This news story was originally published here:

Although founded some 18 years ago by composer, guitarist, multi-instrumentalist Chris Gill and Petrichor is Band Of Rain’s seventh release, I can safely say all are completely new to me. Some digging, along with a lot of listening, reveals that BOR pretty much revolves around Mr Gill, with each release having a fairly transitory line-up, which goes a long way to explaining why all the albums retain a commonality of sound. There are identifiable musical threads – a predilection for instrumentals, cinematic in scope, with Gill’s fluid arpeggiated guitar featuring prominently and acting as the linchpin across the time span.

Not that I have had the opportunity to cover all their previous releases in any great depth since first coming across Band Of Rain, but my initial reaction is that Petrichor is a more visceral beast. The pounding opener Daughter of the Moor confirms, with hallmarks of a ’70s blues rock anthem, but without all the bluster and cliché.

Initial thoughts – gosh the bass end is deep on this album, so much so that I checked there was no added low-end boost on the old amplifier. As track two, The Craft, kicks in, I nod in a reassuring fashion – the bass really is cavernous, both EQ wise and instrumentally. So perhaps as good a time as any then to mention the ‘mix’ on Petrichor, which I initially found a little odd. I mean the bass guitar is high in the mix, I kid you not! As the album unfolds, however, it starts to click, and when you realise the man behind the bass guitar is none other than Jon Camp, you start to think, ‘Yeah, why not?’

The Craft really does seem to indicate a departure in BOR’s musical pathway as there’s a strong band feel here on Petrichor. Like the preceding track, and to a certain extent the album as a whole, The Craft is fairly pedestrian in pace. Not a criticism, merely an observation and the inclusion of a couple of up tempo ‘rockers’, chucked in to liven things up, would have completely destroyed the atmosphere.

Low-end keyboard ‘donks’, synthy leads, followed by a well crafted keyboard arrangement herald not only “proggier” notions, but fully alert us to the presence of Robert Webb. Robert will of course resonate with those who remember the band England, who released the highly regarded Garden Shed in 1977. Larkspur also sees Matthew Corry stamp his authority on proceedings. Not only responsible for the excellent vocals, but also the poignant lyrics – a fantastic track, which on the first listen through the album confirmed that I might be onto something rather special here. Not one for comparators really, however, atmospherically Larkspur touched on Rush’s Tom Sawyer whilst sharing a distant DNA with ELP’s Black Moon.

Earlier I commented on the ‘mix’ of the album, which took a little time to adapt to. No such issue on the production however, which is warm and thunderous. Considering my first few run throughs of Petrichor were via Bandcamp and that was impressive enough, higher quality audio files revealed great sonic depth. One for the hi-fi buffs looking to put their system’s low-end through its paces.

On the first of two instrumentals that follow, the stately Merlin, like so much of the music on Petrichor, is about the aforementioned atmosphere and that aura is plentiful here. Rick Hambleton is metronomically rock solid, allowing Jon Camp’s slithy toves to gyre and gimble along the fingeryboard, all mimsy with the melody is he. Jesting aside, Robert Webb provides a lush bed of strings and the perfect foil for Chris Gill’s hypnotic guitar arpeggios. The rockier, mid-tempo Tupelo follows, the shortest track on the album and the only time that the band ‘cut loose’. The concluding 12-bar, perhaps a reference to the Mississippi city of Tupelo, I not sure, it did however seem somewhat incongruous to me. Or maybe not? Perhaps a link to the US Southern states, referenced by the ‘Halfway House Male Voice Choir’ samples that introduce Witchfinder.

Witchfinder, despite the title’s heavier connotation, is a real smoking stomper and another highlight from the album. Gill’s muscular guitar, Corry’s silky voice and Camp’s initially pounding and latterly fluid fretless, make this a stunning track.

Petrichor: “a pleasant smell that frequently accompanies the first rain after a long period of warm, dry weather.”

