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Aelementi (Italy): Una Questione Di Principio (Andromeda Relix AND65, CD, 2017)
Progressive/Metal
Francesca Piazza (lead vocals)
This highly promising debut album bridges Italian and South American modern prog styles, with its crunchy hard rock guitars and mellow, understated moods. There are also hints of AOR and mainstream rock, and even a little pop too (I can hear echoes of Abba in the chord changes within some of the soaring choruses). Overall, it’s decidedly above average, and with a little more variety and stretching out could easily have been a B–. GRADE: C+.

Aerium (Russian Federation): Song For The Dead King (Black Lotus BLR/CD078, Greece, CD, 2004)
Metal
Veronika Sevostjanova (lead vocals)
The description ‘gothic metal with soprano vocals’ might lead you to expect a Nightwish or After Forever clone, but the feel of this album is very different – slower, darker, doomier and more low budget. With excellent instrumental performances and some very powerful singing from Veronika Sevostjanova, the result is a fine LP. GRADE: C+.

Aeron (USA): Paltareon – The Far Memory Of The Elves (Eldar Productions 36941, with insert, 1979)
Rock
Arwen Tooke (joint lead vocals, guitar), Elanor Tooke (keyboards)
The title suggests that this is going to be prog, but instead it’s odd spacy, trippy guitar-led rock (though not really psychedelic either). They were unquestionably out-of-time hippies with a mystical Californian sensibility, but there are some slight hints of new wave here too, reflecting the era. With a quiet and introspective mood and a very thin, low-budget production, this isn’t a particularly involving or exciting record, but it does have a certain charm and a very distinctive sound – and was quite a brave venture for the late seventies. GRADE: C+.
Aeron (USA): Girl With The Golden Eyes (Eldar Productions EP007A, 1982)
Rock/Psychedelic/Progressive
Arwen Tooke (joint lead vocals, guitar), Elanor Tooke (keyboards)
This is in the same trippy, mystical hippie style as their first, but with a more overtly psychedelic and progressive feel. Overall this is the better of their two albums, but once again it’s a difficult record to describe or classify. GRADE: B–.

Aes Dana (Italy): The Far Coasts Of Sicily (Hi, Folks! HF 004, with insert, 1987)
Folk
Donatella Gulì (joint lead vocals), Antonia Zane (joint lead vocals, glockenspiel), Licia Consoli (harp)
This is a beautiful album of delicate, tranquil Celtic folk, with wide-ranging acoustic arrangements, alternating songs and instrumentals. Giving no hint of its late eighties origins, it’s really stunning stuff and much better than the somewhat similar (and rather better known) Róisín Dúbh. An obscure CD reissue exists with bonus tracks (retitled Far Coasts… And Lost Tracks), whilst a seond Aes Dana album, Frontiera, dates from 2003 and features band leader Giuseppe Leopizzi plus Irish collaborators. GRADE: B–.

Affinity (UK): Affinity (Vertigo 6360 004, 1970)
Jazz/Rock/Progressive
Linda Hoyle (lead vocals)
Affinity’s sole album marked a move away from the band’s psychedelic roots towards a progressive jazz/rock sound; indeed, the group gained a residency at Ronnie Scott’s. Although consisting mainly of covers, the album is a masterpiece: opening with a powerful reading of Alan Hull’s ‘I Am And So Are You’ and closing with an eleven-minute blowout based around ‘All Along The Watchtower’, it takes in a cover of Annette Peacock’s risqué ‘Mr Joy’ and two excellent originals by singer Linda Hoyle, ‘Night Flight’ and ‘Three Sisters’. Sadly, Affinity’s only other release was a non-album single, ‘Eli’s Coming’/’United States Of Mind’. These two tracks were included, together with two out of three tracks from a 1969 acetate (the omission being a different attempt at 'All Along The Watchtower') and a clutch of later demos, on the Angel Air CD reissue of the LP. GRADE: A–.
Affinity (UK): 1971-72 (Angel Air SJPCD145, CD, 2003, recorded 1971, 1972 & 2003)
Progressive
Vivienne McAuliffe (lead vocals)
The chances of Affinity making a second album as good as their first had to be pretty slim, but this collection of demos from 1971 and 1972 (fronted by new singer Vivienne McAuliffe, formerly of Principal Edwards Magic Theatre) proves they could have done it. Less jazzy than their debut, but otherwise recognisable as the work of the same band, this is superb progressive rock with excellent tunes and a high level of atmosphere and energy. They try their hand at ‘All Along The Watchtower’ for a third time (they must have really loved the song!) but everything else is new, including a slightly higher proportion of self-penned material. Excellent sound quality is a bonus, suggesting that these might have been finished recordings awaiting mastering and release, but shelved at the eleventh hour. Although the seven songs add up to an album’s worth of material, a couple of former members added two newly-recorded instrumentals to round off the disc. GRADE: B.
See also Cloudsongs, Linda Hoyle, Principal Edwards Magic Theatre

