Persberg 130pcs 304 Baltimore Mall Stainless Steel Washers 18- Spring Lock Set

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Persberg 130pcs 304 Stainless Steel Lock Spring Washers Set, 18-

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Persberg 130pcs 304 Stainless Steel Lock Spring Washers Set, 18-

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Product description

Size:Lock washer

【Specifications】

- Quality: 130 Pcs

- Material: 304 Stainless Steel

- Sizes: #4, #8, 3/16", 1/4", 5/16", 3/8"

- Washer Type: Lock Washers

【Package Included】

#4… 20 (Lock)

#8… 20 (Lock)

3/16"… 20 (Lock)

1/4"… 30 (Lock)

5/16"… 20

(Lock) 3/8"… 20 (Lock)

【Package Quantity: 130pcs】

Total:

130 pcs, 6 Sizes in a transparent storage case for quick access and protection. 304 stainless steel has good corrosion resistance in a bad environment like high temperature, cold weather, and high humidity areas. They have superior rust resistance and the excellent of oxidation resistance. These washers are very strong and are great for both indoor and outdoor use. The larger outside diameter perfect for applications that require a larger amount of pressure distribution such as drywall, fencing, mounting fixtures, and sheet metal. (A2-70 cold-worked Stainless Steel, also known as 18-8 or 304 Stainless Steel, 18-8 stainless steel washers have good chemical resistance and may be mildly magnetic).

Note: The products of Washers Assortment Kit involve 6 sizes, which have been placed in a box with 12 grids. The grids are separated by movable inserts from each other.

WARRANTY: The product doesn’t suitable for children, please keep away from kids

Persberg 130pcs 304 Stainless Steel Lock Spring Washers Set, 18-

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URO Parts 1162400418 Transmission Mount
Boxset/Compilation, 2020
4.00 | 1 ratings

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The Archaeology Project - The Music of Tim Morse / 2005-2020
Tim Morse Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

— First review of this album —
It is safe to say that under his own name Tim is not the most prolific of musicians, but he must be forgiven as he is also in other bands as well as being accomplished author, there are only so many hours in the day. I actually have all three of his solo albums which stretch back to 2005 and 'Transformation' and have always found them enjoyable without ever really having the killer punch. This compilation covers that 15-year period from 2005 to 2020 and has seen Tim remaster the old material with Craig Long, while also including songs which have not previously been easily available. In the end he had so much fun that he provides an additional five songs on the download version, taking us to a total of 19 and a running length of 1 hour 50 minutes.

We must remember that Tim has been part of the Yes tribute band Parallels as well as writing about the band, so perhaps that we get some wonderfully symphonic numbers is not a surprise, but he actually starts the album with a solo classical guitar piece which works incredibly well as an aperitif. The real delight with the compilation is that he has deliberately brought together songs which would normally sit close to each other, showing the breadth of his material, and while that may seem clunky and contrived, within this set it works very well indeed. This is progressive rock which is easy to listen to in that it is not challenging, yet there is a great deal on here to enjoy and the variety means there is something here for everyone.

He recently covered "Awaken", which got Rick Wakeman to comment it was the best Yes cover he had ever heard, but while there is a cover on here it is somewhat surprising that it is not by Yes at all, but rather by Pink Floyd. I have always felt that 'Animals' is an overlooked album in the Floyd canon, with 'Dark Side of The Moon' and 'Wish You Were Here' preceding it and 'The Wall' following, but it was the first album of theirs I ever bought (on 8-track cartridge, can you believe it?), and I have always loved it. His version of "Dogs" is an absolute delight, and I can listen to that one track all day. Although it is a solo release, Tim believes in bringing in the right musicians for the right job, so there are a host of people involved on this given that it covers such a long period. Previously I have always enjoyed his albums while not thinking them to be essential, but with this set my view has changed. If you have yet to come across Tim Morse then this is the place to start.