So, with the sound of rain, we close out with the title track. Clocking in a just over twelve minutes the opening section is light, with a delicate musical Q&A between the instruments and vocals. A now familiar, but welcome, band arrangement kicks in for the main body of the track, fleshed out with some nifty synth lines from Robert Webb. Now it has to be said, a few of the tracks have end sections that are a little, erm, different, bewildering even, however not so here. Chiming guitar, subtle bass and Matthew Corry’s harmonised vocals, truly sublime. As the rain returns we are left with a sweet and pleasant smell indeed…

And that’s it folks.

Following the adage “Never judge an album on the first listen” definitely applies here. Barring Larkspur and Witchfinder, my initial impression of Petrichor was that it was good in parts, lacked the variation that normally attracts me, and was a little too one-paced. The latter two comments still apply, but in a positive way. Granted, there’s little evidence of odd meters or fiery instrumental salvos, but as mentioned previously, it is the stately tempi, employed across the entire album, along with the subtlety of the parts, that ultimately gives the album its enormous charm. Oh… and did I mention that lovely deeeeeeeeeeeeep bass?

01. Daughter of the Moor (7:49)
02. The Craft (6:34)
03. Larkspur (7:53)
04. Merlin (7:18)
05. Tupelo (5:43)
06. Witchfinder (7:33)
07. Petrichor (12:12)

Total Time – 55:02

Chris Gill – Guitars, Programming
Matthew Corry – Vocals (tracks 1,2,3,6 & 7)
Robert Webb – Keyboards
Jon Camp – Bass
Rick Hambleton – Drums, Percussion
~ with:
Ria Parfitt – Whispers (track 4)
Halfway House Male Voice Choir – Choir Samples (track 6)

Record Label: Independent
Country of Origin: U.K.
Date of Release: 30th March 2020

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Northern Star 4th June 2020.

Remastered  !

Theme Pallas – Northern Star

  • Can – Mother Upduff
  • Twelfth Night – Creepshow
  • Eloy – Illuminations
  • Galahad – Democracy
  • Talk Talk – Living in another world
  • Motorpyscho – On the Toad again
  • Gryphon – Lament
  • IQ – awake and nervous
  • Peter Hammill – Hesitation
  • Jethro Tull – My God
  • Sweet – set me Free
  • Little Angels – The Colour of Love
  • Porcupine Tree – Don’t hate me
  • Joni Mitchell – a Chair in the sky
  • Judie Tzuke – Liggers at your funeral
  • Kansas – magnum Opus
  • Marillion – Living the big lie
  • Matching Mole – Smoke signal
  • Genesis – Suppers ready

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Edition 234 of Steve Blease’s Heavy Elements is now available as a podcast.


Communic – Where History Lives
Sojourner – The Deluge
Hyborian – Driven by Hunger
Nightwish – Endlessness
Voyager – Lost (Live)

That Was The Year That Prog: 1995
Conception – Under a Mourning Star
Shadow Gallery – Warcry
Nevermore – Garden Of Gray
Savatage – Doesn’t Matter Anyway
Opeth – The Twilight Is My Robe

Epic at 11: Arcane – Asylum: Acolyte Zero

Wolfen Reloaded – Tomorrow Never Comes
Edge of Ever – The Paintbox

Album of the Week: Poem – The Great Secret Show
End of Season

The Offering – Failure (S.O.S)

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This news story was originally published here:

Grandval are a new band to me, but have immediately endeared me with their sound. Grandval may have begun as a solo vehicle for Henri Vaugrand, but for second album, Descendu sur Terre, they sound like a band – even if all but one of the members are credited as guest musicians, making the band now officially a duo, I guess. A very French duo, too, which is fine with me. I am a fan of classic French bands like Ange and Mona Lisa, who quite clearly are influences; and I love Nemo – who are the band Grandval are closest in sound too. Given that Jean-Baptiste Itier is on drums, and Jean Pierre Louveton plays a large number of guitar parts, and provides some vocals, too, this is probably unsurprising. However, while Grandval play a similar style of music to Nemo, it is certainly not the same.

