Rob's Music Planet

Ihsahn – “Ihsahn”

Posted on February 19, 2024 by Rob

If you know who Ihsahn is, it’s because you love what he does. Those familiar with black metal or extreme prog metal know this incredible artist. Odds are if you aren’t into those styles of music, you aren’t going to suddenly like Ihsahn’s self titled album. At least not in it’s “traditional” format. Ihsahn is a guitarist/vocalist known for being the leader of Emperor and for having one of the most harrowing black metal voices ever. I’ve been a fan for many years now so honestly there is nothing that he can do wrong in my opinion. This self titled album is more proof.

But let’s get back to what I said regarding the “traditional” album. Ihsahn decided to release two versions of this album. One I refer to as traditional in that it has the band and all of the instrumentation INCLUDING an orchestra. The other version is called the Orchestra Version. I had thought it would be an orchestra doing ALL the parts of the album. However it is just the orchestra from the traditional version ISOLATED. Honestly, I don’t find that near as compelling because of that. The albums should really have been released together with the orchestra version as a bonus disc. It’s a nice idea but I don’t think it stands out. You can clearly hear the orchestra on the traditional version.

The style does lean more toward symphonic black metal because of this. However, it’s not like Ihsahn made a Dimmu Burgir album. This album falls somewhere between that and what Ihsahn usually does, heavy riffs mixed with a progressive sensibility. The album has 3 strictly orchestral pieces (so they would be the same on each album), the opener “Cervus Venator,” “Anima Extraneae” and “Sonata Profana.” All are short but really nice. Ihsahn does score these pieces so that’s yet another thing he can do. As for the rest, songs like “The Promethean Spark” feature Ihsahn’s venom spitting vocals along with a big dramatic chorus coupled with intense riffs.

“Pilgrimage To Oblivion” is not for the weak of heart. This one is OVER the top, total blistering symphonic black metal. There’s a relentlessness to songs like “Twice Born” which is just enhanced by the strings. “A Taste Of The Ambrosia” is slow and doomy. Well, because Ihsahn goes with the black metal vocals, it sounds more doomy. If he had opted for a clean vocal, it might seem more like a ballad. It makes for an excellent change of pace regardless.

One of my favorite tracks is “Hubris And Blue Devils” which starts off with an almost manic sounding section, the strings add to it. Then it goes nuts. I like when Ihsahn picks his spots to use his clean vocals (like on this one) because it grabs your attention even more. This song has a great chorus that’s surrounded by craziness. Love it. Another song I really enjoy is the epic 9 minute “At The Heart Of All Things Broken.” The song starts so beautiful and yes Ihsahn has a great clean vocal. Not sure he thinks so but I love his voice, either way. The black vocal in the middle is perfectly placed. This is how you write a big grandiose track. Once again, the string arrangement is superb.

Ihsahn has definitely pushed himself on this self titled album. Naming the album after himself is definitely a statement. Is this my favorite album by him? No. Does it stand up along side his catalogue? Absolutely. Ihsahn the album is a voyage through darkness and light, power and drama. I definitely recommend the standard version. The orchestral version is for those completists or folks who just love a good string section.

Rating: 8.5/10
Label: Candlelight
Release Date: 16 February 2024

Big Big Train – “The Likes Of Us”

Posted on February 19, 2024 by Rob

Many bands don’t recover from the death of a lead vocalist. Especially when it’s someone who also wrote a good chunk of the band’s songs. Big Big Train lost David Longdon on November 20, 2021. They were preparing to release “Welcome to the Planet” at the beginning of the following year. Ultimately that album served as a glorious farewell to an extremely talented and unique singer. The band were at a crossroads. They were arguably as popular as they’d ever been yet they had to decide if they could continue and if so, how?

Enter the multi-talented Alberto Bravin of PFM from Italy for the new album “The Likes Of Us.” The band was already spread across the globe so Bravin being based in Italy wasn’t a problem. Vocally he wasn’t a clone of Longdon either. That would have been certainly understandable had they wanted someone who sounded familiar. If anything Bravin sounds more like drummer Nick D’Virgilio than anyone else. I have no problem with that since NDV can SING. But the similarity is more in range and pitch than anything else.

