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 Andromeda by ANDROMEDA album cover Studio Album, 1970
3.06 | 9 ratings

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Andromeda
Andromeda Heavy Prog

Review by Conor Fynes
Prog Reviewer

2 stars 'Andromeda' - Andromeda (33/100)

For every progressive rock album that has since been immortalized in the rose-tinted pantheon of the classics, there are uncountable numbers of records that seem to have been forgotten. Occasionally, a lesser-known album from the '70s turns out to be a gem, and I'm left to speculate why the band ever made it bigger than they did. Of course, this rarely proves to be the case. While genres of 'art' music tend to revere obscurity as if it were a badge of authenticity, a band like Andromeda proves that some of the bands that have been forgotten, were probably best left that way.

Not to be confused with the British (and considerably better) Andromeda from the UK, this German space-kraut-psych-pop act was a flash in the pan, popping up for a single record and disappearing shortly thereafter. The band's short-lived career seems to have afforded them a level of mystique towards some prog and krautrock afficionados, though I have little idea what they see in the music itself. Andromeda offers material ranging from bad to baseline decency. Although there are some promising concepts here, Andromeda are too unfocused, too unrefined to make a lasting impression.

Progressive rock wouldn't be taking into full swing for another year or so; it's safe to say that Andromeda's style is pretty indicative of many bands in 1969-70. Andromeda are very rooted in late '60s psychedelic traditions, but there is the sense that they mean to amp up their sound. A think organ largely takes the place of the guitars, pop structures are filled out with jam-centered instrumentation, and there are moments where the band's performance (particularly Gunter Steinborn's drumwork) is busier than traditional psychedelia. Andromeda is well-intentioned in their psych-pop, but neither the songwriting or execution are particularly good. At their best, Andromeda's sleepy, space-obsessed tunes are pleasantly atmospheric- "Galaxy of Beauty, Galaxy of Nightmares", "A World on a Star" and "Rockets" all offer a pop-mediated take on space rock.

Andromeda don't fare nearly as well when they go for a more driven approach. The title track, "Andromeda" is one of the least appealing songs I've heard in a while, with cringe- inducing vocals whose only saving grace is that subsequent songs clearly learn from their mistake. "Silvery Lady Star" is the poppiest piece here, but the whiny brass-tinged chorus and underwhelming performance fall short every time. I am partial towards "A World On A Star", but the truth is that none of these songs are well- written. Steinborn's drums have a strong punch to them, but Andromeda's instrumentation usualy sounds halfway between promising and amateurish. Some of Peter Schild's Hammond freakouts during "Cosmos Main Road" have been thinking he might be a solid keyboardist, but the poorly mixed keyboards and downright queasy organ tone make it a tough sell at best.

Andromeda is ultimately a forgettable album by a troubled band. I would commend the sneaky insertion of the female breasts onto their cover art, but the cover itself is so damned bad that I can't bring myself to support it. We'll never know whether subsequent releases from Andromeda would have seen them rise out of their rut. Suffice to say, it's not a wonder that will keep me awake at night.

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 Going For A Song by CULPEPER'S ORCHARD album cover Studio Album, 1972
1.99 | 6 ratings

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Going For A Song
Culpeper's Orchard Eclectic Prog

Review by GruvanDahlman
Prog Reviewer

2 stars I suppose it is some sort of achievement, the rapid decline of Culpeper's Orchard. Rarely has a band gone through such a development and I would say that no band ever has survuved such a decline. Going from the ever so brilliant debut, to the "alrighty then" second and ending with this. It is depressing.

On "Second light" they emphasized their country-folk leanings, leaving some of the progressive elements behind. On "Going for a song" they left everything but their country-rock side. What is left is a collection of lacklustre songs recalling The Band and others of that pedigree. Now, there is nothing wrong with The Band and there is nothing wrong with country. It could be argued, even, that there is nothing wrong leaving the progressive train and embarking on a tram, or whatever. The real problem lies in the substandard songs and the lack excitement. This is really not exciting music.

All in all, this is not terrible but not very good music either. It is definately not prog and I think that the lack of success and change in direction lead to the band's demise. Pity, considering the excellence of their debut and the promise of the second.

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 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.68 | 182 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Xenodimensional

4 stars Pink Floyd. Where to start? Without Pink Floyd I probably would not be here for starters. Having grown up in a household that loved Pink Floyd I have been familiar with them for my entire life. I took them on as a band that I 'liked' at age 14 which coincided with the release of their last studio album 'The Division Bell' (TDB). At that time I liked TDB for what it was however I have a tendency towards liking their earlier experimental output and consigned TDB to the back of the CD rack relatively quickly and considered that PF were probably done and dusted.

