In a continuous effort to keep the Prog in this echo, here
are some thoughts on recent releases:
Par Lindh & Bjorn Johansson: Bilbo (1996)
This swedish collaboration features a versatile duo that uses agreat 
variety of instruments.  To the multiple keyboards, guitars, bass, 
drums, percussions and bassoon are added guests on oboe, flute and 
female vocals (in English).  The music is inspired by fantastic themes 
with a strong medieval flavour (Lord of theRings) and shows varied but 
very appropriate arrangements.  A disc where the constant symphonism of 
the keyboards compliments the baroque sound of the woodwinds as well as 
the more imposing sounds of electric instruments.  A production with
strong classica linfluences where the stronger moments are not always 
the most explosive ones.
Maxophone: same (1975)
The recent re-edition (1996) of this classic shows Italian symphonic 
rock at its best, full of nuances and subtleties.  The band of six 
offers rich instrumentation: keyboards, guitars, vocals (in Italian) 
bass, drums, flutes, percussions, clarinet, saxophone, trombone and 
horn.  Guests also add harp, violin, cello and bass.  The compositions 
show a most complete sound and take advantage of the versatility of the 
musicians by finding inspiration certainly in rock, but also in
jazz and classical music.  This energetic music is full of emotions and 
switches easily from one style to another within the context of the same 
track.  An unavoidable production for fans of the style and era.
Moongarden: Brainstorm of Emptyness (1996)
This Italian production is in the typical style of many British bands. 
In fact, what we find is a melodic, symphonic rock with the added drama 
of a strong vocal presence (in English).  This low-tone (ex: P.Murphy, 
D.Sylvian) and versatile voice certainly dominates but it rests on the
solid compositions of the keyboardist who obviously favours an excellent 
delivery by all five members.  The familiar format successfully 
alternates between calm and more vigourous moments and therefore offers 
achance for everyone to shine.  Fans of the style will recognise a
good old recipe while others will appreciate the quality of its 
ingredients.
Philharmonie: Rage (1996)
These four French musicians are back with their double guitars, stick, 
drums and percussions.  True to a format commonly associated to R.Fripp, 
the title suggests a more aggressive sound.  The improvisation on superb 
melodic and rhythmic interactions is still present but the guitars
now a more raging electric sound.  This sound brings them closer the 
present King Crimson (instrumental version) but maintains the melodic 
sensitivity that sets them apart.  The effectiveness of this peculiar 
music increases with every listen.  
Somnambulist: same (1996)
These four Americans play guitar/vocals, keyboards, bass and drums.  
They offer a music based on a variety of heavy riffs delivered with much 
intensity.  The loud rhythm section is then an important element to the 
band's sound.  Its insisting work will evoke that of Anekdoten and
Rush.  The guitar also provides furious licks and keyboard work consists 
of mellotron textures, Hammond organ attacks and some piano and synth.  
The occasional vocal work doesn't manage to assert itself amongst all 
this activity.  The result is a dark but energetic and explosive rock
where keyboards insure a dramatic touch of symphonism. 
Twin Age: Month of the Year (1996)
This new swedish band features the usual five piece formation. The 
tracks are text-based (in English) but all involve important 
instrumental work.  The style is a melodic/symphonic rock that evokes 
the late 70's.  The sumptuous and delicate arrangements of guitars 
(arpeggios) and keyboards (symphonism) are very Genesis-like ('76 to 
'78).  The precise and energetic rhythms, as swell as the instrumental 
development of themes (guitar or keyboard solos) also show a similar 
inspiration.   A high quality production that remains safely in familiar 
territories.
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