You’d be forgiven for wondering what I’m talking about, though, when the album begins. As, before changing style quite dramatically after a couple of minutes, the opening track is unashamedly Floydian – perhaps too much so, for some to enjoy. I definitely like it, but find it hard not to dwell on how close in sound it is. When the change comes in, it has great impact. From what I can gather, Descendu sur Terre is the second album in a trilogy, concerning the four elements of nature, and the madness of a fifth element (humans). Grandval’s debut album focused on air, and Descendu sur Terre takes on water and earth. I can’t help but think of the two distinct halves of Exondation being musical personifications of these two elements. It’s a beautiful introduction to the album, but things only get better from here on.

I decided to listen to Grandval’s debut, (A Ciel Ouvert…) after enjoying Descendu sur Terre, and the difference between the two albums is astounding. There’s nothing really wrong with the debut, and it’s still very nice to listen to, but Descendu sur Terre blows it out of the water. The two biggest differences to my ears come from Olivier Bonneau and Jean-Baptiste Itier. Bonneau is the only musician other than Vaugrand not credited as a guest, but I hope that Itier joins the ranks officially, too. Vaugrand is a multi-instrumentalist, but it’s his bass interplay with Itier that really works for my ears. Whether playing right or loose, the rhythm section is amazing on this album. And I love Itier’s drumming. If I didn’t already, I definitely would within the opening moments of Un Nouveau Destin. Itier’s drumming definitely puts Descendu sur Terre on a new level, compared with the debut, and without a doubt is able to capture the madness of the human element. The dynamism Itier brings to Grandval cannot be denied.

And Bonneau? Well, it’s hard to tell, as he and Vaugrand both play keyboards, but so much of the playing and arrangements on Descendu sur Terre are different enough from A Ciel Ouvert, that I assume a large part of this is down to Bonneau. The keyboards play a huge part in the overall sound of Grandval, and Bonneau appears to be the perfect foil for Vaugrand, upping his game so that the diverse keyboard atmospheres are all quite incredible to hear. Whether psychedelic, fusion, or trip hop, the keyboard playing is on point.

Puissances de l’Infiniti is a short, almost Porcupine Tree sounding, song which doesn’t really have enough time to develop, and seems to falter and fall away before it needs to, but the introduction to following title track is so gorgeous, it doesn’t matter – although again, it’s all too short, as the bombast takes over the calm of the opening. But it’s a thoroughly enjoyable romp, even if it fades out when it still seems to have quite some life in it. But if my sole criticism is that I wish the songs played out longer, that’s hardly a negative. I just feel that there are musical ideas here that deserve to be developed further, and the ending arrives too abruptly. But that could well just be me, and others may have no such problems. (I am aware that in the past I have made such a comment about a song being too short and fading out unnecessarily, to find that I was very much in the minority.)

On a more positive note, I love the percussion and sound effects that usher in Fractal et Systémique. There’s a very watery tone that’s entirely appropriate for the theme of the album. And, wow, again Itier shows just how impressive his drumming is. And his presence in the mix also reminds me to make a comment upon the production of this album. While there is no way you could call the mixing and overall production of debut album, A Ciel Ouvert… poor, there was to me a simplicity and almost DIY nature to it, that is completely absent on Descendu sur Terre.

Following this track is Le Chemin a l’Envers, which was released as a single ahead of the album. The choice of this track as a leading single surprises me, as although it’s quite nice, it is hardly indicative of the more modern sound of the album as a whole. Le Chemin a l’Envers definitely harks back to classic French prog, to the point of almost sounding dated. Perhaps this is intentional, as what little I remember of the French I learnt in high school translates the title as The Way Back. Regardless, I’m not convinced at all that this is anywhere near the best song to promote the album. It’s a quite beautiful ballad, but if it were the first song I heard from Grandval, it wouldn’t have made me want to investigate the band further. It’s probably the least interesting song on the album for me, and although I do like it (don’t get me wrong), it is as part of a whole.

