RICHARD FALK's REVIEWS
Pro
Procosmian Fannyfiddlers (Norway): …And Silver’s Quality (Langt Lem LLR666-17B, with booklet, 1998)
Garage/Progressive
Heidi Santos Larzen (occasional vocals)
The odd band name, humorous lyrics and frequent pornographic references suggest a strong Zappa influence, but the music here isn’t particularly jazzy. Instead it’s garage rock with some knotty time signatures and a few sympho-prog moments, culminating in the 19-minute ‘Dante’s Imporno’. It’s all enjoyable, unpretentious and amusing, but this also feels like a work in progress rather than a statement by a fully-formed band – though, given the offhand feel of the band’s music, that could be missing the point entirely. GRADE: C+.
Procosmian Fannyfiddlers (Norway): Fisted Lady (Langt Lem LLR666-17C, 1999
Progressive/Avant-Garde
Heidi Santos Larzen (joint lead vocals), Mette Jensen (flute)
Their third album (their first had an all-male line-up) represents a huge step forward: the hesitancy of …And Silver’s Quality is gone, replaced by dynamic music that makes their avant-garde roots far clearer. In turn, one can hear echoes of their tricksy, riff-driven sound and surreal humour in modern prog bands like A Formal Horse, though Procosmian Fannyfiddlers are so obscure that I’d hesitate to say that they were an influence. GRADE: B–.
Procosmian Fannyfiddlers (Norway): The Rolling Court Massacre – A Rock Opera (Langt Lem LLR666-17 D, CD, with booklet, 2001)
Progressive
Heidi Santos Larzen (joint lead vocals), Mette Jensen (occasional vocals, flute)
This title says it all: this is Procosmian Fannyfiddlers’ stab at – or more likely, pisstake of – a rock opera. As such, the spoken voices (all heavily accented, some electronically treated) may distract from the music, which is more varied than before and demonstrates more obvious references to seventies sympho-prog. The result is an interesting and creative album that pulls in all kinds of strange directions, though I suspect many listeners may enjoy some parts and loathe others. GRADE: C+.
Procosmian Fannyfiddlers (Norway): Return Of The Sweaty Owl (Langt Lem LLR666-17 E, CD, with booklet, 2003)
Progressive
Heidi Santos Larzen (principal vocals), Mette Jensen (keyboards, flute, backing vocals), Bente Marit Ekker (violin)
A far more mature album, this completes the move from guitar-based garage prog to keyboard-based sympho-prog (complete with lashings of sampled Mellotron) begun on its predecessor. Opening with a 20-minute suite, it’s packed with early seventies references, though the knotty riffs and surreal, profanity-packed lyrics characterising the band’s earlier work are still very much in evidence. They even manage to namecheck Steeleye Span during their bizarre, vivid ramblings, which provide fascinating counterpoint to the richly melodic, increasingly folky music. GRADE: B–.
Procosmian Fannyfiddlers (Norway): Father Dog (Langt Lem LLR666-17 F, CD, 2005)
Progressive
Heidi Santos Larzen (joint lead vocals), Mette Jensen (piano, flute, backing vocals), Bente Marit Ekker (violin, backing vocals)
There’s a greater pop sensibility creeping in here, plus lots of folky references and the band’s usual experimental time signatures. It’s curious to imagine how this music would play out with less risqué lyrics – it would certainly appear a great deal more conventional, but even aside from the surreal wordplay this is a fine modern prog album – richly symphonic, well played and sung, and full of surprises. GRADE: B–.
Procosmian Fannyfiddlers (Norway): The Horse From Hell (Langt Lem LLR666-17 G, CD, 2008)
Progressive
Heidi Santos Larzen (joint lead vocals), Mette Jensen (flute, backing vocals), Bente Marit Ekker (violin, clarinet, backing vocals)
The Horse From Hell marks a slight return to the more riff-driven, guitar-oriented style of their earlier work, with the sophisticated symphonic edges toned down. It’s still quite folky in parts and even manages to incorporate elements of jazz and hip-hop, though as usual for them the focus is very much on the vocals rather than extended instrumental passages. As usual, it’s quirky, unpredictable, creative – and damn good fun. GRADE: B–.
