Friday, September 28, 2012

Top Albums of the Year 2001, Part 3: Other Highly Recommended Albums

Other Albums from 2001 Worth Listening to:

Below you will find a somewhat-ordered catalogue of the album releases from 2001. These are albums that I have determined to be good or interesting enough to recommend to you, the reader, for your own exposure, awareness, and/or exploration; these are albums that were not, in my opinion, good enough to belong on my "Masterpieces" page, but which, I thought, deserved some credit and attention. 
     You will find that some of the albums below are reviewed or commented upon, while many have nothing but cover, artist and title, lineup of musicians and songs list. This variance is usually due to a lack of time and a lack of willingness or desire to give each and every album the time and energy necessary to write a review. This is done without any intent of disrespect; the albums have been included because I think them worthy enough to have others try them out and form their own opinions.

PALLAS The Cross & The Crucible

A band that I've not familiarized myself with much but here impresses. 

Line-up / Musicians:
- Alan Reed / vocals, acoustic guitars
- Niall Mathewson / guitars (electric, acoustic, nylon, Thai 3-string & Roland VG-8 electronic processor), tambourine, co-producer
- Ronnie Brown / piano, synths (Korg Triton & X5R, Roland D50 & JV1080, EMU Orbit, Proteus 2), sampler, Yamaha W7 DAW
- Graeme Murray / bass & fretless bass, Moog bass pedals, electronics & Fx, backing vocals, co-producer 
- Colin Fraser / drums, drum machines (Alesis & Roland)
- Gill Main / vocals (2,6)
- Laura Harrow / vocals (4,8)
- Alastair Taylor / backing vocals (2,6)
- Claire Bleasdale / backing vocals (2,6)
- Laura Sinclair / backing vocals (2,6)
- Trevor Gray / backing vocals (2,6)

1. "The Big Bang" (3:07) cinematic instrumental (orchestral) intro. (4.25/5)

2. "The Cross & The Crucible" (9:05) a challenging song to define and describe: not fast paced but driven; not boring but not really engaging; not dissonant but not really melodic. The most interesting parts of the song are the church-like choir chanting in the seventh minute and the distant church bells. Strong rhythm track from the bass and drums. (17.25/20)

3. "For The Greater Glory" (7:38) opens and sustains a kind of LED ZEPPELIN "Immigrant Song" feel. Lots of theatric vocalizations and nice background synth work. For a time it almost feels as if it comes right out of Peter Gabriel's Passion soundtrack music for The Last Temptation of Christ. Gotta admit: it's pretty powerful and effective! A top three song, to be sure. (13.5/15)

4. "Who's To Blame" (4:43) acoustic guitar, joined by fretless bass, and then whispery vocal of Alan Reed. In the second minute joined by drums, more movement from the bass, and more keys--but basically it's the same song. The chorus is jarringly horrible! Too bad! This had promise. Nice vocal work in the delicate lull of the fourth minute by Laura Harrow--but then, yech! back to that chorus! (8/10)

5. "The Blinding Darkness Of Science" (6:46) atmospheric synth and vocalise gently fill the sonic space until the second minute when the fullness of a heavy prog band enters with all the delicacy of a bull in a china shop. Another horrible chorus. Nice instrumental passage in the fifth minute with great electric guitar solo. Too bad about that chorus! (12.75/15)

6. "Towers Of Babble" (8:09) picked oddly-tuned 12-string opens this in a "Turn of the Century" kind of way before big shock wave of full band entry occurs in the second minute. Church organ enters in the fourth minute and eventually takes over for an awesome solo. At 4:25 new motif begins with guitar and bass harmonics and Rumpelstiltskin-like vocal performance before unleashing a searing guitar solo. Good vocal chorus before great synth solo. Complex band manoeuvers before chorus and choral input and mandolin. Very interesting song--worth many more listens. Another top three song. (13.25/15)

7. "Generations" (6:05) slow-strummed guitars joined by tin flute and Robert Plant-like vocal. I like that it stays acoustic through the second verse. Even with the unleashing of full force at the 4-minute mark it's still great--still restrained (not over-the-top heavy prog). A top three song for me. (8.75/10)