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Studio Album, 2021
4.20 | 49 ratings

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Graveyard Star
Mostly Autumn Prog Folk

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

MOSTLY AUTUMN has been around for quite a few autumns now having formed all the way back in 1995. That's a total of 26 years and was one of the earliest prog bands to join the revival scene of the 90s although the debut album "For All We Shared" didn't see the light of day until 1998. Still though, that's a long time but the band's sound has remained relatively consistent by fusing prog era Genesis with Pink Floyd space rock all the while adding a bit of Renaissance symphonic prog, Jethro Tull-ish folk and Camel to the mix along with a bit of traditional Celtic folk.

Out of the roughly 24 musicians and vocalists who have come and gone, only guitarist Bryan Josh has remained with the band every step of the way so it's safe to assume that this is his baby and the passion never seems to die as after a quarter of a century MOSTLY AUTUMN seems to be getting better rather than burning out. Here we are in 2021 and MOSTLY AUTUMN is releasing its 14th studio album with the current lineup of vocalist Olivia Sparnenn-Josh, guitarist Chris Johnson, keyboardist Iain Jennings, flautist / keyboardist Angela Gordon, bassist Andy Smith and drummer Henry Rogers.

While the team members may have changed substantially over the decades, MOSTLY AUTUMN has remained true to its unique hybrid of melodic prog that borrows heavily from the 70s bigwigs but has always managed to stand in its own world of melodic prog folk laced with the best influences that the 70s had to offer. Another victim of the 2020 pandemic inconveniences, MOSTLY AUTUMN did what any sensible team of musicians would do and that is to spend the time fine-tuning their craft and taking advantage of the time allotted due to a lack of touring schedules. The result is a beautiful collection of 12 tracks that deliver beautifully vocal led melodies with crescendoing choruses, neo-prog inspired keyboard textures, emotive space rock guitar solos and nice pacing of slower and faster tempos.

This is a lengthy album that clocks in at 75 1/2 minutes! Add to that there is also a limited edition that offers a bonus CD with eight more tracks that add another 41 minutes of playing time! Whoah! I am only reviewing the original 75 minute album since i find that to be a sufficient dose of MOSTLY AUTUMN's unique display of catchy emotive spacey folk prog. This is really one of those bands that delivers everything you expect with no true surprises. There are no twists and turns into avant-prog, death metal or anything fans would cringe upon. This is just sweet and sensual prog folk that offers a bit of rock heft, atmospheric spiciness and excellent instrumentation. Add to that a nice soft production and there's nothing you could really complain about listening to GRAVEYARD STAR which continues the band's classic sounds.

I guess when it comes to bands that deliver albums with such a consistency, you have to be someone who expects more of the same and MOSTLY AUTUMN does just that! What will set this album apart from those that came before is mostly in how much you can relate to the melodies, the compositions and the variations in the instrumentation. Olivia Sparnenn-Josh has never sounded better and it was a wise decision indeed to promote her from backing vocalist to the lead a decade ago however Bryan Josh does offer his vocals as he has done since the beginning with some songs even taking over as the lead as heard on the album's lengthiest track "Turn Around Slowly" which ends a beautiful mostly divinely feminine album in a more masculine manner. I can't say i've kept up with this band's massive canon but if GRAVEYARD STAR is any indication of what to expect i guess i've been missing out!

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Live, 2020
4.61 | 5 ratings

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Owari (with Gary Husband)
Stick Men Eclectic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

In 2019, Leonardo Pavkovic started planning a short tour of Asia which would see Stick Men performing in China for the first time, as well as returning to Japan, and this time they would have a special guest in Gary Husband who would be providing keyboards. However, in November they were told that the Hong Kong gig was off due to the unrest in the city, and then in early February 2020 they were told the Chinese dates were off due to the growing pandemic. It was agreed that the Japan dates would go ahead, so on February 26th the group arrived in Nagoya, having set off from different starting points and countries. This gave them some time to rehearse, agree the setlist, and undertake some sightseeing before the first gig of the tour on the 28th, only to be told that this would be the only night as Japan was also closing down.

