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 World Is Round by BELIEVE album cover Studio Album, 2011
3.47 | 81 ratings

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World Is Round
Believe Neo-Prog

Review by Tarcisio Moura
Prog Reviewer

4 stars After the relative disappointment that was The Bread is Mine I kind of lost interest in Believe. And my curiosity was only spurred when I read so many glowing reviews about their 2017 release, Six Widows. After checking that CD and founding a neo prog masterpiece, I was keen to go back and listen to the previous two they had produced in 2011 and 2013. Although it was clear that 2013´s The Warmest Sun In Winter was already in the Six Widows direction, but lacking Satomi´s violin on most of the tracks, World Is Round is more subtle, but still shows the sound that the band would create so successfully a little later.

At first I did not enjoy the album very much, it reminded me too much in the style of The Bread is Mine, but like another reviewer here said, after a few spins you start to get it: the music is very good, deceptively simplistic and full of details. It is a step forward into the right direction, with better songwriting and more personality. Ok, there are a couple of tracks that some passages spoil the overall effect, falling in the traps of their recent past like the heavy/grunge traits of Cut Me paste Me and Guru, but most of the time the flowing is good and the new tunes are superior than the previous effort. The last track, Poor Sun King/ Return is an almost 10 minute suite that starts with indian sounds, complete with sitar, and develops into a great build up with several changes climaxing with a fine melody played by Satomi and ending with a gentle piano. Great prog stuff, even if not exactly bombastic. The ballad New Hands is another highlight, featuring singer Karol Wróblewsk´flute, exquisite violin lines and subtle keys. It shows more clearly the direction the band would go from then on.

With a good production, more personality and stronger cuts, World Is Round may not be exactly Believe´s best CD, but it is still a fine work and well worth checking out (specially if you liked its follow ups). It may take a little while to get it, but once you do, you´ll be rewarded with some real fine, melodic symphonic prog where they prove the motto less is more is really a valid statement.

Rating: something between 3,5 and 4 stars. Even with a couple of missteps this CD is still above mere very good. Recommended.

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 The Seer by SWANS album cover Studio Album, 2012
3.96 | 144 ratings

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The Seer
Swans Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

4 stars Well I'm slowly getting through SWANS discography and so far I'd say "Soundtracks For The Blind" is my favourite, and I do Like "To Be Kind" better than "The Seer" for what it's worth. "The Seer" is a double album with 2 hours worth of music for our listening pleasure(haha). Yes as usual this is long, repetitive and experimental, and while I don't love it I almost always seem to come away very impressed with Gira's final product. A ton of guests helps out here which is surprising to me as there doesn't seem to be that many instruments in play but apparently I'm wrong.

Disc one starts with "Lunacy" as we get this repetitive guitar melody and keys I think as the atmosphere rolls in. Vocal expressions too before it kicks into a heavy groove. Vocals and a more stripped down sound 2 1/2 minutes in and this will continue until it turns more powerful a minute later. A calm before 4 1/2 minutes and relaxed vocals will also join in.

"Mother Of The World" has this repetitive mechanical rhythm that goes on and on. Organ joins in before 2 1/2 minutes. Some vocals a minute later and then it all stops 4 1/2 minutes in as a powerful sound kicks in with male vocals. It's slowing down at 5 1/2 minutes and then it seems to actually get brighter before 6 1/2 minutes. "The Wolf" is a short one with slow drawn out vocals that pretty much speak the words. The atmosphere before a minute is really cool.

"The Seer" is the long one at over 32 minutes. Yikes! It sounds like bag pipes amongst all that atmosphere that seems to hum and hover. It starts to wind down around 2 1/2 minutes and soon we get a beat with what sounds like banjo and atmosphere. Hints of power come and go as this plays out. Vocals arrive as it builds with some active drum work. Later it's building before 11 minutes until we get chaos a minute later. It then starts to slow down as we get repetitive outbursts of power that come and go. They stop around 22 minutes as it stays powerful and atmospheric. It then starts to calm down with some harmonica. A beat and more arrives around 28 minutes and vocals follow. It's more powerful after 30 minutes.

"The Seer Returns" has this rhythm that seems to go in circles here. It turns powerful rather quickly and we get male spoken words after 1 1/2 minutes. Soon he's singing but in a relaxed manner. It's louder later on, catchy stuff. "93 Ave. B Blues" is the most experimental track on here, very avant. We get those sounds that cry out from the start to the point of screeching. A dark atmosphere comes and goes along with vocal expressions. It turns explosive after 4 minutes until 5 minutes in. "The Daughter Brings The Water" ends disc one and it's mainly a guitar melody with Gira singing.

