Issue 2025-020
Flor de Loto — Cosmos
Thinking of Peru, it is the Andes, the culture of the Incas, the Machu Picchu that spontaneously come to my mind, but I have to admit that, until now, progressive rock was not something that I first associated with this country. But I do recall me walking through the old parts of cute mid-sized cities and coming across a crowd of people in a central square listening, clapping, and sometimes dancing to the music of a line-up of South American-looking musicians in traditional costumes and playing traditional instruments led by the pan flute. The music on this release immediately brought those memories back to me, more on why that later.
Flor de Loto were founded as an instrumental quartet back in 1998 by guitarist Alonso Herrera and bassist Alejandro Jarrín with a guitar/bass/keyboard/drums format. Cosmos is their 10th studio album, following Lines Of Nasca from 2023. Besides these founding members Alonso (also responsible for the vocals on most of the tracks), and Alejandro, who are still present on this release, the current line-up consists of Alvaro Escobar (drums), and Sergio Cuadros (quena - an Andean flute sounding very much like what we call a pan flute).
On the notes coming from the record company, no keyboard player is mentioned, although keyboards (scarcely, but fortunately) are present on some of the tracks: Éxodo, Ahorita voy, the instrumental Ecos del pasado (my favourite), and especially Crossfire. Other sources on the web mention Diego Sanchez on keyboards. Vocalists Mike DiMeo (Riot, Masterplan), and Ray Alder (Fates Warning) act a guest musicians on the songs Cosmos, and Crossfire respectively.
Despite the fact that Flor de Loto enjoy an above-average "coverage rate" on our site (five of their previous nine albums have been reviewed here, all of them positively), the band was totally unknown to me prior to writing this review.
The music of Flor de Loto combines hard rock and progressive metal with folk and ethnic elements from Peru. The hard rock / progressive metal orientation is mainly expressed in the guitar playing, while the traditional folk sounds and ethnic components are primarily reflected in the flute solos, in some of the hooks, and sometimes in the sung melodies. This musical amalgamation, which I have not come across so far, makes the music sound like an electrically amplified hard rock version of the virtuoso, cheerful, rousing and catchy songs that are often performed "unplugged" in the pedestrian zones of cities.
Striking, on those occasions, and now listening to Cosmos, is the urge to tap your foot to the rhythms. Added to this is the desire to clap your hands, to even move your body to the music and to try to hum or to whistle along to the flute melodies played repetitively. A challenging affair, because they are fast and virtuoso.
All these factors are not necessarily style definitions of progressive rock, but are a proof of the catchiness, and the accessibility of Flor de Loto's music and the optimism it displays. In return, people are happy to accept that the music is difficult to pigeonhole. To my knowledge, there are neither many progressive folk bands with prog metal influences, nor prog metal bands with folk and ethnic elements and the flute as a lead instrument.
Argentinian bands such as Realm, and Pablo El Enterador, for example, could be considered, but lack the folk and ethnic elements. Peruvian peers Supay sound much more psychedelic. On the other hand, Flor de Loto are neither symphonic nor retro as quite a few of their South American contemporary peers.
Cosmos belongs to the kind of releases that I changed my opinion on in the course of the reviewing process. I decided to choose this release for review based on the impression I got having listened to Crossfire, which was the only track available on the streaming platforms at that time. However, this final song on the album is not that representative of Flor de Loto's approach of combining hard rock/progressive metal and ethnic folk elements from their homeland. Compared to the rest of the album, it has a much more intensive use of the keyboards, expressive and dramatic vocals (in English) with a catchy refrain, alteration of dreamy piano passages with hard riffing and a long melodic guitar solo, less emphasis on the flute as a soloing instrument and the folk elements are not as distinct. Hence, it comes across as a straightforward progressive metal track à la Vanden Plas, and Threshold, combined with some Jethro Tull-sounding flute playing. That whetted my appetite, but concerning a different music style than eventually played on the rest of the release. And then the "musical dish" that I was served through this record tasted at least as good as the one actually ordered and expected. And, worth much more than just a side note: the artwork of the album cover is fantastic.
