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 Night by GAZPACHO album cover Studio Album, 2007
4.13 | 651 ratings

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Night
Gazpacho Crossover Prog

Review by Dapper~Blueberries

5 stars Dreams are so interesting and odd to me. The idea of journeying to the inner corners of your mind and imagination with no rhyme or reason, yet some form of meaning is something that feels almost like fiction. This real-world phenomenon has been researched from point a to point z, and I feel like we might never get a grasp of what they truly mean due to people's different psyches. Our psychological understanding of what is and isn't, the false truths bleed into dreams and our minds mustn't be deterred from reality or our sanity will go away. In all honesty, I am surprised this phenomenon would make an amazing concept for an album, especially in the realm of progressive rock, but sadly I never see any such a concept explored to its fullest potential. We may get albums where a part is a character's delusions in their minds or being stuck in their mind, but never dreams themselves. There may be two reasons for this. 1. It'd be very hard to pull off effectively. 2. Night by Gazpacho is already a thing, so why attempt what they mastered once in their career?

Gazpacho is a contemporary progressive rock group from the early 2000s. Formed by Jan-Henrik Ohme, Jon-Arne Vilbo, and Thomas Andersen they take a page from the popular, more Radioheadesque art rock of the time, however with their spin on the whole style that is most closely related to Neo progressive rock. Their name comes from the Marillion song off of their Afraid of Sunlight album. At this point in their career they had released 3 albums, Brave, When Earth Lets Go, and Firebird. During this period they experimented and improved on their melancholic sound, utilizing alternative rock atmospheres that allowed them to create a unique, inspired sound. Since their conception they have always been a progressive rock band, however, they never fully smothered deep dished themselves in the bread, sauce, cheese, and grease of the progressive rock pizza. That was until 2007 when the band had created their 50+ minute conceptual piece. This was an album where they fully delved into the concept of dreams, creating one giant song in the process, however, they split it into 5 different songs that all fit together.

Unlike most albums that do something similar to this in the vein where it is one song that is split up (IE Colors or Tower of Silence) where I genuinely feel like each part intertwines in such a way that it makes every part feel essential for the listening experience. However, the fact each part is separated allows this album to never get boring, which I feel is one of the biggest hurdles any band making this kind of album has to go through. It may be one long song but I do not feel as though I ever get bored near the end, or that some parts do not mesh well with others, which were some of my complaints for stuff like Dopesmoker or Mirror Reaper.

The sounds on this album are something to behold. Everything around each part has a consistent theme and leitmotifs that you can notice, which I think is a good thing. I am a sucker for this kind of thing, especially when it comes to leitmotifs. Heck one of my favorite video games is packed brim with leitmotifs, and when it applies to a progressive rock context I am always happy. It is like a fun spotting game where after each song you can have a new motif to search for. While in most cases this would be boring, in the grand scale of the piece these motifs happen fairly rarely, however they happen often enough to fit every piece to this dreamy puzzle. Not only that but the main contributor to this album's greatness is the instrumentation. I just love how it perfectly captures the feelings of dreams and nighttime. The energy that resonates from this album speaks home to the feeling of being in a dream. The strums of the guitar, the drumming, and Ohme's vocal works on this album are the cream of the crop. Speaking of Ohme, his singing is downright beautiful. I cannot express how truly lovely they can get, sometimes to where I feel like he turns into a completely different singer.

Not only is the instrumentation excellent, but so is the emotion that drips off this album. Everything here feels melancholic, and where in some cases I feel like the band is missing out on something greater if they expressed more emotions on the emotional spectrum in their music, I feel like here it works well, since what is the night without the lack of light? The night is the darkest time of each 24 hours, because of this it is befitting for the band to be more melancholic.

