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 Minimal Gods by HAPPY FAMILY album cover Studio Album, 2014
3.96 | 9 ratings

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Minimal Gods
Happy Family Zeuhl

Review by Nogbad_The_Bad
Collaborator RIO/Avant/Zeuhl Team

4 stars The very welcome return of the excellent Japanese band Happy Family. The band released two heavy complex noisy Zeuhl albums in 95 (s/t) & 97 (Tossco) then disappeared. They have now returned 15 years later. All three albums are on the wonderful Cuneiform label.

The instrumental quartet is made up of keyboards, guitar, bass & drums feature three of the members who were on the last album, Kenichi Morimoto - keyboards, Takahiro Izutani - guitar Keiichi Nagasse - drums, and with new bassist Hidemi Ichikaw.

They bring a King Crimson & Magma flavor to distinctly Japanese Metal in a similar vein to Bondage Fruit.

If you like it heavy, complex & noisy look no further, it's a winner.

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 Quantum Consciousness by FIVE THOUSAND SPIRITS album cover Studio Album, 2006
5.00 | 1 ratings

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Quantum Consciousness
Five Thousand Spirits Progressive Electronic

Review by admireArt

— First review of this album —
5 stars Unearthly connection!

The cosmos and the mechanical are the "spirits" within this 2006, FIVE THOUSAND SPIRITS's "Quantum Consciousness". A quantum leap, music wise in comparisson to their 1990's first two releases.

Raffaele Serra and Stefano Musso aka Alio Die, release 7 years later, this the first part of a two parts project that same year. An unparalleled adventure into the past and future of the famous 70's "cosmic music" electronics, shamelessly but WITHOUT ripping off nobody's language. They already have their OWN and it is more than perfectly established and it shows without question in this highly modern and unique approach to yesteryear's electronic music canons.

It is industrial, as it is the heavens, as it is the pitch black cosmos or its multicolored stars. It is human yet monstrous. It is the droning "noise/ambient" music like Fripp & Eno's 1973, "No Pussyfooting" or their 1975 "Evening Star", in its level of experimentation and way ahead creativity, to kind of construct a referential, if so, let's say to polished new territories without avoiding the "pure electronics" experimentation side of that era.

It is prog/electronics, but way above the already stated (and over-stated) electronic languages. It is humanly poetic among non-human elements. The structured and emotional yet detached melody lines, conjure a memorable an intimate experience all way through, non stop, FLAWLESS!

5***** "Taking Progressive Electronics into the future" PA stars.

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 Mesmeric Revelation  by FIVE THOUSAND SPIRITS album cover Studio Album, 1999
4.00 | 1 ratings

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Mesmeric Revelation
Five Thousand Spirits Progressive Electronic

Review by admireArt

— First review of this album —
4 stars ....and then there were two!

After Claudio Dondo's early departure from FIVE THOUSAND SPIRITS, soon after their first release, Raffaele Serra and Stefano Musso (Alio Die) took charge of all the "spirits" of the project and played between both all electronics, synths and effects for this "Mesmeric Revelation", 1999 project.

This second release starts off with what I call an "electronic environmental symphony" that lasts around 30 minutes +-, with inner sections quiet well defined as they are perfectly blended with each other's movements and different scopes, that travel through pure cosmic electronic music across mid-western canons and slight multinational details. Never sticking to a single musical figure, the effect in fact is as rich as it is "mesmeric".

The following four compositions, which by the way are named "untitled" as the first, aside from being shorter in time (5 to 7 minutes +-), are closer to the placid electronic ambients, which both musicians have worked with in their solo releases.

Spacious, invisible like, slow paced enticing musical structures, alongside some "unearthly" musical territories, which in fact are too demanding to actually work out as "ambient music" in its strict form, due to their uncompromising songwriting, which can turn to be bright as obscure in a single song without notice, yet totally friendly if you let yourself in.