On their first album released by a label (in this case Inside Out), the band are doing many things differently. A new singer, a new label and, as it turned out, a new place and method of recording the new album. The band recorded in the same room in Italy, a first for them. All of these changes certainly could be a concern for fans. But when you have the core of the band still firmly in place, especially founder/bassist/songwriter Greg Spawton, Big Big Train is going to sound like Big Big Train.

Overall, the musical direction is similar to the last few albums. “The Likes Of Us” is less pastoral and more modern prog which means they are looking to the future versus recreating the past. The bulk of the album was written by Sprawton and Bravin together. This is most notable since Sprawton and Longdon wrote separately for the most part. Being in the same location led to some amazing chemistry and playing. “Oblivion” was released as a single and it’s the one track neither of those two had a hand in writing. NDV and guitarist Dave Foster wrote this killer track which serves as a great introduction to the new lineup.

The album kicks off with “Light Left In The Day.” The song start off delicate and somber. “Make the most of the light left in the day.” It does seem to reference how precious your life is. A nice way to give a tribute to Longdon. The song eventually takes full flight the way that this band is capable. Majestic and powerful. “Oblivion” just kicks ass. BBT has their way of rocking out and this track does that. And to satisfy the fans of epics, there are two of them. One is the 17 plus minute “Beneath the Masts” and the other is the 10 minute track “Miramare,” which the band has released an edited version of as a single.

“Beneath the Masts” is one of the best epics BBT has done. This is where you find out just why they chose Bravin as the singer. I love the occasional raspy sound he gets in his voice. He has both power and emotion. All of this on display. Plus since he does remind be a bit of NDV, when they sing together, it’s a perfect fit. This song makes the album worthwhile on its own. The key to any epic is to not even realize how long it is. Before you know it, it’s done. The same can be said for “Miramare” which has some punch to it to go along with a grandness that BBT is known for.

Another track that I think is great is “Love is the Light,” a delicate and beautiful song. Check out the amazing falsetto on it. Any questions now? “Bookmarks” is yet another great song. Just gorgeous. I love the strings on this one. The album closes out with the rocking “Last Eleven” and a KILLER vocal by Bravin. There isn’t a weak moment let alone song on “The Likes of Us.” Big Big Train are back and they are still the same band but with a new engine. If you haven’t heard this band, “The Likes of Us” makes a great starting point. For long time fans, “The Likes of Us” shows that there is nothing that can slow down Big Big Train, not even death.

Rating: 9.5/10

Label: Inside Out Music
Release Date: 1 March 2024

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North Sea Echoes – “Really Good Terrible Things”

Posted on February 15, 2024 by Rob

When last we heard from Jim Matheos and Ray Alder, they had given the world the final Fates Warning album, “Long Day Good Night.” It seemed like the two wouldn’t be working on new music again. Little did we know they would! North Sea Echoes is a new collaboration between these two and while it does have the Fates Warning DNA running through it (especially Disconnected), it brings an OSI vibe as well. “Really Good Terrible Things” is a dark and moody album, not heavy in a metallic sense but in an emotional sense, it is heavy.

What’s in a name really? The bottom line is this proves the chemistry between Matheos and Alder is undeniable. They ALWAYS fit together. From the moment you hear the very moody opener “Open Book,” you feel like you understand where you are, but the surroundings feel different. Alder still has THAT voice, so unique to him. And he finds a melody that lays perfectly atop Matheos’ mix of ambience and texture. As I type about the song, the lyrics and melody are instantly in my head. That’s how talented these two are. The throbbing synths of “Flowers in Decay” let you know this is not a traditional Fates album. The electronica mixed with Ray’s voice and Jim’s clean guitar make for a mellow and even fragile vibe.

“Unmoved” is one of my favorite songs on “Really Good Terrible Things.” It is more of a traditional acoustic driven ballad. This track is fucking beautiful. The flow on this album is perfect really. “Throwing Stones” is yet another great song. Though the lyrics do remind me that Ray should give up smoking. The melody line is just perfection though. “Really Good Terrible Things” is all about the songs. The arrangements are there to enhance the songs. I think many of these songs like this one could be stripped down even more OR given a metallic arrangement and still sound amazing. “Empty” is heavier and even moodier than everything to this point. It might be the closest to the merger of Fates and OSI.