The music on Cosmos remain true to the band's approach adopted on most of their previous releases, which made them unique in their home country and a rare species in progressive rock altogether. This originality alone is enough to make you take a closer look at this band and this album (and at some of their previous releases too). Even more so if you like catchy, dynamic, accessible, uplifting, melodic music with virtuoso, folk/ethnic-inspired flute playing and earworm potential.
Duo Review
IQ — Dominion
IQ keep on delivering music that is keeping a lot of people in the prog world happy. And although through the years the style shifted somewhat between albums the band have clearly crafted their own brand.
That shifting of styles, which is a natural thing with a group of people in a changing world, has resulted in albums that appeal to different people in different ways. People have different favourite albums. A few albums however are so good that they are high on a lot of people's lists.
Dominion is one of those.
Without overwhelming the listener straight away, the music gradually takes you in until your brain is in a firm grip it and will not want to be let go. That shows confidence in their music as well as their listeners. It takes several spins (or repeated streams of 0s and 1s) to recognise all the elements in the richness of the sound.
The blend of so many of the wonderful prog elements old and new is a feast for the ears. Parts of the opening track remind me of the modern prog on Galadriel's Mindscapers, some more classical arrangements bring memories of the excellent Spirit by Comedy Of Errors. And while it's all very much IQ, there is always a touch of the usual 70s prog suspects.
But there is even more to it. Linking back to IQ's own Dark Matter, there is a slightly darker edge to the music, which is something I really appreciate. Added to this is something else I like a lot, which is a raw power found in progressive blues and hard rock, especially in the use of the keyboards. Then bring in the modern prog approach and at times very heavy sections. The arrangement of Mike Holmes' guitar and Neil Durant's keyboards is excellent and brings so many layers and hidden melodies. This all combines into a sound that is recognisable while still surprising, powerful while being close to the heart.
Rather untypical for IQ, One Of Us is an acoustic track, but it is not untypical in showing the emotional side of the band's music. It's a great vehicle for Nicholl's warm vocals with the man's unique timbre, which I think have grown better over the years. More experience, more life?
No Dominion's fade-out of the guitar solo is basically the only downside to this album.
So, this is another album that is just unmistakably IQ. With the slightly darker but warm atmosphere and elements of both old and new, the band have delivered another album that hits many of the right buttons for me. I don't like saying something is my favourite this or that, but let's say when it comes to IQ albums this is in my top 1.
More objectively, the music provided here shows the band's enormous experience in the field, and melds powerful, melodic, emotional, energetic, heartfelt music, wrapped in a production that is crystal clear without filtering out the rough edge when needed. It will provide ultimate listening pleasure for a very long time to people wandering in many different prog rock fields.
IQ was one of a few young British bands in the early 1980's to effectively reinvigorate a progressive rock scene that had become commercially unfashionable. Over three decades, their prominent status in the genre was cemented through albums such as The Wake (1985), Ever (1993), Subterranea (1997) and Dark Matter (2004). However, some of their more recent releases were lacking the overall quality of previous efforts.
Until now, that is. I am happy to report that Dominion finds IQ sounding reborn. In many ways, it brilliantly harkens back to the sound and style of earlier work by the band. Whereas their previous release, Resistance (2019) was muddled at times, there is a meticulous focus to the material included here. Every creative decision feels spot-on and the songwriting is amongst the best in their storied history.
Case in point, the perfect flow of the almost twenty-three minute opening track The Unknown Door. Each section of this epic is distinct and memorable. One of Us is a beautifully effective ballad, followed by the compact, yet adventurous No Dominion. Ending the album on a high note are Far from Home and Never Land, which together form another epic that is an IQ classic.