Fast forward 20 years and while I was initially very intrigued about the prospect of a new Floyd album two decades after their last studio release I became somewhat more apprehensive when I heard that it would be a mostly instrumental affair. I am an avid listener of instrumental music however PF seemed to me to be a good example of a band that added value to their music through their vocals and (at times) thought provoking lyrics.

Within minutes of The Endless River's (TER) debut listening however my fears were cast aside as I realised that while Floyd had explored a number of instrumental songs throughout their career they had never released an album of primarily instrumental music and that in their own unique way had found an avenue for retaining their trademark of producing albums that often had little in common with their predecessors.

Musically the album is rich with textural diversity and instrumental interplay and features many sections remniscent of songs from their own catalogue (Set the Controls, Shine On, Us and Them, Learning to Fly etc.) which rather than sounding like a rehashed medley or lessening their own legacy adds a mature perspective to the nuanced performances they were capable of at the time of the recording. Rick Wright's performances are as expected beautifully poignant and the album serves as a great testimony to all that he achieved. Special mention goes to Nick Mason who delivers some great dynamics through his playing which help push some of the pieces to greater heights than they otherwise would have reached.

Admittedly TER does in some ways resemble a series of musical 'sketches' although considering the circumstances that this album arose under one can but only appreciate the quality of the recording and the performances within it. As far as posthumous musical releases are concerned TER is almost peerless. As lovely as it would have been for these songs to have been worked into more cohesive and longer compositions I am still exceedingly grateful that they (well David Gilmour) have chosen to let the material see the light of day and secretly hope that there might be another disc or two of similar material.

Rating this album is a reasonably straightforward process. TER doesn't reach the heights of albums such as Atom Heart Mother, Meddle, WYWH, DSOTM or Animals which for me are solid five star albums. I also feel that TER has more to offer than two and three star albums such as The Final Cut, Momentary Lapse and the Division Bell so I feel that it is due four stars; it truly is an excellent addition to any prog rock music collection.

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 Agents of Fortune by BLUE ÖYSTER CULT album cover Studio Album, 1976
3.02 | 119 ratings

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Agents of Fortune
Blue Öyster Cult Prog Related

Review by Finnforest
Special Collaborator Honorary Collaborator

5 stars "This is the night we ride"

While I appreciate the 'black and white' trilogy of albums, I'm in the minority who feels the band made a huge leap with Agents. This certainly put off some fans who had grown accustomed to the band and didn't want change. Fleetwood Mac did this with Tusk and even Zeppelin gets some flack for Presence, both of which were excellent albums with a different feel than more popular predecessors (and may have been better than their predecessors). But few great albums inspire as much angst as this one and I've never understood why. Agents took more chances given their fanbase's love of Secret Treaties, so it was the exact opposite of "selling out". Because it happened to score a big radio hit it was accused of being something it wasn't-I honestly don't think they expected the Reaper phenom that occurred.

Agents is first rate devious fun all the way through. Dark and yet insanely catchy, the songs are full of the tongue-in-cheek playfulness and campy hard rock brilliance few other bands have combined so successfully. They almost stole a page in pizazz/showmanship from Freddie Mercury or Elton John, while maintaining their night-rider tough guy sound. From sampling different musical styles to borrowing Patti Smith's poetic touch, creativity was at an absolute peak. Yes a huge radio hit was born, yet the sinister stories concocted in the other tracks are just as appealing. Hard rock and 60s rock are sampled, pop harmonies are blended with great hooks and punkish attitude, and a certain haunting mixture of surf and film-noir soundtrack recall the way The Doors could be both dangerous and commercial. It's also more ebullient and colorful in the overall sound motif, a pleasant improvement. The keyboards have been more heavily integrated and each member seems to be standing out front, I wonder if this album was more collaborative in songwriting than previous work? Summer of Love is a giant sneer, the Reaper's dramatic middle interlude a most perfect expression of deathly fear. Vera Gemini seems the pursuit of dangerous love with Smith's superb co-vocal, while Morning Final's music has a mini-epic feel of narcotic hazed grandeur in a Steppenwolf like package. All the tracks have this captivating combination of the eerie with the cheerful, a contrast between lyrics and vocals with dynamic playing that supports both. It did have its fans:

"Agents of Fortune is a startlingly excellent album---startling because one does not expect Blue Oyster Cult to sound like this: loud but calm, manic but confident, melodic but rocking. One area of clear improvement is in the matter of lyrics; for the first time there is less emphasis on absurd, crypto-intellectual rambling and more of a coherent attack on a variety of subjects." -Ken Tucker, Rolling Stone, 1976

"It's still dark, mysterious, and creepy, and perhaps even more so, it's still rooted in rock posturing and excess, but gone is the nihilistic biker boogie in favor of a more tempered sound that gave Allen Lanier's keyboards parity with Dharma's guitar roar" -Thom Jurek, Allmusic

I love this album because of the remarkably high quality playing at every level put to music full of life and personality. No other album conjures as well the lights speeding by on a warm summer night, mystery, romance, adventures. Unlike the machismo of the first three albums there is a big dose of the feminine coming through in several tracks, perhaps the strong imprint of Patti Smith coming through on the boys. "Vera Gemini" is the highlight on an album full of them. Anchoring it all is the lead work of Buck Dharma and he has never played with more conviction than on Agents. On some YouTube comments I was reading, a gentleman posed the question "Ever noticed that Buck Dharma has never thrown away a solo in his life?" It was certainly true on this album, and every lead and rhythm part on this album, each guitar sound, are perfect. Agents of Fortune is not only the feather in the cap of BOC's career, but one of the best albums of rock's most iconic decade. I supposed that's enough gush but this album is on my top shelf---couldn't help myself.

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 The Way Things Were by EXAMPLES OF TWELVES album cover Studio Album, 2007
5.00 | 1 ratings

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The Way Things Were
Examples of Twelves Jazz Rock/Fusion

Review by Argonaught

— First review of this album —
5 stars Examples Of Twelves is one of the ad hoc bands, thriving under the auspices of Impossible Ark, which is a cross between a purpose-designed record label and a loose collective of young and talented, London-based jazz musicians. Two gentlemen, a bassist/composer Riaan Vosloo and a producer/engineer Benedic Lamdin serve as the center of gravity of Impossible Ark.

The Examples Of Twelves team have made what appears to be a trilogy about "things", The Way Things Were being its most prominent component.

The album consists of four fairly long and beautifully flowing compositions. Style-wise, The Way Things Were is a highly intellectual, complex (without being abstruse or indigestible) and emotionally safe fusion album that could be described as a contemporary development of the modal improvisational jazz of the 1960s.

The overall sound of The Way Things Were is quite distinctive; I couldn't describe what it is like, but I would state that it would be a worthy addition to anyone's contemporary jazz fusion collection.

A note for vinyl lovers: the album is, or at least was, available on vinyl (although not exactly cheaply), and, from what I understand, analog sound engineering was used to produce it, which is never a bad thing.

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 Pablo Honey by RADIOHEAD album cover Studio Album, 1993
2.50 | 256 ratings

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Pablo Honey
Radiohead Crossover Prog

Review by siLLy puPPy
Prog Reviewer

2 stars After meeting in their high school years before they became the fab four of the 90s (Thom Yorke, Colin Greenwood, Ed O'Brien, Phil Selway) spent most of the 80s playing together under the moniker On A Friday and for a brief moment in 1990 as Shindig. They eventually changed their name to the much cooler RADIOHEAD when EMI signed them after hearing their demos. They released one EP called "Drill" and then quickly put out their first album PABLO HONEY. This album is one of those cases where you couldn't guess in a million years where the band would go from here. Yes, it's true there are subtle clues to their evolutionary path but this album mostly consists of grungy alternative pop songs that are often trying to be both but usually being neither.

Personally I really love the first two tracks "You" and the single "Creep" which was a flop upon first release but slowly "creeped" its way up the charts putting RADIOHEAD on the music map, however every indication from this debut album is that this was a one hit wonder destined to be forgotten as quickly as they had hit the scene. After all, this was the beginning of the alternative rock and grunge frenzy that shook up the status quo in the music industry and putting bands like Alice In Chains, Nirvana and Pearl Jam on the top of the musical mountain.

I find after the first two tracks that the songs are rather boring and I had to suffer my way through this to listen to the entire album just to review this. It's amazing how much they evolved from PABLO HONEY to "The Bends." The first two tracks are worth the price of admission as long as that price isn't too high but otherwise I can't find much else worth hearing here on a regularly basis. Luckily the band would evolve far beyond this mediocrity and offer the world a new kind of space rock. For this release, I say meh.

