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Progressive Rock CD Reviews

Mobius Strip

Time Lag

Review by Gary Hill

This is the second release from Mobius Strip. When I reviewed the first I said that it perhaps would fit better under non-prog as pure jazz, but that there was enough fusion within to put it under prog. Well, this is a much better fit in the prog zone. For one thing, there is more fusion here. Additionally, though, there is some actual progressive rock on display, too. While the first album was strictly instrumental, the closer here has some vocals, too. They have really upped the magic on this release. The other one was strong, but this is better yet.

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Track by Track Review
Chand Baori
A rather dramatic introduction leads this out with plenty of jazz in the mix. The cut drops back for a time before building out into some smoking hot fusion meets jazz prog jamming. There is a cool piano solo movement later in the number that takes it into more pure jazz zones. It builds back out to more inspired jazz jamming further down the road. This has so many powerful passages. It's definitely a strong opener.
Iblis's Hybris
I love the cool and unusual piano explorations early on this tune. The track has a great jazz energy and groove to it as it gets underway. There are moments later that make me think of a jazzier version of Emerson, Lake and Palmer. This has some great sections and is another strong tune. A drop to percussion later leads to more cool piano soloing as the track is reborn in new ways.
Mateka's Speech
Melodic jazz jamming brings this into being with a lot of style and charm. There is some killer piano on this tune, but everyone really shines. There is a great bass solo movement, too.
Old Tapestry
I dig the driving energy and progression of this cool tune. It has some smoking hot jazz concepts at play. There is so much drama and magic in this number.
Möbius Cube
Melodic piano work starts this cut. The track works from there into killer jazz magic. I particularly love the piano exploration later, and the jam that is built over the top of that change. This turns heavier and harder rocking further down the road. It's a real powerhouse and includes some killer guitar soloing in a jam that leans towards King Crimson zones.
A Theme for the End
This has a lot more prog rock in the mix, too. It is also the only song to include vocals. There are still some jazzy things here, but overall this is classically tinged symphonic prog. It reminds me a little of Jon Anderson's first solo album in some ways. The piano break brings more of that ELP element. There are a number of shifts and changes and the different angles of vocal layers brings something very special to this. It is a unique and potent piece of music.
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