CARPE DIEM — En Regardant Passer le Temps (1978-2017) RM | SHM-CD | Mini LP | Two Version | FLAC (image+.tracks+.cue), lossless

This album has really grown on me big time. This has got to be one of the greatest prog albums I have bought in a long time. This group, as far as French prog bands are concerned gets mentioned up there with the likes of PULSAR, ATOLL, MAGMA, ANGE, etc. and without good reason. The band consisted of keyboardist/vocalist Christian Truchi, guitarist Gilbert Abbenanti, bassist Alain Berge, drummer Alain Faraut, and saxist/flutist Claude-Marius David (who unfortunately died in 1993, according to the booklet included in the Musea CD reissue, but unfortunately no mention of cause of death).

"En Regardant Passer Le Temps" is the first of only two albums and is generally regarded as the better of the two. This is one of the very few prog rock albums I've found where I can't find any flaws. Many times I have problems with bad production, bad vocals (or a band singing in poor English if they're from a non-English speaking country), an album getting hampered by a sappy ballad or two, awful synth sound, poor lyrics, or whatever, but none of that's to be found here. Christian Truchi decides to sing in his native French, and he has one of the more pleasant voices in French prog (a refreshing change, when you're accustomed to harsh French vocals, like that of ANGE).

The band has one of the more unique keyboard sounds I've heard, rather than the usual Hammond organ, Mini Moog, and Mellotron, Truchi used a Farfisa electric piano, an unidentifiable synth, and a string synth. So many times you see this band compared with GONG, or CAMEL, or SOFT MACHINE. Don't buy in to that at all, this has got to be one of the more original mid '70s prog albums. For one thing, the music is way more sophisticated than what GONG did. There are plenty of jazzy passages because of the presence of sax, but plenty of spacy symphonic passages. The band is often placed under the "space fusion" category with the likes of GONG and even OZRIC TENTACLES, which is a bit strange, given CARPE DIEM was quite a bit more sophisticated. Expect more of a symphonic space prog album.
The album consists of only four cuts, but all are of the same quality, so it's really difficult picking out the best cut. Plus you can't beat the cover, which is very much in the style of M.C. Escher (done by Hubert Pattieu). Truly an essential album, as far as I'm concerned. progarchives 

Tracklist :
1 Voyage Du Non-Retour 3:45
2 Réincarnation 12:50
3 Jeux Du Siècle 9:00
4 Publiphobie 10:50
Credits :
Bass – Alain Berge
Drums, Percussion – Alain Faraut
Guitar – Gilbert Abbenanti
Keyboards, Vocals – Christian Truchi
Soprano Saxophone, Flute, Percussion – Claude M. David 

CELESTE — Celeste (1976-2010) RM | Italian Rock SHM-CD Series | FLAC (tracks+.cue), lossless

