"Flying Teapot" is the first instalment of the incredible "Radio Gnome Invisible" series, which tells the story of the Planet GonG, a world inhabited by creatures called Pixies whose bizzare method of transport gives the album it's name. For those of you not farmiliar with the Gong Mythology (which is detailed in this series), a brief plot synopsis may be in order.

The story begins when the pig-farming Egyptologist Mr. Tea Being is sold a "Magik Ear Ring" by the enegmatic Antique Tea Pot Street Vendor and Tea Label Collector known only as Fred the Fish. The ear ring is capable of getting messages from the planet GonG via a pirate radio station known as Radio Gnome Invisible. The two travel to the Hymalayas, where they meet (in a cave) the Great Beer Yogi, Banana Andana, a figure who tends to chant "Banana Nirvana Manana" and get drunk on Foster's a lot. Meanwhile, elsewhere on Earth, the protagonist Zero the Hero is going about his everyday business when he experiences a vision which causes him to start worshiping the Cock Pot Pixie (also known as Hashman), one of the Pot Head Pixies of Planet GonG. Zero is distracted, however, by a cat, which he offers fish and chips to. The cat is actually the Good Witch Yoni, who gives Zero a potion which knocks him out, thus concluding the album. Characters in the Mythology can easily be equated to band members: Tea Being is bassist Mike Howlett, Zero the Hero is Allen himself, Didier Malherbe (who met Allen and Smyth in a cave on Majorca) is Banana Andana, and the Good Witch Yoni Gilli Smyth.

Radio Gnome Invisible- One of the stranger tracks on the album, which has strong overtones of the band's earlier releases as well as the subtleties that the group aquires with their musical progression. Flying Teapot- Easily the highlight of the album, this twelve minute piece makes great use of saxophone, piano, spacey effects over a great bass line and solid beat. Pot Head Pixies- One of the more surreal songs on the album. While comparatively short, its idiosyncratic lyrics and catchy tune make it instantly likeable. Octave Doctors- This track is the only major annoyance on the album. Lasting barely longer than a minute, it seems to have been included solely as a link between the third and fifth tracks (and as an excuse for Blake to experiment with his synths).

Zero the Hero- In terms of the plotline, this is the most important track on the album, introducing us to the protagonist Zero. Malherbe's sax playing is excellent here, and the mirific ambiences seen here act as a preview to some of the atmospheres in Angel's Egg, the next instalment of the trillogy. An absolutely amazing song. Witch's Song- Contains good instrumental parts, but Gilli Symth's lyrical parts detract somewhat from the overall quality. However, a good track with a more schizophrenic style than its predecessors, which provides a great end note for the album.

Overall- A great album -hampered only by poor sound quality and slightly weak production- which is definately the base for the success of the later albums of the Trillogy ("Angel's Egg" and "You"). Although one must listen several time in order to get used to the eccentric psychadelia of the album (and the gong Mythology, see above), it is more than worth the effort. The use of jazz-style improv, early synthesisers and a completely unique style make this an excellent addition to any progressive music collection. 4.0 great concept album

Don't be fooled, this is actually the second studio album from Haken guitarist Charlie Griffiths, just under a different name. I really liked his debut record of Tiktaalika, though I did feel like it drew a bit heavily from the original Haken sound. Though, I was quite optimistic going into this record, especially when I heard it focused more on the thrash metal elements that sometimes sprung up from the previous album.

This is a pretty good improvement from the debut I'd say. Gods of Pangaea really showcases Charlie's dynamic metal knowledge to new heights, with a bigger focus on old school thrash metal, mixed with an iconic progressive metal sound. The album has a very Voivod-like aura to me, which I quite enjoy, creating a sound that has a mix between the surreal and goofy nature of prog, with more serious aspects to tighten things together. Crack treated seriously, if you will.

Also, like the former album, Gods of Pangaea is a concept album, exploring the supercontinent of Pangaea, as well as the life that lived there. It's noticeably a tiny bit looser than the prior album, as the songs aren't quite linked up to form one big movement, which I do think was quite a missed opportunity. Imagine listening to the title track and through its segway you hear the foreboding bassline from The Forbidden Zone. I think that'd be pretty awesome. Shame that didn't work out in the end.