So, with little rehearsal time, and a tour reduced to just one night the guys did what they do best, settle in for a gig of mastery and entertainment. Husband sounds as if he has always been there, not imposing himself into the band but somehow filling spaces and gaps which benefit from his intervention. Stick Men have played many hundreds of gigs, while Levin and Mastelotto can add many more together, so the three of them inherently know where to go when it is time for improvisation, and when it keep it tight, and the combination of their skills and musical mastery make them a band like no other. Drums, stick and touch guitar, combine with the additional layering of keyboards to create something very special indeed.

With no audience noise, this sounds as if was a studio recording which has been finessed to perfection, and not like a live performance at all, but if one had been there that night, one would have heard masterful takes on their own material, such an inspired "Prog Noir", where Husband adds an additional layer which takes it in new directions, as well as some Crimson classics given their own unique twist. If musically this were not enough, Moonjune have released the CD in a hardback picture book containing photos of the event. It makes for a very special release indeed, and one to which I will often be returning.

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Studio Album, 2020
2.00 | 1 ratings

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The Hollow Lands (with Michael Moorcock)
Toyota 77213-60300 Fuel Tank to Filler Pipe Hose Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Honorary Reviewer

— First review of this album —
I don't recollect when or how I started reading Michael Moorcock, but it was probably through one of his collections of short stories which in turn led me to Elric of Melnibon�, Jerry Cornelius etc. I was always in awe of his storytelling talent, and that he could somehow bring characters so vividly to life, no matter what genre he was working in. Of course, over the years he has also become well-known for his work with bands such as Hawkwind, and here we find him combining both aspects in a musical take on his famous trilogy 'Dancers at the end of Time', of which this is the second (I have not heard the first, although I have read the books).

Keyboard player Don Falcone has been the man behind the ever-changing space rock project that is Spirits Burning since its inception more than 20 years ago. He and Michael, along with Albert Bouchard (ex-Blue �yster Cult) are the core for this release, and they have brought in numerous guests including B�C members Eric Bloom, Donald "Buck Dharma" Roeser and Joe Bouchard, Hawkwind associates Harvey Bainbridge, Steve Bemand, Bridget Wishart, Adrian Shaw and Dead Fred, as well as Nektar's Ron Howden, The Strawbs' Chas Cronk, and others. So, there are great musicians involved, along with one of the world's finest authors, combining to provide an audio representation of one of that author's most well-known works, so I was looking forward to this. Which meant that I was soon bitterly disappointed. The vocals are poor, often too wordy as they try and reflect a complex story, the melodies are clumsy at best, and when it does all come together such as on "A Haze of Crimson Light" all it does is shine a light on just how poor some of the other material really is.

If it weren't for the calibre and history of those involved then I am sure this would have been a self-release, but it has been picked up by a label as many of those involved have sold millions of albums (and in one case, books) over the years. The chances are that if I had seen this for sale in a shop and read what it was about then I would have purchased it, given my love of Moorcock, and I would have been intrigued to hear how they had managed to capture elements in a musical fashion. However, having played it once I would have done what I am doing now, which is putting it to one side and never playing it ever again.

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Studio Album, 1978
3.43 | 1534 ratings

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...And Then There Were Three...
Genesis Symphonic Prog

Review by Uruk_hai

Review #123

Steve HACKETT left and GENESIS became a trio, the result was good but not as good as the previous records of the band. Most of the songs in "And then there were three" are short and without experimentation, it is clear that the band was (whether on purpose or not) approaching more and more to Pop music and getting every time further from Prog Rock. Even when there is still resemblance to some of the earlier albums of GENESIS (especially the ones without Peter GABRIEL), GENESIS was changing and evolving into something more catchy and less demanding. The album is not a total waste since it has some very good songs but in general, this record is not at all an indispensable record that someone SHOULD have in his collection.