What is more melancholic is the entire concept of this piece, which is of course about dreams. While the lyrics feel more like a story about something coming to an end, it is actually about where dreams end and reality begins. It is not simply about dreams as in something our brain conjures up when we sleep, it is about what happens when the dream ends. Where do all those little brain characters go and so forth? Each part does contribute to this narrative in some way, with Dream of Stone and Upside Down being about a blind prince who gets engulfed by the sun; Chequered Light Buildings is about growing so high to go to space; Valerie's Friends is about a girl named Valerie having a nightmare about going to a dangerous party; Massive Illusion being about how dreams end. All such have that intrinsically implemented inconsolable nature the band always loves to pull.

For a progressive rock epic, not only is this a masterpiece, there truly is no other album like it in the grand sea of albums. For anyone who loves that atmospheric, melancholy progressive rock from bands like Marillion, The Pineapple Thief, or even Pink Floyd, this album deserves its highs in spades. An amazing modern progressive rock record deserves its five stars.

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 Musk At Dusk by SCHMIDT, IRMIN album cover Studio Album, 1987
4.00 | 1 ratings

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Musk At Dusk
Irmin Schmidt Prog Related

Review by Lewian
Prog Reviewer

— First review of this album —
4 stars And finally Irmin releases an album full of actual songs, sung by his own voice! That's quite something, I mean, for those who like his voice, which for sure takes some getting used to. The guy has studied composition and conducting, so he should be well aware what kind of thing is expected of a serious professional singer. But what he does is something completely different. His voice is deep and full, and he doesn't care that much for hitting the notes, but for sure this voice has something. Well, he is more Tom Waits than Pavarotti. You can picture him like the old guy in the corner who has seen a lot and gives you his view on it, and life has left its traces. It's at the same time understated but also warm and can be emotional and even erotic.

And then the album is full of melodies and a number of them stays in your ears, starting with the cute piano melody of the single (and quite good at that) "Roll On Euphrates", which actually was written for another TV show, despite having announced this as an autonomous non-soundtrack album in my last review, sorry! The dreamy Great Escape also makes quite a lasting impression, the melody here solemn and slow, something for the small hours, contrasting with the nervous drums and percussion by Can's great Jaki Liebezeit and grandmaster Trilok Gurtu. The Child in History is another one of Irmin's great dynamic waltzes that run through many of his albums. In fact I could say that this is very great, at more than 8 minutes something for the prog lover, except that you may think there's enough stuff of this kind already on the Filmmusik albums, although the singing adds a particular flavour to this one. Irmin likes dance rhythms, and the album is started off by a tango, Cliff Into Silence, including bandoneon; Villa Wunderbar has a cha-cha type rhythm, I believe, even though not being an expert at that. I'm maybe not a fan of every single composition ("Love"?), but the instrumentalists are great throughout; there's Michael Karoli again besides Jaki and Trilok, and the occasional horn and sax as we know it from Irmin.

I hadn't listened to this for quite some time before writing this review and thought it would come out around 3.5 stars, but it is so original overall, has more memorable melodies than I thought (I must have put some of them on the wrong album in my memory), very enjoyable instrumental performances (hell, I could listen to any album that has Jaki drumming on it *or* Trilok Gurtu *or* Michael Karoli just for their performances), and I actually love the singing (not everyone will) so much that I eventually rate it 4.2 despite a somewhat limited prog coefficient (you could call it pretty arty art pop maybe).

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 Archive Collections: Volume I & Volume II by PHILLIPS, ANTHONY album cover Boxset/Compilation, 2022
4.05 | 3 ratings

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Archive Collections: Volume I & Volume II
Anthony Phillips Symphonic Prog