I also noticed some groove metal elements sometimes, which I think makes the sound more original. Again, my problem with Tiktaalika was that it felt like it drew too heavily from the Haken sound, and while the album does sometimes still carry that band's progressive metalisms, the added elements makes the proggy sound much more dynamic and interesting. I haven't really delved into the groove metal genre outside of Gojira and a Disembodied EP, but the groove elements here are really well done, especially in the bass work. Charlie and Conner Green are both really good at the bass, and they work well with each other, especially on The Forbidden Zone and Lost Continent, my personal favorite tracks on this album.

Though, perhaps it could benefit with some more technical and wackier elements than it already has. I think its big downside is that God of Pangaea sometimes can feel like a pretty straight laced heavy metal album. Obviously not on some of the longer tracks, but it does get kind of 'textbook definition' in terms of metal on here. Obviously, I am not expecting Charlie to reinvent the wheel here, but I do wish some of the tracks stood out a bit more, like Tyrannicide and Give Up the Ghost. Essentially while the prog is more dynamic, the metal has become a bit stagnant.

I think Gods of Pangaea is an overall improvement from Tiktaalika, with its more original sound that Charlie is more thoroughly playing around with, though it does still have some issues. All that aside, I am pretty optimistic for whatever Charlie has in store next, because I bet it'll be pretty good, if not better than this new album.

Best tracks: The Forbidden Zone, Lost Continent

Worst tracks: Tyrannicide, Give Up The Ghost

— First review of this album —

Energetic Pop/Prog Sunshine

DUEMILA12 is the longstanding musical collaboration of guitarist Roberto Bulgarini and vocalist Gianluca Fineo. The two friends share a lifelong passion for all music, and their work together began in the early 1990s. After some years of musical training and professional work, they recorded their debut Musical Elements in 2012. The music ranges from modern symphonic to crossover/art rock with an ear toward pop melody, but with extended and often luxurious arrangements and good performances. While this will be on the tame side for many hardcore RPI fans, it should appeal very much to fans of accessible, melodic Italian prog.

Made in Italy is the second full-length release for the guys. Not finding any deep bio information, I believe this second album is strictly the same two gents handling all vocals, guitars, keyboards, and percussion. They describe their sound as "pop rock songs and instrumental songs often with an inclination towards progressive rock, our fundamental goal is to transmit with our music relaxing and at the same time stimulating emotions for the fantasy of the listener." I would concur with that. They are a bit closer to the pop-rock side of things, but it comes with obvious nods to keyboard-laden prog rock.

I have a strong affection for the many truly obscure modern RPI bands that have continued since the '90s wave. Duemila12 reminds me of other such symphonic-friendly bands like Mindflower, Mellonta Tauta, Aton's, Cooperative Del Latte, and Mario Cottarelli, projects that utilize some pop elements without shame, and artists who may be just as inspired by post-Duke Genesis as they are by the earlier stuff. Their songwriting, vocals, and guitar/keyboard shadings are all quite strong here. As with the first album, there is a thinness to the production that detracts a bit, but it is not a dealbreaker by any means. I just wish I could hear the bass better, and I wish the rhythm guitar tone had more variability and umph. Roberto can certainly wail though on the leads when he grabs a solo.

Another notable impression of the dozen tracks of Made in Italy is the truly optimistic vibe of the songwriting and performances. While I don't understand the lyrics, this music is upbeat and smile-inducing for sure. If you enjoy the sunnier side of the deep RPI bench, definitely look for Duemila12 where you get your digital releases. To my knowledge, there is no physical product. In the years since the second album, Roberto Bulgarini has released many interesting individual tracks on YouTube, but I've not yet found an actual solo album from him. They appear to move slightly away from pop and more toward the progressive rock side. Hopefully he will bundle these singles and release a new album one day.

Listening to IQ music is always a challenge to me.

"Dominion" opens with a long piece, 22 minutes, and well, this is not what I feared, the composition is well written, the voice of Peter Nicholls is emotional, good, and a bit sad as always. To get right to the point, IQ is always doing the same album, for 40 years.