8. "Midas Touch" (11:11) narrated in a Orson Wells Edgar Allan Poe-like fashion. At 1:15 the band kicks in with a very basic, almost spacious soundscape over which Alan Reed sings in a forced delicate voice. The chorus allows Alan to reach for his usual near-metal power. The guitar is soloing a lot between and behind the vocals. (Reminds me of some 1980s hair band.) Interlude in the fifth minute in which vocalise of Laura Harrow plays before Peter Gabriel-like theatric voice of Alan Reed takes over. At 6:15 bass and drums burst back in prepping the listener for synth washes and a soaring lead guitar solo. Nice multi-synth work by Ronnie Brown follows. Recreation of penultimate section of YES' "Awaken" follows in the ninth minute before giving way to sensitive electric piano solo for the final 90 seconds. Great performances, just not the most attractive or engaging song. (17/20) 

9. "Celebration!" (7:22) arpeggiated electric 12-string guitar is joined by bombastic PRINCE "1999"-like full-band motif. At 1:10 it takes a turn into a busy weave of several rather discordant threads. It's like RUSH and EDDIE MONEY. At 2:50 there is a left turn into MARILLION territory. Even when Alan begins singing again, it feels like Rothery and Fish are trying something new. At 4:05 it turns anthemic with big voices and big choral shouts of things likte "one day," "one world," "one dream" and the like before sliding into a kind of finish to "Feed the World (Do They Know It's Christmas?)" and then "1999" again. Interesting smorgasborg. All in all, it kind of works! (13/15)

Total Time: 63:40

86.25 on the Fishscales = B/four stars; a very nice addition to any prog lover's music collection--highly recommended. I look forward to my journey of getting to know Pallas better.

OPETH Blackwater Park

At this stage of their career, Mikael Åkerfeldt and company were a little heavier, a little harsher, a little more ensconced in the world, sounds, and stylings of metal music. As a matter of fact, much of the music is not so very far removed from the metal of the 1980s. Some of the differences include: the influence of moving bass string chords or "djent" guitar sounds and playing styles; the different lead guitar sounds used here--they are a little more evolved from those used in the 80s; Mikael's use of death metal growls; the way the drums are recorded, and; the greater presence of the machine gun bass drum play. Also Opeth shows a tendency to the use of longer song forms with multiple style formats incorporated within each--as is put on display right from the start on 1. "The Leper Affinity" (10:21) (16/20).

2. "Bleak" (9:16) is well described through its title. Actually this is quite a boring, monotonous song that never seems to go anywhere memorable or worthwhile. (14/20)

The two best songs are by far and away 3. "Harvest" (6:02) (10/10) and 4. "Drapery Falls" (10:55) with its wonderfully memorable multi-instrument-played melody carried through to the end (20/20).

The title song (12:08) is also quite a nice composition--it's performances quite powerful. (22/25)

5. "Dirge for November" (7:54) starts out quite masterfully--with many delicate nuances to feed the soul--but then at the 2:30 mark a heavier but still melodic and fairly straightforward chord progression leaps out and yet does not push away. Fairly simple and innocuous--until, a minute more in, Mikael's growls infiltrate and darken the overall timbre. The song regains points for returning to a beautiful end section filled with delicate nuances of beautiful guitar work. (13.5/15)

6. "The Funeral Portrait" (8:44) is fully steeped in harsh metal stylings--especially with Mikael's demonic growls entering from nearly the beginning--even though the rhythm patterns established from the start remain pretty straightforward and consistent. An interesting THIN LIZZY-like guitar section takes over the very middle of the song before Mikael tries to take back center stage with his disturbing vocalizations. Not a bad song. (16/20)

     As everyone recognizes, I will here reiterate: Mr. Åkerfeldt has quite a lovely voice when he's singing in his normal voice. I am glad that he eventually moved away from this aggressive, abrasive style of music--though I recognize the talent and skill involved in creating music such as is present here.

85.77 on the Fish scales = B/four stars; an excellent display of finely crafted prog metal songs; not quite a masterpiece progressive rock music but perhaps one of Prog Metal.

