Kamelot-The Black Halo (2005)

Kamelot are another of the great American progressive metal bands of the last 30 years, always showcasing a balanced blend of musical power and force with orchestrated and grandiose soundscapes. Formed in the early 90s in Florida by vocalist Mark Vanderbilt, guitarist Thomas Youngblood, bassist Glenn Barry, percussionist Richard Warner, and keyboardist David Pavlicko, they underwent their first lineup changes shortly after their second album, released in 1997. Roy Kahn and Casey Grillo replaced Vanderbilt and Warner. From this point on, they shifted their style from power metal to melodic progressive metal, releasing a series of albums such as "The Fourth Legacy" (1999), "Karma" (2001), and "Epica" (2003), which cemented their status as one of the leading bands in the avant-garde metal scene. Several years after the latter came one of their masterpieces, "The Black Hole". Crafted as a concept album, it completes the circle they began with "Karma", forming an excellent trilogy that perfectly blends the power of metal with symphonic and progressive rock. While they began incorporating operatic and classical symphonic elements with their 1998 album "Siège Perilous", this trend intensified with each subsequent release, as evidenced by the rich and vibrant musical textures, all while maintaining a firm metal foundation. Tracks like "The Haunting (Somewhere in Time)", "March of Mephisto", "Moonlight", "When the Lights Go Down", the hauntingly beautiful "Abandoned", and the title track, "The Black Halo", complete an absolute masterpiece of progressive metal and an unforgettable musical experience.

3rd Ear Experience-Stones Of A Feather (2016)

3rd Ear Experience is considered one of the most creative bands of the 21st century within experimental, psychedelic, and space rock. Led by guitarist Robbi Robb and keyboardist Amritakripa, the band's permanent members, their base of operations is located in the heart of the Joshua Tree Desert in the United States, a magical place where some of the members and collaborators of this excellent group reside. Their improvisational style departs from formal musical arrangements, delving into unpredictable rhythms, bold improvisations, and dynamic beats within the realm of space rock and psychedelic music. They began their journey in 2012 with the release of their debut album, "Peacock Black", and several years later came the album we're discussing here, "Stones of a Feather", the band's fourth chronologically. On this album, the duo is joined by Alan Swanson (keyboards) and Dug Pinnick (bass). In addition, half a dozen collaborating musicians also participated, including Chris Unck, Joshua Adams, Bobby Furgo, Craig Else, Steve Howells, John Whoolilurie, Kyle Hanson, John Smolinski, Richard Stuverud, Roger Arnold, and Damian Lester. "Stones Of A Feather" is a record that stands out primarily for its rich musical textures, with certain delirious atmospheres and multiple sonic layers. From contemplative pieces like "Return of the Peacock" to the enigmatic forays of "Chungo", passing through the hypnotic canvases of "Flight of the Annunaki" or approaches to psychedelic hard rock with the hallucinogenic "The Balladeer's Tale".

Fresh Blueberry Pancake-Heavy (1970)

Fresh Blueberry Pancake was a powerful power trio from Pittsburgh, Pennsylvania. Formed in late 1968, it consisted of bassist and singer Tony Impavido, guitarist John Behrens, and drummer Geoff Rydell. This band honed their craft for several years, playing numerous concerts throughout Pennsylvania, building a large following and accumulating enough original material to record a demo. In 1970, they released a limited edition of fifty copies of the album "Heavy" for promotional purposes, which they self-produced. On this single album, the energetic power trio navigated a range of styles, from heavy acid rock, as heard on tracks like "Clown On A Rose" and "Hassles", to psychedelic blues rock, as seen on "Being In Town" and "Where's The Sun", and even forays into folk rock, as demonstrated on "Bad Boy Turns Good". After the release of this demo, the band shortened their name to Pancake, and some time later they would finally disband. This is another record highly sought after by collectors, with exorbitant sums being paid at various auctions for one of the original copies. However, many years later, more specifically in 2003, the German label Shadock Music recovered the original demos and reissued them on CD, with a new full-color cover design, replacing the austere and minimalist original sleeve.

