All three Procession reissues were reviewed in the latest issue of Prog Magazine (March 19, issue 118). Critic Johnny Sharp writes how our releases provide “undeniably tantalizing glimpses of what might have been.”
On the album Still, he writes, “‘Ginseng’ has a seriously captivating symphonic prog sweep that endures despite the lo-fi production’s glaring inability to do justice to the banks of celestial synth atmospherics engulfing the piece.”
“‘Fermata’ is similarly bewitching,” he continues, “as Petra [Gelbart’s] folky, untutored voice taps into mezzo-soprano territory as [Bradley] Sroka’s keyboard skyscraping recalls Popol Vuh’s spiritually charged soundtrack work for Werner Herzog.”
In contrast, Fatherland “takes a more guitar-led approach, with hints of Slint’s post-rock blueprint,” and “Post” on Living in Between suggests the “proggier direction they might have expanded on had the crushing indifference of their peers not caused them to split soon afterwards.”
All in all, we’ll take it.
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