This news story was originally published here:

Last year’s De Facto was the fifth release by Mexican duo, Lorelle Meets The Obsolete, the third of their albums to be released internationally, and the first that I heard. It grabbed me immediately, from its jarring and bruising opener. The intriguing mix of dream pop gone wrong and electronica providing a psychedelic nightmare soundscape, with every beautiful and serene moment being met with something darker and more threatening, had me hooked. The duo released an EP earlier this year, which is just as enthralling. Also this year, Lorena Quintanilla (Lorelle) has released a second solo album as J. Zunz, and it has quite a different feel to the 2017 debut.

Actually, I’ll admit I was unaware that there had been an earlier J. Zunz album, until I visited the Bandcamp page. I listened to that earlier album (Silente) before moving on to this new release, Hibiscus. In every way, Hibiscus is a more impressive album than its predecessor. Although Quintanilla’s idea for J. Zunz to be stripped right back, Silente felt too stripped back for me. Even though you could argue that Hibiscus is still stripped back, compared with Lorelle Meets The Obsolete, is is far more lush and full than Silente. It’s somewhat odd, perhaps, to describe such almost ambient and quite minimalist music as having fullness of sound, but it’s also undeniably true.

Hibiscus is far closer to silence than Silente was, and it works incredibly well. ‘Less is more’ is a cliché often pulled out by reviewers (including myself), but it’s hard to deny how well that approach works on an album such as this. Even Quintanilla’s vocals are pulled back into the mix, a ghostly and ephemeral undertone adding texture and colour, and working more as another instrument. There’s an otherworldly sound to the vocals that helps transport me away to another place for the duration of the album.

Unlike Lorelle Meets The Obsolete, although the music of J. Zunz might sound, as aforementioned, otherworldly, it never really feels ominous. That is, until you hit the midpoint of the album, but even 33:33 never feels threatening. There’s never that sense of teetering on the edge of a precipice that Lorelle Meets The Obsolete can give. The harsher notes and stronger percussion of the heavier moments of 33:33 don’t really even add a sense of unease, so much as a point of interest. Which is a good thing, as otherwise it might break the almost hypnotic feel of the album. Bandcamp describes “compelling trance states”, and it’s not wrong. 33:33 provides a passage on the album that makes the listener take note, without being jolted out of the comfort zone the album provides as a whole.

White Labels uses the same rhythmic tune of 33:33, with a different sound, which is a really neat trick. Both tracks sound so similar as they begin, and yet so different. The drone which gradually and increasingly takes over the song is mesmerisingly beautiful. When it drops away, to leave soft vocals in the background, it’s even more so. This is the overwhelming feel of Hibiscus – something gentle, hypnotic and hauntingly beautiful. At times eerie, but never uneasy. And yet, the beauty of the instrumentation hides how dark and harrowing – even violent – the album often can be lyrically. Quintanilla has described the recording of Hibiscus as being cathartic, and this is reflected in the way the lyrics deal with exorcising her demons and fears, over music that is almost overwhelmingly calm and tranquil. It provides a sense of strength overcoming vulnerability.

I’ll admit that when I first listened to Hibiscus, I was a little underwhelmed. But this was because I was unfairly comparing the album to Lorelle Meets The Obsolete. J. Zunz is not that band, and the music is not the same. However, it really didn’t take too many listens to realise how deep under my skin this album had dug, and how much I love it. If this is the direction Quintanilla is taking with her solo work, then I am entirely onboard, and though Hibiscus has only just been released, I’m already impatient for the next album!