Il Existe une Etoile in its length shows what Grandval can do when given time, room and space. I do wish other tracks (for example, as aforementioned, Puissances de l’Infiniti and the title track) had been afforded this luxury, as when Grandval are able to stretch out, they really shine. I’m not sure if this is my favourite track overall, but it’s right up there if not, and definitely several of my favourite passages of the album occur within this song. I don’t think it’s coincidence that my favourite songs on Descendu sur Terre are the longest.

That said, the following La Muerte est dans la Place is also a definite favourite of mine, and (apart from Puissances) is the shortest track on the album. It’s also unlike anything else on the album – but it’s quite fantastic. Although the track does have an end, the manner in which this occurs, and the way Brûler dans les Flammes de l’Enfers follows immediately, works almost as if the songs segue – and the first time I listened, without paying attention to the track listing, I didn’t realise immediately that I was listening to a new song. Brûler is almost like the inverse of opening track, Expondation, for if it did not return to the opening theme, it is a song of two halves, with the second being decidedly Floydian.

Descendu sur Terre could have ended quite nicely with Brûler dans les Flammes de l’Enfer, providing the album with sonic bookends, that while somewhat cliché are effective and pleasing to the ear. But Grandval have one more trick up their sleeve, and the third longest track of the album is another completely engaging and entertaining epic. There are hints of bands such as Rush and Deep Purple, which I’ve not noticed anywhere else in the album, in final track La Vie, Pourtant, La Vie, as well as some of the most incendiary guitar solos. It’s a quite glorious finale, ending the album with extravagance and panache.

The CD also contains a bonus track, a cover of La Maison de Men-Tää – which is incredibly good, but which does kind of spoil the perfect ending that La Vie gave Descendu sur Terre. It’s a double edged sword, I guess, as I’d have hated to not have this track, because it’s very good – but at the same time it’s presence here just feels wrong. On my iPod this is solved by keeping the cover, but not as part of the album. It’s nice, though, that the bonus track is part of the physical release, rather than the download – as so often, it is the other way around. And, unlike many bonus tracks, this one is well worth hearing.

If you enjoy the theatrical nature of classic French prog, and want to hear it with a modern and contemporary production and aesthetic, Descendu sur Terre should delight you. There’s a freshness and charm to this album that is extremely pleasing to my ears. If the final part of this trilogy raises the bar even half as much as this album has from the first part, then it will be something incredible. Grandval has set the standard high, but given what I’ve heard here, Vaugrand and Bonneau, and whomever they bring with them for the next stage of Grandval definitely have what it takes.

01. Exondation (5:39)
02. Un Nouveau Destin (9:20)
03. Puissances de l’Infini (1:42)
04. Descendu sur Terre (5:05)
05. Fractal et Systémique (5:35)
06. Le Chemin a l’Envers (6:16)
07. Il Existe une Etoile (10:38)
08. La Meurte est dans la Place (4:37)
09. Brûler dans les Flammes de l’Enfer (5:25)
10. La Vie, Pourtant, La Vie (8:50)
~ Bonus track
11. La Maison de Men-Tää (6:33) [CD only]

Total Time – 69:45

Henri Vaugrand – Vocals, Guitars, Bass, Keyboards, Programming
Olivier Bonneau – Guitars, Keyboards, Bass Pedals, Vocals
~ with
Jean-Baptiste Itier – Drums
Jean-Pierre Louveton – Guitars (3,4,5,6,9 & 10), Mellotron (8), Backing Vocals (6)
Christophe Chalancon – Guitar Solo (10)
Kevin Serra – Guitar Solo (5)
Raffaele Spanetta – Guitars (2)
Steph Honde – Guitars (1)

Record Label – Independent
Country of Origin – France
Date of Release – 24th April 2020

Grandval – Website | Facebook | Bandcamp | YouTube

LFPT - Requests
I’m delighted to announce that the podcast for edition 343 of Live From Progzilla Towers is now available.