Procosmian Fannyfiddlers (Norway): Requiem Fatigue (Langt Lem LLR666-17 H, CD, 2009)
Progressive
Heidi Santos Larzen (joint lead vocals), Mette Jensen (piano, flute, backing vocals), Bente Marit Ekker (violin, backing vocals)
Any sense of artistic development between their albums has slowed down to a crawl: this is a band that has clearly marked out its territory and is enjoying operating within it. Nonetheless, on listening to this, a new comparison occurred to me: there are definite hints of the Cardiacs in their music, though that band’s punk influences are replaced by sixties garage and pop references. Along the way, they include musical and lyrical references to Abba and Jethro Tull, and even sum up their manifesto in a song title: ‘We Are Here To Annoy You’. However, whilst the po-faced won’t enjoy their quirky, humorous songs, I certainly do. GRADE: B–.
Procosmian Fannyfiddlers (Norway): Interference Number 9 (Langt Lem LLR666-17 I, CD, 2012)
Progressive
Heidi Santos Larzen (joint lead vocals), Mette Jensen (keyboards, flute, backing vocals), Bente Marit Ekker (violin)
Procosmian Fannyfiddlers’ albums are becoming increasingly difficult to review, for the simple reason that they’re becoming increasingly interchangeable. Thus, whilst Interference Number 9 may not objectively be worse than earlier releases, it’s hard to tell – but it certainly strikes me as less fresh, adventurous and amusing. GRADE: C+.
Procosmian Fannyfiddlers (Norway): Happy Accident (Langt Lem LLR666-17 J, CD, 2017)
Progressive
Heidi Santos Larzen (joint lead vocals), Mette Jensen (flute, backing vocals), Bente Marit Ekker (violin, backing vocals)
The five-year absence seems to have done Procosmian Fannyfiddlers some good, as this is a marked return to form. Richly symphonic, quirkily jazzy and constantly surprising, this is above all great goofball fun. GRADE: B–.
Procosmian Fannyfiddlers (Norway): Astonishing Tales Of Cod And Plankton (Langt Lem LLR 666-17 K, CD, 2021)
Progressive
Heidi Larzen (joint lead vocals), Bente Marit Ekker (violin, backing vocals), Mette Jensen (flute, backing vocals)
Procosmian Fannyfiddlers’ bizarre combination of richly melodic songs, ornate seventies-style progressive moves (sometimes recalling Änglagård, amongst others) and surreal, often offensive, lyrics continues to delight here. In particular, some of the keyboard textures are sublime, though there’s little to criticise about any aspect of their music. GRADE: B–.
Producto (USA): 1 (No label, CDR, 2002)
Rock/Progressive
Ané Diaz, Heather McIntosh, Laura Morgan
Cramming 11 tracks into 29½ minutes, this isn’t exactly what you’d call a substantial debut, but it is consistently interesting musically (and extremely well recorded as a bonus). Essentially, Producto blend progressive and post-punk influences with just a hit of shoegaze into interesting alternative rock that could (at a push) be described as a blend of King Crimson and Siouxsie & The Banshees, though there are plenty of classical, folk and even alt-country influences too. As such, this is varied, creative and ultimately intriguing enough to merit a cautious B– despite offering slightly slim pickings. GRADE: B–.
Producto (USA): 2 (No label, CDR, 2005)
Rock/Progressive
Ané Díaz, Laura Morgan
Like their first, this is proof positive that presentation – or more specifically production – can make all the difference to an album. With mediocre sound quality, this might appear an insignificant collection of varied short rock songs drawing on blues, post-punk, psych, prog and just about anything and everything else. However, it’s all presented so vividly and with such immediacy that it can’t fail to catch and hold the ears, once again making it a B– despite its slightly insubstantial nature. GRADE: B–.
Producto (USA): 3 (No label, CDR, 2007)
Rock/Progressive
Ané Díaz (lead vocals)
Their third and final album – running for a fraction under 32 minutes – is more experimental and (perversely) expansive than their first two, crossing elements of post-punk and metal with some ethnic elements. However, I don’t find it quite as compelling, so the trade-off is moot. GRADE: B–.