01. Y (4:06)
02. Four Women And Darkness (5:56)
03. Jùpiter (2:55)
04. 33:33 (5:06)
05. White Labels (5:11)
06. Overtime (3:37)
07. America Is A Continent (5:16)
08. Ouve-Me (3:30)

Total Time – 35:37

J. Zunz – Vocals, All Instrumentation

Record Label: Rocket
Country of Origin: Mexico
Date of Release: 21st August 2020

J. Zunz – Facebook | Bandcamp | YouTube

This news story was originally published here:

This is what John Collinge wrote on PE:

I am writing to transparently explain the fate of Progression Magazine of which I am — was — owner/publisher. That I hadn’t fully done so before is in itself painful to me, but remains necessary for all involved. A friend called my attention to an old, lengthy thread on PE regarding Progression’s fate. I realized this was my opportunity to break from subconsciously self-imposed exile to address matters driven by a dying print industry and also of personal origin, which I’ve been reluctant to share publicly.

I started Progression in 1992 as a 12-page bimonthly newsletter, which evolved over the years into a 182-page internationally circulated quarterly magazine at its peak. It was a labor of love, mostly for the music but also for the challenge of bringing serious journalism to a deserving genre. Suffice to say this publication — which I built from scratch “learning by doing” – consumed my life 24/7 for 26 years. Having no children, Progression was my “child.” But being a journalist foremost and businessman a far distant second, I was ill-equipped for navigating financial growing pains as advertising and circulation duties soon eclipsed editorial. I ran myself ragged wearing all three hats, could not afford to hire help but pressed on for years longer than I probably should have. Why? Simply put, celebrating progressive music’s visceral and intellectual appeal through the journalistic process fed my soul. Plus, a lot of folks liked the results.

The Internet came of age during Progression’s tenure spelling the print industry’s inexorable decline, which I resisted to the very bitter end. The first big blow was my primary newsstand distributor, Desert Moon Periodicals, going bankrupt losing me thousands. Then Tower Records folded, Progression’s biggest retail outlet. As people gravitated to online reading, magazines – especially indie publications – began to fold.

The emergence of social media and DIY websites forced me to don a fourth “hat” for online promotion and content that proved unmanageable. From the very start in ’92 through Progression’s last issue a bit over two years ago, this has been a one-man operation augmented by paid graphic artists and generous contributions from volunteer writers/reviewers. Between selling ads, managing subscriptions, writing, editing and overseeing online functions, my workload reached critical mass. Problem is, progressive music remains a tiny niche market with limited resources.

Progression’s last few years were plagued by an erratic publishing schedule. Job one for each issue cycle was first covering the printing bill (which ultimately drained my personal savings). Things stalled completely when a medical scare limited my ability to focus long hours on a computer screen as the work required. I am blind in my right eye from birth which made my left eye better than 20/20, but a condition called severe vitreous detachment clouded vision in my good eye that I still am coping with.

My hope all along has been to reinvent Progression in more manageable form, perhaps digitally, but finding a workable path forward has been elusive. Frankly, it is incredibly hard for me to abandon this “child,” this creation, with which I so closely have identified through three decades. As a result I’ve been unwittingly avoidant of hard truths and of properly apprising all subscribers/supporters where things stand. I thought this had been addressed – or at least, told myself that. Then I figured no one really cared. Then I’m alerted to a lengthy PE thread with posters calling me “scummy” and “leech,” so apparently some folks care after all.

That hurt. Eventually I came to accept that my efforts toward saving Progression at such high personal cost were counterproductive and a disservice to others. Back issues remain available in the webstore which no longer accepts subscriptions; anyone attempting to subscribe since publication ceased has been/will be refunded. I apologize to those left hanging with partially completed subscriptions, which has caused me sleepless nights. Piecemeal monetary reimbursement is not possible right now as I seek acceptable alternative solutions. One possibility might be filling the balance with available back issues, of which there remain many. Those in that position should please advise if it’s something you would consider (e-mail address below).

Along the way, of course, many things have been said. True, obligations to current subscribers in the end were not fulfilled. Other accusations are NOT true. For example, one member here publicly suggested the magazine’s website is a front to solicit promo submissions for surreptitious sale on This definitely (and demonstrably) is untrue. Yes, out of financial necessity I opened a Discogs store to liquidate items from my personal music collection (CDs/DVDs/vinyl) plus items I bought wholesale, along with some promos (via multiple sources, not just Progression) dating chiefly from 1996-2011. Since 1992 most promotional discs sent to Progression for review were parsed out to reviewers. The rest including duplicates, items we had insufficient space to review and items I reviewed personally, stayed with me. At no time have promos been sought through Progression targeting re-sale, anywhere. I honestly cannot imagine how, even with all that happened, anyone could suggest such a thing.