In this all request edition we heard the following music:

  1. Pink Floyd – Echoes
  2. Del Scott Miller – 22/1
  3. Hear ‘N Aid – Stars
  4. Iron Maiden – Brave New World
  5. Steel Mill – Green Eyed God
  6. Jargon – In Search Of The Invisible Thin Line
  7. Gravity Machine – It’s Summer
  8. Linkin Park – The Requiem, The Radiance & Burning In The Skies
  9. Ministry – Antifa
  10. Wigwam – Planetist & Maestro Mercy
  11. Queensryche – Suite Sister Mary
  12. Art Zoyd – La Nuit
  13. 3Rdegree – The Socio-Economic Petri Dish
  14. The Rube Goldberg Machine – 2016
  15. Peter Mulvey – If You Shoot A King You Must Kill Him
  16. Bozzio Levin Stevens – Duende
  17. Scott Wainwright – Blue Flame
  18. Trettioariga Kriget – Mina Lojen
  19. Toyah & The Humans – 21st Century Schitzoid Man
  20. John Wetton – Hold Me Now

iTunes/iPod users*: Just search for ‘Progzilla’ or subscribe to:


This week on Prog-Watch Dr. Rob Fisher returns with a new Progressive Discoveries feature on the second album, Asylum, by a great band from Italy called Art! In addition, I’ve got fabulous music from Anubis, Chimpan A, Pendragon, Psychoyogi, Starset, Mirthrandir, and Galverna! I hope you will join us!

722: Variety + Art on Progressive Discoveries


Edition 242 of Sounds That Can Be Made is now available as a podcast!


Pattern-Seeking Animals – Raining Hard In Heaven (from Prehensile Tales)
Pendragon – Soul And The Sea (from Love Over Fear)
Moon Halo – Seventh Heaven (from Chroma)
Hats Off Gentlemen It’s Adequate – Sixth Extinction (from Nostalgia For Infinity)
Anubis – Gone (from Homeless)
Anders Buaas – Cunningham (from The Witches of Finnmark II)
Rose – A Taste Of Neptune (from A Taste Of Neptune)
England – Poisoned Youth (from Garden Shed)
They – Pseudogray (from Unspeakable)
Bomber Goggles – March of Tides (from Gyreland)
Pink Floyd – Yet Another Movie (from A Momentary Lapse of Reason)
Roger Waters – Home (from Radio K.A.O.S.)
Marillion – Go! (from
Fish – Tumbledown (from Raingods With Zippos)
Also Eden – Children Of The Night (from About Time)
Manning – Understudy (from Songs From The Bilston House)
Rocket Scientists – Brutal Architecture (from Brutal Architecture)
Porcupine Tree – Stars Die (from Moonloop EP)
Radiohead – Just (from The Bends)

#progzillaradio #stcbm

This news story was originally published here:

As its name suggests, these albums are the combined output from Tzuke’s time with Chrysalis, and are made up of two from the studio, Shoot the Moon and Ritmo, and a third a live album composite of concerts at Hammersmith and Glastonbury. As a long time fan of Judie’s music (late ’70s onward) I was eagerly looking forward to reviewing these albums, so let’s get straight into it, beginning with Shoot the Moon.

Okay, stats first: there are eleven original tracks with three bonus tracks. There is a heavy reliance on the very ’80s drums and keys that also feature across a very broad swathe of pop and AOR from that era. In many respects, this somewhat overshadows the meanings of the songs, with Heaven Can Wait, Information, Beacon Hill and Don’t Let Me Sleep all being dominated by this soundscape. The redeeming tracks for this reviewer are Love on the Border, I’m Not A Loser, Now There Is No Love At All (one I don’t recall from earlier), Late Again, Liggers at Your Funeral, Water in Motion and the extremely short title track Shoot the Moon.