See also Instruments
Professor Tip Top (Norway): Are You Empirical? (No label, CD, 2012)
Psychedelic
Mette Soele Zachau Mathiesen (occasional vocals, drums)
Unusually for a 21st-century retro-psych album, this sounds distinctly eighties rather than sixties, so it could be described as a pastiche of a pastiche. As pastiches (even pastiches of pastiches) go, it’s a very good one nonetheless, and might just about have qualified for a B– if it were a little more consistent and a touch more substantial. GRADE: C+.
Professor Tip Top (Norway): Aoum (No label, CD, 2012)
Psychedelic
Sonja Otto (occasional vocals, organ), Mette Soele Zachau Mathiesen (drums)
Like their debut, this is close but not quite there – a pleasant and mellow collection of eighties-inspired psychedelic numbers that sometimes hint towards excellence but generally don’t. Nonetheless, again like their debut, this is pleasant and engaging stuff throughout and ends on a high with the majestic ‘All Through The Night’. GRADE: C+.
Professor Tip Top (Norway): Tomorrow Is Delayed (Apollon ARP031CD, CD, 2020)
Progressive
Sonja Otto (lead vocals, keyboards)
After several albums with all-male line-up, Professor Tip Top changed direction completely, abandoning their psychedelic roots for a melodic symphonic rock sound. Dominated by Sonja Otto’s gentle vocals and lush keyboards, Tomorrow Is Delayed is a mellow and charming, if not exactly adventurous set, that’s a world apart from their first couple of LPs. GRADE: C+.
Professor Tip Top (Norway): Tomorrow Is Delayed (Apollon ARP051CD, CD, 2020)
Progressive
Sonja Otto (lead vocals, keyboards)
This is somewhat more adventurous and progressive than its predecessor, which works to its advantage; they even embrace elements of space-rock on the Hawkwind-lite of ‘Past Forever’. However, for the most part this is mellow, inoffensive stuff that drifts by pleasantly without making any significant impression. GRADE: C+.
ProgAID (UK/USA/Sweden/Holland): All Around The World (F2 Music 200503S, CD single, with minisleeve, UK, 2005)
Susie Bogdanowicz, Heather Findlay, Tracy Hitchings, Rachel Jones, Christina Murphy, Liz Prendergast
Despite a running time of more than 30 minutes (plus a bonus ‘making-of’ video), this charity venture in aid of the Tsunami disaster consists of a single song in five versions. It brings together personnel from a plethora of neoprogressive outfits, ranging from Marillion and IQ to Glass Hammer, Karnataka, Landmarq and Iona. But is it any good? I’ll give you two clues. The first is that it should more accurately have been credited to SomewhatPompousStadiumRockAID. The second is that Rob Reed produced and co-wrote it. As a footnote, I suspect that the female musicians involved contributed nothing beyond occasional backing vocals. GRADE: C.
See also Ayreon, Dave Bainbridge, Bluehorses, Liam Davison, Heather Findlay, Glass Hammer, Tracy Hitchings, Karnataka, Landmarq, Mantra Vega, Mostly Autumn, Clive Nolan & Oliver Wakeman, Odin Dragonfly, Quasar, Reasoning, Strangers On A Train
Progressive Battle ’88 (Japan): ’88 Vol 1 (Crime 8SSX 14, 3" CD, with long sleeve, 1988)
Progressive
Megumi Tokuhisa (joint lead vocals)
This promo-only release, which appears have emerged from some kind of battle of the bands, runs for 19 minutes and features covers of Taï Phong’s ‘Now It’s The Season’ (fronted by Megumi Tokuhisa) and PFM’s ‘L’Isola De Niente’ (with male vocals). Both cuts are typical Nippon neoprogressive, and not brilliantly played or recorded to boot, but this is still an intriguing curio from the Japanese eighties underground scene. GRADE: C.
See also Teru’s Symphonia, Megumi Tokuhisa
Project Creation (Portugal): Floating World (Progrock PRR320, CD, USA, 2005)
Progressive/Metal
Alda Reis (joint lead vocals)
The science fiction concept doesn’t enthral me, but the music here is pretty captivating. Blending symphonic progressive and metal, Project Creation offer a set that’s moderately complex and constantly changing, moving from hard riffing sections to folky moments and Eastern motifs and taking the listener on a sonic journey reflecting the lyrics. The results stand as a testament to the talent of Hugo Flores, who wrote, arranged and produced everything and played the bulk of the instruments. GRADE: B–.