In closing, from the bottom of my heart I wish to thank everyone who supported me and the magazine throughout our headfirst dive into the oft-bumpy, glorious unknown of independent publishing. I knew what I wanted with Progression but obviously didn’t know what to expect. One guy serving thousands of people over a quarter century wasn’t the best formula for 100-percent customer satisfaction, but I hope we at least made some of you feel better informed along the way. Thanks again.

Your friend in prog,
Scummy Leech (a/k/a John Collinge)

P.S. I recently was notified of some back-issue orders left unfilled from a webstore data recovery glitch. Anyone potentially affected by this please e-mail me directly at [email protected]. You also can message me there with other questions, comments, complaints, insults, etc. I promise to respond.”

This news story was originally published here:

I don’t know if it’s something they add to the water supply in Sweden, but it has been a hotbed of great new progressive music for years now, with a seemingly endless list of new bands emerging each year to delight music fans the world over. Well, here’s another band to add to the list, Vulkan, who hail from Karlstad.

Technatura is the band’s third album, and right from opener This Visual Hex it is clear that we have a band who occupy the heavier end of the prog spectrum. Whilst undeniably there is a good bludgeon quota, it is balanced with melody and interesting embellishments. We find sounds flitting in and out of the arrangements which could be violin, flute, trumpet even, but are probably keyboard-generated. However they are made, they provide textural and melodic interest which elevates the overall sound above the standard ‘heavy prog’ we often hear. The atmosphere is slightly eerie and dark, with intriguing percussive effects, but the overall musical sweep of the verses is quite uplifting, evocative of early Haken perhaps. The vocals of Jimmy Lindblad are a highlight, providing the melody behind which the band drive forcefully on. Drummer Johan Norbäck provides a very solid lively beat alongside Oscar Pettersson (no, not the legendary jazz pianist – no jazz here!) on bass, and together they propel the band energetically along.

Several of the tracks on the album are sung in their native Swedish, which I find works very well, just as Opeth’s last album sounded somehow ‘right’ in the native language version. One of these is Marans Ritt, which is the first single from the album. It is a delightfully light, largely acoustic song, but slightly mystifying as a choice of single in that it is not at all representative of their normal dominant style. Whatever, it is a beautiful interlude. Elsewhere, there are moments of calm ambience interspersed between the longer heavier workouts. It makes for a well-paced and sequenced listening experience.

There are many stand-out tracks, so I’ll just mention a couple: Klagans Snara with its throat singing and keyboard textures segues beautifully into Rekviem, which starts as a pastoral lush ballad, but gradually builds in intensity to a superb full-on climax. It’s a stunning piece of controlled power and restraint. Christian Fredriksson excels on guitar on this piece. Although he can riff along with the best of them, his solos are relatively few, and played with restraint, preferring to provide colour and texture for the most part. In fact, despite all band members clearly being excellent musicians, they play throughout as a band, with NO showboating!

The last two songs combine to provide a suitably epic conclusion. The Royal Fallacy is the longest track at ten minutes, but is worth that time as it builds in layers, winding the tension up all the time. There is a suspicion of some ‘harsh’ vocals for a few moments as the intensity increases, but I hesitate to mention it as it in no way dominates, and I know how some baulk at the very idea. Forget I said anything! We segue into The Madness Sees No End with its stark simple drum beat intro, but which soon gives way to a semi-chugging riff. It is a sort of off-kilter processional march with keyboard ‘trumpets’ emphasising this feel. It makes for a superb ending, completely unexpected and yet makes total sense.

So there we have it, another band well worth investigating, whom I earnestly hope can make some headway with this excellent release. I know there are so many bands out there who are similarly worthy of attention, but I heartily recommend Vulkan if you appreciate the heavier end of the genre.

