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 Nightingale Hall by LYRIAN album cover Studio Album, 2008
3.50 | 18 ratings

Nightingale Hall
Lyrian Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars Lyrian is an intriguing prog-folk outfit from Oxfordshire, England, catching my attention in large part due to an ongoing fascination with medieval forms of prog, whereby modern instruments are used within 600 year-old parameters that have withstood the test of time and sound even more vibrant today. Gian Castello's two rare albums form the proudest segment of my voluminous collection, as I find myself transported back in time to a land of pastoral settings, castles and knights, damsels and dragons and minstrels and madrigals. Recent works by Faverola, Resonaxis, the Merlin Bird, Bededeum, Fauns, Ion, Minimum Vital, Motis, Shine Dion, Ton Scherpenzeel and Wurtemberg keep the flame going and might as well toss in Blackmore's Night while we are at it. They go hand in hand with Gryphon, Amazing Blondel, Malicorne, Holderlein and Ougenweide, as fine examples of the communion of past, present and future.

Their debut disc "Nightingale Hall" is definitely a mood enhancing voyage, as opposed to an overt technical display of dizzying chops, creating a misty foray into a mystic past, often minimalist in arrangement, yet heavy on creativity. Featuring lifelong friends John Blake and Paul W. Nash as main singers, instrumentalists and composers, they are joined by Alison Felstead on bass and vocals to create a rich tapestry of sonic magic, laden with fairy-tale fantasy and symphonic splendor. An opening "Prelude" sets the stage with various effects (it is a prog album after all!) and segues into the sweeping title track, a 17 minute suite that effortlessly glides through various phases of serenity, heavily dependent on the elegance of the piano and a lustrous guitar phrasing that is loaded with effects a la Steve Hackett. The stark male voice evokes a fragile lament, as the lush church organ booms forward, unrelenting. A soft pastoral section introduces an acoustic guitar-led bucolic and melancholic passage, twinkling brightly amid the gentle flutters of a distant flute. A flimsy filigree, a soothing pretense only to reboot the lilt in harder terms, drums marshaled and determined (they may be programmed), while the slippery guitar carves resentfully. The majestic organ once again takes over the realm, guiding the arrangement into a third expanse, a somewhat gloomier one, yet still playfully caressing their instruments. The bass sounds synthesized, a trait that proves the claim that Lyrian has covered Ultravox' epic and classic Gothic masterpiece "Vienna" and can be seen on YouTube. The bass similarities are striking and technically interesting as the ancient and modern unite in harmonious delight. Nevertheless the delicate folk tendencies are overpowering and utterly satisfying, with occasional swells of orchestrations that are straight out of classical symphonies. Crows caw, heavenly voices cry and the church organ plays the final farewell. Amazing!

The overt early Genesis tones of "The Summerhouse" hearken back to forgotten times, a world of tingling keyboards, whistling synths, acoustic guitars and light percussion, the brittle voice coming through the sunshine, as if good ole Anthony Phillips had shown up with his geese and ghost, 12 string not far behind.

Another whopping epic track is the 15 minute + "He Who Would Be Valiant Be", showcasing an uncanny ability to coalesce ancient stylings with modern musical accouterments, a rather original pairing in my humble opinion, making this theatrical endeavor highly entertaining. The boisterous synth patterns both lead, rhythm and bass, form a wide berth for the squirrely guitar to peel off some delirious solos, Gregorian chanting in the background, I mean this is a futuristic voyage back to the Middle Ages. The crestfallen minstrel hushes his lips as he retreats into the shadows, the velvet curtains now openly drawn, the magical lute laying on the banquet table amid the goblets and platters. The voice 'weeps for England', as the men march out the drawbridge, beyond the moat and the banners are flying high. Expressive musical genius!

The ringing of "The Chimes" announce the 'heroit' , the tribute in payment due to a lord or king upon the death of a vassal, a mournful and forlorn piece with twinkling keys that sound closer to harpsichord. Suddenly half way through the gentle gauntlet, the haunting pace revs up into a colossal procession with booming drum patterns and howling synthesized orchestrations, including a few tortured solos that sound like Billie Currie (Ultravox) revisited. I am thoroughly impressed!