Along with Museo Rosenbach, Celeste were born from the ashes of the legendary Il Sistema, a band from Sanremo whose only posthumous released recordings don't give a real idea of what they were.
Formed by drummer Ciro Perrino and sax player Leonardo Lagorio (who had played with Museo Rosenbach in their early days) this four piece went in a totally different direction from their beginnings, playing a mostly acoustic, dreamy and delicate prog. A studio group, they had a very limited live experience.
Their first album, Celeste, also known as Principe di un giorno, was released by the small Grog label only in 1976, but the tracks had been composed in 1973 and recorded in 1974. It contains seven tracks, with pastoral lyrics and a style not far from the softer side of early King Crimson.
A second album, recorded in 1977, was released in 1991 by Mellow with the obvious title of Celeste II. Closer to jazz-rock and very far from their debut album, this suffers from poor quality and unfinished recordings.
Another album, born as a soundtrack and called I suoni in una sfera was also released in 1992, more similar to their first work and including two songs also on Principe di un giorno.
After the band split Ciro Perrino played with St.Tropez (that also included Celeste bass player Battaglia), Compagnia Digitale and SNC and released a solo album (Solare in 1980), before founding with Mauro Moroni the praiseworthy Mellow label, so important during the years for the world diffusion of the Italian prog. wiki
Tracklist : 
1 Principe Di Giorno
Bass, Pedal Steel Guitar, Xylophone – Giorgio Battaglia
Guitar, Violin – Mariano Schiavolini
Percussion, Flute, Mellotron, Vocals – Ciro Perrino
Piano [Acoustic], Electric Piano, Flute, Alto Saxophone, Mellotron, Synthesizer [Eminent] – Leonardo Lagorio 
2 Favole Antiche
Bass – Giorgio Battaglia
Guitar – Mariano Schiavolini
Percussion, Flute, Vocals – Ciro Perrino
Piano [Acoustic], Electric Piano, Synthesizer [ARP Odyssey], Flute, Spinet – Leonardo Lagorio
3 Eftus
Bass – Giorgio Battaglia
Effects [È Qui - Si È] – Aldo De Scalzi
Flute, Synthesizer [ARP 2600], Mellotron – Leonardo Lagorio
Guitar, Vocals – Mariano Schiavolini
Percussion, Flute, Vocals – Ciro Perrino
4 Giochi Nella Notte
Bass, Chorus – Giorgio Battaglia
Guitar, Violin, Chorus – Mariano Schiavolini
Percussion, Flute, Flute [Flauto Dolce], Vocals, Chorus, Xylophone – Ciro Perrino
Piano [Acoustic], Electric Piano, Flute, Synthesizer [ARP 2600, Eminent], Mellotron, Chorus – Leonardo Lagorio
5 La Grande Isola
Bass – Giorgio Battaglia
Effects [Plop] – Aldo De Scalzi
Flute – Leonardo Lagorio
Guitar – Mariano Schiavolini
Percussion, Vocals – Ciro Perrino
6 La Danza Del Fato
Bass – Giorgio Battaglia
Guitar – Mariano Schiavolini
Percussion, Flute, Vocals – Ciro Perrino
Piano [Acoustic], Synthesizer [ARP 2600], Flute, Mellotron – Leonardo Lagorio
7 L'imbroglio
Bass, Electric Guitar – Giorgio Battaglia
Guitar, Violin – Mariano Schiavolini
Percussion, Flute, Mellotron, Vocals, Flute [Flauto Dolce] – Ciro Perrino
Piano [Acoustic], Electric Piano, Flute, Synthesizer [ARP 2600], Mellotron, Saxophone [Contralto], Tenor Saxophone – Leonardo Lagorio

TIBET — Tibet (1978-2013) RM | SHM-CD | FLAC (image+.cue), lossless

Diamond in the rough, lost gem, obscure record, oddity or criminally underrated; pick one you like it all means the same.

Tibet kicks ass with a high level of musicianship, quirky melodies and a really weird (but likeable) art cover. To be frank, once again it's the cover that brought me to that record. And the cover is telling you pretty accurately what you can expect: fantasy. Is it me or the Egyptian art is perfectly fit for progressive rock? K2 and Ash Ra Tempel find it too I heard.

If you find this record, pick it now. You'll get your money's worth. It's easy to get into and to hum later. The mood is well set for smoke machines (or other instruments) and trippy lights. The vocals are not the strongest part, but many bands like Ramses have the same problem without ruining the mood.The singer has a RPI tremolo, even in english, weird as it seems. On the very plus side, you have a ton load of good keyboard (Peter Bardens style), guitar and bass (a la Eloy). I can easily spot Pink Floyd and Camel here and there, but the Eloy factor is tangible even more. Good news!! progarchives.com
Tracklist :
 1. Fight Back (4:59)
2. City By The Sea (4:24)
3. White Ships And Icebergs (6:15)
4. Seaside Evening (4:13)
5. Take What's Yours (7:23)
6. Eagles (6:05)
7. No More Time (5:30)
Line-up / Musicians
- Kalus Werthmann / Lead Vocals
- Jürgen Grutzsch / Guitar, Percussion
- Deff Ballin / Keyboards, Percussion
- Dieter Kumpakischkis / Keyboards
- Karl Heinz Hamann / Bass, Percussion
- Fred Teske / Drums

BACAMARTE — Depois Do Fim (1983-2009) RM | SHM-CD | FLAC (tracks+.cue), lossless

Arguably one of the strongest progressive rock albums from South America. We can even say that it can beat most European progressive rock albums of the 80's. Two trademarks are original Portuguese female vocal and virtuoso guitar. However, also keyboard layers and folk influences underlined by flute, are hearable. Influences could be traced to Italian prog and Genesis/Camel/Yes."Smog alado" is a symphonic composition with solemn organ in the second part and great vocal. The first track is a pleasant instrumental piece."Miragem" features guitar with Brazilian folk motives; by now you must have noticed that the guitar has a slightly different recorded sound than usually. "Ultimo Entardecer" is the longest track and most varied track. Howe-like guitar runs, Wakeman's synths, acoustic section after symphonic one,...