SONG RATING: Down and out, 5 Undertow, 4 Ballad of big, 4 Snowbound, 3 Burning rope, 3 Deep in the Motherlode, 4 Many too many, 3 Scenes from a night's dream, 3 Say it's alright Joe, 3 The lady lies, 4 Follow you, follow me, 3

AVERAGE: 3.55

PERCENTAGE: 70.91

ALBUM RATING: 3 stars

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Studio Album, 2016
3.66 | 541 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by A Crimson Mellotron

'Sorceress' is the twelfth studio album by Swedish progressive rock/metal icons Opeth; released in September of 2016, this one is the third installment in their psych-prog venture, with the band adopting the clean vocals entirely and sort of turning their back on the more brutal and technical side of their music. Following the very polarizing 'Heritage' from 2011, an album that was a delightful surprise yet a slight disappointment in terms of how memorable or exciting it is, and the really, really excellent 'Pale Communion' from 2014, one could easily expect 'Sorceress' to be similar to its predecessors; while for the most part it is, this time it feels the most like something from an underground 70s prog band, with the band presenting a very warm and sheltering palette of sounds, with Hammond organs dominating the picture, acoustic guitars caressing the listener gently, all on top of Mikael's quasi-angelic vocals on most of the tracks here. It really is the atmosphere, the mysterious ambience and the timbre of this album that gives it its recognizable and addictive character.

Opening up the record is the short instrumental 'Persephone', a song that depicts too accurately the overall tone of the album, which could be ultimately described as 'draped in blissful melancholia', leading up to what has become one of the band's most well-known songs - the title track, with its hard-hitting and almost arena rock sound, it is one of the heavier numbers in Opeth's reinvented identity. Next up on the track list is 'The Wilde Flowers', which has to be the most 'Pale Communion'-ish song on 'Sorceress'; Nevertheless, it is a great and memorable track. 'Will O the Wisp' is another tremendous moment on the album, showing Opeth's acoustic and lyrical side, it is certainly one of the most engaging and minimalist compositions of theirs. 'Sorceress 2' is simply gorgeous, very different from the title track and more in the spirit of 'Will O the Wisp', this little song is very calming, very sincere, and it embraces the listener in a way that only Opeth can achieve.

What follows could be considered side 2 (in reality, the album is not divided into two sides but time-wise, it might be), with 'The Seventh Sojourn' setting a much different and surprisingly enjoyable mood with its cinematic and kind of oriental sound, definitely some new ground for the band. 'Strange Brew' continues that aesthetic of almost film score music and acoustic psych-rock crossover, leading to 'A Fleeting Glance' - another decent song, certainly not one of the band's highlights. And finally, we get 'Era', a more uplifting number that bears some similarities to the title track, with the whole thing fading slowly within the sonic frame that 'Persephone (Slight Return)' creates.

All in all, 'Sorceress' is a very fine album, that might even be the strongest of the three albums without growls that Opeth had done up to that point; Beautifully written, very carefully and intelligently crafted, memorable, immersive, and enigmatic, this record, as polarizing as it seems, has to go down as one of modern prog rock's more exciting achievements.

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Studio Album, 2021
3.95 | 2 ratings

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Skywound
Signature Hardware 948435-12-L Key Largo 1.28 GPF Two Piece Elon Crossover Prog

Review by Second Life Syndrome
Prog Reviewer

***Originally written for theprogmind.com

8.5/10

I always wrestle with words for a new Transport Aerian record. The band has its own sound and its own way of doing things, and they don't care if you like it or not. Or, maybe they do, but they aren't going to change based on your feedback. Anyways, the album releases today, October 29th, and is called Skywound. I like it.

Transport Aerian hails from Belgium. The mastermind and founder is Hamlet. I'm fairly certain that isn't his real name and that he's just playing all of us. He handles vocals, bass, guitars, and programming. With him is a new lineup, namely Stefan Boeykens on guitars and programming, Umut Eldem on keys, Paul De Smet on drums, violin, and programming, and Rachel Bauer on additional vocals and narration.

The band has an unconventional sound. The bio that came with the promo describes them as progressive rock with classic prog elements and a post-modernist bent. The latter is definitely true, but the band plays something I can't describe that well. It is "progressive" in the true meaning of the word, being ambitious, maybe a little odd, and maybe even a little scary. There are crazy rhythms and atmospheres all over the place, and it can take a few listens to process what they play.