North Sea Echoes isn’t either of those bands however. Songs like “Where I’m From” or “We Move Around the Sun” carry the album forward but never losing the listener, in part because the songs are strong and the arrangements are consistent. The only thing I might have wanted was something a little more epic and spacious to close the album. That’s not to say that “No Maps” is a bad song. Far from it, the closing of the song ends the album perfectly. Perhaps I am expecting them to go all “Fates” on me. To their credit, Matheos and Alder stick to their guns and don’t take the bait.

We may not get another Fates Warning album but we are lucky to get one from North Sea Echoes. “Really Good Terrible Things” is neither good nor terrible. These songs are really great things. If you are a fan of Fates or any of the projects that Matheos or Alder have been in, this album is essential. North Sea Echoes proves that the creative drive of these two artists isn’t done even if Fates Warning is.

Rating: 9.5/10
Label: Metal Blade Records
Release Date: 23 February 2024

Posted in ambient, atmospheric metal, experimental rock, modern prog, progressive metal | Tagged music review | 2 Comments

The Double Edged Sword

Posted on February 10, 2024 by Rob

When I started the Facebook page, it was called “Progressive Music Page.” Nothing clever. I was trying to have a basic catch all name for “prog.” It wasn’t until I added the radio show that it had to be changed to “Progressive Music Planet.” The important word to me was “music.” I didn’t want rock or metal. I wanted all types. The progressive part was of course to bring people in, I guess. It also became the biggest problem.

What people consider to be “progressive” or “prog” varies wildly. I prefer to loop in many styles that are somewhat fringe by definition. Part of this was because I like variety, as I said in the previous editorial. But the blow back has gotten more and more hostile over the years. “NOT PROG!” To which I say something rude like “it is to me” or “fuck off” or just ban people. While some music is clearly “not prog,” what’s more troubling is how ridged some prog fans are towards music, even things more overtly prog,

So while the word “progressive” was the driving force to get me to have 95K followers, it has become the albatross around my neck. I’ve essentially boxed myself in and since I am terrible at following directions or orders, I then purposefully color outside the lines. This has me thinking why am I following rules that I am setting for myself. I don’t follow other people’s rules, so why the fuck am I following mine? But the name is “PROGRESSIVE Music Planet.” Does it have to be? Ah now that’s a question!

A couple years ago I did toy with the idea of changing the name of all the social media to something else. But then I ditched the idea because I felt that this was the brand I created so I was somehow obligated to honor my commitment to the brand. That placated me for a bit, feeling like I was being honorable to my own creation. But the Frankenstein monster isn’t going to obey so here I am again, questioning why I do it. Blah blah blah. The real question is why does it have to continue as is? It doesn’t. Now that I am okay with it being whatever it needs to be so that I can enjoy it (potentially), I need to let it progress. For lack of a better word.

The planet hasn’t reached it’s final form.

Posted in progressive metal | Tagged editorial | 2 Comments

What to do? 12 years is a long time.

Posted on February 5, 2024 by Rob

When I got into music as a kid, I didn’t know anything about musical genres. I just listened to whatever sounded good to me. Innocence. But then getting a “favorite band” meant having some sort of standard where anything not similar to them wasn’t cool.

Then it was more about the style of music and not one band per se. Which subsequently led me down a path more and more. In the process I distanced myself from bands and genres that didn’t fit this narrow minded view. It was more about fitting a mold than music that I legitimately enjoyed.

Having a public facing, opinion driven platform that continually rewarded this view reinforced all of this. That became the new obsession. But instead of enjoying it all, the over obsession caused me to burn out completely and have a distaste for all of it. I tried to sabotage myself so many times, in so many ways. I’ve been in therapy so I knew I would respond to any success that way.

I turned my back and walked away but didn’t leave it all. 12 years is a long time so I felt I owed something to everyone and the actual thing I accidentally created. When you don’t have the natural skill set to interact with large groups of people (shy, etc), it takes everything you have just to be awkward. Unfortunately what tends to emerge is somewhere between surly and petty.

Over the last few years, I’ve noticed how much I prefer variety when it comes to music. With variety comes a need for originality. Unfortunately most things have been done and then subsequently copied. I used to be satisfied with bands that sounded a lot like other bands as I mentioned above. But more and more, it made less and less sense to me. I still find myself curiously falling for that trap.

So here I am, 12 years into it and wanting all 58 plus years of my musical taste to be in my life. This isn’t me. It’s definitely a part of me but just a part. It’s also a part that I struggle playing now.