Project Creation (Portugal): Dawn On Pyther (Progrock PRR321, CD, USA, 2007)
Progressive/Metal
Zara Quiroga (joint lead vocals), Alda Reis (occasional vocals)
Album number two continues the concept and basic style of the first, but this time round the music is much more relentless: steam hammer drumming topped by ostentatious power metal soloing, all topped with reams and reams of lyrics delivered by multiple voices complementing, repeating and disrupting one another. Ironically, it’s the more peaceful moments that work best, indicating that in this case less is very definitely more. Flores subsequently formed the duo Factory Of Dreams with Beto Vazquez Infinity vocalist Jessica Lehto.
GRADE: C+.
Project Nayuta (Japan): Tsumibito No Kioku (No label, CD, with gatefold minisleeve, 2020)
Progressive
Junko Nakagawa (joint lead vocals), Mika Tsukimoto (joint lead vocals)
No prizes for guessing that this collaboration between former Marge Litch and Alhambra vocalist Junko Nakagawa and Providence keyboardist Madoka Tsukada combines the bombast of Marge Litch and Alhambra with the softer symphonic edges of Providence across three lengthy, inventive tracks. However, the prize is the sheer quality of the music, which is thankfully closer to Marge Litch and Alhambra than Providence. GRADE: B–.
Project Nayuta (Japan): Sazaki Orite Hikari Overflow (No label, CD, with gatefold minisleeve, 2021)
Progressive
Junko Nakagawa, Mika Tsukimoto
The opening ‘Plastic Night’ is rather brash, bringing to mind much Nippon neoprogressive of the eighties, but the two long cuts that follow more than make up for it. That said, this is much slighter than their debut, being a full 18 minutes shorter, and whilst quantity is no substitute for quality I suspect this contains less music because the band had less to say. Thus, whilst their debut was a solid B– and remains thoroughly recommended, this one just about crawls over the line. GRADE: B–.
See also Marge Litch
Project: Patchwork (Germany): Tales From A Hidden Dream (Membran, CD, 2015)
Progressive
Claudia Kettler (occasional vocals), Jessica Schmalle (occasional vocals), Magdalena Sojka (occasional vocals), Melanie Nocon (occasional vocals)
This is indeed a project, and a patchwork, rather than a band: the duo of guitarist Peter Koll and multi-instrumentalist and occasional vocalist Gerd Albers are assisted by a substantial team of singers and guitarists from the German progressive and metal scenes. Mixing folky, symphonic and hard rocking moments with some vaguely Pink Floyd-like textures, they operate in the same general area as Mostly Autumn, though this is both a touch more ambitious (with two suites of 18 and 13 minutes) and more varied (everything from borderline metal to a short piece by a church choir). GRADE: C+.
Project: Patchwork II (Germany): Re|Flection (Progressive Promotion PPRCD061, CD, with digipak and booklet, 2018)
Progressive
Jessica Schmalle (joint lead vocals), Magdalena Büchel (occasional vocals), Melanie Mau (occasional vocals)
This feels more confident and accomplished than their first, but it’s also less diverse, with the brief classical interludes removed. As such, it’s very pleasant, high-class background music that should appeal to both AOR and prog collectors but is unlikely to delight anyone from either group. GRADE: C+.
Project: Patchwork3 (Germany): Ultima Ratio (Progressive Promotion PPRCD 102, CD, with digipak and booklet, 2022)
Progressive
Anne Trautmann (occasional vocals), Miriam Kraft (occasional vocals)
According to the linet notes, ‘This album is the third and last one in the PP history, because our story has been told.’ The story in this case is quite ambitious – this is a concept album about the Covid crisis and governments’ response to it. Musically, it’s less expansive, offering the collective’s usual polished AOR and mellow prog. GRADE: C+.
See also Flaming Row, Frequency Drift, Melanie Mau & Martin Schnelle, Seven Steps To The Green Door
Project Siebensinn (West Germany): Zeitzeichen (Christ Musik Kultur GEMA BLD 708, with booklet, 1988)
Pop/Rock/Progressive
Sonja Holzapfel (principal vocals), Beate Strehle (bass, backing vocals)
This oddball Christian crew seem to have been some sort of multimedia spectacle, as one member is credited with ‘pantomime’. Musically, their album is a strange mixture of funky eighties pop, lightweight hard rock and symphonic progressive; whilst the cheese factor is a little high and the production has dated badly, there are some good instrumental sections here. Overall, this is decidedly more imaginative than most Christian fare. GRADE: C+.