This album is probably the heaviest of the Transport Aerian records thus far. I first started listening to the band in 2013 with the dreamy Bleeding, solidified my adoration of their sound with 2015's Darkblue, and was completely blown away by their masterpiece, 2017's Therianthrope. This album, as strange as it might sound, is possibly the most accessible of them all. It has heavy, driving guitars on several tracks, some catchy choruses, and some bright and addictive electronic moments that I love.

In fact, there is something notably "grunge" about this record. Hamlet might crucify me for saying that, but it's true. There is a grit and grime here that sounds amazing with his intelligent lyrics, wild vocals, and reinvigorated sound. Look, I'm the first one who would say that Hamlet's voice is an acquired taste and that some of the off-tone moments in the album make it difficult to love immediately. I get it. But I think this band is worth the time and patience, and the grungy approach makes that a bit easier, I think.

I also think that kind of melancholy and cynicism are purposeful. The album follows tortured lovers as they wade, or maybe drown, in the sea of calamity, political bull[&*!#], and ruin that is the human condition. It is a far-reaching album, one that hits close to home, and one that has some biting things to say.

The album has 13 tracks, all of them playing into each other almost seamlessly. The flow is part of the overall goal here. There are some truly great songs on here, too. "Shall Not Be" is the opener with a vivid, almost Gothic sound to it. Its driving guitars sound great with Hamlet's voice. There is a four-part suite of interlude-type tracks, called "Fracture", that are strewn throughout the album. I really like these songs, ranging from ballads with Rachel on vocals to acoustic guitar musings to my personal favorite, "Fracture II", which has an addictive electronic rhythm. I absolutely love that track. It is crisp, robust, and so much fun to hear.

There are other highlights. "Lunatic" is a track with transitions, especially of the loud-soft kind. It actually sounds a bit "classic rock" in how heavy it is. Actually, maybe it sounds more like classic metal, such as Black Sabbath. I love the grit it has. Another favorite is "Latgalian Gothic", an abstract and even muddled song that explores both electronic and piano. The piano is beautiful, especially the stilting rhythm near the end. I like the single "Falling 20", a bit of a Tom Waits-esque experience at first with gravelly vocals and a sauntering beat. It takes off near the end, though, with all the blurry, darkened fervor that Transport Aerian typically offers. I also love the title track, "Skywound". This is the closer, and it is a pretty crazy piece. While it might sound reserved at first, Hamlet sort of unleashes his vocals in the second half, and it is both terrifying and also awesome. The song overall is subtle and gracious between the moments of mighty singing, though, especially the ending, which it nails perfectly.

This might not be the same level of masterpiece as Therianthrope. I'm not sure Hamlet can ever top that vibrant, peculiar, and haunting work of art. But Skywound is probably my second favorite of his. Transport Aerian sounds fresh and revitalized for a new chapter, and this album has excellent material, especially for a live performance. I'm looking forward to digging into it more as time passes.

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Studio Album, 2021
3.38 | 29 ratings

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If Only...
The Far Cry Neo-Prog

Review by prog_traveller!!

Far Cry are a new band, but with old (experienced) musicians. Because their founders, Robert Hutchinson and Jeff Brewer (the rhythm duo on bass and drums), have known each other since 1976 and were temporarily members of the American Progband Holding Pattern in the 80s. In 2013 they met again and spontaneously decided "someday" to record something together again. But it took another 8 years before the idea was realized. They brought in a keyboard player and guitarist and got started.

Their style is derived from the prog of the 70s bands King Crimson, Gentle Giant, Yes and Genesis, as well as excursions into the world of today's prog from Spock's Beard, Transatlantic, Glass Hammer or IQ, at least the press release says. That sounds interesting to me on paper, but what does the reality look like? Press releases are often the truth, but not always. Sometimes the editor sees things too glorified.