"Controversia" is not a controversial instrumental workout in a typical Bacamarte manner. The title track has a very solemn synth start and returns down to earth with the female vocals. stanley sgtpepper

Il y a bien longtemps que je n'ai pas écouté de disques de Progressive Rock, préférant me concentrer sur ma passion musicale pour la musique brésilienne. Après O Terço, les années 70, je découvre Bacamarte, les années 80. Le lien s'effectue entre deux de mes passions, la Prog anglo-saxonne et la MPB. Magnifique premier morceaux, "UFO", qui propose une ouverture latine (guitare acoustique) pour ensuite dériver vers des rivages qui m'évoquent Camel, Genesis ou Gentle Giant. Deuxième morceau, "Smog Alado", les esprits de la MPB invoquent Jethro Tull et Yes. Et puis l'apparition de la voix de Jane Duboc qui chante en portugais. Deux singularités dans le monde de la Prog dominé par l'anglais et les voix masculines. Bacamarte est un immense album de Prog Symphonique porté par des claviers luxuriants et la guitare inspirée de Mario Neto qui a composé la majorité des morceaux. Proche de l'album concept, homogène, mais pas répétitif, Bacamarte porte vraiment très haut la Prog, genre musical très mineur au Brésil. L'album fait partie des 100 meilleures productions de la Prog internationale. Dominique Deret
Tracklist  :
1    UFO 6:27
Composed By – Mario Neto
2    Smog Alado 4:10
Composed By – Mario Neto
3    Miragem 4:51
Composed By – Mario Neto
4    Pássaro De Luz 2:32
Composed By – Mario Neto
5    Caño 1:57
Composed By – Marcus Moura
6    Último Entardecer 9:26
Composed By – Mario Neto, Sergio Villarim
7    Controvérsia 1:57
Composed By – Delto Simas, Marco Veríssimo
8    Depois Do Fim 6:30
Composed By – Mario Neto
Credits :
Drums – Marco Veríssimo (tracks: 1 to 8)
Electric Bass, Acoustic Bass – Delto Simas (tracks: 1 to 8)
Flute, Accordion – Marcus Moura (tracks: 1 to 8)
Instruments, Guitar, Acoustic Guitar, Mixed By, Producer – Mario Neto
Keyboards – Sergio Villarim (tracks: 1 to 8)
Percussion – Mr. Paul (tracks: 1 to 8)
Programmed By [Drum Machine] – Mario Neto (tracks: 9)
Recorded By [Recording] – Toninho Barbosa (tracks: 1 to 8)
Written-By – Delto Simas (tracks: 7), Marco Veríssimo (tracks: 7), Marcus Moura (tracks: 5), Mario Neto (tracks: 1 to 4, 6, 8), Sergio Villarim (tracks: 6)
Vocals – Jane Duboc (tracks: 2, 4, 6, 8)

ATOMIC ROOSTER — Death Walks Behind You (1970-2016) RM | SHM-CD, Mini LP | FLAC (tracks+.cue), lossless