After Dinner (Japan): Glass Tube (Kang-Gung AFT-1001, with booklet, 1984)
Progressive/Avant-Garde
Haco (lead vocals, keyboards, tapes)
This odd little mini-album, featuring eight songs totalling 26 minutes, mixes Japanese classical music, electronic effects and pure avant-gardism to offer an odd series of vignettes that at times recall countrymen Geinoh Yamashirogumi. The UK version of the set, simply titled After Dinner, added both sides of the band’s excellent 1982 single ‘After Dinner’/’Cymbals At Dawn’ but dropped ‘Désert’. GRADE: B–.

After Dinner (Japan): Souvenir Cassette (Zero 0-0788, cassette, 1988)
Progressive/Avant-Garde
Haco (lead vocals)
This live cassette, commemorating the band’s European tour, is somewhat more robust and rocking than the studio set, making clear their RIO lineage. However, it’s still quite whimsical and quintessentially Japanese, so whilst consistently inventive and frequently fascinating it may not appeal to every listener. GRADE: B–.
After Dinner (Japan): Paradise Of Replica (Zero 0-1289, CD, 1989)
Progressive/Avant-Garde
Haco (lead vocals)
At a fraction under 30 minutes, the band’s second and final studio album is barely more substantial than their first. However, it’s probably their best release, emphasising the classical and chamber music elements underpinning their quirky style; in fact, had it been a bit less fragmentary, I might well have awarded it a B. GRADE: B–.
See also Haco