Ah, yes my liege! Romance was created back in the 1100s with the incredible 'chansons de geste', songs of heroic deeds all aimed at eventually obtaining the heart of the damsel in question. "The Lovers Under the Trees" follows that wonderfully romantic premise, amorous flute and suave guitar strings, as the troubadour chants the poem of love and adoration. There is a reason the band is called Lyrian, as the lyric poetry overtakes the arrangement, creating a cycle of epic foundations, the screeching electric guitar attaining new paroxysms of intensity. The booming drums (though programmed) add a density of modernism that speaks volumes (the band members were once librarians!) to the band's vision and style.

The subtle flute and fluid guitar combine majestically on the sweeping and serene "Winter Song", a brief pastoral voice that seeks to emulate the barren beauty of the fields of temporary white. It sets the ideal table for another grandiose finale, this time a 13+ minute affair, "Lucifer" is its name. The piece starts out rather happily, a shrill voice that sounds at times like Ian Broudie of the Lightning Seeds, gaining in impetus as the organ layers begin their assault on the senses" Soon enough the eventual arrival of the axe guitar chops away at the flow, introducing a darker gauntlet, a moat of infested imagination, floating codpieces that wink at madly fluted Aqualung, choir and voice quivering. The angelic howl returns, as the night fades into the ghostly night, the somber bell rings the arrival of the inevitable knight, the chevalier of darkness.

Admittedly, this will not be everyone's cup of hydromel (mead), so be forewarned! If you don't get the premise, do not bother going on this crusade, it's beyond your ancestry! I just love this style of 'fairhead' prog. Love the 'pitchkettled' artwork

4.5 Thrush Manors


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 Snapshots by DISEN GAGE album cover Studio Album, 2016
4.00 | 6 ratings

Disen Gage Eclectic Prog

Review by zravkapt
Special Collaborator Post/Math Rock Team

4 stars Disen Gage is a quartet from Russia and this is their fourth album, the first since 2008. Instrumental and guitar-centred although there is room for synths. Some guest musicians contribute added guitars, synth and brass. This is the first full album I have heard from them, although I have heard some earlier tracks. What little of their music I heard reminded me somewhat of the band Djam Karet. The music found here is diverse but most of the time does not sound too derivative of anyone in particular. "Me" opens as a waltz, which was kind of unexpected. You even get Disney like strings going "pluck-pluck, pluck-pluck." Halfway a jazzy bassline turns the music into moody hard rock/metal which somehow still has a melodic sense of the waltz part (especially the guitar).

"Them" is the longest track. I really like the thick, dub-y bass here. After a groove is established it later on picks up tempo and horns join in. A guitar repeats a memorable melody throughout. I like how the drumming changes slowly and subtlety. Drums stop at one point and vibes replace them. Sounds like reggae with harpsichord towards the end. "Chums" begins with some classical/Spanish guitar playing against a hard rock riff. It then turns into some kind of weird country-rock. Then it becomes funky country-rock. "Memories" starts out very funky then slowly turns into symphonic rock. In the middle it turns spacey. "Foolery" starts out as some kind of polka-rock (these guys are pretty diverse). The melody stays in one place for the most part while the rhythm changes a bit.

"Equilibrium" is a highlight. It starts off as some kind of sunny, melodic indie-rock. Centres around a great melody which is sometimes played on guitar, other times on saxophone. Nice echoed sax soloing leads to male and female vocals harmonizing the great guitar/sax melody. "Trip" starts out sounding both trippy and avant before it changes into jazz-funk. Keeps morphing into space-fusion. Gets funkier again and a trumpet(?) appears. Ends on the space-fusion vibe. Disen Gage is a perfect example of what an "eclectic prog" band would sound like. Diverse but disciplined, as opposed to all-over-the-place and careless. The sound and production is really well done (the bass in particular sounds great and really stands out). I will give this a well-deserved 4 stars.


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 Sandy Denny And The Strawbs: All Our Own Work by STRAWBS album cover Studio Album, 1973
2.74 | 24 ratings

Sandy Denny And The Strawbs: All Our Own Work
Strawbs Prog Folk

Review by SteveG

4 stars Tracing prog back to the egg usually has diminishing returns. An exception would be this nascent collaboration between Dave Cousins' songwriting and a young Sandy Denny convincingly owning this work shortly before her more complex collaborations with Fairport Convention's classic albums Unhalfbricking and Liege And Leif.