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The Pineapple Thief – “It Leads to This”

Posted on January 22, 2024 by Rob

I’ve been a fan of The Pineapple Thief since 2002. It has taken a while for the world to catch on to Bruce Soord and team but adding Gavin Harrison to the band has definitely helped with visibility. Initially Harrison was a hired gun but now he co-writes with Soord so this is a true collaboration. “It Leads to This” is the fifth album with Harrison (not including “8 Years Later”) and the fourth with him as a full member.

The biggest thing that I noticed was the length of the album and the songs. The album is 41 minutes long and the longest track is a second under 6 minutes. Neither the album nor the songs overstay their welcome. This means there is no overblown epics, not that the band do many of those. Rather this is an album about melody and atmosphere. Harrison adds his usual style to each, a more deceptive ease. But you know it’s him. The songs mix in some thick riffs now and then but they are offset by quieter moments.

The quieter moments are more like “Your Wilderness” while the riffs, though thick, never get too close to Porcupine Tree which I think many people expect. “The Frost” is one of those songs which mixes a pop sensibility with angular riffs. The main riff reminds me a little of Stone Temple Pilots. I don’t mind that because they don’t stick with the riff too long. The album starts with a mellow track which they never shy away from doing. “Put it Right” is a lean song with a fragile tone. I’d be curious if The Pineapple Thief will ever start off with a song that punches you in the face. I doubt it and that’s fine.

For example, “Rubicon” is heavier and quirky. When the song settles in to a groove for the chorus, it effortlessly slips back into the weird verse. This is definitely a favorite track thus far. The title track is VERY barren on the verses and fills in on the chorus. The dynamic is what really makes the song work and Soord has always been good at this style. And the next track does follow that same format. The difference with “All That’s Left” is that Harrison cuts loose in the middle and that section makes the song.

“Now It’s Yours” is more of the same. However, they find a way to make it work once again. The riffing and solos toward the end of the song once again saves the day. “Every Trace of Us” is a song that would fit on any album. More of the same? Not exactly. If you were to try to tell someone what The Pineapple Thief sounds like, this song makes for a good example. The album closes out with the partially acoustic “To Forget” which could be the calmest track on the album. It’s definitely not an epic.

I think there will be many that don’t like that the album holds back. No epics. Nothing over the top prog wise either. “It Leads To This” is a case study in dynamics. The brief heavier parts are at a premium so they do hit harder when they come. The key here is that the songs are solid. The Pineapple Thief honor the songs first. The arrangements are designed to benefit the music rather than wow the listener. I do think it’s perhaps a song or two short but that’s not my decision. The Pineapple Thief know their sound, know their niche and capitalize on both on “It Leads to This.”

Rating: 8.5/10
Label: Kscope Records
Release Date:9 February 2024

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Dream Theater brings back Mike Portnoy and gives Mike Mangini the boot

Posted on October 25, 2023 by Rob

I’ve never hid my displeasure with some of the things Mike Portnoy has said and done over the years. I thought the majority of the music Dream Theater did with Mike Mangini was as good as anything they did. But I do understand this move on a business level. I think Mangini got screwed but he is handling it like a pro. But the keys for me are:

Will Portnoy be willing and able to play the songs that Mangini did? Sorry but as good as Portnoy is, some of those songs are fucking insane. That will be interesting.
The new album better be on par with the last 2 albums and not cut n paste bullshit like the last 2 albums that Portnoy recorded with DT. I know people like them and that’s cool. I just loved the ENERGY on the last 2 with Mangini.
Can Portnoy handle not playing in 50 other bands?
Can Portnoy not sing? Please. Obviously others prefer James not sing.

I really didn’t see this coming since both sides seemed happy the way things were but I think LTE might have been a triggering point. It was the reason Sherinian got booted and I think it might be why Mangini did as well. Any chance we can give Dr. Kevin Moore a call?

Posted in progressive metal | Tagged news | 3 Comments

Steven Wilson – “The Harmony Codex”

Posted on September 25, 2023 by Rob

I hated the last two solo albums that Steven Wilson released. Not because of whatever genre he wanted to do. Rather, it was just that they weren’t up to standards in the song department. Wilson is a great songwriter and had always written great pop hooks, regardless of if the song was actually “prog.” The reason that the last Porcupine Tree album worked for me was not just the style but the songs were strong. The album included styles that PT hadn’t tried. It worked.