After Forever (Holland): Prison Of Desire (Transmission TM-023, CD, 2000)
Metal/Progressive
Floor Jansen (joint lead vocals)
This Dutch band’s debut is rich symphonic metal with soprano and death vocals, epic male choirs and huge swathes of keyboards, owing an obvious debt to Therion and other pioneers of the genre. Compared to other similar acts, the metal elements are perhaps slightly toned down here, with the rock and neoclassical aspects more to the fore, but accomplished as this is it’s not particularly distinctive. As a footnote, the album was subsequently released as a double CD (Transmission TM-068, with slipcase) with six bonus tracks and a lengthy additional disc of demos and session tracks, including one duet with Within Temptation’s Sharon den Adel. GRADE: C+.
After Forever (Holland): Decipher (Transmission TM-029, CD, 2001)
Metal/Progressive
Floor Jansen (joint lead vocals)
Whilst this is in the sams style as their first, it’s a huge step forward: it’s beautifully crafted and superbly arranged, and Floor Jansens’s singing is nothong short of stunning. Indeed, the death vocals are the only negative (and particularly pointless given than Jansen is so good). Once again, a double CD exists (Transmission TMD-069, with digiapk and booklet) with lots of bonus material taken from contemporary singles and demo sessions. GRADE: B–.
After Forever (Holland): Exordium (Transmission TME-041, CD plus DVD, with book sleeve, 2004)
Metal/Progressive
Floor Jansen (principal vocals)
Handsomely packaged in a lavish book sleeve, this unusual release couples an EP (three new songs, an instrumental and two covers, totalling around 26 minutes) with a DVD featuring a promo video, a live number, two short and uninteresting ‘making of’ featurettes, several photo galleries and the song lyrics. The original songs are somewhat self-parodic and rather messy, but I do like their cover of ‘One Day I’ll Fly Away’, whilst Iron Maiden cover (‘The Evil That Men Do’) isn’t bad either. GRADE: C+.
After Forever (Holland): Invisible Circles (Transmission TME-045, CD, with book sleeve, 2004)
Metal/Progressive
Floor Jansen (principal vocals)
Like its predecessor, this has a beautiful, lavish book sleeve; unfortunately like its predecessor it also completely over-the-top. Soprano, death and choir voices duel it out with narration and sound effects to tell the story of a dysfunctional childhood against a continuous backdrop of riffs and orchestral flourishes, with the simple piano ballad ‘Eccentric’ being by far the best thing on offer. In fairness, this is very well done, but sometimes less really is more. GRADE: C+.
After Forever (Holland): Remagine (Transmission TMSA-055, SACD, 2005)
Metal/Progressive
Floor Jansen (principal vocals)
Less messy and contrived than Invisible Circles, this is a solid and well-crafted album but considerably below the band’s peak on Decipher. The album works well in surround sound, making the SACD version a worthwhile purchase, whilst the standard CD version (Transmission TSMP-055) initially came with a bonus ‘making of’ DVD and a slipcase. GRADE: C+.
After Forever (Holland): After Forever (Nuclear Blast 27361 18110, CD, with book sleeve, Germany, 2007)
Metal/Progressive
Floor Jansen (principal vocals)
Their final album is a little more restrained than their last few discs, but doesn’t break any new ground for them (or for the symphonic metal genre in general). However, it is a pleasant enough disc and is very attractively packaged. GRADE: C+.
After Forever (Holland): Mea Culpa (Transmission TMD-067, double CD, with digipak, booklet and slipcase, 2006, recorded 2000-2006)
Metal/Progressive
Floor Jansen (principal vocals)
This beautifully packaged compilation focuses mainly on non-LP tracks and alternate versions, and offers an excellent overview of the band’s career. Along the way, it captures all aspects of their (admittedly not particularly broad) sound, containing some excellent tracks. After this, Floor Jansen went on to form ReVamp before, quite surprisingly, joining Nightwish. GRADE: B–.
See also Ayreon, Anthony Arjen Lucassen’s Star One, Nightwish, ReVamp

Agamenon (Spain): Todos Rien De Mi (Explosion 34111, 1975)
Psychedelic/Pop
Carmen Garcia (joint lead vocals), Dulce (joint lead vocals)
Although it’s from the mid-seventies, the album sounds several years earlier, and is a rare example of a European band taking its influences from West Coast guitar-based psychedelia. The opening title track in particular is a masterpiece of hard psych, sounding more like Jefferson Airplane than Jefferson Airplane, with wall-to-wall screaming Jorma Kaukonen-style acid guitar. The band moves into a dreamier progressive folk style on ‘Al Salir El Sol’ and ‘Happy Marriage, Eleanor’, whilst other tracks have an Abba, Earth & Fire or Shocking Blue-style Europop sensibility, with a punky edge and again omnipresent slashing fuzz guitar. Altogether, this is one of the most interesting albums to emerge from Spain. GRADE: B.

Agapè (Canada): Le Troisième Seuil (Agapè AG-2001, with booklet, 1973)
Folk/Psychedelic
Carole Paquin (bass)
In some ways this could be considered the Quebecois equivalent of Sounds Of Salvation, similarly offering forlorn and rather eerie folk with apocalyptic lyrical concerns, linked by all kinds of sound effects. The backing ranges from the acoustic to the electric, with some excellent acid leads and a typically breezy Canadian feel here and there, and there’s also a wonderfully doomy church organ overture that brings to mind Jacula. As a footnote, Carole Paquin is one of three people credited with playing bass. GRADE: B–.
See also Voice Des Jours De Rêve