01. This Visual Hex (9:09)
02. Hunter/Prey (1:26)
03. Redemption Simulations (4:03)
04. Bewildering Conception Of Truth (7:56)
05. Klagans Snara (2:52)
06. Rekviem (7:41)
07. Spökskepp (7:54)
08. Technatura (0:58)
09. Marans Ritt (3:19)
10. Blinding Ornaments (4:07)
11. The Royal Fallacy (10:22)
12. The Madness Sees No End (4:25)

Total Time – 68:12

Olle Edberg – Keyboards
Johan Norbäck – Drums
Jimmy Lindblad – Vocals
Oscar Pettersson – Bass
Christian Fredriksson – Guitars

Record Label: Independent
Country of Origin: Sweden
Date of release: 8th May 2020

Vulkan – Website | Facebook | Bandcamp | YouTube


Progressive Tracks Show #376 (What IS It?)

I have no idea what this show is about… but knowing this show, should that be of concern?


Feel free to contact me any time via email:  [email protected]

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! ˅˅˅˅˅˅˅˅

This news story was originally published here:

Recently, ArcTanGent Festival posted on their Facebook page asking their followers what they thought the top five post-rock releases of 2020 were so far. There were a lot of familiar and expected names, but one I was surprised to see was OHHMS. They’ve never been a band I’ve thought of as post-rock. Doom, yes. Sludge. Stoner. Psych. Any of those. But they never struck me as post-rock. OHHMS is a band that bludgeons the eardrums like a mad mix of Mastodon and Motörhead on mescalin. I first became aware of the band with their 2017 release, The Fool, which attracted me initially with its artwork. OHHMS is back this year with another album, yet again with fantastic cover art. Now, of course, you should not judge a book by its cover – nor an album – but rest assured, the music within Close is suitably impressive.

The album begins with Alive!, which like the opening track of The Fool, lulls any unwary listener into a false sense of security, as an almost delicate introduction belies the ferocity to come. It is, I guess, passages such as this which allow the band to be described as post-rock, but they really are the exception. After a minute and a half of sedate introduction, the heaviness and oppression kicks in, and just to ensure there is no doubt, Paul Waller’s tortured vocals erupt out of nowhere. I absolutely love the rhythm section in this track. Chainy Rabbit (bass) and Max Newton (drums) are on fire! Chainy’s bass is as tight as his abs. Alive! is a deep and dirty dirge, and I love it.

I also love the way it falls into the following ethereal interlude (one of two on the album) so naturally. ((Flaming Youth)) is a breathtakingly beautiful composition from OHHMS – something I would never have expected to say. It’s gentle, it’s quiet, it’s melodic. And it works wonderfully as a coda to Alive!. Almost like a nostalgic look back at the vigour and victories of youth through rose coloured glasses, after Alive!’s boasts. That the band can switch from pulverising to peacefully so seamlessly is pretty impressive, and I love the dreamy atmospheric soundscape provided here.

Of course, this can’t last, and Revenge is back to the barrage of doomy and sludgy sounds OHHMS fans know so well. Although at nine minutes, Revenge is the longest track on Close, it’s relatively short considering OHHMS have included 20 minute compositions on their albums in the past. However, nine minutes still presents ample opportunity for some real expansiveness and groove. If Black Sabbath were a stoner band, they might have sounded like this. There are passages where the music evokes the imagery of the deserts famed for helping the stoner scene take off. There are some nifty changes in tempo…

…And then, before you know it, you’re back within another interlude. This gives the impression that perhaps the two interludes are meant to bookend Revenge, but as aforementioned, I really do find ((Flaming Youth)) fits more with Alive!, and when you look at the way the album is presented on vinyl, it becomes apparent that this second interlude is more of an extended introduction to Destroyer, in the same way the first was an extended coda to Alive!. ((Strange Ways)) is far more minimalist and ambient than the first interlude. It reminds me a little of Pink Floyd, too, though I can’t work out why. I love the way the drums come in, almost haphazardly, towards the end. The full on drum-led introduction to Destroyer comes on like an eargasm. Destroyer is a short but sweet song, perfect for release as a single, so it comes as no surprise that it is. All thick and meaty riffs, and thundering drums, with a singalong (as much as OHHMS ever singalong) chorus that will stick in your head long after the song has ended.