Recorded in Copenhagen in 1967 and not released in the UK until 1973, All Own Own Work is a folk/pop/rock album that can stand up on it's own if viewed separately from prog rock. Often compared to their closest sounding competition, The Momas and The Popas, Sandy Denny and The Strawbs were totally unique. Where The Momas and the Popas had more doo wop in their singing, Sandy and the Strawbs did their own take on the Beatles' three part harmonies and, surprisingly, their voices, including Dave Cousins (!), sound splendid together and work quite well. Where either Cousins or Toby Hooper could come off as overblown, Denny had the vocal strength needed to engulf the two and almost make a fourth voice. The sound is also totally acoustic with Denny, Cousins and Hooper playing 6 and 12 strings and Ron Chesterman playing double bass. A session drummer adds deft percussion and completes the mix.

But what's so engaging is that Denny could take Cousins' "feel sorry for me" lyrics and truly make them believable. Included in the 2010 remaster from Witchwood Records is a rough restructuring of the first Hallmark Record edition of this album, with the string accompaniment deleted from four the album's best tracks. This includes the remarkable first recording of Denny's classic lament and signature song "Who Knows Where The Time Goes?" Wow. Just Sandy and an acoustic guitar. And remastered form the original three track tapes to boot.

"On My Way", "Tell Me What You See In Me", "Nothing Else Will Do" and "You Believe In Me" stand up as great folk/pop that could have given The Momas and the Popas, as well as The Lovin' Spoonful, a run for their money if this album was released in the US during the Summer of Love. Unfortunately,or perhaps fortunately for prog fans, that never happened and both Denny and the Strawbs went their own progressive ways a few short years later.

Hooper does two generic "British Invasion" sounding songs "You Were Always On My Mind" and "Sweetling", while Cousins does two proto Strawbs songs in the social critique "Everyone Except for Sam Was A Hypocrite", "I've Been My Own Worst Friend", and an early ethereal version of "Two Weeks Last Summer" with Denny handling the solo lead vocal. (Offered on a later reissue from Hannibal Records and included here)

Cousins' Witchwood Label reissue, aside from sounding fantastic, includes all previously released song mixes from both the Hallmark and Hannibal LPs, as well as demos and outtakes.

I have wondered if Sandy Denny dying so young would have a biased effect on my reaction to this reissue. And I've concluded that it was a good record of it's kind without any sentimental attachments. Sandy Denny was just that great and this wonderful sounding reissue is a great tribute to her.


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 Evership by EVERSHIP album cover Studio Album, 2016
4.18 | 14 ratings

Evership Neo-Prog

Review by odinalcatraz

5 stars Stunning album, insanely gifted singer, an outstanding band and wonderful compositions. Um... that just about covers it really! Ok. I'll say a bit more then. Evership are listed here as Neo-Prog (whatever that means!). I heard just a few seconds of "Evermore" on a radio show and thought Queen? but even better than Queen? The voice, the arrangement and that piano, not to mention the guitars! I had to get this album. I now have the CD. Would it all sound like Queen? Not even slightly! The first track sounded a bit like Yanni and then like a movie score, then bit like "Jesus Christ Superstar", then.... oh I don't blimmin' know! Track 4, "Ultima Thule" sounded to me like 10cc at their very best but slowly became Dream Theater, also at their very best. Now I will stop all the "who do they sound like" cobblers. The point is the quality of this band is of the same caliber of all the aforementioned bands. From what I have read, this album was a long time in coming. That may be one of the reasons it is so amazing. They made the best album that could be made before they released it. Many bands touch on the standards and power of this album but almost none of them make me think "wow", every few minutes and sustain such musicality. I don't review, can't review. I will never review anything that doesn't amaze me. This music did, at first hearing and now I am hooked. Tiger Moth Tales had this effect on me last year. Now Evership have done it. The last time any band did that for me was probably Pain of Salvation back in the day. Now I must go and sell my guitar and take up pottery. Bugger!