Age Of Innocence (South Africa): Nowhere Land (No label AOI 2001, CD, 2001)
Folk/Rock/Progressive
Sherry-Lee Jones (principal vocals, piano)
This Off The Edge offshoot sounds exactly like a folkier version of the parent band, right down to the light Pink Floyd edges. As with their other albums, it’s a pleasant tapestry of songs and short instrumentals that doesn’t break any new ground, but it’s beautifully put together and wonderfully melodic. GRADE: C+.
See also Off The Edge

Agincourt (UK/USA): Fly Away (Merlin HF 3, with insert, UK, 1970)
Pop/Folk
Lee Menelaus
Compared to the follow-up album A Game For All Who Know (released as Ithaca), this sounds rather insubstantial, but taken on its own merits it’s a lovely album of quintessentially English hippie pop, with a light, summery feel. GRADE: C+.
See also Ithaca

Agnès (France): Un Bouquet De Soleil (Art & Musique AM 8308, 1979)
Folk
Agnès Cornuault
There’s a limit to how exciting a voice-and-acoustic guitar (plus occasional flute) album of Christian folk can be, but this is lovely stuff. Cornuault has a beautiful voice and the material is well-composed throughout, with a very gentle and mellow feel. GRADE: C+.

Agnus (Argentina): Pinturas Y Expresiones (Dipsicopu A-0001, with booklet, 1980)
Progressive
Alejandra Bernie (joint lead vocals), Laura Fazzio (keyboards, flute, backing vocals), Cecilia Gloria (flute), Graciela Girotti (backing vocals), Marcela Canalis (backing vocals), Graciela Cassano (backing vocals)
Simultaneously complex and charmingly amateurish, this large band’s sole album features long, elegiac compositions dominated by electric guitar, string synthesiser and flute. Much of the disc is instrumental, but it also makes excellent use of choral, almost liturgical, female vocals, creating an eerie and somewhat sacred atmosphere. With fine musicianship throughout and some haunting melodies, the end result is one of the best progressive albums from South America. As a footnote, the disc was limited to 300 copies and is now extremely rare. GRADE: B.

Agua De Annique (Holland): Air (The End TE090, CD, 2007)
Rock
Anneke van Giersbergen
Anneke van Giersbergen’s first project outside the Gathering surprisingly isn’t all that different to the parent band, offering trip hop-infused atmospheric rock. Within that framework the disc is quite varied, ranging from ballads to borderline metal, but whilst the songs are consistently good it often sounds like a recap of her work with her earlier band, defying critics’ assertions that the Gathering needed her more than she needed them. GRADE: C+.
Anneke van Giersbergen With Agua De Annique (Holland): Pure Air (Agua Recordings JAMMM20091901, CD, 2009)
Folk
Anneke van Giersbergen (principal vocals, guitar, keyboards), Sharon den Adel (occasional vocals), Marike Jager (occasional vocals)
Conceptually, this is bizarre, mixing stripped-down, folky cover versions with similar remakes of songs from the previous album. Throw in guest co-vocalists on a few songs and the result is more like a career retrospective from a major star short on new material than a second LP from a new band (though this is basically van Giersbergen solo, with no consistent collaborators). Musically it’s decent enough, but I still find this a baffling release. GRADE: C+.
Anneke van Giersbergen & Agua De Annique (Holland): In Your Room (Agua Recordings JAMMM20093010, CD, with sticker, some autographed, 2009)
Rock
Anneke van Giersbergen (princpal vocals, piano)
Probably their best album, this is a charming set of mid-paced atmospheric folky rock with some good hooklines. However, it’s also fairly generic, which is a disappointment considering how innovative the Gathering used to be. GRADE: C+.
Anneke van Giersbergen & Agua de Annique (Holland): Live In Europe (Agua Recordings ADA 004, CD, 2010)
Rock/Metal
Anneke van Giersbergen (lead vocals, guitar, piano)
Much heavier than any of the studio albums, this is a strong set that recalls mid-period Gathering (though without the crushing doom-influenced guitar work). But whilst this is good – and easily the best of the Agua de Annique releases – it’s still not as good as the Gathering’s work following her departure. GRADE: C+.
See also Gathering, Anneke van Giersbergen