Asylum is one of the highest temp tracks on the album, with a relentless marching beat, and another catchy chorus. It’s quite punky, and like any good punk song, doesn’t outstay its welcome. In fact, it’s shorter in length than either of the two interludes (though immeasurably more intense). This leaves only the final track, Unplugged – and, wow, what a way to close out an album! A lot of the album has a reflective nature, and Unplugged definitely comes across as an exercise in reflection. It’s a tossup for me, whether this or Destroyer is my favourite song from Close.

This is easily, in my opinion, OHHMS most accessible album, and could well be the one which finally gives them the renown and acclaim they deserve. I can’t see it becoming my favourite of their albums, but it’s early days yet. I’m far more familiar with their earlier albums, and that familiarity is a bit of a barrier, but there is a lot of really good material on Close. Come back to me in a year, and I’ll let you know….

01. Alive! (5:16)
02. ((Flaming Youth)) (2:27)
03. Revenge (9:10)
04. ((Strange Ways)) (2:00)
05. Destroyer (3:12)
06. Asylum (1:50)
07. Unplugged (6:13)

Total Time – 30:08

Paul Waller – Vocals
Chainy Rabbit – Bass
Max Newton – Drums
Marc Prentice – Guitar
Stuart Day – Guitar

Record Label: Holy Roar Records
Country of Origin: U.K.
Date of Release: 26th June 2020

OHHMS – Facebook | Bandcamp

Edition 222 of THE PROG MILL for Progzilla Radio (442 in total), first broadcast 9 August 2020, is now also available to listen to anytime or download. Two hours of superb melodic and symphonic progressive rock. This weeks review from The Progressive Aspect looks at the debut solo album by Ms Amy Birks, and there is a chance to test your knowledge of the world of progressive rock in the fun mini quiz ‘How Proggy Are You?!’

Here’s This Week’s Playlist

1 Professor Tip Top – Erebus (Tomorrow is Delayed)
2 Saris – Heavens Gate (Beyond The Rainbow)
3 Windom End – Ghost of the Past (Perspective Views)
4 Johnny Bob – Beyond the Line (Carnival of the Brahma-Sox)
5 Cosmos Dream – Never Back (How to Reach Infinity)
6 AA Williams – Love and Rain (Forever Blue)
7 Comedy of Errors – Disobey (Disobey)
8 Ms Amy Birks – With All That I Am (All That I Am and All That I Was)
9 Monkey Trial – Downfall (Viking)
10 The Catorce – Brillare (Single)
11 Hawkwind – We Took The Wrong Step Years Ago (In Search of Space)
12 Yes – Wonderous Stories (Going for the One)
13 Utopia – Eternal Love (Ra)
14 Agitation Free – In The Silence of the Morning Sunrise (2nd)
15 IO Earth – Waterfall (Aura)

You can hear The Prog Mill on Progzilla Radio at these times every week ( – via the tune in and other internet radio apps and platforms – or ask your smart speaker to “Play Radio Progzilla on Tune-In”) :

Sundays 10pm – Midnight UK (2100UTC) – main broadcast
Tuesdays 0300-0500 UK (0200UTC) – For North America – Mon 7pm Pacific/10pm Eastern
Tuesdays 2300-0100UK (2200 UTC) – 1500 Pacific/1800 Eastern
Saturdays 6-8pm UK (1700 UTC) – Family friendly Saturday evening repeat

Your melodic and symphonic progressive rock music suggestions for the show are very welcome. Just email [email protected], or message via twitter @shaunontheair or


