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Forever Twelve have produced an entertaining album again. From the conceptual side it's an analogy of human behaviors. Music-wise they somehow have adapted all of the qualities that are provided by those various bands deriving from the Neo and Symphonic Prog department. The multi-variant, rather unpredictable flow of the songs. Also the vibrant implementation. John Baker's distinctive lead vocals. Sense of harmony and melody is available more than enough. In sum a very rounded stringent case.

For fans of Watershed-era Opeth, Mabool-era Orphaned Land, and Exul-era Ne Obliviscaris. Lacks the Tool-esque alternative edge of the debut. This sophomore release probably has better songwriting, but I do not like the new "modern," as the band calls it, production/engineering techniques. Would be a much better rating if it were produced well like the debut instead of poorly like it is now... it''s way too loud, which is really unfortunate, as it sounds very compressed... this is why we can't have nice things .

The band have been invited to play three gigs in Shibuya/Tokio, it was February 2007 exactly. A passionated Japanese fan sponsered their mini tour. This also connoted the first band reunion since 1974, at least when speaking of the core line-up consisting of Lutz 'Lüül' Ulbrich, Michael Hoenig, Burghard Rausch, Gustl Lütjens, and Michael 'Fame' Günther. The song compilation predominantly represents the band's first two studio albums 'Malesch' and 'Second'. That means a proper North African Ethno/World component is also available. Both productions are highly acclaimed, while certainly serving an important contribution to the establishment of the Krautrock genre. The songs very much live from the splendid interaction between both guitarists and are trimmed with a modernized approach a bit. However the spirit of 'the good old days' is still noticeable, that's guaranteed.

Fortunately the band have decided to go further. And so this album first and foremost is dedicated to former influencial member Eric Bouillette, who unfortunately died last year. And they also have invited some established musicians in order to beautify this case. Especially when it comes to evocative vocals, rich in variety, exemplarily to name Riccardo Romano. With success one can say. The concept reflects on the human condition as a general rule. In concrete terms this deals with protagonist Rudy, who had 1000(!) lives at disposal and begins to recapitulate his diverse incarnations. It all sounds atmospheric, elegant, instrument-wise the focus lies very much on acoustic guitars and symphonic keyboard patterns.

This one runs into a 70 minutes lasting revelation, when it comes to my standards. Still in 2023. The Australian Prog giants are returning back to a concept album format here, dealing with the downfall of media mogul James Osbourne-Fox concretely, who is imprisoned in his own body after a severe brain injury. This obviously is spiked with references to current conflicts worldwide. The album shows the band on its emotive peak at that time (even so far). Features diversity, a bunch of catchy moments, weird samples. Alongside with the technical and instrumental skills respectively implementation, this marks something spectacular. A really stunning result. Lead vocals are from the finest ever. Hard to beat.

The band around keyboarder Sean Timms re-appears in 2023 with new lead singer Shaun Holton. They are offering seven new Heavy Progressive Rock essentials, again comprised of the wellknown tricky execution concerning the instrumental parts. This skillful blend of atmospheric and powerful moments is recommendable, no reason to complain. Again Steve Unruh and Marek Arnold have been hired for the purpose of serving some violin and wind contributions.

A new collaborative project with roots in Chile, Canada, USA, initiated by John (guitars) and Francis Clark (bass). The essence of this 12 entertaining tracks is very much related to Jazz Fusion, but not exclusively. It's definitely more varied, thus entertaining, due to several Ethno / World and Art Rock elements also added to the music.

Yep, stay for the ending. The Chicago-based musicians continue to push themselves to new heights in music making. Conceptually the album traverses a vast array of themes that are exploring the human condition in general. Ten new atmospheric as well as heavy rocking cross genre explorations are available, adorned with Leslie Hunt's haunting lead vocals. The band once again delivers round about sixty tricky, varied and passionate minutes.

They are hailing from the vivid cultural melting pot Berlin. Quite diverse musicians are aboard on each and every album, where drummer Nicolas Sheikholeslami makes the driving force in general. Now this album sees six collaborators involved. Their music is based on an improvisational attitude and a proper focus on the synthesizer input. This is very much Krautrock inspired, just in the vein of bands like Can, Brown Spirits, diverse Aidan Baker projects, and even Embryo due to some Ethno World imprint. They also had some sessions with ex-Can singer Damo Suzuki, and the essence then was released on another album.

It's the fifth album recorded under this moniker, after they emerged from the Antique Seeking Nuns outfit in 2008. The musicians definitely could preserve and even refine their musical fellowship. This album brings a well balanced blend of short songs and extended pieces, the latter also featuring some improvisational attitude. One significant band trademark is the great symbiosis of atmospheric balladesque Art Rock and tricky Canterbury infected episodes. Some more recognition value actually, especially when speaking of Joff Winks' unique gentle voice and acoustic guitar. Also concerning Matt Baber's looping synths and jazzy electric piano.