Aguaturbia (Chile): Aguaturbia (Arena LPD-075-XX, 1970)
Garage/Psychedelic/Blues
Denise Corales (lead vocals)
Whilst this is a thoroughly enjoyable album and important as one of the earliest South American psychedelic LPs, it’s also a classic case of a record’s mystique outweighing its contents. The band’s exotic locale, the disc’s rarity (allegedly only 300 copies were pressed) and enormous price and the risqué cover with the band posing nude all add spice to a good but not outstanding album of garage and acid-rock. Their version of ‘Rollin’ And Tumblin’’ is as good as raw blues ever gets, a ten-minute take on ‘Crimson And Clover’ is nicely trippy and ‘Erotica’ (on which Corales moans orgastically over an acid-rock jam) is striking even today, but their version of ‘Somebody Is Love’ is perfunctory and the fourteen-minute ‘Ah Ah Ah Ey’ is mostly a drum solo (and not a particularly distinguished drum solo at that). Nonetheless, there are enough flashes of brilliance here to make one understand why Aguaturbia are spoken of in tones of hushed reverence. GRADE: B–.
Aguaturbia (Chile): Volumen 2 (Arena LPD-080-XX, 1970)
Garage/Psychedelic/Blues
Denise Corales (principal vocals)
Despite a pointless cover of ‘Jailhouse Rock’, this is a much more consistent album than its predecessor. In particular, ‘EVOL’ is their all-time classic: eight minutes of truly deranged acid-rock during which the band frequently appears to be on the verge of total chaos. Once again, the disc featured a very controversial cover, depicting Corales being crucified. After one final single, Aguaturbia mutated into Flaco and Panal. GRADE: B.
Aguaturbia (Chile): Versión Acústica (Mylodon MyloCD081, with digipak, 2010)
Blues/Rock
Denise Corales (lead vocals)
If you ever wanted to hear a reformed Aguaturbia reinterpreting their songs (plus a medley of classic rock covers) in an acoustic blues/rock style, here’s your chance. If, like me, you didn’t ever want to hear this, then this is a surprisingly good album. Denise Corales is in superb voice throughout and the acoustic arrangements work remarkably well (especially on their classic ‘EVOL’). That said, I would have preferred a set of new songs, and can’t imagine this replacing their original albums in anyone’s estimation. GRADE: C+.

Aguaturbia (Chile): Fe, Amor Y Libertad (Plaza Independiente PICD510690, CD, with digipak and booklet, 2017)
Blues/Rock
Denise Corales
I suspected that the first Aguaturbia album of new material in 47 years might be mediocre blues/rock rather than the garage psych explosion everyone was hoping for. I was just about right: it’s actually rather good, and rather heavy, blues/rock, but it’s still a mile away from their original incarnation. GRADE: C+.
See also Panal

Agusa (Sweden): Agusa (The Laser’s Edge LE1073, CD, with digipak, USA, 2015)

Progressive

Jenny Puertas (flute)

The two long instrumentals here – one of 20 minutes and the other of 18 – are simply superb and typically Scandinavian. I can hear hints of Änglagård and Sinkadus, particularly in the folkier flute-led passages, but the music here is less complex and more organic, though it never descends into jamming or improvisation. The dominant instrument is organ, delivering a stately early seventies sound, and there’s a fair amount of variety coupled with a complete lack of histrionics or showiness, adding up to a remarkable album. GRADE: B.

Agusa (Sweden): Två (The Laser’s Edge LE1080, CD, with digipak, USA, 2017)

Progressive

Jenny Puertas (flute)

Unlike their last studio album, these features five tracks of between five and 10½ minutes apiece. As such, the music here isn’t quite as carefully constructed, with stronger psychedelic elements and more of a jamming feel, though it’s still packed with fine moments and is sometimes more intense than Två. GRADE: B–.