Projeto Caleidoscópio (Brazil): O Sete (Caleidoscópio CLD 001, CD, with booklet, 1999)
Folk/Rock/Progressive
Analu Paredes (principal vocals)
This short, delicate album offers two proggy pieces (one of them featuring Quaterna Réquiem’s Elisa Wiermann as a guest) bookending five shorter ballads. Cutting-edge it isn’t, but the duo of Analu Paredes and Arthur Nogueira write and arrange well, and Paredes has a truly beautiful voice. Inevitably, some commentators have compared this to Renaissance, though I don’t hear much resemblance herself; that said, none other than Annie Haslam notes the similarity in her glowing sleevenote. GRADE: C+.
Projeto Caleidoscópio (Brazil): Carrosell (Rock Symphony RSLN 069, CD, with booklet, 2001)
Rock
Analu Paredes (principal vocals, guitar)
They do resemble Renaissance on their second and final set (notably on ‘Now Is The Time’), but that’s not to say that it’s a step up. Despite the presence of a few wordless numbers with slight classical tinges, this mostly drops the progressive edges of its predecessor for a mellow, mildly jazzy soft rock sound. The results are pleasant enough, though at twice the length of their first this makes the lack of any rough edges or risk-taking in their music more obvious. Bacamarte’s Jane Duboc duets on the opening ‘Pescador Do Ilusões’. GRADE: C+.
Promesses (France): Voir Un Peu La Vie… (Jef 335.410, 1979?)
Folk
Pascale Paslier (joint lead vocals, guitar), Lydie Paslier (joint lead vocals)
This Christian album by three siblings and a friend has a bit of a school project feel, with lush harmony vocals and gentle backing from acoustic guitars, bass and harmonica. Whilst it’s not the most distinctive LP, Pascale Paslier’s compositions are of a high standard, and the whole thing has a suitably serene and beatific mood. GRADE: C+.
Promesses (France): Il Est Ressuscité! (Jef 335.412, 1981?)
Folk
Pascale Paslier (joint lead vocals, guitar, synthesiser), Lydie Paslier (joint lead vocals, synthesiser, flute)
They may have shrunk to a trio, but this has a bigger sound than their first album, with lush symphonic keyboards fleshing out their delicate music. In most regards, it’s a slightly better album, but an overweening jollity (not uncommon for Christian bands) creeps into a few songs, which undermines their sense of naïveté. GRADE: C+.
Promesses 2 (France): Sûr De Ton Amour (Mayim MAD 120, with insert, 1986)
Singer/Songwriter
Pascale Paslier (joint lead vocals, guitar), Lydie Paslier (joint lead vocals, keyboards), Aude Paslier (synthesiser)
Now a trio of Paslier sisters (with Lydie sharing in the songwriting), the renamed Promesses 2 offer a much more synthesised sound, with the music dominated by synthesisers and programmed percussion. It’s still quite folky, but the music here falls more into a singer/songwriter vein with some soft prog edges; it’s all very eighties, but also very pleasant and more distinctive than their previous incarnation. GRADE: C+.
Promesses 2 (France): Tu Cherches Un Phare (Mayim MAD 123, with insert, 1986?)
Singer/Songwriter
Pascale Paslier (joint lead vocals, guitar), Lydie Paslier (joint lead vocals, keyboards), Aude Paslier (synthesiser)
Their final album is in the same vein as their third, though the MOR elements underpinning their new synthesised sound are more obvious here. Nonetheless, this is another charming album, containing some lovely and gentle musical moments. GRADE: C+.
Promise & The Monster (Sweden): Transparent Knives (Imperial IMP050CD, 2007)
Folk
Billie Lindahl
This one-woman band (with Lindahl primarily contributing acoustic guitars but also tuned percussion, autoharp, cello and even a little Mellotron) offers delicate, shimmering folk with a psychedelic atmosphere. Lindahl’s precious, girlish singing style may not appeal to every listener, but this is undeniably beautiful stuff, recalling her sometime collaborator Lisa Isaksson’s better-known Lisa & Piu project. GRADE: B–.