The performances throughout are outstanding with special recognition going to keyboardist Neil Durant. His work here is masterful. Creatively, the band struggled a bit to recover from the 2008 retirement of original keyboard player & songwriter, Martin Orford. With Dominion, they have definitively crossed that bridge. It is easily one of IQ's best albums and a powerful reminder of their place amongst the top prog bands. Forty years since their inception, they have again provided a notable spark to this eminent music genre.
MinstreliX — Minstrelics
Possibly the first album I have ever reviewed from Japan, MinstreliX's 2024 release Minstrelics didn't disappoint. Sure, I can't understand most of the lyrics, but heavy metal is a universal language. The band features Leo Figaro on vocals, Takao on guitars and bass, Syo-go on bass (a newcomer to the band, playing on tracks 3-6), and Ochoco on drums. Their sound is most reminiscent of European style symphonic progressive and power metal. Rhapsody Of Fire comes to mind, although Dream Theater is a clear influence as well — the guitar solo on Bois Dormant is a definite nod to them.
Thrash metal rears its head now and again too. Figaro cites Russell Allen as an influence, and I would say there is a fair resemblance in the style of singing. According to their website, the band has been around for over twenty years with their first album in 2004 and steady releases over the years. Despite having not heard their back catalog, it is clear from this record that they have honed their skills tightly over the course of years of recording and touring.
The music is punctuated by an impressive gallop of drums blasting the listener along and turbulent sea of guitar riffs. From the opening seconds of the album to the end, it doesn't let up. MinstreliX don't let themselves get distracted from their style. The baroque opening to Silhouetto Of Time featuring a harpsichord (or more likely a synthesized version of one) was a pleasant surprise, but don't let that brief opening fool you. Before long it is a wall of crunching distorted guitars, drum blasts, and Figaro's soaring tenor. When the harpsichord comes back in along with vocal harmonies at the 4-minute mark, it is a nice reprieve from the onslaught, which quickly picks back up. Similarly, The Story Never Ends opens with a classical-inspired acoustic riff before transitioning to an electric riff.
Overall the band doesn't venture far from the symphonic power metal mold, but they don't need to. They excel at what they do, and Minstrelics is an enjoyable album that rewards on multiple listens. There is depth to the music. I discovered what sounded like a very subtle Irish whistle on The Store Never Ends, and it was multiple listens before I realized some of the lyrics on Sing our Song are in English. Sake Banquet has what sounds like a steam calliope riffing right along with the band at points. You never know what you'll get.
Fans of power metal who might like to try a band from another continent than they are used to should check MinstreliX out. Fans of progressive metal more broadly will also find much to enjoy with technicality and clean vocals.
Unitopia — Alive And Kicking
CD 2 and Blu-ray Set 2: Tesla (16:08), The Garden (23:41), The Great Reward (6:15)
In 2023, Australian progressive rock band Unitopia returned to the stage with a fresh lineup and a renewed sense of purpose, performing at the intimate and renowned venue, De Boerderij, in the Netherlands. This was no ordinary concert for fans — Unitopia had reformed, adding new members and showcasing a sound that was both familiar and thrillingly different. Founding members, Mark Trueack, (vocals) and Sean Timms (keyboards, vocals), have resurrected the band and added new members, Don Schiff (bass), Steve Unruh (violin, vocals, guitar), Dr. John Greenwood (guitar), and Chester Thompson (drums).
Unitopia's reformation brought together a mix of long-term members and newcomers who each added their own unique flair to the band's signature progressive rock style. The 2 long-standing members, Mark and Sean have always been the heart and soul of the band and their overt synergistic harmony with each other was evident in their seamless chemistry throughout the performance.
However, it was the addition of the new musicians that gave the concert an undeniable edge. Don Schiff, a seasoned performer with a background in various genres, brought a rich, textured bass presence to the show, providing the grounding necessary for some of the band's more intricate arrangements. Steve Unruh's multifaceted talent added a new layer of sophistication to the band's sound whereby his violin solos showcased a delicate yet intense control and added enormously to the totality of the band's compositions.