So now Wilson is back with another solo album. Yes I was VERY apprehensive. “The Harmony Codex” is a bit like a jigsaw puzzle. Stylewise it has some prog, some pop and some electronica. But what it has that the last 2 albums didn’t? Really good songs. Granted the album does jump around song to song when it comes to genres but it just kept me on my toes. I kept waiting for a song to bore me and the only time that almost happened was near the end with “Actual Brutal Facts” which isn’t terrible but just not on par with the rest of the album.

People have heard a few tracks already. There’s the first single “Economies of Scale” which was what the last album SHOULD have been. It’s definitely electronica but it’s a GOOD SONG. Then there’s “Impossible Tightrope” which is a mostly instrumental track that reminds me of Ozric Tentacles at a Jazz festival. It works. Ninet Tayeb is back on “Rock Bottom” and raises the song to another level like she always does. Her voice is incredible as usual, maybe even more raspy. This is definitely one of my favorite tracks on the album and perhaps in Wilson’s solo catalog.

“What Life Brings” could fit on any of Wilson’s albums or PT even. It’s a no gimmick pop track and should be on radios everywhere but won’t be. It’s not a shiny happy pop song (thankfully) but has all of the power and sensibility of Wilson’s classic “straight forward” songs. There are two tracks that utilize spoken word which I sometimes (often) have a problem with. The title track and the closing track “Staircase” have a similar monologue that is quite philosophical without being preachy. I won’t get into the specifics but I do like it in both tracks. In some ways, it reminds me of Nordic Giants who I love.

I’m not going to rant on and on. You can read a bunch of other reviews that will dissect this album down to the fucking note. The bottom line for me is that “The Harmony Codex” is Steven Wilson’s summation of his solo works. It has the most variety since “Grace For Drowning” and probably reminds me most of that album for that reason. It doesn’t rehash the prog of “The Raven…” or get lost in the over self importance of “The Future Bites.” Instead, “The Harmony Codex” does whatever Steven Wilson wants from moment to moment and comes across as his most original solo album.

Rating: 9/10
Release date: Friday, September 29th 2023

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Oblivion Protocol – “The Fall Of The Shires”

Posted on August 2, 2023 by Rob

When is a Threshold album not a Threshold album? When it’s a sequel to their double concept album “Legends of the Shires,” but performed by Threshold keyboardist and writer Richard West with a backing band, known as Oblivion Protocol. West brought the sequel “The Fall Of The Shires” to his bandmates in Threshold and they decided to pass on it. The band proceeded to release “Divided Lines” instead. Undaunted, West asked them if they would mind if he pursued it as a solo project. Threshold gave the blessing. And now we have an odd situation where a follow up to a concept album is technically done by a different band.

But one thing is clear, “The Fall Of The Shires” is all but a Threshold album in name. It sounds like one, other than West’s vocals which, while quite good, are not on par with Glynn Morgan. He reminds me a bit of Pete Trewavas of Marillion. A great backing singer who sounds a little nasally when taking a lead. The main theme from “Legends” is revisited on “Fall” which makes for an excellent tie in. The Oblivion Protocol band do sound Threshold-esque though maybe the guitars aren’t quite as crunchy. This does underscore how important West’s keyboards are to the Threshold sound. The other members of Oblivion Protocol are all top notch as well. Drummer Darby Todd has played with everyone it seems and is currently touring with Devin Townsend. Bassist Simon Andersson from Darkwater was in another side project with West, AudioPlastik. While guitarist Ruud Jolie was a part of Within Temptation.

The sequel benefits from being book-ended by using a familiar theme. “The Fall (Part 1)” and “The Fall (Part 2)” have the same melody as “The Shire” which is great. It’s a great melody line for sure plus it transports the listen back to the Shires. From the start, it FEELS like Threshold even if it isn’t. Jolie might not have the CRUNCH of Karl Groom but his playing is perfect for the songs. The rhythm section is top notch and always help drive the songs along. The story finds us into the future where the protagonist from “Legends” did become king. The promise that he had has gone awry. The Shires are in disarray. The only way he can control the people is to oppress them.