Promise & The Monster (Sweden): Red Tide (Imperial IMP086CD, 2011)
Folk/Rock/Psychedelic
Billie Lindahl
This time round, Jörgen Wall is sharing instrumental duties with Lindahl and Lisa Isaksson is guesting on nearly half the tracks, resulting in a richer and much trippier listening experience. Ethereal, mesmerising and haunting, this is genuinely lovely stuff. GRADE: B–.
Promise & The Monster (Sweden): Feed The Fire (Bella Union BELLA492CD, UK, 2016)
Folk/Rock/Psychedelic
Billie Lindahl
Their sound is a little more modernistic this time around, hinting toward the quasi-ambient eighties sound of bands like the Cocteau Twins. Nonetheless, there is still some lovely mystical psychedelic folk, particularly on the excellent closing cover of Lal Waterson’s ‘Fine Horseman’. Once again, Lisa Isaksson contributes to most numbers. GRADE: B–.
See also Me & My Kites, Ştiu Ni Ştiu, Vårt Solsystem
Prophets Of Zarquon (UK): Eternal Skies (Otherworld Music, CDR, 2019)
Rock/Progressive
Zoey Blaize (lead vocals)
Zoey Blaize sounds like a cross between Stevie Nicks and Heather Findlay, but that’s not to say that this sounds like a cross between Fleetwood Mac and Mostly Autumn. However, fans of both groups could well enjoy this outfit’s pleasant, inoffensive brand of symphonic rock, with its strong pop sensibilities. Those expecting some kind of space-rock or a highblown concept album due to the band’s name will be in for quite a surprise, however. In any case, the CD is the version to get as its bonus instrumental track is by far the best thing on offer, making one wish the group had been less song-based elsewhere. GRADE: C+.
Prophets Of Zarquon (UK): Autumn Fall (Otherworld Music, CDR, 2021)
Rock/Progressive
Zoey Blaize (lead vocals)
This is a cut above their first – livelier, more tuneful, more engaging and above all closer to solo Stevie Nicks. But though it’s damn good for what it is and could delight many listeners, the truth is that the Prophets’ brand of catchy, well-crafted classic rock isn’t likely to change your life – or indeed theirs. Tthat said, this certainly sounds like the best album Nicks has made in many a year, GRADE: C+.
Prophets Of Zarquon (UK): Solstice (Otherworld Music, CDR, with gatefold minisleeve and booklet, 2022)
Rock/Progressive
Zoey Blaize (lead vocals)
This is more mature than their first two albums, with more pronounced progressive edges, including some (sampled) Mellotron. But whilst it’s usually unfair to describe one act’s sound in terms of another, Prophets Of Zarquon’s music can still be summed up in a single sentence: Stevie Nicks fronting Mostly Autumn. GRADE: C+.
Prophets Of Zarquon (UK): Floodplain (Otherworld Music, CDR, with gatefold minisleeve and booklet, 2024)
Progressive/Folk
Roseanna (lead vocals)
This is the Prophets Of Zarquon review that doesn’t mention Stevie Nicks: they’ve got a new vocalist and she sounds nothing like her. Her gentler, folky tones suit the band’s evolving music perfectly and whilst she does often remind me of someone else, I can’t think who it is. Comparisons for the music – much more symphonic and much folkier this time around – are easier: an obvious reference point is mid-period Karnataka, except that the Prophets write much better melodies. GRADE: C+.
Propinquity (USA): Propinquity (Owl OWL 23, with insert, 1972)
Folk/Rock
Carla Sciaky (joint lead vocals, guitar, percussion, violin, recorder)
This collective of singer/songwriters delivered a beautiful and haunting album that sometimes recalls Cardboard Village without the hand percussion or an unplugged Riverson. It’s a touch straighter than either, though, focusing on creating delicate atmospheres through varied acoustic instrumentation plus a rhythm section. As that description suggests, this is a lovely LP but perhaps a mite short on anything you could call excitement – or the three or four killer songs that could have elevated it into the Riverson class. GRADE: C+.