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 Nothing Is Easy: Live At The Isle Of Wight 1970 by JETHRO TULL album cover Live, 2004
4.13 | 109 ratings

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Nothing Is Easy: Live At The Isle Of Wight 1970
Jethro Tull Prog Folk

Review by Mellotron Storm
Prog Reviewer

4 stars The Isle of Wight festival was held in late August, 1970 with plenty of heavyweights taking the stage including JIMI HENDRIX, MILES DAVIS, THE WHO, THE DOORS, ELP and many more. Hundreds of thousands of people flooded this island no doubt wanting to experience what they had heard about the year before in America at Woodstock. JETHRO TULL at this point had released three albums and were a hard rocking Blues band on the cusp of being known world- wide the following year with the 1971 release of "Aqualung" that many including myself believe would be their best album when it is all said and done.

The band here come across as being very confident and relaxed, no doubt a seasoned live band who could "rock" with the best of them. Ian Anderson is very engaging, charming and humerous as he talks to the audience between songs. Some feel 1978's "Bursting Out" is their best live album but I prefer the rougher, edgier in your face TULL where it's anything but smooth or without it's warts. It's hard to believe this wasn't released until 2004, this is a real find for me. I have to quote some of Anderson's words as the band prepares to play in front of this massive crowd. He says "We're going to do some old songs, some new songs and one or two we've never played before it seems. The first one is a really old one, i've forgotten this one I think." "They're really excited" he exclaims to his band-mates(haha).

"My Sunday Feeling" is an older track from their debut album "This Was". This is a hard rocking tune with the flute and drums standing out. Check out the guitar before 3 minutes. Barre really impresses throughout this show. "My God" was from the forth-coming record "Aqualung" so this was new to even TULL fans here. It opens with intricate guitar and part way through Anderson says "This is actually the beginning". Funny stuff. This along with "Dharma For One" are my two favourite tracks on here. It kicks into gear hard at 2 minutes and the contrasts between the beauty and angst is priceless. Ripping guitar followed by flute and some killer drum work. A flute solo follows including some avant flute and vocal sounds. An incredible performance. "With You There To Help Me" from the "Benefit" record is up next. Beautiful piano and flute melodies to start as the vocals join in. It turns fuller before 2 minutes as contrasts continue. A change 4 minutes in as we get a calm with piano only. Flute joins in around 5 1/2 minutes as they seem to improvise until it kicks back in at 9 minutes.

"To Cry You A Song" from "Benefit" has a very cool guitar melody throughout. Vocals come and go as does the ripping guitar. Great tune. "Bouree" from "Stand Up" is the most laid back tune overall i'd say but check out the bass solo after 2 minutes. The flute and bass work so well together on this one. "Dharma For One" from "This Was" like most of these tracks surpasses the studio versions. Hey we get some organ in this one to start and it turns heavy before a minute as the vocals join in. The vocals and heaviness are the highlights for me. More organ after 3 minutes and a drum solo after 6 minutes to almost the 9 minute mark. "Nothing Is Easy" from "Stand Up" is a good hard rocking song with vocals. Organ as well and man these guys could make some noise. It ends with a medley of "We Used To Know" and "For A Thousand Mothers" both from "Stand Up". The first starts off with a feel-good mood including vocals and then we get a heavy instrumental section 2 minutes in. Barre is almost Iommi-like before 3 minutes to end the first part of the medley. The second section is drum and guitar driven for the most part and both impress big time.

What a show these guys put on! No doubt they gained a lot of fans that day who would eat up their next album "Aqualung". A must-have live album for TULL fans.

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 Hangman's Hymn by SIGH album cover Studio Album, 2007
4.03 | 20 ratings

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Hangman's Hymn
Sigh Experimental/Post Metal

Review by siLLy puPPy
Prog Reviewer

4 stars After a couple avant-garde releases that were still just barely clinging on to an association with black metal, the strange musical entity known as SIGH retreats back to a predominant black metal sound on HANGMAN'S HYMN: MUSIKALISCHE EXEQUIEN with a brash bravado and hyperactive dynamic delivery unlike many of their releases and has an energy level more akin to a thrash or death metal band. The music is an interesting mix of speedy black metal with raspy vocals (and rare clean ones) mixed with a symphonic pompousness that at times seem like they are competing with one another. The general pattern is a black metal dominant sound which in a patterned manner takes back seat to symphonic elements which are based of Mozart's "Requiem in D-minor," continuing this Japanese band's obsession with all things Western music. The album is divided into three acts which is basically a black metal opera of sort. In composure it brings to mind Carach Angren's "Where The Corpses Sink Forever" but sounds a bit like Crade Of Filth with the aggressive metal mixed with sophisticated symphonics.