Disc two starts with "Song For A Warrior" and we get this relaxed sound with guitar, piano and atmosphere as reserved female vocals join in. There's a brief instrumental break as well. "Avatar" opens with a sample of something I can't recognize as bells and drums join in. Sounds like sleigh bells. The beats are getting louder along with the atmosphere after 3 minutes but then it settles back a minute later. Male vocals before 5 minutes. It kicks in hard before 8 minutes and the tempo picks up as well.

"A Piece Of The Sky" might be my favourite. The sound reminds me of a very large fire that crackles away and from the title of this song it may have been caused by lightning or something else. Vocal melodies just before 2 minutes replace the fire. Soon it's atmosphere only humming and hovering over the soundscape. Vocals after 6 1/2 minutes before it all turns quite noisy. A heavy rhythm takes over before 10 minutes and continues until before 15 minutes when it settles down with a relaxed beat and picked guitar. Male vocals after 15 1/2 minutes as the relaxed sound continues to the end.

"The Apostate" ends it in an apocalyptic manner. It almost sounds like sirens going off over and over as we get this disturbing mood. Explosive sounds after 6 minutes. Absolute insanity during this long section. The tempo picks up before 9 minutes. It seems to be settling back some 12 1/2 minutes in then a repetitive beat that's catchy kicks in a minute later. Vocals a minute after that. Grating sounds before 19 minutes then suddenly 22 minutes in we get a barrage of loud drums and yells to end it.

I just get so intrigued with how experimental the SWANS can be with all those samples thrown in too. It's innovative music but certainly not for everybody. I'm sure some think it's all trash but despite my enjoyment factor not being as high as I'd like this is a 4 star album in my world.

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 The Anatomy Of... by BETWEEN THE BURIED AND ME album cover Studio Album, 2006
2.91 | 67 ratings

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The Anatomy Of...
Between The Buried And Me Tech/Extreme Prog Metal

Review by thwok

4 stars THE ANATOMY OF... is one of those albums that really makes me wish that the ratings system allowed for half stars. I'm going to round up and give this covers album 4 stars for its progressiveness. If "progressive music" is a meaningful term, it should describe groups that combine disparate elements in interesting ways. I don't know a lot of BTBAM's music, but they seem to fit the definition.

As the Allmusic review of this album suggests, these cover versions stick pretty close to the originals; I would have preferred more changes. This results in a wide variety of styles throughout. The band clearly demonstrates that they can play it all skillfully. Tommy Giles Rogers should get his due. I'd argue that he's possibly the most versatile singer in the extreme metal world. Since I didn't know a lot of these songs before listening, I prefer tracks like "Territory" and "Malpractice" from the second half.

Incidentally, the liner notes include interesting statements from the band members about why they chose these songs. BTBAM wouldn't be one of my favorite extreme metal bands. They try too hard for my tastes. However, they are generally held in high regard here at PA. If THE ANATOMY OF... leads listeners to seek out the original bands covered, that's a very good thing.

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 Banco Del Mutuo Soccorso by BANCO DEL MUTUO SOCCORSO album cover Studio Album, 1972
4.28 | 781 ratings

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Banco Del Mutuo Soccorso
Banco Del Mutuo Soccorso Rock Progressivo Italiano

Review by poito

3 stars With the innocence that always wraps Mediterranean Prog, including the enormous Italian factory, this BMS debut album has some interesting bits in the midst of the obligatory influences, but it fell short of innovations. The fast pace of the classic "RIP", one of their classics, reminds me of the powerpop in the early 70's in my country, that's all we could grasp of the international music that boomed out of the hippy movement. At least the Italians had a great musical tradition and ambition, and their natural well doing in the arts gave them enough bases to adapt the Anglo-Saxon underground music in late 60's to their own. Bands like NEW TROLLS set up the scene in a fantastic way. But in this early instances, the operatic vocals by Francesco Giacomo are a bit too much theatrical for me, the selection of instruments like the harpsicord and the simplicity of the composition make the whole stuff sound a bit naïf. Midway between jazz fusion and light Prog, at times I see a rather forced blend of Yes and baroque, in others is ELP, who comes out, and in others it is just the popular airs. Well, probably that is what they grew up in. We'll find plenty of piano and organ, with nice moments, but far from contemporary masters of Prog and Fusion, or the myriad Hammond specialists. The most outstanding piece is the acclaimed Traccia, of which they will record quite a few versions and will become an anthem. Globally, the album gets tiring after a few spins, the brilliant moments (mostly in RIP and Traccia) are not that many and remind a bit too much to their influences. It may be kind of the beginning of an era for Italian Prog, but I think it is quite overrated if we take in account the musical context of those years.