PICCHIO DAL POZZO Camere Zimmer Rooms
I get it: three languages to express the idea of boxed-off containers for human consciousness. What is more challenging for me to digest is the fact that the music on this 2001 release all come from the late 1970s. After listening to it, this makes more sense (despite the remarkable quality of sound). The band was evolving from it's easy-going, melody-infused "Canterbury style" debut to a more AREA-like jazz. Is this because Demetrio Stratos was demanding this type of evolution for bands in the 70s--because he was arguing, publicly, that music should be created for political and social change?

Line-up / Musicians:
- Aldo De Scalzi / vocals, Hammond & Galaxy organs, guitars
- Paolo Griguolo / guitars, clarinet, vocals
- Claudio Lugo / alto & soprano saxophones, flute
- Roberto Romani / tenor saxophone, flute
- Andrea Beccari / fretless bass, flute
- Aldo Di Marco / drums, percussion
- Roberto Bologna / guitars
- Giorgio Karaghiosoff / tenor saxophone, flute
- Francesco Tregrossi / acoustic guitars 

1. "Il Presidente" (9:37) surprisingly dense, jazzy, and discordant at times, there are still some strains of the old Canterbury style they began with--especially the humor--but the melodies are sometimes too fleeting or obscured by the rest of the music. I do like the Demetrio Stratos inference in the ninth minute. (17.5/20)

2. "Il Mare d'Irlanda" (6:20) murky (like the sea?) from heavily treated guitars and gentle 80s-sounding (flanged) rhythm section with echoed choral vocal leave an odd impression: as if the band was thinking about going the direction of smooth jazz or even techno-pop. The dreamy-ness of the song is more akin to their 1976 debut album but it's a very dated sound--and very simple, subdued instrumental performances. (8/10)

3. "La Cittá" (13:12) automobile horns, doorbells, dishes clanging around, vacuum cleaner, radio dialing, voice sampling, smooth Fender Rhodes play. That's the summary of the opening two minutes of this one. When Aldo begins singing it is with a force and that is quite reminiscent of that of Demetrio Stratos--like he's trying to express a political opinion or sociological criticism. The song's melodies, vocal and lyrical approach, and aggressive approach to jazz rock sound as if lifted right out of AREA's 1970s albums. The problem I have with hearing AREA-like music in the 21st Century is that Area did it already--and they did it incredibly well. Could Picchio Dal Pozzo have gone the direction of Area? Perhaps, but did we really need another band trying to take up their torch--could there possibly be anyone up to the task? I don't think so. Demetrio was unique, a one-of-a-kind phenomenon; any imitation is only that: imitation--and this does feel so imitative. 
     Still, nice tight performances from all involved (especially drummer Aldo Di Marco) but a little too repetitive and, when no vocals are going on, too jazz-like. I miss the Canterbury. Here there is more Area jazz fusion and, despite my well-known adoration for Area, there was only one Area. 
     The dreamy final 90 seconds is weird; maybe it would fit if I knew what the lyrics are trying to say. (21.75/25)  

4. "Pinguini" (13:42) a more complex jazz like Dave Stewart was trying to do after his stints with Uriel/Khan and Hatfield and the North--like the more serious jazz tidings of National Health and Bruford, though far less concise and circumscribed. There is still humor but in a way that virtuosi might try it: with their instruments. The crazy sixth and seventh minutes are backed by some awesome keys and bass (and very Dave Stewart-feeling keyboard playing). Then, in the eighth and ninth minutes, we get into more quirky motifs (and instrumental sound choices) that preview the 2011 arrival of Palermo's Homunculus Res. At 10:00 there is a sudden and total shift to solo grand piano with Aldo's treated vocal singing an emotional, plaintive lyric. Then sound experimentation is the name of the game for the lead instruments over the next two minutes. Weird but I get it! Experimentation with new and alternative voices for musical expression. (26.5/30)

5. "Il Fantasma d'Irlanda" (0:40) 

Total Time: 43:42

The Picchio Dal Pozzo releases after their debut all seem to degrade their initial Canterbury sound that came from their 1976 debut, and this one continues this trend. There are moments of melody, moments of humor, moments of genius, but overall there is too much experimentation here--the band trying on other band's "clothes"--for my tastes. Like most prog lovers, I am, however, appreciative of this long lost and very telling glimpse into the development and evolution of one of Italy's most talented bands.

