklet delves even deeper, with beautiful pictures and designs.

On each page sits a gorgeous drawing depicting and setting the scene to the general theme of its song. Not flawless, for one song is out of its running order, but if this attention to detail is present in the music, this could turn out to be a nice surprise.

Maybe something to look forward to in future, but for now lets focus on their most recent output, for what lies before me is a whole different affair. With keys supplied by guest musician JP Kerkhofs, also responsible for the recording and mixing, the band felt the time was right for their second step, in the form of a full album.

And notwithstanding the excellent musicianship of the basic threesome, it's these guests that make all the difference. Bresseleers isn't your typical female prog-metal vocalist, having a certain type of raw edginess to her voice, giving variety, strength and expressiveness to the music.

This effectively pulls it out of the mainstream female fronted Gothic scene. Sometimes angelic, sometimes rocking and powerful and yet refined, she delivers a full spectrum of her abilities, giving me the feeling she is as much part of the band as the others.

Or so she should be, for her voice gives the music great authenticity. The same goes without saying for keyboards supplied by Kerkhofs, elevating the music to exactly what is required by adding layers of symphonic elements. There are moments on the album where delicate piano and supportive synths add airiness, freshness and lightness to the music, each one more beautiful then the next.

But it's the sparkling solos that immediately sprinkle a lively, vibrant feel to many of the tracks present. This is evident right from the Album) of the uplifting Ritualwhich after a short, monumental opening soars into symphonic prog-metal with a superb eighties AOR-feel New Englandchanging slightly to hard-rock.

Held together in a basic pop structure, its playful bass and solid drums drive the song forward, with a blistering guitar-solo to top things off. If they can maintain this level, my house is always open. Solitude continues in much the same fashion opening with diversified drums and rocky riffs slowly exposing a more traditional prog-metal side. But once the keyboards blast in, it's a heavenly blend of pomp and hard rock, gradually edging towards power prog-metal in the instrumental section.

The emphasis remains on melodies throughout. With a coda resembling the lighter touches of Dream Theaterit finishes with improvised, cheerful, enchanting piano. The semi-ballad, Quanyingis one of the highlights of the album, showing a more gothic approach, expressed beautifully through the pure classical vocals from Bresseleers, reminiscent to Charlotte Wessels of Delain.

It's the combination of slow blues and delightful, unctuous guitars, next to the eternal vocal harmonies and subdued melancholic melodies, that finish this song in grand style. Carrying the flame onward is the demanding Oblivion and its opening of luscious symphonic power metal.

Keys sparkle, inventive drums and bass add fuel, and some excellent dexterity on guitars drive this complex song forward.

It is a less memorable song, with a rather predictable structure. Showing the compositional strength of Callaerts, who is accountable for all the music, Cyborg manages to flow naturally, filled with a delicious solo and more tantalising keys. No wonder they have now recruited Anke De Raes as their newest member on keyboards, for this song proves yet again that this instrument is an essential part of their sound.

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