Review by Matti
Prog Reviewer

4 stars The compilations of archive material can be frustrating, but it also depends very much on how to represent it. I certainly feel a special sympathy for this five-disc set of Anthony Phillips. Basically, as the title reveals, it brings together The Archive Collection Volume One (1998) and Archive Collection Volume 2 (2004) but goes beyond that. On the other hand, it's worth pointing out that I wasn't in advance familiar with those compilations, so this expanded set was all "new" to me and my reception may be much warmer than of someone already familiar with the original Archive Collections. Everything on them were previously unreleased, and so is the case with the extra material discovered from Ant's attic in more recent years. Of course the words "previously unreleased" refer, in several cases, to these particular versions -- demos, alternative mixes -- of tracks from Ant's studio albums, but there are plenty of previously unheard compositions as well. For each track there's a background information in the 60-page leaflet. Because of such huge quantity, I choose not to deal much with details in a track-by-track approach. And it's extraordinary how good the overall sonic quality is. Only a few tracks with the emphasis on the historic interest sound less clear.

As we all know, Phillips left Genesis in 1970 and released his debut album The Geese and the Ghost in 1977. Much of the material dates from the years in between and thus helps the listener to form a picture of his initial years and the development as a solo musician. Those Genesis afficionados who have a sweet tooth for the pastoral nature of the band's music (up to, say, 1977) will be delighted by a great deal of what's heard here. It's evident that Anthony Phillips was a crucial original member in shaping the sound and style of Genesis. [In his career he's often questioned about sounding so much like Genesis, and that must have been extremely frustrating for him!] Ant's music is most often instrumental solo pieces for either guitar or piano or other keyboards. These pieces often have the same pastoral feel as one can hear embedded in Genesis' more complex prog compositions. By the way, 'F Sharp' demo from 1969 that Ant recorded on 12-string with Mike Rutherford on bass and Richard Macphail on tambourine contains elements later used in 'The Musical Box'.

Volume One originally had just one full-length disc and only four tracks on the second disc. Here the second disc is expanded to 70 minutes. There are both completely unheard pieces and alternative mixes or demos of album tracks (from The Geese and the Ghost, Wise After the Event, Sides). For example: guitars only mix of 'Henry Goes to War', initial orchestral run-through of 'Regrets' and an instrumental mix of 'Greenhouse'. These moments of familiar stuff are happily in minority after all. The disc ends with a real surprise: a rock'n'roll song 'Pennsylvania Flickhouse' demoed by Ant's pre-Genesis Charterhouse group The Anon in 1966. Five pages of the booklet deal with The Anon. A rare history lesson!

Volume Two was a full 127-minute 2-disc set originally. The fifth disc on this box set is devoted to a previously unreleased project, titled "The Masquerade Tapes", and textwise this is by far the lengthiest part in the booklet. In 1979 Kit Williams released Masquerade, using the picture book format in a new innovative way. In the wake of the book's success there was an idea of a musical adaptation. Rupert Hine started working on it, helped by Ant, but soon Hine was too busy as a producer and Ant continued making music on his own. The 15-part suite recorded mainly in 1980-81 is all composed and played by Ant. Musically it's a very nice addition to the box set. Instrumental, apart from a beautiful song sung by Lindsey Moore.

In short, this finely edited box set is a cornucopia that really deepens the picture of this fascinating musician. I personally would have enjoyed a chronological order too, but that's not a big deal.

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 At Hammersmith Odeon by GILMOUR, DAVID album cover DVD/Video, 2008
2.00 | 1 ratings

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At Hammersmith Odeon
David Gilmour Prog Related

Review by Matti
Prog Reviewer

— First review of this album —
2 stars I borrowed this DVD from library. I'm actually reliefed I didn't run to it on a second-hand shop and buy it, because honestly this is so weak as a concert film I even pressed the skip button a few times, and feel no wish to view this ever again, since there are much better Gilmour DVD's available -- also on my own shelf. What makes me wonder the most is the fact that the original VHS release from 1984 contains some (seemingly pretty worthy) extras that are lacking here. Why? Usually the DVD re-releases are fuller in contents compared to the VHS, not the other way round! I believe I'd follow the VHS reviewers' concensus and rate it with three stars, but this 62-minute concert film alone does not deserve more than two stars.