86.75 on the Fishscales = B/four stars; an interesting and worthy addition to any prog lover's music collection.

ANGE Culinaire Lingus

Christian Décamps is back with his best Ange release since the 1970s. 

Line-up / Musicians:
- Christian Décamps / lead vocals, synth, piano (2,5), acoustic guitar (3,9), narrator (9), producer
- Hassan Hajdi / electric & acoustic (9) guitars, banjo (4), lead & backing vocals (8)
- Tristan Décamps / keyboards, piano (2,7), programming (1,4,10), kazoo (4), lead (7) & backing vocals
- Thierry Sidhoum / bass, double bass (4)
- Hervé Rouyer / drums, percussion, tambourine (3), drum programming (6)
- Caroline Crozat / vocals (1,5,10,11)
- Gilles Pequinot / violin (3,10), bagpipes (3), recorder & jew's harp (10)
- Thommy Emmanuel / guitar (12)
- Claude Demet / guitar (12)
- Dan Ar Braz / guitar (12)
- Norbert Krief / guitar (12)
- Serge Cuenot / guitar (12)
- Paul Personne / guitar (12)
- Jean-Pascal Boffo / guitar (12)
- Jan Akkerman / guitar (12)

1. Jusqu'Où Iront-Ils (8:55)
2. Cueillir Les Fruits Du Sérail (6:03)
3. Adrénaline (4:02)
4. Farces Et Attrapes (2:40)
5. Culinaire Lingus (5:05)
6. Les Odeurs De Cousine (5:51)
7. Intérieur Nuit (3:28)
8. Univers Et Nirvana (3:51)
9. Gargantua (5:25)
10. On Sexe (6:32)
11. Cadavres Exquis (10:27)
12. Autour D'Un Cadavre Exquis (11:34) *

* Bonus track

Total Time: 73:53

B/four stars; an excellent addition to any prog lover's music collection.


Talented and creative musician Michael Moss gets together with former Anathema bass player/songwriter Duncan Patterson to create an impeccably sounding experimental trip hop album with all-female lead singing.

Lineup / Musicians:
- Michael Moss / acoustic & electric guitars, bass, keyboards, lead (10) & backing vocals
- Duncan Patterson (ANATHEMA) / bass, acoustic & electric guitars, keyboards, programming
- Michelle Richfield / vocals (1-4,6,8)
- Hayley "Mags" Windsor / vocals (5-7,9)
- Robert Magoolagan / lead guitar (9), co-producer
- Brian Moss / sampling
- Les Smith / sampling
- Danny Cavanagh (ANATHEMA) / guitar & vocals (11)
- Jenny O'Connor / vocals (11)

1. Saviour (3:05)
2. Holocaust (4:19)
3. Over Your Shoulder (4:38)
4. Psalms (3:40)
5. God Is Coming (5:27)
6. Angelic (4:32)
7. Flowers (5:10)
8. The Last Laugh (5:04)
9. Going Nowhere (8:33)

Total time 44:28

B/four stars; a gorgeous sounding collection of experimental music pushing the boundaries of what is, or could/should be, progressive rock music.


Producing some of the funnest, funniest, darkest, scariest, quirkiest, most unusual, and complex music in modern progressive rock, one can only scratch one's head at the genius, lunacy, and chaos that must be on exhibition during this band's brainstorming and practice sessions. 