The record is well done, everything is controlled, but to me, the aesthetic is too wrong. Their way to impose their chords-plaster, all along the album, is boring me up. To me, it's the worst Banks/Genesis use of chords, with Mellotron voice and so on, melted with some metal riffs. It's the opposite of progressive music. It doesn't show something new, or some subtlety to the compositions. They always go to these enormous chords-plaster. It's a nightmare to me, especially the keyboards. It's always a variation of Genesis' s special part of a song, a variation of "Apocalypse in 9/8" for example. "No dominion" embodies perhaps the most what I dislike in IQ music, the big chords-plaster.

But to be positive, they master their world. The mix is great, the sound is good, and the composition is well done. So if you like IQ, you will love this album.

But to me, it's not what I'm searching in progressive music. I search something delicate, that surprises me, adventurous and inventive, and this music doesn't bring me that. It's seems that with that kind of album, the progressive world is lost. But don't get me wrong, I think that this album is a good album, in it's own way. But I feel so desperate with that kind of album. So I'm looking around, searching "outside" of the prog world. Tigran Hamasyan for example.

So, fair enough, I wish a good listen to those who love this kind of music. There's nothing wrong. It remembers me of Marillion. In a same way, Marillion is always doing the same album, in a rhythmic perspective, and with the guitar. I love Marillion, but I feel that they are stuck in their way to compose music. And IQ is stuck too. But they improved their own language, so in that perspective, it's good.

I just listened Yes 50 live, and compare the songs that are the same, "Close to the edge", "Awaken", "Yours is no disgrace", "Rounabout" and "Starship trooper". And the observation is, Jon Anderson and the band Geeks are going back to something that is right. Ok, it's not Yes, but the interpretation is amazing, made with energy and precision.

I feel that this interpretation of the Yes catalogue disqualifies the current Yes, yes it's clear. With Yes 50, the keyboards of Geoff Downes don't work, especially "Close to the edge" and "Awaken" The dynamic within the songs are quite lame, and sometimes they don't play well together. Steve Howe seems to struggle with his own part. And the singer Jon Davison struggles, and delivers some inadequate parts

To me, it was important to have this in mind. Jon Anderson and The Band Geeks is not Yes, but their interpretation of the Yes catalogue goes back to what is was. The energy, the complexity of composition is in front of us. To me, it's an interpretation of Yes, but close to Yes. They try to duplicate the sounds of the studio albums, and the avantage is that they understand how the composition is written. The musicians are amazing, and the keyboardist Chris Clark doesn't suffer the comparison with Rick Wakeman (what Geoff Downes does). The choice of the sounds, with Robert Kipp are more accurate than the current Yes. And the bass, delivered by Richie Castellano is just amazing, big, and gives a good rendition of what Chris Squire was to the band, an extraordinary locomotive.

Jon Anderson and the band Geeks delivers something right to the Yes heritage. Not to mention that Jon Anderson has still a wonderful voice.

So if you're a Yes fan, you will love this. And I will always thank The Band Geeks to give us the opportunity to listen to Jon's voice again, at 80 ! They worked so well, they are the new interpreter of Yes music, like all these people in Classical music.

(written by a french guy, pardon my English)

Secret Treaties (1974) definitely reminds me of the best of Deep Purple's early albums, with engaging riffs and diversity between the tracks. It's hard to believe this album was released just before the more pop rock Agents of Fortune (1976).

The first track, Career of Evil, is an excellent introduction to the album, allowing each instrument to shine. Through a catchy chorus and more virtuosic passages, the band creates a captivating dynamic that highlights the complementarity of the different members. Next comes Subhuman, with more restrained riffs, which serve as an excellent transition into one of the album's best tracks, Dominance and Submission. In this piece, you can truly feel the band's intensity. The song is evolving, speeding up, and features the voice of Eric Bloom, which is used almost like an instrument of its own. Then, ME 262 is a very fast track with little respite in terms of pace. I see an interesting connection with Highway Star, which relates to a frenzied car race, while ME 262 focuses on the intensity of a fighter jet in mid-battle. Cagey Cretins is certainly a change in style, with a more pop vocal approach and a very progressive sound. Then, we return to a more jagged and symphonic rhythm, even psychedelic, with Harvester of Eyes. It's worth noting that the title is as mysterious as the end of the track, which directly bridges into the superb Flaming Telepaths, featuring a great chorus and riffs that fill the entire musical space.