In 1984 Gilmour released his second solo album About Face which I concider terribly lacklustre in its straight, progless pop-rock. Naturally this Hammersmith gig from 30th April 1984 concentrates heavily on the then-new album. But that's not the only reason for the overall weakness. The visual quality is rather poor and the camera work uninspired. Obviously the filming equipment wasn't of very high quality. The cheap nature of this DVD is evident the very minute you start viewing it. The irritating and criminally too long publisher's insert (Crime Crow; the cartoon figure snapping its fingers to blues music) is directly followed, in a clumsy VHS manner, by the beginning of the first track of the live set, 'Until We Sleep'. Both that song and the next one, 'All Lovers Are Deranged', totally failed to interest me much. Two songs from the debut David Gilmour (1978) improve things a bit. It's nice to see Roy Harper joining David on their collaboratively written 'Short and Sweet', even though the song itself is pretty boring. The audio quality is OK and the musicians do their jobs just fine, but as I said, don't expect any prog finesse. The sax and keys are very much of the time. Even the lead instrument, Gilmour's guitar, is not as impressive as on later DVD's.

'Run Like Hell' understandably receives enthusiastic applause from the audience; The Wall had only a little earlier been a mega success for Pink Floyd. The song certainly brings some needed spark here. Three more songs from About Face, and the main body of the set is over. The encore 'Comfortably Numb' is musically the ultimate highlight, and Nick Mason enters behind the drum kit.

I can't seriously recommend this DVD to anyone except for a completionist and a diehard Gilmour fan who greatly enjoys even his weakest solo output. What's best here, ie. the two concert favourites from The Wall, are present on most other Floyd/Gilmour DVD's. As for the About Face stuff, well, you either have the studio album or you don't care of it enough to own it, and in both cases this live set is not that necessary to get.

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 La Relazioni Pericolose by BADGE, THE album cover Studio Album, 2015
3.05 | 27 ratings

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La Relazioni Pericolose
The Badge Rock Progressivo Italiano

Review by andrea
Prog Reviewer

3 stars The Badge (the name refers to a Cream's piece) took shape in the early seventies in Bernate Ticino, a town located about 25 kilometres west of Milan. During the seventies the band went through many changes in personnel and had a good live activity on the local scene but never got the chance to properly record an album and slowly faded into oblivion. In 2006 The Badge came to life again but it wasn't until 2014 that they finally released their long awaited debut album entitled "Le relazioni pericolose" on the independent Ma.Ra.Cash Records label with a line up featuring Angelo Isaia (keyboards, vocals), Sergio Isaia (bass, guitar, vocals), Fiore Colombo (guitars, bass, vocals) and Pino Atzori (drums). Although the music sounds a bit too derivative and the vocal parts might not be perfect I'm sure that Italian prog lovers will find this work interesting enough. The beautiful artwork by Gigi Cavalli Cocchi depicts its content and invites you to explore it...

The long, complex title track that opens the album, 'Le relazioni pericolose' (The dangerous liaisons), was inspired by the French epistolary novel of the same title written by Pierre Choderlos de Laclos in 1782, and by "Valmont", a 1989 romantic drama film directed by Milos Forman based on the same novel. The music and lyrics evoke the story of the Marquise de Merteuil and the Vicomte de Valmont, two evil doers who use seduction as a weapon to control and exploit other people and enjoy their cruel, cynic games. It's a portrait of the French nobility just before the French Revolution that here is rendered with a strong sarcastic tone and a musical patchwork featuring original passages, many classical quotes and a short tribute to the score of the film composed by Christopher Palmer. Eventually, love succumbs to pride and vanity and all ends in tragedy with the image of a cold autumn wind sweeping the falling leaves on Valmont's grave...

'Anni '70' (Seventies) is a track that looks back with a strong sense of nostalgia to a period when the musicians of the band where younger and music was their only drug. Emotions, great expectations, dreams that along the years were blotted out by reality, no computers nor pay TV, the feeling that they could change the world. Anyway, the music and lyrics underline how the members of band are still playing together and why those memories can never die for them...