Agusa (Sweden): Ekstasis – Live In Rome (Kommun 2 KOMMUN2: 47, CD, with digipak, 2018)

Progressive

Jenny Puertas (flute)

With four pieces of between 11 and 24 minutes, this is a substantial set by any measure. It’s also musically superb, especially considering that it was recorded live and without overdubs. With all four tracks striking just the right balance between being organic and complex, involving and technical, bolstered by an excellent recording, and the end result is a modern classic. GRADE: B.

Aiguade (France): Chansons Pour Que… Fleurisse Le Géranium (No label PS 4.933, 1974?)
Folk
Eliane Tabanous (joint lead vocals)
With all-original material, this melodic acoustic folk album has a mellow and mournful sound. None of the songs is individually outstanding, but collectively they add up to a very pleasant and consistent LP. GRADE: C+.
Aiguade (France): Chansons Des Temps Figés (Baccara International BI 001 732, 1976?)
Folk/Rock
Eliane Tabanous (joint lead vocals)
For their second and final album, the band upped the rock quotient by adding drums and some electric guitars. Some cuts have a progressive edge and are very good, but others are a bit too jaunty and throwaway. In overview, the better cuts here are a huge step up from Fleurisse Le Géranium, but this is also a less consistent LP. GRADE: C+.

Aigues Vives (West Germany/Holland): Water Of Seasons (Aarton Music S-135, with insert, West Germany, 1981)
Folk/Progressive
Hendrikje Horn (occasional vocals, flute)
With delicate acoustic arrangements, including gentle flute and violin, Aigues Vives draw on classical music as well as folk and only occasionally fringe rock. When they do, they’re at the best – the fuzz guitar leads significantly lift the mildly psychedelic ‘Heroes’ and ‘Planet Of Dreamers’, which are by far the most impressive tracks. Elsewhere, they occasionally hint at an unplugged Jethro Tull due to the Ian Anderson-like vocalist and of course the flute, whilst also recalling the better moments of fellow Germans Sündenfall II. With little percussion and limited variation in mood, some people may find the album too dainty, but those who enjoy the straighter end of outfits like Emma Myldenberger will find plenty to enjoy here. GRADE: B–.
Aigues Vives (West Germany): Dwarfs Casting Long Shadows (No label, cassette, 1983)
Folk/Rock/Progressive
Eva Küllmer (keyboards, saxophone, flute, backing vocals)
Following line-up changes (including the addition of a drummer), Aigues Vives commenced recording their second album but got no further than completing four songs totalling 14½ minutes, which were released as this cassette EP. Notwithstanding the more uptempo and rock-oriented approach, this isn’t a huge diversion from the first release, though there’s nothing here of the quality of Water Of Seasons’ best songs. As a footnote, the entire EP was included as a bonus on the CD reissue of the album (Garden Of Delights CD 102, Germany, 2004). GRADE: C+.
See also Various ‘Overlast? Zomer Parkfeest ’83’

Ainulindalë (France): Nevrast (No label Ainu01, CD plus DVD, with gatefold minisleeve and booklet, 2014)
Folk/Progressive
Alice Jean (occasional vocals)
Mixing songs and instrumentals, with arrangements based around acoustic guitar and strings, this progressive folk concept album is richly melodic, beautifully crafted, and delicate and haunting. The combination of fantasy-inspired lyrics, world-weary vocals and gentle sometimes brings Shide & Acorn to mind, especially on the delicate ‘Namarië’. An excellent surround six on the accompanying DVD completes a package that should delight lovers of early seventies underground folk. As a footnote, this was the band’s second album: ten years earlier they had released The Lay Of Leithian. This was presumably performed entirely by leader Thomas Reybard, with similar (though much simpler) backing from acoustic guitar plus occasional percussion and flute topped off with odd, mumbling and whispering vocals. GRADE: B.