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 Stones Of A Feather by 3RD EAR EXPERIENCE album cover Studio Album, 2016
4.00 | 1 ratings

Stones Of A Feather
3rd Ear Experience Psychedelic/Space Rock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

— First review of this album —
4 stars This is the slightly modified 2016 3RD EAR EXPERIENCE, expectedly still deriving from Joshua Tree, situated somewhere deep in the Mojave Desert, California. The project is mainly driven by the couple Robbi Robb (guitar) and Amritakripa (synthesizer), as well as Jorge 'Bassman' Carrillo and Alan Swanson (keyboards). This in collaboration with a circle of like-minded fellas of course over the years, mostly living nearby. Experienced musicians they are, also deeply involved in the local cultural scene over there, in various ways. Always looking for new horizons, and this applies to their music in particular.

Wide open spaces, big skies and rugged landscapes - this marks an environment which will expand the musical possibilities quite naturally, especially unique to space rock. And now pay attention please, the opener Flight Of The Annunaki is accompanied at best by a video Casey Kiernan has produced, a professional photographer, who is running the Joshua Tree Photography Workshops. Really fantastic! It's a must! Some sort of dialectics - the album title, covering the music in its entirety on one side, but also self-contradictory somehow, manifests for the first time, as it all starts light as a feather with spheric synths, perfectly complementing the video sequences.

Kripa soon comes in with some other-worldly narration ... eh, is this played backwards probably? Or a new language similar to Kobaïan or Na'vi was born right here? No idea, sounds great and authentic anyway! But wait, this mysterious affair shortly evolves into a jazzy direction, due to the rhodes piano most likely, sort of losing orientation a bit though while having a breakdown hereafter ... and in the end leading into a furious heavy psych finale. Wow! Stones of a feather now! A tour de force. Hence you may have a little clue yet what will follow in addition ...

... anyway, even the old woman is dancing afterwards. Didgeridoo here and bass attacks there, fantastic organ work again, continual ebb and flow in behaviour ... until the Return Of The Peacock is occuring, who already stayed nearby since the year 2013 at least. Charming! Yes, this is very trippy and relaxed, decorated with flute, piano and sensitive guitar at best, quite similar to some songs produced by the band Quarkspace. And yep, it seems Darth Vader had a guest(?) appearance on Chungo, but a short one, as they are banishing him soon with some powerful dynamic. The dramaturgy stays 'til the end though, now it seems quite plausible why they have chosen just this song title.

Besides the opener Balladeer's Tale is another masterpiece ... and now I'm seemingly running out of attributes ... as Robbi and the other band mates are not running out of inspiration obviously. The song is wrapped up by some Black Sabbath feel, nevertheless drifting into a trippy hallucinogenic direction in between, this featuring some beautifully complementing guitar, synth and violin sequences. Showing some saxophone attendence Everlasting Sea only will appear on the double LP version, which is announced for the next year finally. And then - offered by a differing tour line up - Space Tripping has been recorded live in 2015 at Frankfurt, Germany, a high quality space rock jam for sure.

This time however I will prefer the studio excerpts. They are deriving from spontaneous ideas that came up during live improvisations on their 2015 tour and from free form jamming at the FurstWurld Gallery of Music and Performing Arts, where the band records. While guesting 18 local musicians in total 'Stones Of A Feather' is a product of a fruitful collaboration again. Needs time to explore. Richard Stuverud makes an excellent job on drums, not to forget. The proggy rhodes respectively organ appeals the more I'm listening ... well, that's enough methinks, now it's your turn - 4.5 stars.


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 R-Kive by GENESIS album cover Boxset/Compilation, 2014
2.18 | 28 ratings

Genesis Symphonic Prog

Review by Progprophet

3 stars If you are a Genesis fan with decent audio equipment, you should get this high-value compilation for the remastered tracks alone (even if you have them on other CDs). The digital dust-off of some of these audio files is quite astounding in some cases, not the least of which is the opening track, The Knife - one of my all-time favourites. Don't expect to make too much sense of the track list, which includes a smattering of tracks from the solo projects of Genesis members. I don't think that this is meant to be a "best of" type of compilation, but the disk does seem to follow a chronological order of original release dates. I had not previously heard a number of these solo efforts, so their inclusion was interesting to me, if not provoking me into getting more of (for example) Mike Rutherford's output.

However, I certainly cannot complain about the classic Genesis tracks on disk 1 (eg. The Musical Box, Supper's Ready, The Lamb Lies Down on Broadway) and I would have paid the price for this disk alone. The other standout remastered tracks I can point out are Ripples, Afterglow, I can't dance and No Son of Mine.