'Ancora un giorno dopo la fine' (One more day after the end) starts by a keyboard intro evoking the come back from the dark of a mysterious spectre. Then the rhythm rises and the music and lyrics describe the spectre wandering all day long through the woods and reflecting about the time he spent as a living being. Eventually, he realizes that even a bitter life is better than the void and that the strange silence surrounding him on Earth is better than an eternal peace... The music every now and again could recall Deep Purple and alternates hard rock rides to calmer classical inspired passages...

'Sotto il cielo d'Africa' (Under the Africa sky) begins by jumping electric guitar riffs and rolling organ surges that later alternate to more reflective sections. In the first part the lyrics evoke troubles, wars, exploitation, poverty... Africa is described as a paradise that was turn into hell! Then, after a short quote from Dvorak's New World there's room for hope with the lyrics evoking singing children, notes of peace and echoes of joy...

"Burokrat" draws in music and words the caustic portrait of a heartless bureaucrat. This is a curious, dangerous kind of animal that you might find behind the desk of a post office or, worse, in a tax office!... Next comes 'Dichiarazione' (Declaration) that after a pulsing start that could recall PFM turns into a dreamy mood evoking the balance between man and nature and sweet, clear memories...

The Gothic closer 'La leggenda del lago' (The legend of the lake) begins by the sound of a storm and a dark church organ section that conjure up the awakening of Ester, the lady of a mysterious lake. Then the music and lyrics unfold her story. Many damned men got lost in her arms, a dark figure walking in the night on the lake shores, always looking for love and never satisfied. At dawn ghosts of fire and processions of larvae escort her in her palace hidden into the deep waters of the lake where she can avoid the sunlight...

On the whole, an interesting work that deserves a try.

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 David Gilmour by GILMOUR, DAVID album cover Studio Album, 1978
3.54 | 368 ratings

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David Gilmour
David Gilmour Prog Related

Review by sgtpepper

3 stars Gilmour's first solo album will please Pink Floyd and intelligent pop/rock fans. The album is mostly well constructed and accessible. We can hear the interesting warm vocal by Gilmour and his typical slightly restrained guitar playing.

There are only three instrumentals but all worth repeated listening. "Mihalis" reminds me slightly of Camel; just that guitar playing is more dominant here. "Raise my rent" has a Floydian guitar and playfulness. Absolutely tasty playing and smoking solos. "It's deafinitely" is the most prog-sounding composition but at the same time, compositionally rather weak. It's dynamic pace sets guitar/synths/drums at the same winning position.

The sung tracks are melodic, allow more space for keyboards and even harmonica. My favourite is "So far away" especially when the guitar and female vocal reach the climax. It has the typical laid-back PF feeling.

Despite quite a convincing output, I think this is not an essential piece of prog.

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 The Dreams of Men by PALLAS album cover Studio Album, 2005
3.99 | 299 ratings

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The Dreams of Men
Pallas Neo-Prog

Review by coldwindblows

4 stars Wow. Love this. I've been adding new names to my neo-prog favourites over the last 20 years. Listening to The Dreams of Men is one of those moments when you think how have I missed this one? I've listened to random bits and pieces of their music over the years and rejected them (as was the case with Galahad until Empires Never Last).

It was listening to one hour and forty two minutes of The Edge of Time compilation that drew me in. It led me to look up the original Ghostdancers track on The Dreams of Men, and from there I have a new favourite neo-prog album. 4 stars.