"Devil's Answer" might be the record for which Atomic Rooster are remembered, but it was their second album that posted warning that they were on the verge of creating something dazzling -- simply because the record itself is a thing of almost freakish beauty. With only organist Vincent Crane surviving from the original lineup, and John Du Cann coming in to relieve him of some of the songwriting duties, Death Walks Behind You opens at a gallop and closes with a sprint. The title track is effectively spooky enough for any Hammer horror aficionado, all descending pianos and Psycho-screaming guitars, while "Gershatzer," a duet for organ and percussion, proves that new drummer Paul Hammond is more than a match for the departed Carl Palmer. It's in between these dramatic bookends, however, that Rooster truly peak, with the stately "VUG," the pensive "Nobody Else," and the truly amazing "Tomorrow Night" (one of the scariest love songs ever let loose on the U.K. chart) all impressing. Crane's liner notes, incidentally, remind us that the album packed a different version of the hit, with an extended ending that descends into unimagined chaos -- a shocker for the pop kids, perhaps, but a fabulous bridge into the succeeding "7 Streets." Possibly the best evidence for this being Atomic Rooster's masterpiece, however, comes not simply from what's on the album, but for what has been left off. An excellent repackaging and remastering job restores the original artwork in all its gatefold glory, but you'll search in vain for bonus tracks -- not because there were none to add, but because they simply wouldn't fit. Sit through Death Walks Behind You, after all, and you really won't need any more surprises. Dave Thompson
Tracklist :
1. Death Walks Behind You (7:24)
 John Du Cann / Vincent Crane
2. VUG (instrumental) (5:03)
 Vincent Crane
3. Tomorrow Night (4:02)
 Vincent Crane
4. 7 Streets (6:47)
 John Du Cann
5. Sleeping For Years (5:30)
 John Du Cann
6. I Can't Take No More (3:36)
 John Du Cann
7. Nobody Else (5:04)
 Vincent Crane
8. Gershatzer (instrumental) (8:01)
 Vincent Crane
 Line-up / Musicians
 John Cann - Acoustic & Electric Guitars, Lead Vocals
 Vincent Crane - Hammond Organ, Piano, Backing Vocals
 Paul Hammond - Drums, Percussion

ART BEARS - Hopes & Fears (1978-2015) RM / Mini LP SHM-CD / FLAC (image+.cue), lossless

The first album from Dagmar Krause, Chris Cutler, and Fred Frith's post-Henry Cow project is one of the art rock masterpieces of the 1970s. It's as politically potent as Henry Cow's more strident work, but couched in more poetic and provocative terms. Opening with Bertolt Brecht's "On Suicide," with Krause declaiming the playwright's bitter lyrics in her semi-operatic style to the wheezing accompaniment of Frith's harmonium, the album continues in that uncompromising vein. Although most of the other members of Henry Cow guest, with reeds player Lindsay Cooper and keyboardist Tim Hodgkinson playing on a majority of the 13 songs, Hopes and Fears is considerably more focused and powerful than that group's often scattershot albums. The songs are built on Cutler's impressively varied drumming (often on electronically modified instruments), and the amazing variety of sounds Frith is able to coax out of a battery of electric and acoustic guitars, but there's enough space in the music for Krause's unique vocals to shine. Highlights include the epic, multi-part "In Two Minds," parts of which are as close as the Art Bears ever come to conventional rock music (which is to say, not very close at all, but there's an electric guitar solo), and the puckish instrumental, "Moeris Dancing." by Stewart Mason  
Tracklist :
1    On Suicide 1:26
Written-By – Brecht, Eisler
2    The Dividing Line 4:11
Written-By – Cutler, Frith, Cooper
3    Joan 3:05
Written-By – Cutler, Frith
4    Maze 5:05
Voice [2nd Voice] – Georgie Born
Written-By – Cutler, Frith
5    In Two Minds 8:45
Written-By – Cutler, Frith
6    Terrain 3:49
Bass – Fred Frith
Written-By – Frith
7    The Tube 3:05
Bass – Fred Frith
Written-By – Cutler, Frith
8    The Dance 5:09
Written-By – Cutler, Frith
9    Pirate Song 1:28
Piano – Tim Hodgkinson
Written-By – Cutler, Hodgkinson
10    Labyrinth 2:15
Written-By – Cutler, Hodgkinson
11    Riddle 2:49
Written-By – Cutler, Frith
12    Moeris, Dancing 8:08
Written-By – Frith
13    Piers 2:10
Written-By – Cutler, Frith
14    Silence    1:00
15    The Riddle    2:21
16    First Things First    1:55
17    March From The Dance    1:05
18    The Hermit    2:47
Credits :
Bass, Cello – Georgie Born
Bassoon, Oboe, Soprano Saxophone, Recorder – Lindsay Cooper
Drums, Drums [Electrified Drums], Percussion [Percussions], Noises [Noise], Artwork [Centre] – Chris Cutler
Guitar [Guitars], Violin, Viola, Piano, Harmonium, Xylophone – Fred Frith
Organ, Clarinet – Tim Hodgkinson
Voice – Dagmar Krause

