In the second track "Preludio Rapsodia" we are offered a taste of how the whole disc presents itself from its mix of symphonic rock and jazz music. "Intimo Ritmo" with its two separate songs "Parte 1" and "Parte 2" shows colorful horn arrangements with some rhythm changes and beautifully played guitar and keyboard sounds in a Canterbury dress. The musicians are given the freedom to perform short solos, with saxophone, trumpet and trombone, being allowed to shine individually.

This album can be presented as a true declaration of crystalline and visceral love towards music and freedom of expression, musical cycles are developed with both small and significant variations between one cycle and another on which Frank Nuyts and other members develop a very personal, creative conceptual approach.

True proof that complexity and melody can coexist. The compositions flow fantastically and are a combination of jazz, elements of Canterbury Scene spirit and Avant-garde, leaning more towards the latter. Really complex, but even though I mentioned avant grade, immediately acceptable, an album that will leave you breathless at first listen. Complex and dynamic groove, changing rhythms lead us through a very experimental mix of the already mentioned Canterbury, jazz, and avant-prog.

The gradual build-up of tension, spiced up with some dissonant RIO outbursts, complicated, extremely interesting interludes, many facets of brilliant marimba playing between filigree jazz runs, incredibly beautiful melodic moments, also sax which brings out-of-tune howling riffing and which is often in a powerful union with layers of sonic moments, all this mercilessly tugs at your nerves until you're released with the re-entry of fantastically constructed and incredible structures. 

The sparking war between instruments brings individual and collective outbursts of genius and represents an impressive whole. The compositions are complex wrapped in a unique world of sounds, the tension slowly builds in a very precise and focused parade of sounds in a chamber-style approach. The album throughout its duration delivers fluctuating atmospheres, between jazz and avant-grade parts and other more calm ones, adding various virtuosities.

Extremely dynamic and powerful, almost hypnotically intense, the band is often in motion. But there are also more delicate moments, often characterized by acoustic guitar interludes, sometimes enriched with electronic and tape recordings. Keys, bass and percussion create a dense jazzy-prog base over which the wind instruments solo, and all of this sounds particularly like brass rock. Keys and bass are very dominant and ensure clear Canterbury references.

The band with their third album “Quiet Euphoria” presents the magical alchemy of surreal atmospheres, lightness, and jazz flavor to reach its stylistic and expressive peak. There is room for everything: experimentation, delicacy, and power, they all manage to coexist in this album with a thousand faces, very tight and full of feeling in a fully jazz-rock sound.

Rascal Reporters take us on a fascinating and engaging journey in which you will be catapulted into a labyrinth with obstacles and moments of suspense, a cascade of sounds that sometimes remains suspended on avant-garde plots and then opens up to fluctuating intertwining of rhythms and melodies , all the way to irony and lightness that is typical of the Canterbury scene. This is a work of rare beauty, perfect synergy between song format and experimentation.

I can present this album as an artistic creature with a multi-personality. On the one hand, it reincarnates rock in opposition with intricate compositions constructed in detail, and on the other hand the ingenious and very personal style of Dave Newhouse’s intent on chasing the intelligent jazz fusion with many prog hints. The musicians are endowed with excellent technical and compositional skills and demonstrate them perfectly in this work, thus creating a particular music 'mixture'.

The boundaries between art, extreme contrasts, and unknown aesthetics are dominant features, and they are excellently implemented. The group assumes the strategy of fusing the heritages of their two bands, that is, the avant/jazz-progressive pattern while undertaking a new exploration of the most subtle facets of the psychedelic/space discourse.

The compositions shine when they reach a serious and complex form of prog-rock and jazz. In those moments, the combination of frantic and melodic jazz-rock characterizes the flow and then we have a massive presence of many layers, odd tempos, and exceptionally complex instrumental layers. This was done in such a way that the compositions themselves precisely show that this band knows how to transform pieces into elegant, eclectic and crazy music. 

The album is filled with everything a prog rock fan could want: whirlwind passages, tempo changes, melancholic parentheses, avant-garde influences, improvisations, electronics. From the first to the last minute of the album, we will be inundated with eclectic riffs, fantastic solos, equally articulated melodic ideas shaped by tempo changes, solo embellishments, and instrumental/electronic approaches.

Tom Penaguin is an interchangeable artist, who creates music in a way in which each part has its own dimension and sub-dimension, but always in the service of the overall concept of the composition. The sonic eclecticism of this performer is fantastic, always poised between acoustic and electric, calm and energetic, practical and hypothetical, new and old.

This album achieves an enviable balance between form and disintegration, where themes go through a considerable number of variations and lines and create an impressive gallery of instrumental interventions. Special attention should be paid to "Lievito Madre (PT. I-V)" where in 13 minutes the composition is presented as a labyrinth that suddenly passes from a devastating sound palette to alternate heavy moments with melodic sections with a brilliant balance.