Highlights include the wonderful 'Blackest Eyes' with the inspired riff that propels it to its sudden conclusion. The time signature shifts are classic prog rock.

'Trains' is an excellent acoustically driven track that even sounds at one point like a train on a track, especially the ending. A lot of this track,and others, sound curiously like Pink Floyd meets Yes. There are undoubtedly huge influences from classic prog bands in this music. 'The Sound of Muzak' has a very catchy melody and Wilson is in full voice, as are the harmonies from other band members. Check this song out for a great example of melody and awesome musical interludes. 'Collapse the Light Into Earth' is a mesmirising slow moving track that uses techniques of minimalism and a huge wall of sound builds up to a crescendo. The track sends you to another place, and has the power to entrance the listener. Close your eyes and let it take you. It is as relaxing as anything the band were producing in their early days.

All the tracks are unique, inspired and demonstrate the musical complexity that is essentially Porcupine Tree. Many tracks appear on the live DVD 'Arriving Somewhere...' but the studio versions presented on this album are the best versions.

A real surprise! I was blown away by the musical dexterity and depth of this album. Following this was 'Deadwing' which is even better! Both are recommended!

by AtomicCrimsonRush


PORCUPINE TREE Music Online:
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No surprise after five consistently immaculate releases since 1970, the record is a sure-footed take on British folkrock by players who knew exactly what they were doing and from where their musical heritage had come. ‘Drink Down the Moon’ approaches gradually, Maddy Prior finally cutting through with her siren call, the funereal trudge of the band and Peter Knight’s drunken-sailor fiddle. Trad. Child Ballad ‘Two Magicians’ sings of a maiden’s flight from an amorous blacksmith, escaping his clutches as a swift-footed hare, and the slightly creepy title is sung by a nervous boys choir. Faeries come out to rock for ‘Seven Hundred Elves’, a call in the night, a gathering under the stars, a majikal happening. And Maddy serenades us with ‘Long-A-Growing’, a Traditional Round from the 18th Century [The Trees They Grow So High] about a young man’s coming of age. A familiar dance arrangement in ‘Mooncoin Jig’, the stone-heavy, almost Sabbatic riffs of ‘Edwin’ supported by Tim Hart’s sparkling banjo and Bob Johnson’s electric blues accents. The at once dear, bizarre and off-key rendition of ‘Twinkle Twinkle Little Star’ follows and the record ends with the superfluous and much maligned cover of ‘To Know Him is to Love Him’ sporting an alto sax solo by David Bowie.

Overall one of this endlessly talented brood’s best, and an ideal place for a prog rocker to cut their teeth.

by Atavachron


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Though not being the first Opeth album i ever listened, Ghost Reveries was, in fact, the first Opeth album i ever bought, probably sometime between November and December of 07. Since the time i bought it i liked the album but i was not able to enjoy it completely probably because i was not mature enough in prog rock and in progressive metal (specially in the extreme session of progressive metal), so it was recently that i finally realized how good this album really was.

In that maturing process was very important to listen carefully to all Opeth's discography, so i could realize their stylistic evolution. For example, though this album is still very heavy and have the guttural vocals that characterizes Opeth, Steven Wilson's influence was very deep in Mikael Åkerfeldt and that caused: the appearance of another one musician in Opeth's line-up (Per Wiberg, who would tackle the keyboard duties) and increased complexion in Opeth's music, most notably using the keyboards to build a harmonic base, better balance in the songs (the heavy songs have more calm or increased usage of acoustic instruments and with the soft songs the opposite happens) and, due to the two previous features listed, the orchestration in general became more complex.

This album is, also, the first album Opeth released without any special guest since Still Life, back in 1999. So, Ghost Reveries symbolizes some kind of rebirth, after being six years making albums with Steven Wilson.

About the songs, musicianship and other features, there are somethings i would like to state:

This album have some musical differences from its predecessors that must be pointed out. The most important is the inclusion of keyboards in Opeth's music, as i said before. The keyboards, apart from making the harmonic base, also makes the music thicker, in the lack of a better term. Also their music is noticeably more ethereal and moody, heading every time more towards progressive rock than to extreme metal.

As always, the instrumental work is wonderful: both guitars work perfectly as a team, just like the whole band that, though being reasonably independent among themselves (the only exception being the keyboards, who supports the whole band), work perfectly well together.

Grade and Final Thoughts

It almost took me a year, but i finally saw that this album is really, really good an d deserves the masterpiece grade and the significant improvements listed in my review support my decision. A great album indeed.

by CCVP


OPETH Music Online:
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Wow! All I can say is wow!

Many prog boards and fans have lauded this album. I was very nervous about buying it after reading the subject matter.

I bought IQs Subterranea years ago and I still cannot listen to that album in it’s entirety. I can only take it in bits and pieces. It affects my mood that much.

So, I thought that the same thing would happen here.

Boy was I wrong.

So many wonderful piano melodies, especially Pane of Truth, The Colors Changed, The Last Embrace, A Kind of Eden, Questions, and the title song. Fantastic use of the choir and what almost sounds like an orchestra!

The music is incredibly good!