Ainur (Italy): From Ancient Times (ElectRomantic Music ART420, CD, 2007)
Progressive
Federica Guido (joint lead vocals), Urania Pinto (joint lead vocals), Elena Richetta (joint lead vocals), Cecilia Lasagno (harp)
This project by guitarist and composer Luca Catalano is ambitious indeed, being performed by a seventeen-piece ensemble. With multiple singers, it has almost a rock opera feel, and with one of the male singers having a classical style has some highbrow pretensions too. That said, this isn’t the most ambitious album, being almost entirely song-based, though the music varies effectively from delicate folk/rock to more dynamic progressive rock. A record like this could easily have collapsed under the weight of its own pretensions, but this is listenable enough and contains some lovely passages. However, it’s not an album I can imagine playing frequently, particularly given the Tolkien-inspired lyrics. GRADE: C+.

Ainur (Italy): Children Of Húrin (ElectRomantic Music ART 2222, CD plus DVD, with booklet, 2007)
Progressive/Folk/Rock
Federica Guido (joint lead vocals), Elena Richetta (joint lead vocals), Barbara Bargnesi (joint lead vocals), Eleonora Croce (joint lead vocals),

Daniela Lorusso (cello), Chiara Marangoni (French horn), Cecilia Lasagno (harp)
The band’s second album is in the same vein as their first, but with one significant change – Catalano has evolved into a truly outstanding composer. The songs here are so rich, so melodic and so beautiful that this LP has huge appeal for people – like me – who don’t particularly like concept albums, rock operas or Tolkien. The bonus DVD features a few amateurishly-shot live songs, one song performed in the studio, and quite a few interviews in Italian (without English subtitles). GRADE: B–.
Ainur (Italy): Lay Of Leithian (ElectRomantic Music ARTPQ1911, double CD, 2010)
Progressive
Elena Richetta (joint lead vocals), Barbara Bargnesi (joint lead vocals), Eleonora Croce (joint lead vocals), Chiara Marangoni (joint lead vocals,

French horn), Cecilia Lasagno (joint lead vocals, harp), Piera Dematteis (occasional vocals)
This 25-track double album is even more grandiose than their previous work, and it doesn’t equal the best moments of Children Of Húrin. But hugely pretentious as they may be, Ainur are extremely good at what they do and this is a fine and accomplished record by any standard. GRADE: B–.
Ainur & Euthymia (Italy): Progressive Rock Night (No label PROG DVD 880, DVD, with insert, 2010)
Progressive
This DVD – featuring a five-song set by Ainur and two numbers apiece from Euthymia and the all-male Vurtula – is presented as a concert film with interviews interspersed between the performances. This could have worked had the segments not been filmed in a mixture of 16:9 and 4:3, with the live performances in soft focus and the interview segments in arty black-and-white, creating a rather amateurish document. GRADE: C+.

Ainur (Italy): The Lost Tales (ElectRomantic Music ART 13051, CD, 2013)
Folk/Rock
Elena Richetta (joint lead vocals), Federica Guido (joint lead vocals), Roberta Malerba (joint lead vocals), Daniela Lo Russo (cello), Chiara Marangoni (French horn), Cecilia Lasagno (harp)
Oddly, this mostly comprises re-recordings of material from the earlier in their career, though it is bookended by three new songs. Focusing on the folkier end of the band’s repertoire, this isn’t as ambitious as its predecessors, but it still contains some fine music. GRADE: B–.

Air (USA): Air (Embryo SD 733, 1971)
Jazz/Rock
Googie Coppola (lead vocals, keyboards)
This obscure band delivers solid jazz/rock on its sole album. The best moments are the extended instrumental breaks, but with eleven tracks on offer they’re few and far between. GRADE: C+.
See also Tom & Googie Coppola, Jeremy Steig

Aisi (USSR): Aisi (Melodiya C60-06235, 1974?)
Jazz/Pop/Lounge
For the most part, this all-female band’s scarce album is lounge jazz and pleasant without being especially memorable. However, ‘Orovepa’ has some progressive and acid-folk leanings and is an interesting extended piece. GRADE: C