Broadcast 9th August 2020

Show 125

1.    Ramble On Led Zeppelin
2.    Fade Away Shake Russell Dana Cooper Band
3.    John’s Other Hot Tuna
Into the Progisphere
4.    Drag Bones Kiev
5.    Raining Hard In Heaven Pattern-Seeking Animals
6.    Carnival Sandy Denny
7.    Chelsea Mondays Marillion
8.    The Man Behind the Curtain Spock’s Beard
6-Pack of Flowers
9.    Love Is A Rose Linda Ronstadt
10. Dandelion Rolling Stones
11. Crimson & Clover Tommy James & the Shondells
12. Flowers In the Rain The Move
13. Hyacinth House The Doors
14. Sugar Magnolia Grateful Dead
15. Blind To The Time Moksha
16. If You Think You’re Hurtin’ Me (Girl You’re Crazy) Marshall Tucker Band
17. Jessica Allman Brothers Band
18. Pyramids Budgie
19. The Thrill of It All Black Sabbath
SIAS: Pink Floyd-Atom Heart Mother (Sd 1) Pink Floyd – Atom Heart Mother
20. a) Father’s Shout b) Breast Milky c) Mother Fore d) Funky Dung e) Mind Your Throats Please f) Remergence Pink Floyd
From Light To Heavy!
21. Aqua The Eurythmics
22. Rock On David Essex
23. Sacred Heart Dio
24. Time Will Tell Hammerhead
A Little Bit of Chill
25. Rain In Spain Sea Level
26. Apple Juice Tom Scott
How about a 60’s 6-Pack?
27. Judy In Disguise John Friend & His Playboy Band
28. Hey Joe Arthur Lee & Love
29. Dirty Water The Standells
30. Chain of Fools Aretha Franklin
31. I’m A Midnight Mover Wilson Pickett
32. Time Has Come Today Chambers Brothers
33. The King Will Come Wishbone Ash
34. Foolin’ Def Leppard
35. Under the Gun Molly Hatchet
Chillin Down!
36. Kind Woman Buffalo Springfield
37. Reunited Peaches & Herb
38. Love’s Theme Love Unlimited Orchestra
39. Pinky Elton John


If you want to get in touch with Alan about requests or the show please use

[email protected]

  1. Why Don’t We Run – Pattern Seeking Animals
  2. Rendezvous 6:02 (Live) – John Wetton
  3. Familiar – Agnes Obel
  4. Hey Nineteen (Live) – Steely Dan
  5. The Midas Touch – The Tangent
  6. Slow Yourself Down – Live
  7. Combination Head – Combination Head
  8. See Emily Play Judy Dyble
  9. She Said (Live) – Barclay James Harvest
  10. Run Sonny Run – Kraan
  11. Big Eyed Beans From Venus – Captain Beefheart
  12. The One You Left To Die (Live) – The Pineapple Thief
  13. Solar Gain – Kit Watkins
  14. Awake And Nervous (Live) – IQ
  15. The Life Of The Honeybee And Other Moments Of Clarity – Abel Ganz
  16. Crazy Horses – The Sensational Alex Harvey Band
  17. Still – Colin Bass And Daniel Biro
  18. Curator Of Butterflies 9Live) – Big Big Train.




The Progmeister theme (Theme to Department S) Edwin Astley

Asteroid (Pearl & Dean theme) Pete Morgan.


Contact The Progmeister at [email protected]

This news story was originally published here:

2018, Islington O2, four flights of stairs – justice would have made me fit. I wheezed out the question to Jargon, defibrillator in one hand, oxygen mask in the other: What was coming for the following year? More Verbal Delirium (never a disappointment)? But no, he would be working on his solo album. Will it sound like the band? Quite different, very much more me. Well he’s was right, though I will say, as per the rote, you can take the singer out of the band, but not all the band out of the singer. Jargon now sits in the esteemed company of Pat Sanders (Drifting Sun), and Gabriele Baldocci (The Gift) whose piano compositions are fantastic, all of them finding the right notes in the right places to wring that extra ounce of emotion from me (that’s easy – you soppy git!).