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 Live In Europe by FLYING COLORS album cover Live, 2013
3.98 | 33 ratings

Live In Europe
Flying Colors Prog Related

Review by Progprophet

4 stars Up until I first watched this disc, I liked Flying Colors, but I would not say that I regarded them as one of my favourite bands. Since they have put out only two albums (both of which I own), it is probably way too soon to really form a lasting opinion about this, anyway. However, after watching this disc, I am absolutely certain that the disc captures one of my top 5 or so, favourite live performances, on DVD or Blu-ray, in my substantial collection. There are few bands that I know of that can play live versions of their material, which I prefer to their original studio versions, or that I like at least equally, as another take on the same music. I now proclaim Flying Colors, on the evidence of this disc, to be one of those bands. Of course, this is very possible with musicians and composers of this high calibre and with the crystal-clear recording of live sound that can be achieved these days. Just to be complete about the technical quality of the disc then, the visuals are as stunningly pristine as the sound.

Of course, however, it is the quality of the songs and the performance of them, that should really matter to the purchaser of this disc. It is evident that the songs are infused into the muscle-memory of the band members, as they tour, play and perform. A big factor in my enthusiasm for this disc, is the palpable sense of enjoyment of the band members and their pride in the music that they have created. The simple rule is that when the performers have fun, the audience has fun. A remarkable fact about this disc, is that the band had only one album of Flying Colors songs to create their set-list from, so they played the whole album, plus songs from their past bands, to pad the performance out beyond an hour, as Mike Portnoy informs the audience. Let me assure you that these older songs are as far from filler material as you are likely to hear and the fact that there is not a poor song or performance on this disc, should tell you something about the quality of this band and the quality of their first album (Flying Colors).

Although this is a prog rock band, the songs are mostly very accessible, very positive and uplifting, without being anywhere close to light, frothy, throwaway pop music - and I love every song. This opinion comes from someone whose music collection consists mainly of prog rock of all sorts, including a lot of dark, dense, challenging and frankly bizarre stuff, which I generally far prefer to easily accessible music. Of course, all of the band members, bar one, have solid backgrounds in major progressive rock bands. Neal Morse (ex-Spock's Beard) is just ridiculously talented as a keyboard player and vocalist and as for drummer Mike Portnoy (ex-Dream Theater) - well he only cements his reputation as one of, if not the best drummer, in rock music today. He doesn't even totally crash and burn in his vocal parts! The other band members are the axe wizard Steve Morse on lead guitar (Dixie Dregs, Deep Purple), Dave LaRue (Dixie Dregs) and the younger-than-the-rest and extremely talented vocalist (also guitarist), Casey McPherson (Alpha Rev).


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 The Prelude Implicit by KANSAS album cover Studio Album, 2016
4.07 | 114 ratings

The Prelude Implicit
Kansas Symphonic Prog

Review by The Jester

4 stars Starting this piece I should mention that I was never a fan of Kansas. I respect them a lot, I like their music the normal amount, I have some of their albums in my music collection, but that's all. So, when I heard about the release of the new album I didn't pay much attention. So, I am not going to write a detailed review, but I will write some of my thoughts instead. The Prelude Implicit is the first album that the band released after 16 years of silence. Their previous studio work was 'Somewhere to Elsewhere' that was released in 2009. I wasn't sure if that album was a good idea, especially since two of their most important members were not in the band anymore. (For those who are not so familiar with Kansas, I should mention that Kerry Livgren and Steve Walsh, who used to be the basic songwriters are not a part of Kansas anymore). But despite all that, I decided to give the album a try, and I was really surprised! The Prelude Impicit is a very good album and it includes all the classic elements and the typical sound of Kansas, that the band became famous for, and it is very pleasant to the ears. But further than the sound, there is one more very important matter. The singer! Steve Walsh had a very characteristic voice, and it is always a risk to replace the singer. But in this case, there is no problem at all. His replacement (Ronnie Platt) has a very similar voice and his overall performance is excellent! The album includes some fine moments, starting with the beautiful With this Heart, which is the opening song. As for the Progressive Rock fans, they will surely love 'The Voyage of Eight Eighteen', the longest song in the album, which is simply wonderful! The truth is that, The Prelude Implicit requires a few listenings in order to fully appreciate it, so give it some time before you make your final decision. In general, the album sounds 'fresh' enough, and the band seems to be in a good form. I definitely recommend this album, not only to the 'hard-core' fans of Kansas, (who already bought it I guess), but to all those who, like me, respect this great band and can appreciate a really good album. My rating would be 3.5 stars, but I will give 4. P.S: I think that as some point PA should allow us to rate the albums more detailed, and give half stars as well. Not only 1-2-3-4-5.