Finally, the masterpiece that is Astronomy. I'm one of those who first heard this track through Metallica's cover. Metallica's version succeeds in capturing the essence of the original while adding much more bite. It results in a solid version with a hint of progressive rock. As for the original, the balance between all the instruments is emphasized with a lot of subtlety, creating a mysterious atmosphere that perfectly sums up the complexity of the album. The crescendo in this track brings the album to a powerful conclusion. An excellent album, with no real low points, offering an interesting blend of riffs, solos, and, above all, an incredible voice from start to finish.

Klaatu has remained an obscure band, which at first was rumored to be an "undercover Beatles", which I never quite understood, as it's really a sound in itself. But, then again, they also rumored a thing like that about Gerry Rafferty and Joe Egan's Stealers Wheel's. It was more like wishfult thinking, I guess. Where I'm concerned Canadian band Klaatu really has delivered an absolute pop-highlight with their "Hope" album. The title-song's lyrics I have often refered to in my Internet contacts when hope was to be defined.

But the song "The loneliest of creatures" must be about the most underrated song of the world, whereas it should be mentioned in one breath with "Bohemian Rhapsody". A great classic rock song with strong chorus and climax building. Once it did grab you, it'll undoubtedly never leave you, as will not "Hope". 4.5 strong Beatles vibes

Of their early albums, Hawkwind's Hall of the Mountain Grill ends up being their most -- dareIsay -- mature. As a result, it took me several listens to warm up to it (because of my own pathological brand of immaturity!). Tracks like "Wind of Change"/"D-Rider" are more placid and swooshy than the full-tilt psychedelic spaceship explorations found on Doremi Fasol Latido or Space Ritual. But this attention to detail, definitely lacking in their earlier studio output, makes this album a worthy entry in their early discography. The live cuts "You'd Better Believe It" and "Paradox" bring some of the energy and menace found on Space Ritual and don't sound all that out of place next to the album's other studio-gestated cuts. Overall, this album flows better than their earlier efforts though it lacks anything as amazing as "Brainstorm" or "Master of the Universe." Though I prefer this album's successor, Warrior on the Edge of Time, Hall of the Mountain Grill has plenty to offer fans of Hawkwind and psychedelic/space rock. 4.5 its one of the best entries from these great space rockers.

Take me to your Leader shows that Hawkwind are actually a phoenix. Before this album Hawkwind appeared on their last legs, Spacebrock was a poor outing and the band hadn't released anything truly worthwhile for a long period of time. Take me to your Leader however, shows not just signs of rebirth, but also of new growth for these venerable veteran space rockers

To say that this is entirely a Hawkwind album would be a little bit of a lie, instead this album is dedicated to Hawkwind and friends. Take me to your leader containing a rather large list of additional members, all of which only appear on a track or two.

Take me to your Leader starts off with a remake of the track 'Spirit of the Age', which originally appeared on the Quark, Strangeness and Charm album. In a bizarre twist of fate, the new track might actually be superior to the old one with its modern sounding cracks and pops. The lyrics to this new track are slightly different to the old one, showing either adaptability or a mild case of musical dementia. However, this new track is much faster paced and flows a lot better. Matthew Wright does Robert Calvert proud with his take on this track.

But "Take me to your Leader" isn't a case of Hawkwind retracing old ground in an attempt to find greatness, the album instead grabs a machete and begins to hack its way through the undergrowth on a path of freedom. Tracks like 'Out Here We Are' are much slower and thoughtful, they contain an excellent mix of both drumming and synthetic styles, which sound much more modern than anything Hawkwind had done before. With five years between this and Spacebrock, it is clear that Hawkwind spent much of this time researching new ways to make music. Some of the best parts of this album are when Saxophonist Jez Huggett joins the fray, his excellent work bringing the band to whole new heights.