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 The Concerts in Japan by ENGLAND album cover Live, 2022
4.04 | 4 ratings

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The Concerts in Japan
England Symphonic Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars The re-formed Symphonic Prog insider tip ENGLAND played two gigs at the famous rock venue Club Citta in Kawasaki, Tokyo, on the 8th + 9th July 2006. Initially available as a digital album solely, this one covers the original live recordings, remastered and extended to a twelve track item. Now in September 2022 the German NuMusi label have added this one to their portfolio. They are offering a double CD digipak that includes a 16 page booklet with extensive notes and background information about the concerts, the band, the instruments and illustrations by mastermind Robert Webb (keyboards, guitar, vocals). The line up also comprises founding member Martin Henderson (bass, vocals) as well as Alec Johnson (guitar, vocals), Steve Laffy (drums), and finally Maggie Alexander (vocals, keyboards). The art work on the other hand was contributed by ... well, Ed Unitsky, who really wonders?

During more than one and a half hours the band celebrate their song material in a very good mood and weight. And this includes their most important effort, the complete debut suite 'Garden Shed' from 1977, a highly praised item in prog circles. As expected from a live gig it all sounds consistent, rounded, although the vocals are not always perfectly to the point. The manifold keyboards, including Mellotron, are the real sensation. And yeah, you won't miss the mandatory drum solo on Open Up. For some time Masters Of War - later appearing on the 2017 album 'Book Circles' - runs like a relatively simple Boggie Woogie track. Though towards the end it will turn into a prog expression more and more. What especially appeals is the extract of the long track Imperial Hotel, a free give away issue that explicitly was produced for the Japan gigs. Or the closing Nanogram that comes with slight Supertramp and Renaissance leanings. I wholeheartedly recommend to be concerned with this awesome production.

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 Death of a Dead Day by SIKTH album cover Studio Album, 2006
3.99 | 62 ratings

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Death of a Dead Day
Sikth Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Death of a Dead Day" is the 2nd full-length studio album by UK, Watford based progressive metal/metalcore act Sikth. The album was released through Bieler Bros. Records in June 2006. It´s the successor to "The Trees Are Dead & Dried Out Wait For Something Wild" from 2003 and the sextet lineup who recorded the predecessor is intact here. Sikth were originally active from 2001 to 2008 and released two full-length studio albums in that period. They reunited in 2013.

Stylistically the material on "Death of a Dead Day" continue the technical/progressive metal of "The Trees Are Dead & Dried Out Wait For Something Wild" (2003). SikTh´s brand of progressive metal features elements of mathcore, NU-metal, alternative metal, and hardcore, and a combination of the sound of artists like The Dillinger Escape Plan and System of a Down is a relatively valid description, although Sikth definitely have a sound of their own. While their songwriting is clever and effective, I´m predominantly blow away by the high level musicianship found on "Death of a Dead Day". The complexity of the material is pretty high, but it´s the natural organic way that said material is performed and the way the many different vocal styles (clean, screaming, aggressive, schizophrenic lunatic babbling) compliment the often manic instrumental parts of the music, which make this a spectacular release. You´re definitely in for at ride with this album...

Featuring a detailed, powerful, and very well sounding production "Death of a Dead Day" is also a treat on the ears in terms of every instrument and vocal parts sounding great in the mix. The fact that it´s a self-produced affair bears witness to how skilled SikTh are. They aren´t just clever composers and well playing musicians, but also competent producers. Upon conclusion "Death of a Dead Day" is a high quality sophomore album by SikTh and a 4 - 4.5 star (85%) rating is deserved.

(Originally posted on Metal Music Archives)

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 Forbidden Pastures by WOODEN BABY album cover Studio Album, 1989
3.50 | 4 ratings

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Forbidden Pastures
Wooden Baby Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

4 stars I appreciate Modrigue's reviews of the three albums WOODEN BABY put out between 1988 and 1990 because there is very little information out there including reviews for their records. The fact they have never been released digitally may be a big reason for that. WOODEN BABY is the duo of Merv Pepler and Charles Daniel not Joie Hinton as the bio here states incorrectly. Joie and Ed Wynne would guest on their final release in 1990 but that's it. But there is an OZRIC TENTALCLE connection as Merv Pepler was their drummer beginning with that 1988 album "Sliding Gliding Worlds". So Merv was doing double duty for three albums then he shut WOODEN BABY down to focus on the far more successful OZRIC TENTALCLES.