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 In Camera by HAMMILL, PETER album cover Studio Album, 1974
4.14 | 317 ratings

In Camera
Peter Hammill Eclectic Prog

Review by Progfan97402

5 stars This is by far my favorite solo album from Peter Hammill. Of the few solo albums I own by him, I found them hit or miss. For example, 1977's Over I just plain couldn't get into (I realize he was undergoing a messy divorce and had to express that). Ph7 is pretty good, though, and The Silent Corner and the Empty Stage is one of his best. In Camera follows Silent Corner, but the only VdGG member involved here is Guy Evans (OK, so was Chris Judge-Smith, but he was only a very early member of the group). Aside from Evans, is also David Hentschel for the ARP synth programming and Chris Judge-Smith (as mentioned before). Paul Whitehead is also credited, but he was totally unaware he even performed on the album because he already moved to the United States by this time, and was likely an earlier recording he made that was just lying around. Before I go any further, there's definitely a debate about what ARP synth is being used on this album. I've seen sources state ARP 2600. I have always suspect it was the ARP 2500, and here's the reason why: David Hentschel used a 2500 Elton John's "Rocket Man" and most notably "Funeral for a Friend". He programs the ARP on In Camera, Peter Hammill plays it here, and he never used any ARP on any of his other solo albums leaving me to believe it was David Hentschel's 2500. Plus it has a lot of sounds that seem too elaborate and sound effects too complex for a 2600 (I should know, I own a 2600, and I can't get it to do many of those sounds heard on In Camera). Unless there were photos taken of In Camera sessions, I can only guess. Plus the album only states "ARP synthesizer", which could mean (in 1974) Odyssey, Pro Soloist (which would hardly be those), 2600 or 2500.

It seems a couple of the songs on In Camera were Aerosol Grey Machine and Pawn Hearts leftovers, I mean to say, written during that time period, but recorded at the end of 1973/beginning of 1974. Anyways, this stuff is just as great as anything coming out of Van der Graaf Generator. "Ferret and Featherbird" is a gentle acoustic number you often hear from Hammill, this being written in 1969, so it wouldn't seem out of place on The Aerosol Grey Machine (itself intended as a Hammill solo album, but leaked out as a VdGG album). "(No More) The Sub-Mariner" is nothing short of amazing. Those ARP synth sounds are just unbelievable, and the dramatic approach Hammill gives us is truly a sight to behold! I really love that powerful pulsing synth sound that Hammill does here. "Tapeworm" rocks even more than your typical VdGG, while "Again" is a gentle acoustic number that leads to the dramatic "Faint-Heart and the Sermon". Again the ARP rears its heard, with some synth sounds that don't sound too different from "Funeral for a Friend" that leads me to think it was a 2500. It also has some cool synth effects, but I shouldn't forget the nice Mellotron passages found here. "Gog"/"Magog (In Bromine Chambers)" is truly unbelievable. Dramatic to a capital "D" with harmonium being used and his melodramatic voice. You start thinking the reason for a solo career is because some of this stuff would been too melodramatic even for VdGG standards (you can almost imagine Hugh Banton, Guy Evans, and David Jackson telling him to "Cool it down on the melodrama"). Then the album ends up with some strange sound effects that just sound plain sinister. This is truly a career highlight for Peter Hammill, as far as I'm concerned. This album is very much a classic and to me a five star rating, comes with my very highest recommendation!


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 Back In The World Of Adventures by FLOWER KINGS, THE album cover Studio Album, 1995
4.05 | 512 ratings

Back In The World Of Adventures
The Flower Kings Symphonic Prog

Review by nandprogger

4 stars Before to say of this album is necessary to introduce a brief history of TFK. This band it's so important of new generation of symphonic prog bands of 90's. It's so difficult to define or compare with other band of style or sub genre, it's better to say that TFK create a new style symphonic prog rock and pattern for other bands as Magic Pie, Anima Mundi and others.