My dear "retro prog" (although I'm not a fan of this name- but for ease of understanding let us call it so) has given a lot of good albums this year for which I've already written reviews. Far Cry, to my disappointment, will not be able to place themselves in this row. In addition, their music, including the production, depends too much on the mediocrity of today's musical landscape. The album lacks a qualitative continuity that binds the listener, makes him understand that there are always high points in the tracks and, for God's sake, he shouldn't lose his attention. I notice this in myself when I suddenly hold a magazine in my hand and no longer consciously notice the music. And that's exactly what happened to me here. It hardly matters anymore whether the album could not have been mixed a bit more dynamically.

But there are also good moments like SIMPLE PLEASURES with clear Yes elements or the title track IF ONLY, which offers a lot of good ideas and variety, but at the end acts a bit pathetic. In addition, however, elements that are always too simple like the naive refrain in THE MASK OF DECEPTION or the PROGRAMOPHONE, which is too reminiscent of the 80s, with its too squeaky and annoying synths, as well as this questionable rap vocals. Finally, a complete failure with the 6.5 minute DREAM DANCER. There is really nothing to this track, it just torments itself there with its endlessly dragging electronic "tones".

Well, what should I write as a conclusion? This is one of those albums that are made known to an audience with a lot of advertising as the next "big thing", but in the end the result is not that good.

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Studio Album, 2021
3.60 | 21 ratings

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3.2: Third Impression
3 Crossover Prog

Review by prog_traveller!!

Robert Berry returns with a second 3.2 album in February 2021. This album is also to be understood as a third 3 (three) album, hence the word "Third" in the title. And it alludes to the "Third Impression" of the same name, the third part of "Karn Evil 9" on ELP's 1973 album "Brain Salad Surgery". Clever, I say. Project 3.2 is the continuation of Volume 3 (Three), which, in addition to Berry, consisted of Carl Palmer and the late Keith Emerson, the P and the E of ELP. They formed a more melodic, song-oriented trio than ELP had been before, and combined Westcoast-AOR with (a few) Progelementen in order to follow in the footsteps of Asia and GTR. The three released the album "... To The Power Of Three" in 1988, toured - and then fell apart. Almost thirty years later, in October 2015, talks began between Robert Berry and the President of Frontiers Records about a new 3 album. Berry contacted Emerson, who showed interest, and the two began exchanging musical ideas. Palmer, on the other hand, declined to cooperate. He preferred to concentrate on working with his Carl Palmer Band. Emerson's death in 2016 brought the project to a standstill. At this point, however, Berry already had quite a bit of material and after a few months he decided to continue working on the new songs. He finally finished the album as a tribute to Keith Emerson, to make his music audible and of course to continue the story of 3. The result was called "The Rules Have Changed" and appeared in 2018 under the expanded name 3.2. It consisted of some ideas that had emerged in 1988, some newly composed pieces by Emerson and Berry, as well as songs that Berry added after Emerson's death, in the spirit of Emerson, as he says. The album was much more progressive than "... To The Power Of Three", and such a surprise hit that Robert Berry put a band together and went on tour with "The Rules Have Changed". There were Paul Keller (guitar), who had already helped out on the 3 tour in 1988, Andrew Coyler (circuline; keyboards) and Jimmy Keegan (Spock's Beard; drums). A new album was not long in coming: a good two years after "The Rules Have Changed", "Third Impression" will be released in February 2021.

"Top Of The World" opens the album as a guitar rocker with Irish flair. Not exactly what you would expect from a 3 album! But that doesn't matter, because the piece has a lot more to offer than that: keyboard attacks in the Emersonian fanfare sound, fast guitar runs, powerful rhythms. If you want to see the mix of Westcoast and ELP- Keyboard-Prog as a classic 3-style, the piece is a pretty decisive step away from that. ELP, or even just Emerson, is very little involved here. Still, "Top Of The World" is a great, proggy introduction to the new 3-album.