When it comes to the choir parts of this album SIGH didn't fool around. They solicited volunteers to sing in Latin and send in audio files and the result is a rich and bloated full sound that belies the fact that this is really just a quartet on full time duty. This is in short, a very well done album that delivers both black metal and symphonic balance where every tracks runs together in harmony and I find the album really goes by too fast. Although it seems like "Imaginary Sonicscape" is the one stop and move on album in SIGH's discography, I would like to emphasize how good their other albums are. This one is certainly more metal oriented than that album but for anyone interested in a black metal sound that is embellished with brilliant additional elements then SIGH simply must be checked out beyond a token single album. For those with a fetish for symphonic metal of any type this one will certainly entertain your inner Mozart meets Darkthrone fantasies.

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 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.68 | 182 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by tszirmay
Special Collaborator Crossover Team

4 stars A new Pink Floyd album, hmmm go figure! So what can possibly motivate legendary millionaire golden-agers to record and publish a new work which will undoubtedly span the entire spectrum of comments from both prog fans as well as the entire music universe? Millions will love it, million others will hate it and all the Oreo cream commentary in between will be well documented online. Well, it ain't "Money" (sic!) , that is for sure, as the PF gents probably own Fort Knox by now. Do they need to prove some point, like the fine wine aging thingy? Nope. What motivates them is much more typically Floyd, both complex and simple, lubed with ongoing triple decade-old rivalry between Waters and the rest, as well as the passing of the silent genius Rick Wright. Truth is Waters is an insufferable, miserable, bigoted and egotistical megalomaniac, a genuinely inventive artist who prefers to rub people the wrong way, just for the fun of it. Because he can! Not my kind of idol (sorry Roger fans!). The ongoing epic epee dueling between him and the others is farcical and solidly deliberate, the typical Hollywood style barbs just to stay in the press and be spoken of. Gilmour and Mason always seemed to get along with the quiet and modest Wright, and maintained their 40 year-old legacy of remembering with fond affection former band mates. Needless to say, they kept the name Syd Barrett alive not only in direct words but also in songs that we all know and love.

So instead of a useless blow by blow (hi Jeff!) account, surely better exemplified by the more creative Floyd fanatics who actually know how to write (Wright?), I prefer to look at all the below radar snipping that encompasses this innuendo-laden work. I suspect that among the numerous targets of dissension between Dave and Roger, one could not help noticing the 'I sing better than you' equation, so by being a mostly all- instrumental album, with a finale-only vocal, it seems to me to be a pretty very overt FY, proven by one title named "Unsung". Secondly, the song designations also hint at a difference of opinion, with overt titles like "It's What We Do". "Things Left Unsaid", "Lost Art of Conversation", "Louder than Words", need I continue, no, you get the message, just Breathe! In 2005, Waters pushes out a three part opera record with a French title called "Ca Ira" (It will go okay) , so the 'enemy' records a subtle two-part piece called "Allons-y" (Let's go!). C'mon, ???.It's hilarious, snide, mischievous sniping of the very highest order! There are also winks at the very early years ,in 1968 ("Autumn '68") they recorded a tune called "Let There be More Light" , so why not write (wright) a 2014 piece called "Night Light"? Sorry but as Chief Inspector Jacques Clouzot would say "There is euh stinky fiche in my rhume" and there are no "Pros and cons of Hitchhiking", the facts are plain to see.

Gilmour's ongoing solid friendship with Roxy Music legend Phil Manzanera has resulted in a relationship polar opposite to Waters, two master guitarists who appreciate their different styles to the point of total respect and have nothing to prove other than make music that they enjoy. Phil's influence remains firmly grounded in the swooning instrumental stylistics, especially on the incredible 2 part "Allons-y" suite, sandwiched between a Wakeman-esque church organ piece (Autumn 68). This is sublime music that needs to be applauded for its courage of convictions, their dedication to both Barrett and Wright. I just wonder what kind of tribute they will create for Waters when he settles below his 6 foot deep WALL. I hope it's like Lou Reed's nasty "Metal Machine Music", an hour's worth of middle finger proudly raised industrial noise. By enlisting Israeli sax player Gilad Atzmon, there is surely no correlation with Waters' recent venom spewing at Israel (urging cancellation of concerts there, how dumb is that?). Nah, all this is coincidence, purely luck, happenstance and roll of the dice. Yeah, Wright!!!!!!