In this album, TFK shows as prog rock can be so funny and different, the voice of Roine Stolt contribute for define also the style of band. The sensation "prima facie" is something simple, but happened high levels of creativity; the melodies summon up somenthing of funny, exploring the possibilities of keyboards. Moments so heavy in guitar and voice, Roine Stolt has a clear interpretation. Sometimes looks that hear a soundtrack of a movie because facility to change of melodies. In fact, perceives a tribute to classic prog rock bands, mainly for the use of keyboards; as the paralel projects of members of the group, it' sonds like a instrumental bands that use prog rock influences, but hearing the complete album perceives that is just a sensation.

Welcome Back is a excellent debut album of a band that has a style and shows this in your carrer, and more: style and quality that shows is possible to make a new and good generation of progressive rock. Prog rock don't live only in the past but the past contributes for a new resumption. I think that TFK is important not only as progresssive group but a lot of projects that emerged of this band.


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  3. ZowieZiggy (2929)
  4. apps79 (2629)
  5. Warthur (2397)
  6. UMUR (1938)
  7. Easy Livin (1928)
  8. b_olariu (1920)
  9. Gatot (1811)
  10. Conor Fynes (1603)
  11. SouthSideoftheSky (1582)
  12. Windhawk (1419)
  13. Evolver (1405)
  14. Bonnek (1332)
  15. Tarcisio Moura (1325)
  16. AtomicCrimsonRush (1273)
  17. snobb (1219)
  18. erik neuteboom (1201)
  19. Finnforest (1138)
  20. kenethlevine (1084)
  21. ClemofNazareth (1011)
  22. Cesar Inca (928)
  23. tszirmay (916)
  24. Matti (910)
  25. loserboy (895)
  26. Rune2000 (869)
  27. octopus-4 (855)
  28. memowakeman (848)
  29. kev rowland (844)
  30. Marty McFly (834)
  31. siLLy puPPy (832)
  32. BrufordFreak (825)
  33. Guillermo (784)
  34. Chris S (753)
  35. Eetu Pellonpaa (722)
  36. Rivertree (703)
  37. greenback (685)
  38. Neu!mann (684)
  39. progrules (666)
  40. Seyo (643)
  41. Epignosis (624)
  42. Prog-jester (623)
  43. lor68 (601)
  44. Prog Leviathan (567)
  45. Ivan_Melgar_M (555)
  46. philippe (540)
  47. admireArt (517)
  48. Aussie-Byrd-Brother (498)
  49. hdfisch (492)
  50. friso (490)
  51. Chicapah (483)
  52. stefro (482)
  53. DamoXt7942 (470)
  54. Dobermensch (462)
  55. colorofmoney91 (459)
  56. zravkapt (454)
  57. J-Man (449)
  58. russellk (435)
  59. Atavachron (430)
  60. ProgShine (424)
  61. Menswear (414)
  62. Sinusoid (402)
  63. andrea (397)
  64. Queen By-Tor (396)
  65. TCat (377)
  66. tarkus1980 (367)
  67. Nightfly (365)
  68. Greger (365)
  69. Zitro (359)
  70. Cygnus X-2 (353)
  71. fuxi (353)
  72. Andrea Cortese (348)
  73. EatThatPhonebook (326)
  74. lazland (324)
  75. Guldbamsen (321)
  76. Modrigue (319)
  77. Negoba (316)
  78. richardh (314)
  79. Tom Ozric (306)
  80. Kazuhiro (299)
  81. Flucktrot (293)
  82. Proghead (289)
  83. OpethGuitarist (287)
  84. progaardvark (286)
  85. Second Life Syndrome (267)
  86. daveconn (266)
  87. Trotsky (264)
  88. Muzikman (263)
  89. Slartibartfast (257)
  90. clarke2001 (254)
  91. The T (249)
  92. Andy Webb (237)
  93. Bj-1 (235)
  94. GruvanDahlman (235)
  95. aapatsos (230)
  96. FragileKings (226)
  97. 1800iareyay (225)
  98. js (Easy Money) (222)
  99. poslednijat_colobar (220)
  100. Raff (217)