I would describe WOODEN BABY as the Krautrock brother of OZRIC TENTACLES, I prefer their darker and dirtier sound much more. Modrigue refers to their music as Cold Wave and Gothic and man there is a strong LEGENDARY PINK DOTS vibe at times, that really surprised me and I noticed it right from the first spin. LPD had put out quite a few albums by now starting in the early 80's so I have no doubt that Merv and Daniel were fans if not being familiar with them at the very least. Two multi-instrumentalists with Merv adding drums, guitar, bass, synths, programming and vocals while Charles adds synths, clarinet, violin, guitar and vocals.

There is so much going on throughout this record it's hard to believe it's only a duo, very impressive. Such a dense sound at times and variety as well over the 70 minutes. The OZRICS comparisons come with the synth styles swirling and shooting off but I feel this band sounds a lot different, more innovative and experimental and darker. Yes I prefer this and while I'm glad I own this one I wish I could have picked up the other two albums, just couldn't find them.

Where to start? I guess that second track "The Sound Of One Hand" at 9 minutes is a good place after the very experimental sounding opener. It sort of trips along for about 4 minutes then the tempo picks up which I prefer before settling again late. "Wasps Feet" reminds me of Steve Hillage solo and THE LEGENDARY PINK DOTS. The latter in part due to the vocals sounding like Ka-Spel. And check out the clarinet! So good. "Pump-Face" is some excellent Space Rock, uptempo and powerful. Another LPD-like track in "Exocism Of Anu" with the violin and vocals. I really liked "The Eyes Of Tammuz" right from the first spin. An urgent and dark sound with the clarinet dancing over top at times.

"The Painted Smile" is amazing with the spacey wind to start that gust at times. Experimental stuff right here folks. So much atmosphere! A calm with flute and birds chirping takes over. Love the guitar late, that echo! The short "Wading Gannets" reminds me of KING GIZZARD surprisingly with the spoken words over top. An urgent rhythm and dense material on "Table Of Contents". An Asian vibe later. "Bombay Mix" is cool for the chanting as synths buzz and swirl and it's catchy. An ethnic vibe as the chanting gets more intense. A HAWKWIND vibe in the middle of that closer with experimental book ends.

While I strongly recommend this record it will be a challenge to find along with their other two recordings. My kind of music and another obscure winner in my music world.

