ProgFarm 2010
Saturday November 6
De Harmsdobbe Bakkeveen
Holland
Silhouette have been busy on this new album for two years, that effort paid off with a wonderful sound and 12 tastefully arranged compositions, alternating between 24-carat symphonic rock (Genesis) and neo-prog (IQ and early Marillion). Keyboard player Erik Laan has an important role with his vintage keyboard sound, he colours the tracks very beautifully, from violin- and choir Mellotron eruptions to fluent Minimoog flights and lush Hammond organ waves. In general I enjoyed listening to this album because of the pleasant shifting moods (from dreamy with twanging acoustic guitar to bombastic with majestic choir-Mellotron), the use of acoustic guitar (the distinctive Ovation) in some songs, the strong work on keyboards and guitar and the fine build-ups and grand finales in the longer compositions. (Progwalhalla)
Germany
Toxic Smile is a solid German prog band with plenty of diversity in their music. There are great Images & Words period Dream Theater influences, classic rock moments, AOR-like vocal melodies, awesome 70's keys, and great jazzy touches. Each song on the album [...] has something different to offer, therefore earning the band its much deserved "progressive" etiquette. Rather than sounding like a dated "prog" band, Toxic Smile proves to be really pushing the boundaries of this kind of music. They may not necessarily be breaking new ground, but their songwriting is quite unpredictable and this gives them a unique edge. [...]
Toxic Smile is the band you've been looking for. Give them a listen. (Sea Of Tranquility)
Holland
Being the organizers of their own prog rock festival, they’re always certain to perform during the finest progressive rock event in the Netherlands. They always succeed in booking the best-unknown bands of the current prog scene. This year’s edition was no exception. As usual, five bands were on the bill and they all had a high quality level as turned out at the end of the day. […] I can only conclude my review as usual: Progfarm is still the best and intimate prog festival in The Netherlands. Maybe this year it was one of the best events ever. (Henri Strik on ProgFarm 2009 in Background Magazine)
Norway
Not often do the very first notes on an album give you a complete taste of exactly where a band releasing their debut are coming from, however the crescendo that introduces Norwegian band D'Accord leaves absolutely no room for any doubt. With a quick snare snap the guitars and organ bind together and elevate themselves into an unashamedly 70's styled prog delight. Within two minutes of twelve minute opener "Play By The Hall Rules", Genesis (even the title reminds of Rutherford, Banks and Gabriel), Uriah Heep and a dash of Yes and Deep Purple are strongly leant on to create a sound so authentically of the era that "retro" is not a representative word, as this is not a band mimicking the classic sound of prog, this is a band living in the classic sound of 70's heavy rock and prog. Hammonds abound all over the place, bass guitar runs ebb and flow and staccato chords and wailing solos mingle, mesh and meander through a vividly created back drop. Daniel Maage's vocals have the character, confidence and vulnerability of early Gabriel and the resemblance to the one time Genesis man is remarkable in places. (Sea Of Tranquility).
Antony Kalugin's
Sunchild - Karfagen
Ukraine
Without doubt Antony Kalugin is a prolific, if not a relatively unknown, composer of progressive rock. Hailing from the Ukraine, this multi-instrumentalist disguised as an architect has composed and performed under several monikers including his own name, Hoggwash (The Last Horizon), and lately Sunchild with two releases 'The Gnomon' and currently 'The Invisible Line.' Until the latter crossed my review desk, I had never heard of Kalugin. Now having listened to 'The Invisible Line,' I wish I had his back catalogue because Kalugin is masterful at imaginative, intriguing and highly entertaining progressive rock. As Sunchild, Kalugin and his players bring rich compositions diverse in mood, tempo, and instrumental depth. Though piano and synthesizer driven throughout, 'The Invisible Line' boasts the use of oboe, saxophone, trumpet, flugel horn and bandura (traditional Ukrainian instrument) among other items along side more conventional tools of electric guitar and fretless bass. Even better is the fact that the more unique instruments are used in concert and not as novelties, as is often common in prog rock, in the arrangements. 'Time & The Tide' and 'The Invisible Line (Part 1)' are representative and compelling examples of this. Overall, the breadth and depth of Kalugin's compositions are immense and require repeated listening to truly enjoy; there is much to enjoy, so this is not a one off thing. Antony Kalugin's Sunchild project 'The Invisible Line' is a rich and deeply satisfying work of progressive rock. This is not your common prog fare as Kalugin combines diverse arrangements with a multitude of uncommon instruments, like oboe and flugel horn, with standard ones to develop his arrangements both imaginative and compelling. Very recommended! (Dangerdog Music Reviews)