Hawkwind bring a lot more style with them on this record, and this album does contain a fair share of influences, both old and modern. Songs like 'Digital Nation' would sound at home on a Radiohead album, whilst other parts sound similar to music released from post-rock artists. Take me to your Leader happens to be the most consistent Hawkwind album released in years, and some of the tracks sit at the high-end of anything released by the band. 'Sunray' is a musical wonder, with Arthur Brown's distinctive voice going perfectly with the band's upbeat sound.

The final track 'A letter to Robert' brings home something that Hawkwind have always had an issue with; feeling. It is a conversation between Arthur and deceased vocalist Robert Calvert, a man who suffered painfully for his greatness. As you listen to the ramblings of Calvert, you gain a sudden sense of realisation. This album isn't about Hawkwind, this is a dedication to one of their most important members, with Take me to your Leader, Robert Calvert sings once more.4.0

Jacob ROBERGE releases his debut album, a sound inspired by Porcupine Tree, Styx, Harmonium, Pink Floyd, Rush, and Yes. A versatile musical prodigy. His participation in the TV show Star Acad�mie solidifies his profile as a young prodigy.

"The Long Way Home" features a solemn piano arpeggio highlighting Jacob's voice; acoustic guitar, classical orchestration with its strings; a crystalline piano break before the wild finale; the guitar solo filled with emotion; the grandiloquent side of Barclay James Harvest at the crescendo. A rock ballad addressing the themes of homelessness and the precariousness of the future. "Empty Traces, Pt. 1" features a chilling piano arpeggio; the melting vocals exude emotion, beauty at its peak on a warm slow song. The Western guitar exudes a drop of emotion before the soaring. An emphatic guitar solo throws the audience into disarray before giving voice to the reverberating guitar. "Garden of Souls" syncopated pad over a juice of melting notes; the distant vocal is ethereal, languid, and nostalgic, somewhere between a ballad and a nursery rhyme from the ends of the earth over a volley of violins. The vocal carries the listener to an overdone melodic track where her suave voice floats; backing vocals and the heavy riff make this piece explode. The soft, warm keyboard, the heavy riff with the organ in the background, a pure moment of regression. "Petrichor" solemn piano and majestic vocal, definitely a plus; a jazzy air that evolves into an Andalusian mid- tempo. Slowness and redundancy in a form of musical wandering. The solo trumpet with voiceovers is unsettling; a minimalist piano break, acoustic guitar releasing concentrated emotion, eyeing the captivating lines of MEER. The soaring vocal finale with the guitar solo provoking reflection and contemplation. "Empty Traces, Pt. 2" warm piano, a departure from SAGA's "Generation 13." Jacob inundates us with his distinctive, angelic voice. A syrupy ballad launching the admirable guitar solo, then the progressive variation via a pad. The chorus builds to STYX, and the guitar resumes, rising higher, shivering. An ethereal, solemn, and icy finale with Mercury-esque piano.

"The Passing" begins grandiloquently, solemnly, and symphonically; I find the soul of a Genesis-esque ANGEL, the orchestral sound worthy of DREAM THEATER, the madness of Neal MORSE with his brilliant fingering of the guitar solo for the transition from life to death. The five-minute intro holds the stage, the best of the year. The ambient space arrives, the vocals laid over BARCLAY JAMES HARVEST again, a musical moment between classical and rock, a warm passage full of emotion before the explosion. The bass break with neo-classical violins and cellos. You have to reach the first third to have a semblance of a chorus followed by a progressive drift with the drums as a catalyst. The jazzy space with the piano, the fat guitar solo then the explosion, everything is melancholic, ethereal, everything is majestically interpreted. These five stages of mourning navigate between classical, heavy rock and musical maestra with diverse rhythms and styles. The last third takes a Yessian turn with this grandiloquent detour, a Crimsonian passage with WETTON's voice before going on to fleshy heavy rock that would make many prog metal bands shudder. The solemn finale with southern western guitar, the soaring string instruments finish hitting the listener. The track of the year. We'll talk about it again in December.

Jacob ROBERGE, thunderous classical music supercharged with energetic rock; a classical-rock fusion that takes us far into varied symphonic spaces where twists and turns follow one another seamlessly. A very good album, easy to access and gradually captivating.