Dave Pike-Noise Silence-Gentle Noise Featuring Volker Kriegel (1969)

To the general public, Volker Kriegel is virtually unknown. However, in the late 1960s, he was a very popular guitarist in Germany and much of Europe thanks to his self-taught skills on the six-string guitar and other instruments like the Indian sitar. In fact, he is considered one of the fathers of European jazz-rock. A sociologist by profession, he played in various jazz bands and even released several solo albums, as well as contributing to albums by other artists, such as Don "Sugarcane" Harris's "Keep On Driving" (1971). One of his greatest contributions was to vibraphonist Dave Pike's band on the excellent album "Noisy Silence", which had a major impact in the late 1960s. This album offered a sweeping exploration of jazz through the avant-garde sounds of the time, including a dazzling version of Frank Zappa's "Mother People". However, it is the track "Mathar" that stands out on this album, a strange sitar-rock-jazz fusion that elevates the visionary nature of this LP. Later, Kriegel would found his own band, the Orchestra Mild Maniac, with whom he recorded several well-received albums. In the following years, he formed other bands and collaborated with prestigious musicians, recording dozens of excellent albums, until years later he retired to found his own record label and collaborate with the band Passport. He also directed films, ran radio stations, wrote, and illustrated children's books, among other activities. Volker Kriegel based his style on fusing different musical frameworks from various cultures, a style that could be classified as progressive jazz.

Spock´s Beard-Brief Nocturnes and Dreamless Sleep (2013)

"Brief Nocturnes and Dreamless Sleep" was the first album by the American band Spock's Beard after the departure of Nick D'Virgilio and Neal Morse. Their replacements were Jimmy Keegan on drums and Ted Leonard on lead vocals and guitar. It is precisely Leonard who decisively influences this eleventh album, contributing moments of vocal brilliance. This, combined with Alan Morse's guitar virtuosity, Jimmy Keegan's driving drumming, Dave Meros's tireless bass playing, and the essential contribution of keyboardist Ryo Okumoto, elevates this album to the status of a modern progressive rock classic. In keeping with Spock's Beard's characteristic sound and their pleasing interpretation of contemporary progressive rock inherited from the 70s, this release skillfully blends rich instrumentation, achieving moments of immense clarity, with irresistible and masterful melodies, adorned with memorable choruses. Tracks like "Hiding Out", "Submerged", "Something Very Strange" or the grandiose "Waiting For Me", make this record a truly captivating experience, while at the same time managing to create another masterpiece from this essential band of modern progressive rock of the 21st century.

Ambrosia-Road Island (1982)

Ambrosia is one of the most exquisite bands on the rock music scene. Their irresistible vocals and catchy melodies earned them a place among the best American bands for a decade. Formed in the early seventies in California, this band emerged during the golden age of progressive rock and amassed a huge following thanks to their creativity and fantastic arrangements. With their debut album, "Ambrosia", they rose to fame with a work produced by none other than Alan Parsons, featuring hits like "Holdin' On The Yesterday" and "Nice Nice, Very Nice", both classics on American FM radio. The band's subsequent releases also yielded notable successes, such as "Somewhere I've Never Traveled", which was even nominated for a Grammy, and the hit "Life Beyond L.A.", a number one on the Billboard charts. After so many successes, in 1982 Ambrosia released their fifth and ultimately final album, "Road Island", where they once again showcased progressive yet commercial elements, all fused with memorable melodies and irresistible vocals. AOR sounds are present in the addictive "Still Not Satisfied" and "How Can You Love Me", while powerful rock tracks like "For Openers-Welcome Home" and "Kid No More" also feature. The album maintains its melodic vein with beautiful compositions such as "Feelin' Alive Again", "Fool Like Me", and "Endings", culminating in the more progressive and complex "Ice Age". In 2000, celebrating 30 years since their formation, they reunited for an extensive tour across the United States, achieving great box office success and demonstrating the immense popularity of this magnificent Californian band.

Robin Trower-Living Out Of Time (2003)

From a mere cover band of some of the great groups of the 70s, to becoming one of the most prominent acts today, Galahad has championed the neo-progressive style of bands like Pallas, Marillion, Pendragon, and IQ, with a career full of superb works focused on modern progressive rock. Founded in the mid-eighties in the UK, their original lineup consisted of Stuart Nicholson (vocals), Roy Keyworth (guitars), Mark Andrews (keyboards), Tim Ashton (bass), and Spencer Luckman (drums). In 1991, they released their debut album, "Nothing Is Written", followed by other highly acclaimed albums such as "Sleepers" (1995) and "Year Zero" (2002), although they always remained somewhat in the background and were consistently considered one of the most underrated bands within the neo-progressive genre. With their eighth release, "Empires Never Last" (2007), Galahad finally achieved mainstream recognition, delivering their best and most acclaimed work. On this album, they subtly departed from neo-progressive metal, delving into a dark and progressive heavy metal soundscape. A solid and well-structured musical foundation, theatrical vocals, harsh guitar riffs, and atmospheric keyboards drive an album brimming with intense and aggressive sounds. Tracks like the portentous "Termination", "I Could Be God", "Sidewinder", "Empires Never Last", and "This Life Could Be My Last" reflect the grandeur of this monumental work of 21st-century modern neo-progressive metal.