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 Shh! by SPERM album cover Studio Album, 1970
3.33 | 8 ratings

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Shh!
Sperm Progressive Electronic

Review by Heyfordian

1 stars This is not music. This is noise Did I miss something? How could anyone give a 4 start rating to a noise? There is nothing special in this record to make it worth having in your collection. It's quite an oddity, I would give it this, but it's not a masterpiece, far away from this. And rather high rating makes it misleading for those who look look some rare gems of 60s and 70s.

if you like MUSIC and not just strange noise - stay away from this, it's waste of time and money, if you decide to buy a CD. It's totally unlistenable

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 You All Look The Same To Me by ARCHIVE album cover Studio Album, 2002
3.69 | 102 ratings

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You All Look The Same To Me
Archive Crossover Prog

Review by poito

4 stars Don't agree to the view that ARCHIVE is a copycat of Floyd. Maybe the opener in this album is too Floydish, but this is as much as saying that all Rock music is borrowed from Chuck Berry or Little Richard. There was R&R before as there was soft atmospheric music before Archive, and it is not PF's invention either. ARCHIVE is probably one of the bands worst treated by the Prog community. True the influences are there, but it would be unfair to judge Archive that simple. Archive looks to Archive, mainly, and that's the best thing I can say of a band. What a fantastic discovery was for me. The first album I listened of this band was WITH US UNTIL YOU ARE DEAD, which I valued as masterpiece music of all times, an album that took me by surprise, and I can tell I already have quite some thousands on my bag. I will honor the title, sure I will. It is impressive how this people can build that much beauty with so few elements. Griffiths and Keeler are pair of big names in music and I hope someday they will be recognized the way they deserve.

This one was released 10 years earlier, and the way of making was already there. The opener "Again" is certainly reminiscent of PF, but PF was out there for the time, crawling in the wreck of what they once were, let's not forget that. It is an impressive theme PF would have gladly signed but it is not theirs. The rest of the album tells this band has many other influences, how else. Porcupine Tree? Maybe, or maybe it was the other way around, 'cause Steve Wilson was much closely trapped to PF than Archive ever was, and most important, PT or Wilson very rarely managed to craft the magnificent airs that ARCHIVE achieved that easily using a simple formula of slowly developing of the themes and a poor repetitive hip hop drum in the base. It is required a high dose of talent to do that. As in the 15 min long "Finding It So Hard" that others found bore. Even the shorter hypnotic "Numb", why is it hypnotic? It can't be just for the base, we all have listened lots of repetitive crap that pull us off the radio instead. And the voices, kind of read from somewhere in the air, since the style remains even in successive singers of the band through the years. ARCHIVE music has to be listened a few times to catch the essence. See for instance the inversion of instruments in "Hate", in which the usual background instruments come to the front as the two-note piano line, while the melody is carried by a subtle mandolin in the background that fuses with mellotron before a liquid trumpet takes over. This is only an example of the subtleties you may find in this album if you don't let PF and PT comparisons to drive you out and give it a chance to enjoy the music. The arrangements here are not simple ornaments, but the breaks the music is made of. Keep an ear on them.

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 Elemento Antropico by BASTA! album cover Studio Album, 2016
4.00 | 7 ratings

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Elemento Antropico
Basta! Eclectic Prog

Review by omphaloskepsis

4 stars Novel hedonistic zany Italian!

BASTA! is an eclectic electric progressive rock quintet from Tuscany, consisting of Damiano BONDI (Diamonica Hammond 44), Saverio SISTI (Electric Guitar, 8-Strings Guitar), Giacomo SOLDANI (Bass), Andrea TINACCI (Bass Clarinet, Clarinet), and Roberto MOLISSE (Drums).

If you go to Basta's website the first thing you see- "Our name is Basta!, which means "stop"? but nothing will stop us!" Well, that's a can-do-attitude. Elemento Antropico which translates to " Antropic Element" is the 2017 follow up to 2013's debut "Ogetta di Studio". I know nothing of Basta's debut but I will remedy that oversight soon.