ART BEARS - Winter Songs (1979-2015) RM / Mini LP SHM-CD / FLAC (image+.cue), lossless

The Art Bears' second album consists of 12 songs of various tensions: rest vs. speed, improv vs. pulse, space vs. density, Dagmar Kraus's vocals vs. everyone else. As usual, Chris Cutler's lyrics tell political allegories through medieval-tinged stories: slaves, castles, and wheels of fortune (and industry) dominate. Fred Frith explores discordance through his guitar, and European folk figures through his always enjoyable violin. Though not as confrontational as their other work, the centerpiece has to be the frantic "Rats and Monkeys" with three minutes of teeth-gritting, out-of-control insanity as all three players are plugged into a wall outlet and let rip. A guaranteed lease breaker if played often enough. by Ted Mills
Tracklist :
1     The Bath of Stars 1:45
Chris Cutler / Fred Frith
2     First Things First 2:50
Chris Cutler / Fred Frith
3     Gold 1:41
Chris Cutler / Fred Frith
4     The Summer Wheel 2:47
Chris Cutler / Fred Frith
5     The Slave 3:38
Chris Cutler / Fred Frith
6     The Hermit 2:59
Chris Cutler / Fred Frith
7     Rats and Monkeys 3:24
Chris Cutler / Fred Frith
8     The Skeleton 3:11
Chris Cutler / Fred Frith
9     The Winter Wheel 3:06
Chris Cutler / Fred Frith
10     Man and Boy 3:21
Chris Cutler / Fred Frith
11     Winter/War/Force/Three Figures 3:05
Chris Cutler / Fred Frith
12     Force 0:54
Chris Cutler / Fred Frith
13     Three Figures 1:51
Chris Cutler / Fred Frith
14     Three Wheels 3:35
Chris Cutler / Fred Frith
Credits :
Drums, Percussion, Written-By, Arranged By, Text By [Texts] – Chris Cutler
Guitar [Guitars], Violin, Keyboards, Xylophone, Written-By, Arranged By, Composed By [Compositions] – Fred Frith
Voice – Dagmar Krause 

ART BEARS - The World as It Is Today (1981-2015) RM / Mini LP SHM-CD / FLAC (image+.cue), lossless

If you thought Henry Cow was a pretty political band to start with, you may be even more taken aback by the Art Bears, which was put together following Henry Cow's demise by former Cows Chris Cutler (percussion), Fred Frith (guitar, violin), and Dagmar Krause (voice). On The World As It Is Today and its predecessor, Winter Songs, the Art Bears move away from the long-form art rock of Henry Cow and get much, much more politically explicit: song titles like "The Song of the Dignity of Labour Under Capital" and "The Song of Investment Capital Overseas" almost sound like Monty Python gags today, but if any humor was intended it was clearly meant to be mordant. Frankly, the lyrics are so overwrought and portentous that it's hard to take them seriously. But the music is something else again. Cutler and Frith are natural collaborators; Cutler's drumming always rides a very fine line between the scattershot and the funky, while Frith bounces his horror-show guitar noise and carnival piano off of Cutler's grooves with manic abandon and fearsome inventiveness. And Krause's singing is just as inventive; she whoops, croons and screams her way through the density of Cutler's lyrics without a hesitation or misstep. Easy listening it isn't, but it's sure worth hearing. Frith fans, in particular, should consider this album a must-own. by Rick Anderson  
Tracklist :
1     The Song of Investment Capital Overseas 2:38
Chris Cutler / Fred Frith
2     Truth 2:56
Chris Cutler / Fred Frith
3     Freedom (Armed) Peace 3:25
Chris Cutler / Fred Frith
4     (Armed) Peace 2:30
Chris Cutler / Fred Frith
5     Civilisation 4:52
Chris Cutler / Fred Frith
6     Democracy 2:22
Chris Cutler / Fred Frith
7     The Song of the Martyrs 4:09
Chris Cutler / Fred Frith
8     Law 0:51
Chris Cutler / Fred Frith
9     The Song of the Monopolists 1:48
Chris Cutler / Fred Frith
10     The Song of the Dignity of Labour Under Capital 2:27
Chris Cutler / Fred Frith
11     Albion, Awake! 4:08
Chris Cutler / Fred Frith
12    Silent Track    1:00
13    Code To Man And Boy    7:18
14    All Hail    4:08
15    Duck And Cover: The Song Of Investment Capital Overseas    3:43
Credits :
Drums, Electronic Drums [Electric Drums], Percussion, Lyrics By [Texts], Artwork [Booklet] – Chris Cutler
Guitar, Keyboards, Violin, Viola, Composed By [Compositions] – Fred Frith
Songwriter [All Songs Written By], Arranged By – Chris Cutler, Fred Frith
Vocals – Dagmar Krause 