I suspect the boys would have enjoyed calling this "The Endless River of BS" but censors everywhere would have objected, subjected as they are to Godoogle. Gilmour and Mason are sitting in their armchairs, warming their bones beside the fire, while Wright is up in heaven doing the Great Gig in the Sky and playing "Us and Him". You might think I have gone fishing in some desert oasis and speculate on libelous likelihoods but my instincts tell me (being a divorcee, you sense stuff like this) that the bitterness is way deeper than anyone thinks, it's not just artistic, it's a character thing that goes back to the very early days and elevated to breaking point with Waters' 1983 masterpiece 'The Final Cut". Not only is there no love lost but even the hate is gone! It's become an epidermis (that skin deep in Latin) hatred that will never be overcome.

I can do that innuendo thingy allegedly but Pink Floyd can add a soundtrack to it, something I am very envious of.

Expected brilliant artwork, packaging (i got the CD/DVD package) and impossible sound!

4.5 eternal floods

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 Dressed in Voices by MOSTLY AUTUMN album cover Studio Album, 2014
4.01 | 78 ratings

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Dressed in Voices
Mostly Autumn Prog Folk

Review by tszirmay
Special Collaborator Crossover Team

5 stars Finally! I said, 'Finally!'

I began my love affair with Mostly Autumn when they released their magical first album, 1999's "For All We Shared", a highly intoxicating mix of Pink Floyd mannerisms including that whopping guitar sound , celestial female vocals courtesy of Heather Findlay, sprinkled with Celtic ornamentation by using fiddle, Uillean pipes, Tin whistles etc...This exciting formula kept on giving amazing albums, "The Spirit of Autumn Past" and "The Last Bright Light" and I became a devout fan. Then with "Passengers", it really felt like a chapter was being closed, and I started instead gravitating towards the Breathing Space project, a parallel group led by keysman Ian Jennings and featuring Olivia Spannern, who at that juncture was supplying backing voices for Findlay. From 2005 's "Storms Over Still Water" up to 2012's "Ghost Moon Orchestra", a span of five lukewarm albums tempered my enthusiasm for this once glorious band and many commentators noted this dip in stylistics (calling it a poppier diversion). In the interim, Heather left for a still to date invisible solo career, now replaced by the masterful Olivia, who remains a phenomenal voice. This flux period seemed to indicate a certain 'lost in the desert' attitude, Josh somehow losing focus of what made the original concept so attractive. His voice got growly, his guitar playing becoming less attractive and the songs suffered from a lack of emotion, as if formulaic methodology was the best method for success. Many a prog fan despaired but three important elements came to the rescue. Firstly, master keyboardist Iain Jennings ended Breathing Space a few years ago and began improving the raw misdirection by adorning new found melodies with dense keyboard artistry. Secondly, Olivia who literally shone with BS, was finally thrust into the forefront, so much so that the seemingly depressed Bryan Josh saw a relighting of his muse when realizing that the two had fallen in love. I will state this again for the record, nothing is more inspiring than love or , its contrary, separation /divorce to ignite the hidden inner light, the source of so much emotional creativity. Finally, in terms of attitude, I truly suspect that Bryan Josh is ultimately the big difference, his fiery passion and shy sensitivity literally overflowed on the first 3 MA albums, as he was dealing with the passing of his father (a deep pain I also have had to endure), then he got caught up in the business world, should have known it would make him frustrated as well as miserable and then, along came Olivia and boom! The passion is back and it's called love. The single most powerful emotion ever. Josh now deliberately infuses more diversity in his guitar playing, no more an overt Gilmour fan boy. His fret board playing is still inspired by the Gilmour/Latimer camp but there are also slick references to Hendrix, Clapton and even some 'country style' picking a la Knopfler. His tones are way more varied and his soloing is truly earth shaking (as on the dizzying title track), all due to his rekindled inspiration, his beating heart leading the way, writing hugely romantic melodies that are both grandiose and timeless.