Basta! exhales schizophrenic fumes. One moment "Lady and the Tramp" happy grotto Disney scene interupted by heavy guitar riffs that descend like large hail on a spring picnic. Invigorating and bracing thunderstorm to say the least. Madcap eccentric Peter and the Wolf chasing a Tasmanian Tuscany heavy prog dog tail. Giacomo Soldani's bass burbling beneath rusty razor edged Saverio Sisti's guitar leads. If you don't like the direction this is going then stick around for a minute. For me, Andrea Tinacci superb clarinet technique is the star of "Elemento Antropico". As a teenager I played Bass Clarinet, so I have a weakness for first-rate clarinet technique. Tinacci's has a classical meets Italian vino style. I like, I like. Actually, Damiano Bondi playing adds flavorful Italian squeezebox/harmonic accents throughout. For those who don't know, a Diamonica Hammond 44 is a Melodion (Keyboard Harmonica). With his melodeon Bondi creates a very warm and deep reed sound which is indispensable to Basta!'s identity. If you go to the Progarchive band page for Basta! you can see a photo of Bondi playing a melodeon, Tinnacci on bass clarinet and the rest of the band. Looks like they're having fun! .

Although diverse, the instrumentation tones always match and rhyme. Vocals? We don't need no vocals! Every now and then there's narration between songs. For fans of adventurous Peter and Wolf style classical clarinet, Heavy but not necessarily loud prog riffs, and Italian seaside bar" Diamonica Hammond 44" dynamics and avant-garde sensibilities. Basta's "Elemento Antropico" in a one of a kind album that would be fun to play while eating a "Lady and Tramp" spaghetti dinner. Instead of animated Disney dogs we got Bass clarinet and electric guitar dialog. Basta can be heard at Progstreaming.

3.6 stars rounded to 4 stars because I personally like it. An excellent addition to any progressive rock music collection.

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 Undead by TAD MOROSE album cover Studio Album, 2000
2.89 | 9 ratings

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Undead
Tad Morose Progressive Metal

Review by ArtuomNechuev

2 stars Really don't like to be hard on musicians, because every work and effort deserve certain amount of respect. So I won't. However, it's worth emphasizing - there's nothing progressive on this record, only metal. Music is not bad at all! It extremely reminds me of that classic 80s heavy metal. Music sounds like that and even have similar spirit a bit. It can be placed somewhere between Black Sabbath, Dio, Iron Maiden and a bit of Crimson Glory. Surely it doesn't possesses the same emotion, punch, level of intricacy and songwriting. Musicians don't demonstrate any excepcional skills, abilities or approach. To tell the truth songs are average and mediocre. There's nothing to cling to: melodies, riffs and solos are forgettable. The only song, that contains slight hints of prog is "The Dead and His Son." Therefore, although this record falls in the category of classic heavy/power metal, it's absolutely average, and just follows the steps of classic heavy metal bands. I really like such type of music - all components. However, in this case when I listen to this album, it seems, that I've heard it all before. Having been labelled as heavy metal, it would have fairly deserved 3 stars. Alas, only 2 here.

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 We Can't Dance by GENESIS album cover Studio Album, 1991
2.66 | 1063 ratings

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We Can't Dance
Genesis Symphonic Prog

Review by FalconBleck

3 stars #11 Review

I have seen many people over the internet talking about this album like they listened just to 4 songs and nothing more, and that's the problem of this album, it has lots of songs and almost every one of them its a bland song, quality over quantity there it is said somewhere. When i first heard this album, i started it with the most known ones and i wasn't really fond of them, but they added another layer that i never saw on this band or i mean on the band members, specially on the funny songs, and one of those things is that they were one of the only famous bands at the time that never knew how to dance and where nobody danced to their music, and i think that's a good thing, music often gets simplified for dancing, it's as if dance has been ruining music for quite sometime now and people haven't been realising about that.

As always, i review by song.

1.- No Son Of Mine 7/10 This song really gets epic when it starts, everything here is building tension at every second and the lyrics are superb, but there are 2 problems, the song gets a little repetitive and the chorus sounds a little too happy, but i really don't know how to fix it. The video is really good.

2.- Jesus He Knows Me 5/10 This song is full pop, the start it's a little interesting but then it gets pretty catchy but repetitive, it's well made for a pop song i guess, the video and the song are funny and the lyrics are well done.

3.- Driving The Last Spike 7/10 This is one of the songs that feel really like Genesis, the sound sets a really lonely atmosphere, and i like it, Genesis has always had a great sound. This song is long and pretty chill, but it gets increasing in feelings, it reminds me a little of Domino. It gets a little repetetive but the drum work does a well job at keeping me interested, still, the song is a little bit slow. Good lyrics also.

4.- I Can't Dance 4/10 This was barely a 4 out of 10, but it is because of the same reason of Jesus He Knows Me, the vocal work here takes it, but the lyrics aren't that good, it's still funny tho, it has a nice video and i don't feel so alone now because they danced in the same way that i walk.