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  8. Red
    King Crimson
  9. Animals
    Pink Floyd
  10. Godbluff
    Van Der Graaf Generator
  11. Fragile
    Yes
  12. Pawn Hearts
    Van Der Graaf Generator
  13. Nursery Cryme
    Genesis
  14. Larks' Tongues in Aspic
    King Crimson
  15. Mirage
    Camel
  16. Per Un Amico
    Premiata Forneria Marconi (PFM)
  17. Moonmadness
    Camel
  18. Moving Pictures
    Rush
  19. Relayer
    Yes
  20. Darwin!
    Banco Del Mutuo Soccorso
  21. Hemispheres
    Rush
  22. Aqualung
    Jethro Tull
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. Hybris
    Änglagård
  25. In a Glass House
    Gentle Giant
  26. Hot Rats
    Frank Zappa
  27. Si on avait besoin d'une cinquičme saison
    Harmonium
  28. Kind of Blue
    Miles Davis
  29. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  30. A Farewell to Kings
    Rush
  31. From Silence to Somewhere
    Wobbler
  32. Birds of Fire
    Mahavishnu Orchestra
  33. H To He, Who Am The Only One
    Van Der Graaf Generator
  34. The Yes Album
    Yes
  35. Octopus
    Gentle Giant
  36. In the Land of Grey and Pink
    Caravan
  37. The Lamb Lies Down on Broadway
    Genesis
  38. Scheherazade and Other Stories
    Renaissance
  39. Metropolis Part 2 - Scenes from a Memory
    Dream Theater
  40. Images and Words
    Dream Theater
  41. The Power and the Glory
    Gentle Giant
  42. Zarathustra
    Museo Rosenbach
  43. Meddle
    Pink Floyd
  44. The Snow Goose
    Camel
  45. Crime of the Century
    Supertramp
  46. The Grand Wazoo
    Frank Zappa
  47. Still Life
    Van Der Graaf Generator
  48. The Raven That Refused to Sing (and Other Stories)
    Steven Wilson
  49. Free Hand
    Gentle Giant
  50. The Silent Corner And The Empty Stage
    Peter Hammill
  51. Ommadawn
    Mike Oldfield
  52. The Mothers of Invention: One Size Fits All
    Frank Zappa
  53. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  54. Hand. Cannot. Erase.
    Steven Wilson
  55. A Trick of the Tail
    Genesis
  56. Fear of a Blank Planet
    Porcupine Tree
  57. Still Life
    Opeth
  58. Acquiring the Taste
    Gentle Giant
  59. A Drop of Light
    All Traps On Earth
  60. Rock Bottom
    Robert Wyatt
  61. The Inner Mounting Flame
    Mahavishnu Orchestra
  62. Permanent Waves
    Rush
  63. Romantic Warrior
    Return To Forever
  64. Depois do Fim
    Bacamarte
  65. Mekanīk Destruktīw Kommandöh
    Magma
  66. In Absentia
    Porcupine Tree
  67. Dwellers of the Deep
    Wobbler
  68. Space Shanty
    Khan
  69. Obscura
    Gorguts
  70. Hatfield and the North
    Hatfield And The North
  71. Blackwater Park
    Opeth
  72. Misplaced Childhood
    Marillion
  73. 4 visions
    Eskaton
  74. Ghost Reveries
    Opeth
  75. Radio Gnome Invisible Vol. 3 - You
    Gong
  76. Viljans Öga
    Änglagård
  77. Arbeit Macht Frei
    Area
  78. Symbolic
    Death
  79. Script for a Jester's Tear
    Marillion
  80. Voyage of the Acolyte
    Steve Hackett
  81. Hamburger Concerto
    Focus
  82. In A Silent Way
    Miles Davis
  83. Spectrum
    Billy Cobham
  84. Emerson Lake & Palmer
    Emerson Lake & Palmer
  85. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  86. Sing to God
    Cardiacs
  87. Ashes Are Burning
    Renaissance
  88. Second Life Syndrome
    Riverside
  89. Crimson
    Edge Of Sanity
  90. Bitches Brew
    Miles Davis
  91. Felona E Sorona
    Le Orme
  92. Of Queues and Cures
    National Health
  93. K.A (Köhntarkösz Anteria)
    Magma
  94. The Road of Bones
    IQ
  95. Elegant Gypsy
    Al Di Meola
  96. Maxophone
    Maxophone
  97. Anabelas
    Bubu
  98. On Land And In The Sea
    Cardiacs
  99. Operation: Mindcrime
    Queensr˙che
  100. Remedy Lane
    Pain Of Salvation

* Weighted Ratings (aka WR), used for ordering, is cached and re-calculated every 15 minutes.

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100 MOST PROLIFIC REVIEWERS

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  12. Windhawk (1699)
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  15. SouthSideoftheSky (1598)
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  19. TCat (1407)
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  60. colorofmoney91 (459)
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  68. tarkus1980 (369)
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  70. Nightfly (365)
  71. Zitro (365)
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  83. FragileKings (318)
  84. Tom Ozric (306)
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  86. Kazuhiro (299)
  87. Flucktrot (298)
  88. progaardvark (290)
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  90. Proghead (288)
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  92. Second Life Syndrome (278)
  93. daveconn (266)
  94. Trotsky (264)
  95. Muzikman (263)
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  98. aapatsos (253)
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