With the energetic "What Side You're On" the classic 3-style returns: keyboard fanfares, fourth harmony - everything you need to be reminded of Keith Emerson. Maybe a little too much in the style of "Black Moon" or "In the hot Seat", but with a lot of punch. "Black Of Night" follows on from "Top Of The World" with its trad feel. Here it is military drums and a bagpipe-like keyboard motif that arouse Scottish associations. A good, strong rock song that adds new facets to the 3-style. Here, for the first time, I got that feeling that I couldn't get rid of when listening to "The Rules Have Changed": Robert Berry's downright uncanny ability to channel Keith Emerson. Many passages are so reminiscent of the late keyboardist that you can't get rid of the feeling that the spirit of the master was present in the studio.

The short, powerful "Killer Of Hope" is then characterized by a stronger presence of the guitar, which here delivers a duel with the keyboard. This is also a step away from the classic 3 style - and at the same time a welcome addition to it. "Missing Piece" starts off calmly on the acoustic guitar, but then electrifies and develops into a much more opulent sound. The song doesn't really catch on with me even after listening to it several times. Maybe it's because there are hardly any reminiscences of the usual 3-style left, maybe because the keyboard hardly plays a role here - "Missing Piece" might not ignite somehow.

"A Bond Of Union" is different. The ballad was known before, it was released in advance as a single. A quiet piano intro is followed by a simple melody with simple chords, verses, bridges and refrains alternating with each other. After three and a half minutes the interesting part begins: A beautiful, melancholic piano solo that leads into a piano-guitar duet. Unfortunately that is over all too quickly, three quarters of a minute later the chords of the song part start again, and a reprise of earlier material brings the beautiful song to an end. Still: a highlight of the album. "The Devil Of Liverpool" is about a criminal known as the Devil Of Liverpool. The 6/8 piece creates a corresponding atmosphere, with icy, glass keyboard chords that cut into the music. Berry's guitar solo is also very English, and it is not for nothing that it reminds of Steve Howe: After all, Robert Berry was a member of his band GTR. "Emotional Trigger" follows. Again, this is far from the usual 3-style: smoky piano swing with - unfortunately somewhat rough - jazzy drumming.

But with "A Fond Farewell" another highlight follows. The song was the first pre-release single, and rightly so. A veritable piece 3! The song is perhaps best kept in the style of "The Rules have changed": keyboard fanfares, 7/8 time - great! Berry recites a strong stanza, then a bridge follows. But before the chorus starts, it goes through a few turns. Plus a prog solo on the vintage keyboard - that's what 3 should sound like. The emotional climax of the album is the longtrack "Never". The nine-minute piece is the last piece that Robert Berry and Keith Emerson worked together. For "Third Impression" Berry has now finished the song single-handedly. A strong piece of Prog, comparable to "Desde La Vida" from "To the Power Of 3", with "Last Ride Into The Sun" from Berry's great album "Pilgrimage To A Point" or with "The Blame" from the second edition that album. The multi-part is characterized by exciting chord progressions, strong rhythm ideas that could have come from Carl Palmer, and great keyboard solos in the style of Emerson. A strong conclusion to "Third Impression".

Although I would rate "The Rules have changed" a little more. The presence of Emerson on that album is just too evident to be left unappreciated. And while his spirit pervades "Third Impression", this album is more of a Robert Berry album. On the one hand this is due to the fact that the keyboard doesn't play such a big role here, on the other hand because "Third Impression" has a greater stylistic breadth than "The Rules Have Changed" or "To the Power Of 3". The album documents Berry's various musical influences - not necessarily Emerson's. So, apart from Emerson, the keyboard style is influenced by people like Rick Wakeman and Tony Banks, and the drum style, apart from Carl Palmer, is also influenced by John Bonham.

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Studio Album, 2021
4.15 | 120 ratings

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A View from the Top of the World
Dream Theater Progressive Metal

Review by greenbackz

Was surprised by how good this album is. It may be my favourite album they've released since octavarium, and their best since mangini joined IMO. The mix is really good on this album. You can clearly hear mangini and myung, and it seems they let mangini have a little more creative freedom this time around it's pretty evident as some parts are heavily based off his drum parts. Overall there isn't a BAD song on the album, but my least fav is def "invisible monster". My fav track on the album is definitely the epic 20min title track. Been on repeat all week!

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