****4.5 "Essential" PA stars.

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 Live at Montreux 2003 by YES album cover Live, 2007
3.82 | 125 ratings

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Live at Montreux 2003
Yes Symphonic Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'Live at Montreux 2003' - Yes (70/100)

Live albums have fallen out of favour in the past generation, and I think it's for the reason that a recording of a live performance is accepted as never being able to capture the scope and spontaneity as if it were happening in real time. Just as importantly, most bands fail to add something fresh to the music in a live album; as a result, it ends up sounding like their studio work with the added strain of weaker mixing and hazy crowd ambiance.

I do wonder whether Yes really needed another live album. Nonetheless, it's something of a checkpoint for longstanding rock bands to record a performance at the legendary Montreux jazz festival. While Yes made a habit of looking outlandish in their classic live shows, Montreux was known for its stripped down, no-frills stage set. While Live at Montreux 2003 offers little visual indication as to whether Yes toned down their image accordingly, the album largely unfolds almost exactly as you would imagine for a Yes live album. Therein lies the problem of it; whereas Symphonic Live at least had the orchestral angle to differentiate it from albums past, Live at Montreux 2003 has come too late to the party to offer much worthy of excitement or surprise. It's a two hour-plus (!) performance of most of their best- loved songs. A lot of the set mirrors Yessongs and Yesshows too much to feel fresh at this point, but in this case, the music- as well as a hardy performance from Yes themselves- hold their own.

Although Live at Montreux is probably most notable for its twenty minute rendition of the immortal "Awaken", the spotlight is often fixed on their Fragile material. Barring a few of its solo pieces, Fragile is scattered throughout the set. Even the rare Jon Anderson song "Show Me" (written during the Fragile sessions) is included. "Heart of the Sunrise" and "Roundabout" are given straight-laced treatments here, not unlike the manner they were approached on Yessongs. Although Yes had been using "The Fish" as a way to sneak a bit of "Tempus Fugit" into their set since the '80s (Jon Anderson wouldn't sing anything from Drama), the only other live album of theirs that shows this gem is 9012 Live. Suffice to say, you're far better off hearing it here.

After "And You and I" (which benefits from some surprising harmonica during "The Preacher and the Teacher") the floor is given to Steve Howe, who delivers a gorgeous acoustic renditions of "To Be Over" and "The Clap". While "The Clap" stays true to form (it's a bloody classic of fingerpicking in any case), "To Be Over" is one of the coolest parts of this album; it shows Yes reinventing their music in a new and inviting way. Most of the other songs in Live at Montreux's favour are largely so because they weren't included on live albums past. "Awaken" is the real gem here (sounding as strong live as it does in the studio), and "In The Presence Of" off the latter-era masterpiece Magnification stands as being one of the best epics they've ever done.

There are surprises and fresh encounters on Live at Montreux; the setlist and performances are great, and the re-appearance of Rick Wakeman makes it special for Yes. Did we need another live album with "Siberian Khatru", "And You And I", "Heart of the Sunrise", "Long Distance Runaround", "Roundabout" or "I've Seen All Good People" on it? Probably not. As it stands, Live at Montreux is a fine live album, but I can't see any reason to recommend it over Yessongs. If you've already heard Yessongs however, and want more of the same, Live at Montreux stands as the second best among their live releases.

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 Until We Have Faces by SARIS album cover Studio Album, 2014
3.09 | 2 ratings

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Until We Have Faces
Saris Neo-Prog

Review by robbob

3 stars Well This album reminds me the work of their conationals: Everon.(but sorry these last guys are better) Is heavy prog but more AOR in the line of some classic rock bands as Magnum ,Styx ,Uriah Heep, Asia.....but with more prog touches of course...Also it took to my memory Fish On Friday but this work is heavier. Touchstone is also on my mind Well done music, good songs, solid work......but nothing special . The women vocals are quite bad...I feel like is a little amateur . From their first album I feel is a step below. Best songs are : Rain and Endless Dream(in my opinion) So I hope fore a better work next time. 3 stars(3,5 maybe)

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 (Im)Patience by MADELGAIRE album cover Studio Album, 2010
4.01 | 33 ratings

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(Im)Patience
Madelgaire Neo-Prog