Dr. John Greenwood, who took on the role of lead guitarist, contributed beautifully composed solos that ranged from soaring and emotional to razor-sharp and edgy. Finally, Chester Thompson's drumming was predictably good as expected but what else could you expect from a seasoned player with so many years of playing with a bevy of world renowned bands. Chester's tenure with Genesis during their touring heyday has always been a highlight for me as he often allowed Phil Collins to concentrate on his vocals more so than his drumming duties. Chester simply gets down to business and while less flamboyant than say, Don Schiff, whose more animated manoeuvres are always a delight to watch, keeps the rhythm section as tight as you could wish for.
The synergy between the new and long-term members was palpable, showcasing how well the band have been able to integrate these talented individuals into their already well-established sound. The long-standing members appeared rejuvenated by the fresh input, and it was clear that the band's chemistry had been enhanced by this new creative dynamic. Mark's voice in particular has never sounded better and his performance, while staying seated for almost the entire show, was full of power and emotion that I have always admired from earlier albums.
The concert's set-list was an intriguing blend of Unitopia's classic songs and newer material, providing a rich experience for long-time fans while showcasing the band's evolution. They kicked off the evening with a powerful rendition of Broken Heart, a track that encapsulates everything that fans love about their approach to progressive rock. This is the opening piece from their 2023 album called Seven Chambers. Four additional songs from that album were also performed, but it was their excellent rendition of The Uncertain and Mania that really made an impact and were the highlights from the first hour of adventurous music prior to the band taking a short break.
The band returned, reinvigorated to continue with their set and played a magnificent version of The Garden along with another mini-epic version of Tesla. To close their performance, they chose The Great Reward which was a fitting choice to please the fans who were ecstatic throughout the performance.
Sean Timms is one incredibly talented keyboard player and his skills throughout the performance made me appreciate his work even more so than when I merely play one of the band's audio discs. Seeing his skills in a live setting really made me sit up and take notice. The same could easily be said for Steve Unruh and Dr John Greenwood whose talented must be heard to be appreciated.
Right from the start, it was clear that Unitopia draws significant influence from some of the titans of progressive rock. There were unmistakable echoes of Genesis, Yes, and Camel in the intricacy of their arrangements, but Unitopia brings its own unique spin to the genre, blending classical elements with modern rock, jazz, and world music influences. I also appreciate the complexity of bands such as Barock Project, Karfagen, United Progressive Fraternity, (of whom Mark is also a member), and Resistor, as they perform equally challenging and dynamic music. If you like music by any of the above, you will be assuredly impressed with Unitopia's output.
One of the most impressive aspects of the concert was the sheer detail in the sound. De Boerderij, known for its exceptional acoustics, proved to be the perfect venue for Unitopia's intricate arrangements. The band's sound was sharp and clear, every nuance in their performance coming through with stunning clarity. The media-only link I have been given for the YouTube performance of these two segments of the show are in super high definition so one can hope the retail versions of the concert will also be of the highest calibre.
The 2023 Unitopia concert at De Boerderij was a testament to the band's enduring talent and their ability to evolve with time. Their ability to blend intricate progressive rock compositions with classical, jazz, and modern influences created an immersive experience for the audience. Unitopia's return was a triumphant celebration of musical evolution, demonstrating that the fusion of old and new talent can bring out the best in a band and push their creativity to exciting new heights. When you consider the collective age of the band members is close to 400 years, it simply proves that age is certainly no barrier to providing a fully featured and gloriously performed concert for a hall full of very avid fans.
The band have announced they will offer this new release with a number of formats through Progrock.com's Essentials label. Digital in 16 bits and 24 bits, a Blu-ray/CD combo (selectable DTS surround mix by band violinist Steve Unruh), and a USB flash drive (which includes a high-quality MP4 of the concert video, 48kHz 24-bit stereo audio, and lyric videos).
Needless to say, this release is very highly recommended!
Untold Stories — Wind And Memories
Untold Stories is the new band from guitarist Daniel Eliseev-Marinovski, known for his solo project Daniel Eliseev Project. Two of the projects albums of heavy prog were well received here at DPRP mansions: Night Shadow and Lost Humanity.