As expressed recently by Lazland so eloquently, we fans have been waiting for that return to form that made Mostly Autumn so impressive. I believe that the band members have delivered on all fronts, as this release oozes desire, lust, sweet loving, profound exaltation, giddiness , all side effects from being happily married and still basking in all the euphoria, as well as Mr. Jennings coming through with some inspired melodies and orchestrations.

Each song is an outright jewel, the soft sensual songs are loaded with feeling and delivered with impeccable grace, even Josh has softened his voice to how it once was. Olivia proves once again that she is the current prog female singer queen (Annie Haslam was great but now she is history) and she definitely reigns supreme, as her voice as well as her presence are simply awe-inspiring. While Gavin Griffiths is a phenomenal drummer, Alex Cromarty has a thumping pulse that caught my ear many times in listening to this monster album. Needless to repeat again, Jennings supplies gorgeous and copious piano, subtle organ and sublime synthesizer throughout, providing incredible depth and drama to the arrangements. There are way more "Evergreen"-like moments, soft and elaborate ballads that are overflowing with goose bumping feeling, such as the swooning and stunning "Running", the woozy delight of "House on the Hill" and the intense euphoria of " The Last Day". The rockier songs are razor sharp as witnessed on "Down by the River" and the bombastic disposition of the highly symphonic opener "Saturday Night". Sophistication shows up on the more elaborate prog symphonicity of "First Day of School", a style that has been reported missing since the 'Passengers' album! There are also a fair amount of duets (Bryan and Olivia wrapped around the mike stand) and the results are scintillating! On "Not Yours to Take", the interaction is a pure delight, a sensual fountain of eternal love and unbridled passion.

Not only have Mostly Autumn found their groove but this album just may become the best they have ever done. Love conquers all, the artwork beyond amazing, a true return to form. Stay deeply in love and the music will flow eternally, I am impressed beyond all expectations. Sadly, many prog fans will miss this one and lose out on a sheer masterpiece, easily among 2014's top 5 albums.

Bravo! I wish I was in such delirious love! BTW, this highly romantic review is dedicated to that scintillating artist, our very own Kati.

5 choir gowns

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100 MOST PROLIFIC REVIEWERS

Collaborators Only

ratings only excluded in count
  1. Mellotron Storm (3651)
  2. Sean Trane (3159)
  3. ZowieZiggy (2917)
  4. apps79 (2345)
  5. Warthur (2192)
  6. Easy Livin (1925)
  7. UMUR (1843)
  8. b_olariu (1831)
  9. Gatot (1807)
  10. Conor Fynes (1518)
  11. SouthSideoftheSky (1441)
  12. Evolver (1375)
  13. Bonnek (1359)
  14. AtomicCrimsonRush (1253)
  15. Tarcisio Moura (1239)
  16. snobb (1210)
  17. erik neuteboom (1201)
  18. Windhawk (1116)
  19. Finnforest (1090)
  20. ClemofNazareth (1009)
  21. kenethlevine (1002)
  22. Cesar Inca (926)
  23. loserboy (895)
  24. Rune2000 (855)
  25. kev rowland (842)
  26. Marty McFly (833)
  27. octopus-4 (819)
  28. tszirmay (787)
  29. memowakeman (755)
  30. Chris S (753)
  31. Matti (737)
  32. Eetu Pellonpää (719)
  33. greenback (685)
  34. progrules (666)
  35. Guillermo (655)
  36. Seyo (638)
  37. Rivertree (632)
  38. Prog-jester (623)
  39. Epignosis (621)
  40. lor68 (601)
  41. Neu!mann (569)
  42. Ivan_Melgar_M (541)
  43. philippe (537)
  44. hdfisch (492)
  45. Chicapah (478)
  46. stefro (467)
  47. colorofmoney91 (459)
  48. friso (457)
  49. J-Man (449)
  50. russellk (435)
  51. zravkapt (429)
  52. Prog Leviathan (426)
  53. Menswear (413)
  54. Sinusoid (402)
  55. Atavachron (396)
  56. ProgShine (394)
  57. Queen By-Tor (394)
  58. DamoXt7942 (380)
  59. Greger (365)
  60. Zitro (359)
  61. tarkus1980 (358)
  62. andrea (356)
  63. Nightfly (354)
  64. Cygnus X-2 (353)
  65. fuxi (352)
  66. Andrea Cortese (348)
  67. EatThatPhonebook (326)
  68. Negoba (315)
  69. richardh (313)
  70. Guldbamsen (313)
  71. lazland (313)
  72. siLLy puPPy (305)
  73. Aussie-Byrd-Brother (301)
  74. Tom Ozric (299)
  75. Kazuhiro (299)
  76. Proghead (289)
  77. Flucktrot (289)
  78. OpethGuitarist (287)
  79. progaardvark (286)
  80. daveconn (266)
  81. Trotsky (264)
  82. Muzikman (263)
  83. clarke2001 (254)
  84. The T (253)
  85. Slartibartfast (250)
  86. Second Life Syndrome (247)
  87. Andy Webb (234)
  88. Bj-1 (231)
  89. 1800iareyay (225)
  90. js (Easy Money) (222)
  91. poslednijat_colobar (220)
  92. The Crow (216)
  93. avestin (214)
  94. Syzygy (214)
  95. NJprogfan (211)
  96. seventhsojourn (211)
  97. Raff (211)
  98. aapatsos (206)
  99. Progbear (206)
  100. TheGazzardian (196)
Remaining cache time: 202 min.