Line-up / Musicians:
- Nils Frykdahl / 6- & 12-string guitars, Tibetan bells, autoharp, vocals
- Carla Kihlstedt / electric violin, percussion guitar, autoharp, harmonium, vocals
- Dan Rathbun / bass, electronics, Fx, autoharp, slide-piano log (9), vocals, co-producer, mixing
- David Shamrock / drums, piano
- Mario "Moe!" Staiano Jr. / percussion, marimba, timpani, guitar
- Frank Grau / drums (7)
- Michael Mellender / guitar (10-12)
- Matthias Bossi / drums, percussion & vocals (10-12)

1. "Sleep is Wrong" (6:35) a song whose music reflects the adolescent petulance of its title perfectly. I wonder how it worked out . . . when (and if) they grew up. (9/10)

2. "Ambugaton" (5:38) the amount of tension one can exude with simple, spacious chromaticism. The intro of this instrumental reminds me of PRESENT or UNIVERS ZERO while full-on ramped up belly of the song reminds me of LIQUID TENSION EXPERIMENT or BRUFORD-LEVIN UPPER EXTREMITIES. (8.75/10)

3. "Ablutions" (6:05) this more delicate ("fragile" might be the better word) is otherworldly eerie like a YUGEN or --at least until the three minute mark when the Stygian chorus "chimes" in. Weird but genius for creating a mood--and amazingly performed--especially by vocalist Carla Kihlstedt. (9/10)

4. "1997" (4:48) almost "straightforward" death metal! Not their strong suit; this kind of music places the band back in the categorical range of "normal" for emotive metal bands. Luckily, there is the passage in the fourth minute in which they shift to an odd time signature. (8.5/10)

5. "The Miniature" (0:59) chamber music! Gorgeous! I'd like to hear more of this side of the band's talents on display! (5/5)

6. "Powerless" (9:30) with an opening that sounds like a microphone was left on in a piano stringing factory, we are prepped for another doom-and-gloomer. But, man! are these guys talented musicians! (and creative song-crafters.) I think they've out angulated Fripp and the Crim as well as Danny Elfman and his Tim Burton soundtracks! And I love that they didn't have to use death metal growls to convey it (other than in the one-word choruses). Unfortunately, it does drag on a little bit too long in several places. (17.5/20)

7. "The Stain" (6:46) The descending chromatic scale used for this vocal--over a "musical" palette of very sparsely "decorated" industrial noise--does not work for me. The staccato Crimsonian interplay between the instruments also fails to engage me. This song is best described as an exercise in disharmony and disciplined turn-taking. (12.75/15)

8. "Sleepytime" (10:16) Another delicate attempt at Elfman-ish creep and sinister, the beginning section is simply too long, the middle "bridge" too drawn out. When the music does finally reach full scale at the end of the sixth minute, it is slightly dragged down by the continuation of the vocal chorus from before. The final 90 seconds is the best part of an otherwise disposable, sub-par song. (16.25/20)

9. "Sunflower" (7:52) eight minutes of playing around with the acoustics of a hammered dulcimer (and a couple of bells). An unfortunate way to end an album that started so dynamically. (10/15)

Total Time: 58:29

81.75 on the Fishscales = C/3.5 stars. Were it not for the descending disaster of the final two songs, this would be a near-masterpiece of adventurous and exciting progressive rock musical expression. Thus, I urge you to check it out for yourselves as the first half of the album is certainly something extraordinary. 

GLASS HAMMER The Middle-Earth Album

Fred and Steve try a familiar subject using, for them, some unfamiliar musical styles.

Line-up / Musicians:
- Fred Schendel / guitars,mandolin, keyboards, winds, percussion, vocals
- Steve Babb / bass, keyboards, percussion, vocals
- Walter Moore / vocals
- Brad Marler / vocals
- Susie Bogdanowicz / vocals
- Felicia Sorensen / vocals
- Sarah Snyder / vocals
- Thomas Hammett / vocals
- David Luther / vocals
- Jamie Watkins / backing vocals
- Tim Starnes / violin
- Bob Stagner / percussion (11)

1. "Elrenn and Endereth" (2:33) boistrous, rollicking Prog Folk in the most fairy-Celtic form. (4.25/5)
2. The Old Troll (1:56) 
3. "The Old Troll and the Maiden" (5:58) a bawdy old troubadour song: courtly male voice and "harpsicord." Very clever; very convincing. (8.5/10)

4. "Dwarf and Orc" (3:53) using an unusual "live" sing-a-long form, Fred & Steve keep it loose and friendly. Nice work with the traditional instruments (flutes/ocarina, bassoon, hand drums), boys! (9/10)