These are a good balance of Judie’s great ballad voice, and the more band driven ‘stompers’. Some influences come across in these tracks: Dean Friedman in Water in Motion and Elton John on one of the bonus tracks Run on Luck, unsurprising given that she started out with Rocket Records just a few years previously.

The background for the recordings is discussed in the set’s notes: “Shoot the Moon was recorded mainly at Rockfield Studios in Wales and was released in 1982. During the spring tour two sell-out shows at the Hammersmith Odeon (now The Carling Apollo) were recorded and later that year the acclaimed live album Roadnoise was released. Judie, Mike [Paxman] and Paul [Muggleton] wrote new songs and went to Mayfair Studios in London to record her fifth album, augmenting her stage band with a number of other musicians. The following year saw the release of the Ritmo album. Again she toured extensively but realising that she was not a priority act for Chrysalis and that they were not going to release the album in the States, she left Chrysalis for pastures new.”

Moving on to Ritmo, the next album from the studio. Good solid start with Jeannie No, where this time there is great clarity on the vocals, the ’80s staccato beat ticking along nicely with some nice keys and laid back bass, followed by She Don’t Live Here Any More, vocals once more to the fore, a pleasant guitar break interspersed with the ubiquitous drumbeat, and a few melodic percussive moments thrown in.

From here on in, the next four tracks are all a bit predictable, ‘shouty and stompy’ my notes reveal, with the drums getting in the way (for me anyway). Walk Don’t Walk then brings back some light and shade with Judie’s falsetto dominating, accompanied by flute, and a nod to Japan’s Tin Drum with some ethereal moments weaved in and around the bass and keyboards. Skipping quickly over Push Push, Pull Pull, another weak song dominated by a throwaway chorus, we reach the last of the original tracks, How Do I Feel?, which has a superb build from a quiet intro, the lyrics are repeated over and over, but this works well, one of the highlights of an average album.

Finally, Road Noise (The Official Bootleg) was set to play, and I sat back, looking forward to this live recording. From the off I was singularly disappointed with the overall sound; yes it was a ‘live bootleg’, yes it was 1982, yes the crowd were enjoying it, so perhaps the experience at the time was far stronger than the 38 year ‘lag’ suggests. For me there were very few highlight moments to pick out, probably I’m Not A Loser, and For You passing muster, as for the rest, it was a struggle to listen through some of the songs, and I would see this album being for completists only.

I feel guilty in putting this down in writing, but I feel that this release is not truly reflective of Judie Tzuke, the singer and artist who I have admired, seen several times and met over the last forty-plus years. There are many other albums that capture this magnificent talent, vocal range and purity far better, but hey, it’s all about ‘The choices you made’, and at £17.99 for a triple album set, it’s not going to make too much of a dent in the ‘home entertainment’ budget for most.

Finally, for those out there who only really know Stay With Me Till Dawn, in the same way that many folk see Kayleigh as Marillion’s finest hour, please, please take a listen to this superb lady and make your own judgement, the more you dig, the more gems you will unearth.


CD 1: Shoot the Moon
01. Heaven Can Wait
02. Love On The Border
03. Information
04. Beacon Hill
05. Don’t Let Me Sleep
06. I’m Not A Loser
07. Now There Is No Love At All
08. Late Again
09. Liggers At Your Funeral
10. Water In Motion
11. Shoot The Moon
~ Bonus tracks:
12. Sold A Rose
13. Run On Luck
14. I’m Not A Loser
15. How Do I Feel

Judie Tzuke – Vocals, Backing Vocals
Mike Paxman – Guitars
John “Rhino” Edwards – Bass
Bob Noble – Keyboards
Charlie Morgan – Drums, Percussion
Jeff Rich – Drums (track 14)
Paul Muggleton – Guitar
Andy Clark – Additional Keyboards
Don Snow – Additional Keyboards
The Dribble Brothers – Backing Vocals