Review by b_olariu
Prog Reviewer

4 stars Madelgaire - a very fine and intresting band from Belgium. They released one album untill now in 2010 named (Im)Patience. Well, I must tell that I was quite impressed by this album, very well done instrumental sections, pleasent voice , what else a winner for sure. There are lenghty pieces with complicated arrangements bordering neo with symphonic something close with what another band done in the past from Belgium Globalys who is also related with Madelagaire in terms of line up, and here and there hints from Genesis Wind and wuthering era. There are pieces sung in english and aswell french, both languages are fiting ok in this context, maybe the french one is little more pleasent and natural of course for the singer. Mellotrojn, guitars, drums, bass all is in good measure to creat a very leasent release. A nice one in the end and for that reason 4 stars from me, all pieces stands as great with a plus on Banquets De L'Equinoxe suite - divided in 5 pieces clocking around 30 min in lenght. recommended, nice digipak format.

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 Brighter Skies by FREDDEGREDDE album cover Studio Album, 2014
3.84 | 74 ratings

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Brighter Skies
FreddeGredde Crossover Prog

Review by Progrussia

4 stars Being a busy dad doesn't allow for much web surfing. 5-minute bursts of activity on PA. So I have to pick my pleasure. Out of the myriad I selected, no strong reason, on a whim, Heliopolis and this. While both are prog albums by prog fanatics for prog fanatics, Heliopolis takes a decidedly retro approach, and Fredde updates classic prog with a modern sound. On a base of symphonic prog snippets of everything can be heard, from metal to jazz and country. Yet, despite the occasional punchiness, what I like is that Larsson never loses the playfulness - from his wacky alias to the tinkling synths and warm vocal that wouldn't be out of place on a children's show. But this is no simple record - in fact, it can get quite convoluted at times. Densely layered songs-suits, different parts and instrumental solos whizzing by at an often dizzying speed. Its pretty impressive for what basically is a single-man project, but sometimes you will get the feeling that there is simply too much stuff going on. If you like this, here are some similarly-minded bands to check out - Simon Says (Tardigrade) for the quirky bombast, ACT for the playfulness and Flaming Row for eclectic-ness.

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 Pre-Emptive False Rapture by CHROME HOOF album cover Studio Album, 2007
4.12 | 13 ratings

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Pre-Emptive False Rapture
Chrome Hoof Crossover Prog

Review by siLLy puPPy
Prog Reviewer

5 stars CHROME HOOF is a London based outfit that excels at eccentricity. They consider themselves an experimental chamber rock orchestra. They are also known for their outrageous live shows where all of the many members dress in wild outfits and perform in strange avant-garde ways. I would love to see them! The story is that the founders and brothers Leo and Milo Snee were into totally different styles of music ranging from metal to electronic. When they decided to play together they couldn't decide which direction to go... so they went every which way at once! This is some unique sounding stuff indeed. Never before have I heard such a perfect fusion of metal, electronica, funk, swing jazz and chamber music. It is flawless. This is progressive music you can dance to.

PRE-EMPTIVE FALSE RAPTURE is their second album but the one that got them noticed. I have to say that this little sucka has really gotten under my skin. It keeps me coming back for more and more and more. I loved it upon first listen but now after a gazillion listens it just gets better. I'm constantly hearing it in new ways. The music takes major liberties in its development but everything stays within a fairly structured and accessible frame. The complexities are in the background and continue to reward time and time again. Each song focuses on a different genre of music but usually includes a bit from many. On some tracks there are multiple parts. You may get a funky metal beginning followed by a swing jazz break of some sort evolving into something more elaborate. Recently this album has percolated up to a 5 star rating for me. The sheer innovation is astounding. It is catchy and progressive at the same time. I could really see Cardiacs fans going for this one. It has that same totally whacked out approach to music but keeps it approachable at the same time.