“Tormented” has a very familiar sounding riff. It’s both prog metal and damn catchy. “Public Safety Broadcast” is a casual warning that no matter how nice they make control sound, it’s still fascism. Like many concept albums of the past, “The Fall of the Shires” parallels things from the real world to tell it’s story. That just makes all this even more effective. Each track stands on its own but also fit as part of the whole. “This is Not a Test” is great, with a chorus that you wind up singing along with by the second go through. “Storm Warning” has a dramatic feel to it (ok, the whole thing does) but this the kind that picks you up and takes you with it.

Like a Threshold album, “Fall” has variety and a ballad in the track “Vertigo.” Yet another great Richard West ballad. This is a track that I do wish Glynn Morgan might’ve guested on. Rich does a good job to be sure but the grandness of the song would benefit from Morgan’s voice. By the time we get to “Forests in the Fallout,” “Oblivion Protocol is underway.” The story is definitely darker and tragic. This is yet another catchy song and wisely chosen as a single from the album. The album closes with the Floydian “The Fall (Part 2)” which is just a phenomenal closer. This might not have been a Threshold album but it is close.

“The Fall Of The Shires” is clearly a sequel but it’s good enough to stand on its own as well. Many movie sequels don’t have the same cast and do just fine as long as the writing is good. That’s the case here. “The Fall Of The Shires” thrives because Richard West is a great songwriter and storyteller. He is supported by a band that executes the songs as well as his main band can do. Maybe he’s not the singer’s singer but he sings his songs as well as they need for this album to work. “The Fall Of The Shires” is a MUST for all Threshold fans. Look at it like a bonus to everything that band has done. The bottom line is “The Fall Of The Shires” deserved to be not only made but heard and enjoyed by Threshold fans and anyone who loves epic prog.

Rating: 9/10
Release Date: 18 August 2023
Label: Atomic Fire Records

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Dream the Electric Sleep – “American Mystic”

Posted on July 8, 2023 by Rob

Kentucky has little going for it. Well okay at least when it comes to progressive rock! Dream the Electric Sleep are the exception. I’ve been into them since they released their second album, “Heretics” in 2014. It’s hard to believe it has been 9 years! “Beneath The Dark Wide Sky” was their last album of new music and it maintained the high quality of music that was set by “Heretics” and their debut album “Lost and Gone Forever.”

Finally DTES have some NEW music! Obviously the pandemic delayed things as did their lives outside of music. Bands like them have to work after all. Now we have “American Mystic” which sounds like classic DTES. Great vocals, great melodies and fantastic playing. Michael Beinhorn produced the album, albeit remotely. While that is possible with all that we’ve had to do with the pandemic, I wonder what impact it had. Certainly the songs didn’t suffer for the most part. The intro number “And the Buried Rise” doesn’t work on its own but if paired with the next track “Beyond Repair,” it makes for a very solid start to the album. The next track “Forged in the Furnace” is also very solid. It’s shorter but still works.

“After the Fallout” is awesome. I like the way it builds up and the overall dynamics. This is definitely a favorite song of mine. A great hook on the chorus. Plus the harmonies are just vast. And there’s a section where they show just how tight their playing is. GREAT song. The epic “The Lessons They Bring” starts off sounding amazing and more open sounding too. The song itself would absolutely fit musically on “Heretics” which for me is a great thing. The band have some modern prog in them like Anathema and also some classic prog like Rush. This track is a great example of what Dream the Electric Sleep is and what they can do.

The title track is one of the few songs that doesn’t really deliver like the rest. It just never grabs the listener like, for example, the next track “Steal the Love.” And yes the mix still sounds good here. Vocally Matt Page CAN SING and this song definitely showcases his strong voice, plus a nice guitar solo. The upbeat “Love Letters” is a good song, but it sounds a bit forced to me. The album closes with “Lay Down the Cross” which has the atmosphere best suited for DTES. It’s a really beautiful, powerful song.

The songs on “American Mystic” are mostly some of the bands best. Dream the Electric Sleep are everything that a modern prog band should be. Great songs, and the playing SERVES the songs. “American Mystic” continues the string of great albums by Dream the Electric Sleep and have one of 2023’s best albums to show for it. They are back and as great as ever.

Rating: 9/10

Release Date: July 14, 2023
Bandcamp: https://dtes.bandcamp.com/album/american-mystic

Posted in art rock, modern prog, progressive metal, progressive rock | Tagged music review | Leave a comment