Do yourself a favor and give it a try. I am now looking into listening to their back catalog!

by Foxtrottresspass


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When it comes to prog, the longer the song, the better, (Supper's Ready, In Held Twas In I, Close to the Edge, etc.) IMHO.

So Comatose gets my early vote, but the hooks and incredible music on the other tracks make it impossible to pick one as the best.

The beginning of Comatose could have fit perfectly on Wind and Wuthering, Trespass, or Nursery Cryme/Foxtrot.........but just as you are beginning to dial back to the wonderful past, you are jerked back into the reality of the 21st Century!

What an incredible effect!

Don't know if that is what they were driving at, but it is incredible!

The music is hard, and from that summer place, where everything is full of life and flourishing. The story line is solid and many of us have been through similar rebellions in our youth, only to reach adulthood and feel like that band of brothers hoping to bring that dignified and kind world into reality.

The album is full of hard rock ebbing and flowing into beautiful moments of tranquility.

Indigo is a kicker! It yanks you in and just like the cover art does not let you go!

Freakshow and Eraserhead were wonderful when I first heard them as samples on the band’s My Space page, and are now even better on CD! Both are equally great singles to launch the record, and two of the best pure singles the band has ever put together. They stand on their own perfectly!

Its Only Me is very good, but missing that Two Roads................you are going to remember this forever.....moment. But we actually get that during the beginning and throughout parts of Comatose. The band of brothers theme is very good, but it feels like they were rushed in finishing this last song.

Pure reminds me of the Masquerade Overture album, in that it hits hard up front. The best just grabs you up front and will not let you go.

Believe built to a crescendo, adding power with each song, until you get behind the whole concept.

Both are wonderful ways of hearing music.

But I agree with others who have said that it is over too quickly!

I want more......which is what good songwriting is all about...........right?

Please buy it, don't download it and respect the author's wishes! They worked hard on this one and deserve to be paid for their efforts!

by Foxtrottresspass


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'Iron Ant' introduces Muddy World's formula of solid riff construction with sudden rushes of improvisation, the guitar and bass trading places, almost imperceptibly vining around each other. The musicians dance together as much as they play their instruments and it's an approach taken throughout the session, even Yusuke's breathy bossa nova vocals and near-Surf guitar lines, the Brubeck swing in seven minute 'Lilac', and proud meeting of Tango and garage jazz-fusion for 'Fever'. 'Dewfall' is inward and gentle, growing in sophistication from a humble arpeggio into Ipaneman-tinged strangeness and is paired well with 'Muddy Floor', unsettled wanderings of 'Apollo', almost Grateful Dead-like jams in 'Granada' and slow death of 'Neon'.

A divergence in the Math movement and an attempt at legitimacy for a dirty little genre, Muddy World are digging a bit deeper into the calculus of rock.

by Atavachron


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There are great tunes in this album: Funny Ways, Nothing At All and Why Not being my all time favorites since I first heard them. The group had a superb line up even this early in their career, with everybody doing a fantastic work together. The chemestry worked from day one, although it was clear that Phil Shulman sounds a bit like the odd man out (his Isn't It Quiet And Cold? is a good exemple). Anyway, as a debut GG is a triumph of art over commercialism. They managed to produced something totally different and would eventually won the hearts of many progheads over the years.

They would make more revolutionary and/or successful albums in the following years, but this debut was already awesome and would assure them a place in prog history even if they did not deliver anything after it. So hail to GG! If you're new to their music, this the CD to start. 4,5 stars.

by Tarcisio Moura


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The lovely "Suite des Montagnes" is a duet between flutes and harp, with a good deal of organ thrown in for dramatic effect. "Broceliandre" includes percussions, cellos and female choral accompaniment that augment the already gorgeous melody. The chorus borrows from the popular music of the time in its anthemic quality. Attention to delicate arrangements permeates every track. Even jolly ditties like the Breton "Son Ar Chistr", with its call and response vocals, possess this rich quality.

When called to reflection, one can do much worse than to share the experience with Mr Stivell's first great work.

by kenethlevine


STIVELL, ALAN Music Online:
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Wow, this is a big project. Really big. This was predictable: Clive Nolan simply cannot do anything and the bands he was in never released a double album. The time has come for the busiest man of the last decade.

If you love rock/metal operas, this will be Christmas for you. There's plenty, and I mean it, of material to get into. Divided in 2 acts, the whole plot is clear, the music is sparkling clear, the production is sparkling...it's like the whole thing was done with Mr. Clean. Crytallic material designed to hit hard and impress by it's grandeur.

The music won't let you down as Clive never released an half-assed product. This is no exception, this is straight in the path of Arena's Opera Fanatica: Dramatic-Victorian-19th century-Night at the opera. Oh, and underline the word victorian with a Sharpie. For the fans of the classical/metal style, you will drool!

Big voices, great voices (including a surprisingly good Clive Nolan himself), huge choruses, huge violins lines, immense keyboard and crash cymbals. One thing though: I heard it before in the Hounds of Baskerville. With more bombastic textures, this is mostly the same approach.

I snatch a star off because of the repetition of the House of Baskerville and the whole thing is just soooo long. Apart from that, you have fantastic replay value, dramatic ambience and a guaranteed trip back in London in 1870.

The whole nine yards.

by Menswear


CAAMORA Music Online:
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