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 The Human Equation by AYREON album cover Studio Album, 2004
4.19 | 913 ratings

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The Human Equation
Ayreon Progressive Metal

Review by siLLy puPPy
Prog Reviewer

4 stars For me listening to any AYREON album is little like going into a cheese shop. Arjen Lucassen really knows how to extract the absolute sappiest of power ballads and to me seems like a nurturer of 70s AOR / Pop rock bands like Styx into his musical equation. More often than not I am a little put off by his constant infatuation with the power ballad style of musical expression but there are times when his creative juices get flowing and he proves he is capable of something powerful and dynamic. The sixth album THE HUMAN EQUATION is one of those moments and yet another concept album / rock opera where each character is portrayed by a guest starring singer. Lucassen employs the talents of an army of vocalists and instrumentalists to create a musical rotisserie of vocal styles, musical motifs and narrations of a character called Me who is left in a coma from a car accident. Each song consists of one day spent in the coma and represents the spectrum of emotions and memories from his life that are played out by the musical cast. Unlike most AYREON projects, on this one Lucassen had help in the lyrics department from Devin Townsend who pretty much contributed the lyrical content and performance as Rage.

The music is in the vein of the usual AYREON style of part folk, part electronic and part metal. On HUMAN EQUATION there is also a lot of Irish jig music incorporated as well. This was my very first exposure to AYREON and I have to say that I have not been overly impressed with what i've heard on other albums. So far this seems to be the best album that i've heard. With all the praise that has revolved around this I was expecting it to be a perfect album but I find that the album is a little boring on Disc 1. The first several songs are just too folky and lack any bite. I'm not really engaged until track 7 with 'Hope.' Luckily this double discker picks up from here. I find the real treat is on Disc 2. This is where all the creativity and excitement unleashes itself. Songs like 'Trauma' and 'Loser' are utterly brilliant and really the whole disc keeps my attention with so much more going on than Disc 1. Overall I find this album to be partially worthy of the hype surrounding it but as with most AYREON albums it seems too long with some less than captivating material finding its way onto the track listing. I would probably give Disc 1 a 3 star rating while Disc 2 gets a 4.5 so for the whole kit and caboodle I award THE HUMAN EQUATION a whopping 4 stars.

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 Symphonic Live by YES album cover Live, 2009
4.21 | 215 ratings

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Symphonic Live
Yes Symphonic Prog

Review by Conor Fynes
Prog Reviewer

3 stars 'Symphonic Live' - Yes (60/100)

Whatever doubts I may have had about post-90125 Yes were dispelled with 2001's Magnification. Sure, most of the 90s had been wasted on bad pop and lazy songwriting, but Magnification (and to a lesser extent, The Ladder) proved to me that Yes could still churn out a lovely album, given the proper inspiration. Although Symphonic Live was released on CD in 2009, this live performance was recorded during the Magnification tour. A more comprehensive portrayal of their Amsterdam date at the Heineken Music Hall can be found on the Symphonic Live DVD package. Suffice to say, even for the sake of a live album, hearing the band's classic material played alongside a full- blooded orchestra would be many a progger's dream come true. It's that heavy expectation that makes Symphonic Live somewhat disappointing. I loved what Larry Groupé had done with the immersive orchestrations on Magnification, but the symphonic arrangements here feel like background ambiance in comparison. Add to that a fairly muddled mix to an otherwise inspired performance from Yes, and you have yourself a fairly live album. By all accounts it's not a bad or even misguided attempt, but it should have been so much better.

Though, from what I've heard, the DVD release is apparently infinitely more impressive than this, the symphonic element feels understated to a fault. The string harmonies and bombast is audible if you listen hard enough, but it's almost always drowned out by the band's performance. It's obvious the band should remain the central attraction in a symphonic experiment like this, but adding an orchestra would have only been a worthwhile investment if it added something substantial to the music. The orchestral intros are a nice showcase for the symphony, but the arrangements to the classic material add no new dimensions. Even an epic like "Close to the Edge" (which is as close to classical composition as rock music gets) doesn't seem to take advantage of the vast potential here. What's more problematic is that many of the songs have been slowed down accordingly, supposedly to make room for the symphonic sweeps and flourishes. As far as the CD component to Symphonic Live is concerned, it wasn't worth it. Still, this is Yes we're talking about, and they have some of their best material here. The performances aren't as lively or essential as Yessongs, but you can't go wrong with the prog-heavy setlist they chose for it. In spite of the lazier tempo, "Close to the Edge" remains an absolute titan of a track. Sessioneer Tom Brislin fills Wakeman's shoes snugly, to the point where I could have sworn it was Rick playing those parts himself. While the pace and tone of Yes' performance is more leisurely than I would have preferred, Jon Anderson's voice is bright and shows little sign of aging here.