5. The King's Beer (2:41) 
6. The Ballad of Balid Longbeard (4:11) 
7. The Man in the Wood (3:27) 
8. Mirkwood (2:12) 

9. "As I Walk" (2:34) a minstrel-like love song performed to Katharine Blake perfection by chanteuse extraordinaire Susie Bogdanowicz. Kerry Minnear-like clavichord introduced with the second verse. Then harpsichord and mandolin during the chorus. Extraordinary work! (5/5)

10. The Last Ship (2:41) 
11. Mithrandir (This Fading Age) (5:08) 

12. "Sweet Goldberry" (4:41) more in line with their other Neo Prog work, thick chunky bass leading the rock ensemble format. Great use of the harpsicord sound. (8.25/10) 

13. No Crown for Balin (3:07)

Total Time: 45:16

on the Fishscales = 

Albums from 2001 that Are, IMHO, Over-rated

MOSTLY AUTUMN The Last Bright Light 

The much touted voice of Heather Findlay and the guitar play and compositional skill of Bryan Josh, and yet there is much more male lead singing, and a whole lot of familiar folk/Celtic folk or standard rock/R & B song structures. The brilliance is too little and too far between. Album highlights: the beautiful environmental advocacy folk song, "Eyes of the Forest" (9/10) and the Celtic folk song, "Shrinking Violet" (8/10). The rest is just cinematic melodrama or folk or rock rehash.


Unfortunately, three GREAT songs ("Tiny Tears" (9:13) [19/20], "Nobody's Here" (6:54) [14/15] and "Earth Day" (9:35) [18/20]) does not a masterpiece make. The rest is music that I don't care if I ever hear again. Yet Devin sure does have a following out there. Other than the hilariously entertaining Ziltoid the Omniscient, I don't get it. His over-the-top HEAVY guitar sound never changes (is he using the same chord throughout?) and it's hard to figure out if he ever takes his music or lyrics seriously or is it all just meant to be tongue-in-cheek. Does he really want us to recycle or is he just melodramatizing the environmental cry? Does he really like being alone or is he just being facetious?

Is this album really "essential"? I'm not even sure it's "an excellent addition." It may be a good album--or perhaps its just "for collectors only"? 2.5 stars for me. Recommended only for the above three songs.

MAGENTA Revolutions

Line-up / Musicians:
- Christina (Murphy) Booth / lead vocals
- Rob Reed / electric & acoustic guitars, keyboards, vocals, bass, tambourine, producer & mixer
- Steve Reed / lyrics & concept
- Chris Fry / lead guitar (CD1: 8-10, CD2: 13)
- Martin Shellard / lead guitar (CD2: 8-12)
- Andy Edwards / lead guitar (CD1: 7)
- Tim Robinson / drums
- Tim Short / percussion

CD 1 (41:05)
- Children Of The Sun (19:00) :
1. i) Spirit Of The Land (4:22)
2. ii) The Journey (4:34)
3. iii) The Battle (5:02)
4. iv) Thanksgiving (5:18)
5. Opus 1 (0:51)
- The White Witch (20:23) :
6. i) Overture (0:41)
7. ii) The White Witch (6:27)
8. iii) The Plague (4:17)
9. iv) Reflection (4:53)
10. v) The Spell (4:37)

CD 2 (55:25)
- Man The Machine (24:56) :
1. i) Man and Machine (1:11)
2. ii) War (5:34)
3. iii) Rememberance (5:00)
4. iv) The Watchers (3:53)
5. v) Lightspeed (4:08)
6. vi) First Contact (4:54)
7. Opus 2 (1:16)
- Genetesis (21:48) :
8. i) The New Age (4:49)
9. ii) Renewed Purpose (4:45)
10. iii) A New Life (5:02)
11. iv) The Search For Faith (5:23)
12. v) The Creed (2:08)
13. The Warning (7:17)

Total Time: 96:30


Line-up / Musicians:
- Hasse Fröberg / lead & backing vocals
- Roine Stolt / guitar, keyboards, lead & backing vocals
- Tomas Bodin / keyboards
- Jonas Reingold / bass
- Jaime Salazar / drums
- Hasse Bruniusson / percussion
- Ulf Wallander / soprano saxophone