See also Carla Sciaky
Provenance (Sweden): 25th Hour; Bleeding (Scarlet SC 038-2, CD, Italy, 2001)
Metal/Progressive
Emma Hellström (joint lead vocals, keyboards, flute)
Rooted in gothic metal, this sometimes resembles a cross between early Theatre Of Tragedy and Madder Mortem. However, it’s also an eccentric and inventive album: despite short song times, there are plenty of progressive and experimental moments, including some unexpected use of keyboards and flute. Overall, it’s a striking and quite impressive debut, and one that would probably have merited a B– had the band not chosen to use male death vocals on just about every song. GRADE: C+.
Provenance (Sweden): Still At Arm’s Length (Scarlet SC 056-2, CD, Italy, 2002)
Metal/Progressive
Emma Hellström (joint lead vocals, keyboards, flute)
This is a big step forward, not least for toning down the death vocals (although they do unfortunately appear here and there, sounding camp and kitsch as always). For the most part, this resembles an ultra-heavy twist on Anekdoten, being influenced as much by prog and new wave as metal. A relaxed instrumental aside, it’s all song-based, but with unusual structures contrasting quieter passages with majestic explosions of rock to generally great effect. GRADE: B–.
Provenance (Sweden): How Would You Like To Be Spat At? (Scarlet SC 100-2, CD, Italy, 2004)
Metal/Progressive
Emma Hellström (joint lead vocals, keyboards)
The death vocals have gone, and their music, while still rooted in metal, has become far more more minimalistic and experimental. Even more than its predecessor, this comes across as a heavier pastiche of Anekdoten, so it’s hardly at the cutting edge, but it’s certainly an interesting melding of modern progressive rock and metal, with the emphasis very much on sonic textures rather than melodies or riffs. GRADE: B–.
Provenance (Sweden): Red Flags (Peaceville CDVILEF146, CD, with slipcase, UK, 2006)
Metal/Progressive
Emma Hellström (joint lead vocals, Mellotron)
Although a few Anekdoten-like elements remain, this mostly sees the band returning to its original gothic metal sound. It’s a solid and atmospheric album, but a definite step down after its slightly more daring predecessor. GRADE: C+.
Providence (Japan): Tradition (No label, cassette, 1986)
Progressive
Yoko Kubota (lead vocals)
The band’s obscure debut release is unsurprisingly both impossible to find and resolutely lo-fi. Musically it’s enjoyable if unremarkable neoprogressive, with just three lengthy tracks of between seven and eighteen minutes. Whilst the songs display many of the hallmarks of eighties Japanese prog, they’re a little harder-edged and a lot less lush than most comparable female-fronted bands, particularly on the intense middle section of ‘I Talk To The Tradition’, which is easily the album’s best moment. GRADE: C+.
Providence (Japan): Toki No Namida (No label, cassette, with booklet, 1987)
Progressive
Yoko Kubota (lead vocals)
Like their first demo, this second is nothing to write home about in the sound quality; it also follows the same format, with two tracks on one side and a single long number on the other. Musically, this is high-tech neoprog as before, and whilst the opening track is a bit tepid the other two achieve an impressive level of intensity – at least in part. GRADE: C+.
Providence (Japan): And I’ll Recite An Old Myth From… (Crime KICP 10, CD, with obi, 1990)
Progressive
Yoko Kubota (principal vocals)
Once again there are ambitious track lengths (between eight and twenty minutes), but despite a few attempts at complexity this remains firmly rooted in neoprog. It’s all listenable enough, however, and certainly has its moments. GRADE: C+.
Providence (Japan): Rare Tracks (Made In Japan MCB-002, with 12" insert and booklet, 1992, recorded 1985-1990)
Progressive
Yoko Kubota (lead vocals)
Limited to 500 copies, this unusually packaged set features previously unreleased live tracks from between 1985 and 1990. The sound quality is somewhat variable, but the music is more interesting than on their studio sets, demonstrating a denser sound with notable King Crimson influences. GRADE: C+.
Providence (Japan): There Once Was A Night Of “Choko-Muro” The Paradise (Made In Japan MJC-1012, CD, with obi, 1996)
Progressive
Takako Sugawaka (lead vocals)
This comeback album, with a different line-up, is mostly solid but unexceptional neoprog like their earlier work. However, the lengthy title track, which builds up a powerful, laconic groove, is nothing short of stunning, and well worth hearing. GRADE: C+.