List of all PA collaborators

TOP PROG ALBUMS
  1. Close To The Edge
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  2. Thick As A Brick
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  3. Selling England By The Pound
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  4. Wish You Were Here
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  5. Foxtrot
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  6. In The Court Of The Crimson King
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  7. Dark Side Of The Moon
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  8. Red
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  9. Animals
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  10. Godbluff
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  12. Nursery Cryme
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  13. Pawn Hearts
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  14. Per Un Amico
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  15. Moving Pictures
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  16. Hybris
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  17. Larks' Tongues In Aspic
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  18. Io Sono Nato Libero
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  19. Mirage
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  20. Hemispheres
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  21. Moonmadness
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  22. Si On Avait Besoin D'Une Cinquičme Saison
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  23. Storia Di Un Minuto
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  24. Relayer
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  25. The Road Of Bones
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  26. Darwin!
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  27. A Farewell To Kings
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  28. Birds Of Fire
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  29. Kind Of Blue
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  30. In A Glass House
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  31. Ommadawn
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  32. Crime Of The Century
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  33. In a Silent Way
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  34. The Silent Corner And The Empty Stage
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  35. Hot Rats
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  36. Still Life
    Opeth
  37. Aqualung
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  38. Depois Do Fim
    Bacamarte
  39. Meddle
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  40. Permanent Waves
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  41. H To He, Who Am The Only One
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  42. Images And Words
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  43. The Yes Album
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  44. The Lamb Lies Down On Broadway
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  45. Scheherazade And Other Stories
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  46. Metropolis Part 2: Scenes From A Memory
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  47. The Raven That Refused To Sing (And Other Stories)
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  48. One Size Fits All
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  49. The Grand Wazoo
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  50. Still Life
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  51. A Trick of the Tail
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  52. Rock Bottom
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  53. The Snow Goose
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  54. Time Control
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  55. In The Land Of Grey And Pink
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  56. Second Life Syndrome
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  57. Zarathustra
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  58. The Power And The Glory
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  59. Arbeit Macht Frei
    Area
  60. Octopus
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  61. Free Hand
    Gentle Giant
  62. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  63. Hatfield And The North
    Hatfield And The North
  64. Viljans Öga
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  65. Blackwater Park
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  66. Radio Gnome Invisible Vol. 3 - You
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  67. K.A
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  68. Misplaced Childhood
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  69. The Inner Mounting Flame
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  70. Spectrum
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  71. Mëkanīk Dëstruktīẁ Kömmandöh
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  72. The Perfect Element Part 1
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  73. Rubycon
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  74. Space Shanty
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  75. Pale Communion
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  76. L'isola di niente
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  77. Elegant Gypsy
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  78. Felona E Sorona
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  79. In Absentia
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  80. We'll Talk About It Later
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  81. Emerson Lake & Palmer
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  82. Ghost Reveries
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  83. Acquiring the Taste
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  84. Doomsday Afternoon
    Phideaux
  85. Fear Of A Blank Planet
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  86. Hamburger Concerto
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  87. The Snow Goose (Re-recording)
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  88. Script For A Jester's Tear
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  89. Lateralus
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  90. Crimson
    Edge of Sanity
  91. Bitches Brew
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  92. If I Could Do It All Over Again, I'd Do It All Over You
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  93. Memento Z Banalnym Tryptykiem
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  94. ~
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  95. Anabelas
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  96. Operation: Mindcrime
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  97. Symbolic
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  98. De-Loused In The Comatorium
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  99. Part the Second
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  100. Caravanserai
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