CD 2: Road Noise (The Official Bootleg)
01. Heaven Can Wait
02. Chinatown
03. I’m Not A Loser
04. Information
05. You Are The Phoenix
06. The Flesh Is Weak
07. Sportscar
08. For You
09. Come Hell Or Waters High
10. Southern Smiles
11. Katiera Island
12. Love On The Border
13. Black Furs
14. City Of Swimming Pools
15. Bring The Rain
16. Sukarita
17. Stay With Me till Dawn
18. The Hunter

Judie Tzuke – Vocals, Backing Vocals
Mike Paxman – Guitars, Vocal
John “Rhino” Edwards – Bass
Bob Noble – Keyboards
Jeff Rich – Drums
Paul Muggleton – Guitar, Vocals, Percussion

CD 3: Ritmo
01. Jeannie No
02. She Don’t Live Here Any More
03. Shoot From The Heart
04. Face To Face
05. Another Country
06. Nighthawks
07. Walk Don’t Walk
08. Push Push, Pull Pull
09. How Do I Feel?
~ Bonus tracks
10. Jeannie No (7” version)
11. Jeannie No (12” version)

Judie Tzuke – Vocals, Backing Vocals
Mike Paxman – Guitars, Keyboards, Backing Vocals, Percussion
Ray Russell – Guitars
John “Rhino” Edwards – Bass
John Giblin – Bass
Don Snow – Keyboards, Backing Vocals
Bob Noble – Keyboards
Andy Clark – Keyboards
Paul Muggleton – Keyboards, Guitar, Backing Vocals, Percussion
Graham Jarvis – Drums
Andy Duncan – Drums
Morris Pert – Percussion
Roy White – Backing Vocals
Jaqi Robinson – Backing Vocals

Record Label: Cherry Red Records
Catalogue#: CDTRED807
Date of Release: 1st May 2020

Judie Tzuke – Website | Facebook | Twitter

Edition 241 of Sounds That Can Be Made is now available as a podcast!


Kansas – Throwing Mountains (from The Absence of Pressence)
Three Colours Dark – Tasted Like Kryptonite (from The Science of Goodbye)
Ms Amy Birks – More (from All That I Am & All That I Was)
Glass Hammer – The Dreaming City (from The Dreaming City)
Incubus – Karma, Come Back (from Trust Fall, Side B)
Elder – Halcyon (from Omens)
Marillion – Ocean Cloud (from With Friends From The Orchestra)
Golden Earring – Nomad (from To The Hilt)
Opus 5 – Les Saigneurs (from Contre-Courant)
Pure Reason Revolution – Valour (from Hammer and Anvil)
Delusion Squared – Necrogenesis (from II)
Sky – Sahara (from Sky 2)
Mike Oldfield – QE2 (from QE2)
The Contortionist – Languaged (Rediscovered) (live session) from Language (Rediscovered Edition))
Skyharbor – Ethos (from Sunshine Dust)
Jadis – In Isolation (from Across the Water)
Grace – Mullions (from Pulling Strings and Shiny Things)
Jinetes Negros – El Tunel Del Destino (from Definitiva Mente)
Coma Rossi – Turn Back Time (from Coma Rossi)
Diablo Swing Orchestra – Superhero Jaggnath (from Pacifisticuffs)

#progzillaradio #stcbm

Progressive Tracks Show #366 (2020 SeaProg-ish Festival #2)

Sadly, the 2020 SeaProg Festival has been cancelled due to COVID-19. But that doesn’t mean we can’t get acquainted with some of the artists who were scheduled to play for us.

This week it’s Yaroslav Borisov and his Russian electro-chamber group HAPPY55 (among other projects).  And we’ll also feature other notable artists who have performed at previous SeaProg festivals.

If you have comments or suggestions for show topics/ music (always welcome), feel free to contact me any time via email:

And remember, you can access podcasts of any previous Progressive Tracks Show at: (there are over 200 podcasts now!).

Most importantly, SUBSCRIBE TO THE PODCAST below, so you’ll have it delivered to your fingertips weekly! ˅˅˅˅˅˅˅˅