As the first key is depressed, I am lifted, lost in the next forty-five minutes of musical heaven. It is the purity of composition, nothing wasted, nothing more than necessary. With all the whistles and bells a studio may offer it seems less able to achieve it, not at times the music, but those spaces to breathe in between.

I have been blessed though as Chris, Jargon’s manager, has let me hear a couple of pieces through the past year, every piece was played several times over, and my excitement sent spiralling in anticipation again. Not unlike the first time I heard Firth of Fifth, when my spirit soared as to that which my ears were subject. You really can love the ethereal.

Lyrical or instrumental, it holds your attention. Plans are afoot for the album to be played later in the year with a small chamber orchestra, I personally would love to see it in the amphitheatre at Delphi, though I suppose there might be a fair representation of such a structure in Athens. On warm summers night with the only competition the wildlife. Ah, such dreams are made of this.

The instrumental The Film opens, the comparison I was given was that of Phillip Glass, though to me it reminds of the first hearing of Rachmaninov’s Piano Concerto No.2. It’s ‘Wow!’, and one that lulls you to not expect the oncoming energy of In Search of the Invisible Thin Line, a tune that dances – flamenco, tango, combative dances, hints of Freddie M and Kate B. Real quality.

The Fading Thought lingers long after the fade, lyrically it seems Jargon is posing questions for us, or himself, or perhaps both! I do find with music and words that the slumbering beast of imagination is stirred. Jargon seems to observe as a modern-day philosopher, the instrumental interludes giving the breathing space for thought. It works so well, and though not played to death, was – and is – an album to return to. I know it will remain high in my personal 2020 chart, and in a year where circumstance has meant we have had time to reassess, it is almost perfect. It moves through the fair, increasingly towards but never copying the style of the home band…

Whereas in some, music or lyric will define the emotions being portrayed, with Jargon it is both, weaving around each theme and presented as one. In search of the invisible line, it does this so well, light mixing with dark and a descent into insanity.

Time is running out (maybe for humanity) but Jargon’s reflective lyric bodes well for his own. Albums with no weak spots are rare, but I am happy to contend that this is the case here. From first note to last, you are carried along by the melody, and though I could ramble on about How Can I? and The Last Temptation, you are best served by closing your eyes, dreaming of an Aegean voyage with The Fading Thought as your desert island disc.

Buy and encourage all formats to be released. As the man from L’Oréal would say, because it is worth it. Currently my favourite of 2020.

01. The Film (5:33)
02. In Search of the Invisible Thin Line (4:53)
03. Dance of the Frame (2:38)
04. The Fading Thought (7:17)
05. Light (3:54)
06. Time is Running Out (6:54)
07. How Can I? (6:22)
08. The Last Temptation (7:10)
09. Window on the World (4:54)

Total Time – 49:35

Jargon – Vocals, Keyboards, Piano
Nikitas Kissonas – Guitars
Leonidas Petropoulos – Bass
Wil Bow – Drums
Kostas Karitzis – Violin
Stelios Papanastasis – Viola
Thodoris Mouzakitis – Violin
Aris Zervas – Cello
Lupe – Additional Vocals (on How Can I?)

Record Label: Independent
Country of Origin: Greece
Date of Release: 30th May 2020

Jargon – Facebook | Bandcamp

Tales From The Tiger Moth

Edition 96

June 2019

Yazoo – I Before E Except After C
It Bites – Kiss Like Judas
Big Big Train – Pantheon
The Inner Road – The Majestic Garden
The Inner Road – Call Of The Spirit
Gabriele Baldocci – Keep Yourself Alive (Piano Etude)
Robert Reed – Spectral Mornings 2015
The Brainiac 5 – A Woman’s Work
Not Otherwise Specified – Memories
John Beagley – Tempest
Skylake – Luna
Steve Hackett – Tigermoth
Seven Steps To The Green Door – Come To Your Father
John Beagley – Open Skies
Big Big Train – The Florentine
Gabriele Baldocci – Too Much Love Will Kill You
Camel – Arubaluba (Live)