See also Saber Tiger
Prowlers (Italy): Morgana (Mellow MMP 205, CD, 1994)
Progressive
Laura Mombrini (lead vocals)
With tracks of up to fifteen minutes, this is a pleasant symphonic progressive affair, but the music is also undemanding, sometimes amateurish and less than brilliantly recorded. Overall this is a rather average neoprog album with a few enjoyable moments, although only the powerful closer ‘Morgana’s Shadows’ really catches fire. GRADE: C.
Prowlers (Italy): Mother And Fairy (Mellow MMP 272, double CD, 1995)
Progressive
Laura Mombrini (principal vocals)
This is an ambitious set, consisting of two separate albums (one recorded between December 1992 and October 1993 and the other between July and October 1994) with a total running time of two hours. Musically it’s not exceptional, but it is a positive step forward from their debut, with longer instrumental passages, a more relaxed approach and some excellent keyboard textures. GRADE: C+.
Prowlers (Italy): Sweet Metamorfosi (Mellow MMP 323, CD, 1997)
Progressive/Psychedelic
Laura Mombrini (lead vocals)
Radically different from their first two albums, this is largely instrumental, with a dreamy, trippy feel and lots of psychedelic and mildly avant-garde touches. There are a few elements of their familiar neoprogressive sound worked in, but in general this sees the band reaching far beyond its comfort zone and coming up with something mostly very interesting. Whilst not everything here works brilliantly, there is some fine music on offer, so this stands head and shoulders above its predecessors. GRADE: B–.
Prowlers (Italy): Sogni In Una Goccia Di Cristallo (Mellow MMP 520, 2011)
Progressive/Psychedelic
Laura Mombrini (lead vocals)
This reformation album is thankfully a logical follow-up to Sweet Metamorfosi, rather than marking a return to their original neoprogressive style. If it has a failing, it’s a little disjointed, but at its best – notably on the massively extended ‘Libere Mente Sola’, which resembles a tripped-out twist on early seventies Pink Floyd at their spaciest – this is stunning stuff. GRADE: B–.
Prowlers (Italy): Prowlerslive (Agla, CD, with digipak, 2013)
Progressive
Laura Mombrini (lead vocals)
This well-recorded live album inevitably concentrates on songs rather than the long, trippy instrumental passages that characterised the last couple of LPs. It’s well done and listenable enough, but I’d certainly never choose it over the band’s later studio work. GRADE: C+.
Prowlers (Italy): Mondi Nuovi (Agla CD-07, CD, with digipak, 2014)
Progressive
Laura Mombrini (lead vocals)
This isn’t quite as creative or surprising as the two studio albums that preceded it, but it’s still a varied and interesting album with a nicely trippy mood and a few unexpected moments. At its heart, however, this is richly melodic prog with a typically Italian ballad style and a few nice touches of Mellotron. GRADE: B–.
Prowlers (Italy): Navigli Reflessi (Ma.Ra.Cash MRC070, CD, with gatefold minisleeve and booklet, 2017)
Progressive
Laura Mombrini (lead vocals)
In a world where countless bands playing straightforward rock insist they’re prog, it’s nice to find genuinely progressive albums like this. Richly melodic, musically literate and lushly atmospheric, Navigli Reflessi is frequently unpredictable (bagpipes, a musical saw and a children’s choir all make well-judged interventions) yet never random, and adventurous without being bombastic. It’s proper prog, in other words, and a universe away from the work of lesser bands who claim the same title. GRADE: B–.
Prowlers (Italy): Orchidea (Ma.Ra.Cash MRC 045 CD, with gatefold minisleeve and booklet, 2024)
Cristina Lucchini (joint lead vocals), Laura Mombrini (joint lead vocals), Anna Cavalli (occasional vocals), Agnis (occasional vocals)
This is, of necessity, a rather vague review as Orchidea is a rather vague album. It offers a mellow, beautifully-crafted mixture of symphonic and Rock Progressivo Italiano styles across a selection of tracks rather from three to 20 minutes. It’s consistently satisfying without being particularly memorable. Most notably, it’s clearly strong enough for a B– without having the distinctiveness I’d generally expect in a B– album. GRADE: B–.