List of all PA collaborators

  1. Close To The Edge
  2. Selling England By The Pound
  3. Thick As A Brick
    Jethro Tull
  4. Wish You Were Here
    Pink Floyd
  5. In The Court Of The Crimson King
    King Crimson
  6. Foxtrot
  7. Dark Side Of The Moon
    Pink Floyd
  8. Red
    King Crimson
  9. Animals
    Pink Floyd
  10. Godbluff
    Van Der Graaf Generator
  11. Fragile
  12. Nursery Cryme
  13. Larks' Tongues In Aspic
    King Crimson
  14. Pawn Hearts
    Van Der Graaf Generator
  15. Moving Pictures
  16. Mirage
  17. Per Un Amico
    Premiata Forneria Marconi (PFM)
  18. Hybris
  19. Moonmadness
  20. Hemispheres
  21. Relayer
  22. Darwin!
    Banco Del Mutuo Soccorso
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  25. In A Glass House
    Gentle Giant
  26. A Farewell To Kings
  27. Si On Avait Besoin D'Une Cinquième Saison
  28. Aqualung
    Jethro Tull
  29. Kind Of Blue
    Miles Davis
  30. Birds Of Fire
    Mahavishnu Orchestra
  31. Hot Rats
    Frank Zappa
  32. Meddle
    Pink Floyd
  33. Still Life
  34. Crime Of The Century
  35. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  36. Ommadawn
    Mike Oldfield
  37. H To He, Who Am The Only One
    Van Der Graaf Generator
  38. The Silent Corner And The Empty Stage
    Peter Hammill
  39. Depois Do Fim
  40. Permanent Waves
  41. Images And Words
    Dream Theater
  42. The Lamb Lies Down On Broadway
  43. The Yes Album
  44. The Grand Wazoo
    Frank Zappa
  45. Metropolis Part 2 - Scenes From A Memory
    Dream Theater
  46. Scheherazade And Other Stories
  47. The Mothers Of Invention: One Size Fits All
    Frank Zappa
  48. In A Silent Way
    Miles Davis
  49. Mekanïk Destruktïw Kommandöh
  50. Hand. Cannot. Erase.
    Steven Wilson
  51. The Snow Goose
  52. Octopus
    Gentle Giant
  53. The Power And The Glory
    Gentle Giant
  54. Still Life
    Van Der Graaf Generator
  55. A Trick Of The Tail
  56. Free Hand
    Gentle Giant
  57. Rock Bottom
    Robert Wyatt
  58. Zarathustra
    Museo Rosenbach
  59. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  60. In The Land Of Grey And Pink
  61. Second Life Syndrome
  62. Blackwater Park
  63. The Road Of Bones
  64. In Absentia
    Porcupine Tree
  65. Ghost Reveries
  66. Fear Of A Blank Planet
    Porcupine Tree
  67. Emerson Lake & Palmer
    Emerson Lake & Palmer
  68. Arbeit Macht Frei
  69. Viljans Öga
  70. Spectrum
    Billy Cobham
  71. Misplaced Childhood
  72. Acquiring The Taste
    Gentle Giant
  73. K.A
  74. Hatfield And The North
    Hatfield And The North
  75. If I Could Do It All Over Again, I'd Do It All Over You
  76. The Inner Mounting Flame
    Mahavishnu Orchestra
  77. Space Shanty
  78. Hamburger Concerto
  79. Script For A Jester's Tear
  80. Anabelas
  81. Rubycon
    Tangerine Dream
  82. The Perfect Element Part 1
    Pain Of Salvation
  83. Radio Gnome Invisible Vol. 3 - You
  84. Crimson
    Edge of Sanity
  85. Remedy Lane
    Pain Of Salvation
  86. Doomsday Afternoon
  87. Voyage Of The Acolyte
    Steve Hackett
  88. Elegant Gypsy
    Al Di Meola
  89. Romantic Warrior
    Return To Forever
  90. L'Isola Di Niente
    Premiata Forneria Marconi (PFM)
  91. Bitches Brew
    Miles Davis
  92. Leftoverture
  93. Lateralus
  94. Grace For Drowning
    Steven Wilson
  95. Uzed
    Univers Zero
  96. Felona E Sorona
    Le Orme
  97. Caravanserai
  98. Part The Second
    Maudlin Of The Well
  99. Bantam To Behemoth
    Birds And Buildings
  100. Pale Communion

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


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