This new project and their debut album, Wind And Memories, sees a move into more of a neo-progressive area with a dose of AOR and classic rock. The sound incorporates a great array of keyboards (Nikolay Samardjiev) and a flexible precise rhythm section (Alek Tsandev on bass, and Radoslav Mitev on drums and percussion), all topped of with the very fine vocals of Boil Karaneychev.
For me the album is a good quality, mixed bag. The more AOR and classic rock influenced tunes though very melodic and well played left me with a sense of diminishing returns. Ear catching tunes such as the energetic neo and AOR mix on Fly Away has sparkling synths and guitar but the lack of development, in a prog sense, hold it back for me. The same sort of problems appears for me on the power ballad The Power Of Forgiveness even with its up-tempo coda. There are a couple of more tracks that follow the more standard AOR template though with fine details and solos.
These are in contrast to the overtly progressive tracks where the music, development and arrangements are top-notch. Broken Light starts with Berlin School style space synths before the full band crash in with electric piano and organ accents. Heavy prog guitars abound and there are terrific contrast of loud and quiet passages without sacrificing forward momentum. There is a cracking synth solo on the build and release of the title track. Jazz touches crop up on the instrumental Faces, while the closing Bloody Moon takes IQ circa The Road of Bones as a template but with better vocals.
So, Wind And Memories is a mixed bag for me. It would be easily highly recommended if the tracks were all the prog standard of those mentioned in the last paragraph and would join the ranks of bands like IQ, RPWL and Distant Sun. If you are a fan of Daniel Eliseev-Marinovski, however, this should be a must.
Various Artists — Commentarii Lunares: In Memorium of Jerzy Żuławski
This is a tribute to the founding father of Polish science fiction writing Jerzy Żuławski who (in 2024) was born 150 years ago. He is most feted for The Lunar Trilogy of novels that consist of On The Silver Globe (1903), The Victor (1910), and The Old Earth (1911). Details of which, for the curious, can be found on Wikipedia 
. The project's creator and coordinator is Łukasz Marek Fiema, with The Polish Science Fiction Foundation responsible for its implementation. The novels were re-published in some very smart looking editions.
The album consists of short passages from each novel read by Wojciech Gunia over an electronic soundscape followed by the lengthy instrumental pieces inspired by each of the novels.
First up is Przemysław Rudź's On The Silver Globe. Rudź is a creator of electronic music, a sound engineer, and author of popular science books on astronomy. His piece is a melodic mix of Vangelis, Rick Wakeman and Richard Wright with some Berlin School sequencers thrown in for good measure. An engaging and evolving work that has many fine details. It is a cracking track of progressive electronica.
Next is Roman Odoj, a guitarist and mathematician, who assembled a small band (Arek Suchara on bass, Tomasz Mądzielewski on drums and Krystian Thomalka on keys) for this project. Together they take inspiration from the second novel The Victor. This track, for me, is less successful as it spends its opening six minutes playing the same musical motif over and over with little variation which I find rather wearying. However, things improve as the track progresses, mixing up-beat sections with some good soloing from Odoj, with slower, quieter sections of reverberant piano and some lovely support from the bass and drums combo. Though good, The Victor is somewhat overshadowed by the quality opening track.
Last but not least is pianist, conductor, professor of composition at the University of Toronto, Norbert Palej. On The Old Earth he has created a classical work that uses synths, and he creates soundscapes that are quite evocative. He mixes in winning Ennio Morricone style melodies. But for me things takes a dive with an almost bland section (around the seven-minute mark) that brings in drums and a melody that Jean-Michel Jarre would have rejected as too weak. The section thankfully doesn't last long and only makes the briefest of returns. I found this one a bit mixed.
Overall, Commentarii Lunares (Lunar Commentaries) is only partially successful in terms of the musical works presented, with On The Silver Globe being the most successful. An interesting mixed bag, though not wholly satisfying.