5.- Never A Time 5/10 It's a boring copy of "It's gonna get better" from the "Genesis" album, it still has good lyrics and sounds good, but not as good as the song where this got its inspiration i guess.

6.- Dreaming While You Sleep 7/10 It's a pretty catchy song that sounds good, it does one of those "Phil Collins Moments" with the battery and him increasing the tension on his voice. It's really repetitive, but less repetitive because it's a good song.

7.- Tell Me Why 5/10 I really like what Mike did in this song, it adds like an old-european sound with the guitar. It has good lyrics too and the song is a little repetitive as well. It's a bland song.

8.- Living Forever 8/10 This song starts with a drum that stays interesting until the end, it has good lyrics and a nice solo from Tony Banks, this song is a highlight from this album, not the best yet tho.

9.- Hold On My Heart 6/10 I really like the start and this song sounds really good live. It's pretty slow and repetitive, i wish that they worked more on this song, it feels incomplete.

10.- Way Of The World 7/10 Pop, it reminds me of the king of pop a little, but then the Tony Banks effect kicks in, Phil Collins sports interecting lyrics and vocal range and i don't think that this song could be danced like an MJ song, so it was just the synth at the back that sounded like one of his songs. In resume, this song it's a good pop song with some little Genesis spice there and that's good. And it has a little Banks solo near the end.

11.- Since I Lost You 5/10 You can't go more Phil Collins with this song + a little guitar solo from Mike near the end. It's a pretty repetitive song, really sad and slow, even a little boring.

12.- Fading Lights 10/10 This song starts with synth drums and every technique in the modern Genesis book, but it's pretty sad and it sports nice lyrics and vocals from Phil, i have cried with the start of this song. Then Tony starts kicking in a little... real drums enter, Mike starts jaming and this songs transforms in one of the best songs made by the band in a lot of time. I always imagined this son in a trailer, like "GENESIS IS BACK!", but sadly this is like the swang song... with a twist because they continued (i'll review that later). What can i say about this song? Everyone does a perfect job, this song is masterly done and a good way to finish everything, it makes me feel like they never left prog (and they secretly never did).

I was expecting for this album to get a better score at first, but overall it's a 63/100, wich translates to (roughly) 3 stars, i really recommend to check out some of these songs, specially the last one.

Now i made a rubric where i point how the scores define the stars, the only exception to the rule it's the review of Spot the Pigeon, but i explain why there.

5 stars = (score >= 90) 4 stars = (score>=70)&&(score<90) 3 stars = (score>=60)&&(score<70) 2 stars = (score>=50)&&(score<60) 1star = (score < 50)

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 Lost On The Road To Eternity by MAGNUM album cover Studio Album, 2018
3.80 | 6 ratings

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Lost On The Road To Eternity
Magnum Prog Related

Review by Kingsnake

4 stars This album could possibly be their best since Wings of Heaven.

The production isn't as loud and distorted as their recent outings. The band sounds young and energetic, like they sounded in the days of Storyteller's Night and Chase the Dragon.

The first thing that is noticable is that Mark Stanway doesn't play on this record. Is he missed? Not really. I hate to say it, but Rick Benton was maybe exactly what Magnum needed.

In recent years Magnum sounded washed out, more as a four-to-the-floor rockband like AC/DC than a melodic rockband bordering symphonic rock. Thanks to the new keyboardplayer, they have more flavour and colour to their sound.

Another big change is the drummer, Harry James (Thunder) is an excellent drummer, but he is more a rockdrummer. The new drummer (Lee Morris) is playful and reminds more of the rhythmic acrobats of star-drummer Mickey Barker (I always missed his drumming since the reunion of Magnum).

Of course Catley is singing great, more gritty but still melodic as ever. Clarkin plays a lot of good riffs and solos but thanks to the new bandmembers he is not the main character anymore.

The last 20 years were difficult for the band and on most albums there were at least 2 or 3 good songs, but on this new album, every track is a killer. I would really recommend this album to everyone that loves pomprock infused symphonic rock. Maybe not much much progressive rock here, but really great melodic rock.

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  83. OpethGuitarist (287)
  84. progaardvark (286)
  85. Second Life Syndrome (268)
  86. daveconn (266)
  87. Trotsky (264)
  88. Muzikman (263)
  89. FragileKings (263)
  90. The Crow (261)
  91. Slartibartfast (257)
  92. clarke2001 (254)
  93. rdtprog (247)
  94. The T (247)
  95. aapatsos (246)
  96. GruvanDahlman (242)
  97. Andy Webb (237)
  98. Bj-1 (235)
  99. poslednijat_colobar (228)
  100. 1800iareyay (225)

List of all PA collaborators

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