1. "Last Minute on Earth" (11:40) horrible, boring, bad singing (and not even Roine!), no melodies, no interesting parts except opening and closing 30 seconds, respectively. (15/20)
2. "World Without a Heart" (4:29) pleasant, melodic, but nothing to distinguish itself from any Eagles B-song. (8/10)
3. "Road to Sanctuary" (13:50) YES and stadium rock band (THE WHO, STYX, URIAH HEEP)-oriented heavy prog driven by the STEVE HOWE country-guitar sound. At least it's more interesting than that opener. Nice wah-ed guitar solo in the fifth minute. Love the Baroque segue in the sixth minute that turns dark and ominous. And then a Spanish guitar solo before we return to singing parts. A gentle 1970s-sounding delicate singing passage very gradually builds and finally turns full prog at 8:18.  (25.5/30)
4. "The Rainmaker" (6:02) storms and church pipe organ open this one. Long, sparsely populated three-minute Ravel "Bolero"-like slow build until Roine starts rock soloing on his electric guitar. At 4:30 everything drops away for fast-chop effected synth while another sinth does cheesy computer raindrop noises. A song that I actually like. (8.5/10)
5. "City of Angels" (12:04) (/25)
6. "Elaine (4:55) (/10)
7. "Thru the Walls (4:31) (/10)
8. "Sword of God (6:00) (/10)
9. "Blessing of a Smile (3:12) (/10)
10. "Red Alert (1:10) (/5)
11. "Serious Dreamers (8:59) )/20)

Total Time 76:52

on the Fishscales = / stars; 

SHAMALL The Book of Genesis

Line-up / Musicians:
- Norbert Krüler / performer, composer & arranger

CD1 - The Book Genesis (73:52)
1. The Book Genesis, Pt. 1 (2:22)
2. New Age Krautrock Symphony, Pt. 1 (3:50)
3. Thank You (8:06)
4. New Age Krautrock Symphony, Pt. 2 (3:57)
5. New Age Krautrock Symphony, Pt. 3 (6:25)
6. Garden of Eden (3:21)
7. Lava (2:51)
8. The Book Genesis, Pt. 2 (5:13)
9. On Higher Ground, Pt. 1 (6:36)
10. On Higher Ground, Pt. 2 (5:48)
11. Knock Me Out (8:52)
12. Tai Gin Seng (3:21)
13. Eastern Sunrise (8:02)
14. Addiction (2:22)
15. Psychosis (2:46)

CD2 - Operation Brainstorm (73:52)
1. Blue Lavender Moon, Pt. 1 (5:35)
2. Blue Lavender Moon, Pt. 2 (2:37)
3. Light Up the Dark (4:13)
4. The Other Side (1:31)
5. Operation Brainstorm (5:11)
6. Blue Lavender Moon, Pt. 3 (2:45)
7. Song for a Dreamer With an Ambient Heart (16:23)
8. Invisible View (6:49)
9. Ice and Fire (12:19)
10. Cold Fusion (5:41)
11. Celtic Frost (5:55)
12. New Age Krautrcok Sympony, Pt. 4 (4:50)

Total Time 147:41

on the Fishscales = / stars; 

PENDRAGON Not of this World

Line-up / Musicians:
- Nick Barrett / guitars, vocals
- Clive Nolan / keyboards 
- Peter Gee / bass
- Fudge Smith / drums
- Tina Riley / vocals & backing vocals

1. "If I Were the Wind (and You Were the Rain)" (9:23) (/20)
- Dance of the Seven Veils :
2. Part 1: Faithless (4:09)
3. Part 2: All Over Now (7:30)
- Not of This World :
4. Part 1: Not of This World (7:20)
5. Part 2: Give It to Me (2:23)
6. Part 3: Green Eyed Angel (6:40)
7. A Man of Nomadic Traits (11:43)
- World's End :
8. Part 1: The Lost Children (10:46)
9. Part 2: And Finally... (7:13)

Total Time 67:07

on the Fishscales = / stars;

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