HENRY COW — Leg End (1973-2015) RM | SHM-CD | FLAC (image+.cue), lossless

Political astuteness aside, Henry Cow's Leg End is simply a busy musical trip, comprised of snaking rhythms, unorthodox time signatures, and incongruous waves of multiple instruments that actually culminate in some appealing yet complex progressive rock. Here, on the band's debut, both Fred Frith and woodwind man Geoff Leigh hold nothing back, creating eclectic, avant garde-styled jazz movements without any sense of direction, or so it may seem at first, but paying close attention to Henry Cow's musical wallowing results in some first-rate instrumental fusion, albeit a little too abstract at times. Through tracks like "Amygdala," "Teenbeat," and "The Tenth Chaffinch," it's simply creativity run amok, instilling the free-spiritedness of the late '60s into this, a 1974 album. The techniques are difficult to follow, but the stewing that emerges between the piano, guitar, flute, and percussion is so animated and colorful, it actually sounds pleasant as a whole. Chris Cutler lends his uncommitted, self-governing brand of drumming to the album to help culminate the frenzy, and Leigh's tenor flute does add some extraordinary musical fabric to each of the album's ten cuts. "Nine Funerals of the Citizen King" is one of the easiest pieces to listen to, while the short but amiable "Bellycan" is an excerpt removed from the group's work with the Greasy Truckers, performed a year earlier. In 1974, Henry Cow released Unrest, which contains the same vigor and spontaneity as Leg End, only it didn't receive the same amount of attention. Shortly after, they united with Dagmar Krause and the rest of Slapp Happy to further their unconventional route. Mike DeGagne
Tracklist  ¨:
1 Nirvana For Mice 4:53

Engineer [First Part] – Mike Oldfield

Mixed By [Remixed By] – Fred Frith
Tenor Saxophone – Geoff
Written-By – Frith
2 Amygdala 6:47
Bassoon – Lindsay Cooper
Written-By – Hodgkinson
3 Teenbeat Introduction 4:32
Mixed By [Remixed By] – Fred Frith
Voice – Cathy Williams, Maggie Thomas, Sarah Greaves Written-By – H. Cow
4 Teenbeat 6:57
Alto Saxophone [Alto On End Of] – Tim
Mixed By [Remixed By] – Fred Frith
Voice – Cathy Williams, Maggie Thomas, Sarah Greaves
Written-By – Frith, Greaves
5 Nirvana Reprise 1:11
Mixed By [Remixed By] – Fred Frith
Written-By – Frith
6 Extract From 'With The Yellow Half-Moon And Blue Star' 2:26
Written-By – Frith
Xylophone [Pixiphone] – Jeremy Baines
7 Teenbeat Reprise 5:07
Mixed By [Remixed By] – Fred Frith
Voice – Cathy Williams, Maggie Thomas, Sarah Greaves
Written-By – Frith
8 The Tenth Chaffinch 6:06
Written-By – H. Cow
9 Nine Funerals Of The Citizen King 5:34
Written-By – Hodgkinson
10 Bellycan 3:19
Tenor Saxophone – Geoff
Written-By – H. Cow
Bonus Tracks
11 Teenbeat 10:19
Voice [Conversation] – Amanda Parsons, Ann Rosenthal
Voice [Conversation], Celesta – Dave Stewart
12 Citizen King 5:21
13 Nirvana For Moles 4:09
Credits
Bass, Piano, Whistle, Voice – John Greaves
Drums, Toy [Toys], Piano, Whistle, Voice – Chris Cutler
Guitar [Guitars], Violin, Viola, Piano, Voice – Fred Frith
Organ, Piano, Alto Saxophone [Alto Sax], Clarinet, Voice – Tim Hodgkinson
Saxophone [Saxes], Flute, Clarinet, Recorder, Voice – Geoff Leigh