If you remove the superfluous orchestrations, you're left with a perfectly capable Yes album, with most of the tracks I might have liked to hear on one of their live albums. Even so, an album entitled Symphonic Live begs to be judged primarily on the merit of its orchestral contributions; in this sense, the album is a disappointment. Beyond the muddied mix (which could be forgiven- Yessongs suffered from the same thing) the orchestration suggests a sense of bombast, but lacks the determination to infuse itself into the composition. The symphony is a pompous backdrop to an otherwise strong performance from the band. It's reasonably good, but it's nothing that Yessongs and Keys to Ascension didn't offer years before.

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100 MOST PROLIFIC REVIEWERS

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    Renaissance
  46. One Size Fits All
    Frank Zappa
  47. The Yes Album
    Yes
  48. The Lamb Lies Down On Broadway
    Genesis
  49. The Grand Wazoo
    Frank Zappa
  50. A Trick of the Tail
    Genesis
  51. Still Life
    Van Der Graaf Generator
  52. The Snow Goose
    Camel
  53. Time Control
    Hiromi Uehara
  54. Second Life Syndrome
    Riverside
  55. In The Land Of Grey And Pink
    Caravan
  56. Rock Bottom
    Robert Wyatt
  57. Zarathustra
    Museo Rosenbach
  58. Octopus
    Gentle Giant
  59. Hatfield And The North
    Hatfield And The North
  60. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  61. Free Hand
    Gentle Giant
  62. The Power And The Glory
    Gentle Giant
  63. Arbeit Macht Frei
    Area
  64. Radio Gnome Invisible Vol. 3 - You
    Gong
  65. Blackwater Park
    Opeth
  66. The Inner Mounting Flame
    Mahavishnu Orchestra
  67. Spectrum
    Billy Cobham
  68. Misplaced Childhood
    Marillion
  69. Rubycon
    Tangerine Dream
  70. Space Shanty
    Khan
  71. K.A
    Magma
  72. The Perfect Element Part 1
    Pain Of Salvation
  73. Mëkanīk Dëstruktīẁ Kömmandöh
    Magma
  74. Viljans Öga
    Änglagård
  75. Elegant Gypsy
    Al Di Meola
  76. L'isola di niente
    Premiata Forneria Marconi (PFM)
  77. In Absentia
    Porcupine Tree
  78. Ghost Reveries
    Opeth
  79. Acquiring the Taste
    Gentle Giant
  80. Emerson Lake & Palmer
    Emerson Lake & Palmer
  81. Felona E Sorona
    Le Orme
  82. Doomsday Afternoon
    Phideaux
  83. Hamburger Concerto
    Focus
  84. Fear Of A Blank Planet
    Porcupine Tree
  85. Lateralus
    Tool
  86. Script For A Jester's Tear
    Marillion
  87. Bitches Brew
    Miles Davis
  88. ~
    iamthemorning
  89. Memento Z Banalnym Tryptykiem
    SBB
  90. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  91. Pale Communion
    Opeth
  92. Operation: Mindcrime
    Queensr˙che
  93. Crimson
    Edge of Sanity
  94. De-Loused In The Comatorium
    The Mars Volta
  95. Anabelas
    Bubu
  96. Anno Domini High Definition
    Riverside
  97. The Snow Goose (Re-recording)
    Camel
  98. Voyage Of The Acolyte
    Steve Hackett
  99. Ocean
    Eloy
  100. Caravanserai
    Santana

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

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