In chemistry, when certain galvanizing elements come together, they become quite explosive. In music, when certain galvanizing artists come together, they become Flying Colors. In fact, whenever the five gentlemen who encompass Flying Colors - guitarist Steve Morse, drummer Mike Portnoy, keyboardist/vocalist Neal Morse, bassist Dave LaRue, and powerhouse vocalist and songwriter Casey McPherson are able to conjoin their collective talents, the result is a sweet sonic bouillabaisse that reflects where their inherent mastery of melody intersects with top-shelf progressive musicianship. Flying Colors soar to even loftier heights with Third Degree, their third studio album in a decade that's set for release on October 4, 2019 via Music Theories Recordings.

Among Nektar fans, there are many who consider Remember the Future to be the band's creative peak. The album certainly creates the grounds for making that argument. Indeed, it is an ambitious work that is essentially one composition divided into two parts. The whole is performed in a very seamless and competent manner. Still, many critics just plain didn't get it. The juxtaposition of the two opinions makes this album to Nektar much like what Tales From Topographic Oceans was to Yes. The truth is probably somewhere between the two points, as it usually is. It truly is a very entertaining, well-written, and well-performed disc that showcases a very underrated band at the top of their game.

Eroc (Joachim Heinz Ehrig) started his solo career in 1975 while he was currently the drummer of Grobschnitt. His self titled album can be considered as a cross between Gorbschnitt's typical symphonic amazing music and electronic/ synthscapes dominated by numerous original sound manipulations. Despite that he was originally recognised as a drummer, here Eroc is the man behind the machines, controlling solid essays in synth experimentations and electronic collages. His first album is an absolute must in Kraut/ electronic genre, very abstract, emotional and a mix of different moods. This album is an opponent worthy of Klaus Schulze's first realisations in space/ "kosmische" electronic music. His following album ("Zwei" published by "Brain" in 1976) continues to process by a combination between rock and electronic but focused on short, efficient sketches…