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 Picture Music by SCHULZE, KLAUS album cover Studio Album, 1973
3.71 | 71 ratings

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Picture Music
Klaus Schulze Progressive Electronic

Review by Stalvern

4 stars

Schulze's first true expression of his classic sequencer style (Blackdance was a step toward it, but it still relied heavily on the organ and Mellotron tones of his first two albums), and easily worthy of the attention given his more popular subsequent releases. The sound is stripped down from the shadowy haze of before, but the reduced instrumentation never sounds inadequate; Schulze's talent for atmosphere is as clear on this album as ever. And the music itself, even at this early stage, is some of the most engaging stuff that he would ever record.

The first side, "Totem", is absolute brilliance. There are only about three or so melodic lines playing at any given point - and on the monophonic synthesizers of the day, no chords to speak of - but they're executed masterfully. The main voice is a drippy, echoing tone that sounds about twenty years ahead of its time, the kind of sound that you'd expect from Autechre or Aphex Twin in the mid-'90s (!), picking out a dark, jagged theme that matches it perfectly, with muted moans and whistles ominously backing it. Analyzed and written out, it comes off as somewhat sparse, but the tones are chosen and mixed to maximum effect - the music's atmosphere is disproportionately vast, bringing up images of the lightless life at the floor of an ocean trench, or maybe astronauts at the edge of their life support against the black void of deep space. It is structured, building into fullness, then rising into a heavy climax before trailing off in a weary coda, but that atmosphere is never compromised by these developments. It's funny that Schulze would wait until now to call his work "picture music", given that impressions and images had always been his main focus, but the phrase is hardly undeserved.

After "Totem", "Mental Door" is a bit of a letdown, but it's still great. It's Schulze jamming against himself, blazing Moog lines fighting manic drumming (his first recorded performance on the kit since Electronic Meditation and sounding none too friendly after being pent up for five years), and this works for and against the album. For, because this kind of energy is always welcome, especially as a counterpoint to the hanging menace of the first side, but against, because after emerging from its foggy introduction, it abandons any hint of atmosphere in favor of that energy, which is disappointing coming from a musician like Schulze. (He'd eventually get both together for X's "Friedrich Nietzsche" and "Frank Herbert", putting this song's one-sidedness into further perspective.) But what Schulze does here he does to the fullest, never once letting up for the entire jam, and never forgetting to keep things varied and interesting. (His coolest trick is to punctuate it every once in a while with a sustained keyboard note while bashing out a straight rhythm on the cymbals; the effect is a bit like the appearances of the little electric piano motif in Miles Davis's "Spanish Key", but aggressive instead of amiable.) When the end eventually comes, it releases the jam's mounting tension in a final cymbal crash and high note (tragically not quite synchronized, but I don't see how Schulze could have fixed that in a tape edit without bringing the rest of the ending out of sync) before settling into a relaxed, fulfilled coda, closing out the album.

It's understandable that Picture Music has something of a low profile among Schulze albums, lacking Timewind's lushness or X's scale (or even the cult appeal of Irrlicht and Cyborg), and generally denied its rightful historical significance in favor of Blackdance ever since the chronology was resolved (regardless of what this site still, in 2014, incorrectly claims) but it'll always be a favorite of mine. Hopefully, someday, people will give it its due.

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 Feel Euphoria by SPOCK'S BEARD album cover Studio Album, 2003
3.28 | 270 ratings

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Feel Euphoria
Spock's Beard Symphonic Prog

Review by Roland113
Prog Reviewer

2 stars . . . In my not so humble opinion . . .

Nick D'Virgillio is no Phil Collins.

So the similarities between Genesis and Spock's Beard have been well documented. Both bands were stalwarts of prog for their time and started off with a series of strong albums. Both bands presented their magnum opus with an epic release of a 2 part concept album. Both bands lost their lead singer after the epic release and found a replacement in their drummer, coming out from behind the skins to take over the front man duties.

There is one epic difference between the two though. In Genesis, prior to Peter Gabriel's departure, the band wrote most of the music while Gabriel wrote the majority of the music. In Spock's Beard, Neal Morse was the primary songwriter, almost the only, songwriter for the band until the day that he left. Neal Morse's departure left a huge gaping hole in the songwriting, the band attempted to compensate by committee and by bringing in some friends to help write for them. Unfortunately, 'Feel Euphoria' shows the lack of cohesion painfully.

Nick D'Virgillio's vocals are . . . underwhelming, as much as I'd love to sing praises about his voice, it lacks the power of a proper lead singer. Combine the lack of energy in D'Virgillio's voice and the drop in songwriting, I find myself hard pressed to find a lot of positives about this album. "You Don't Know" is an exception, Alan Morse is at his bluesy best throughout the song with a melodic, soulful solo in the middle of the song.

The, total product however is lacking. It had been a few years since I've listened to this album, my perception going into yesterday's listen was that it was a three star CD, maybe Sid could bring it up to a four. Unfortunately, I had grossly over-estimated the CD. At times the CD was painful to listen to, it took real effort not to skip tracks. I had to force myself to listen to the entire CD. This is not a three star CD. The attempts at an epic on the Sid saga are mostly uninspired, but that along with the somewhat rocking 'Onomatopoeia' save the cd from the dreaded 'one star rating'. Two stars with the happy thought that it does get better.

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 Hypnotannenbaumdronefuzz by BAKER, AIDAN album cover Studio Album, 2014
4.00 | 1 ratings

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Hypnotannenbaumdronefuzz
Aidan Baker Progressive Electronic

Review by admireArt

— First review of this album —
4 stars Forget all about the noise, bring back the melody!

Multi-instrumentalis Aidan Baker's 2014, 40 minutes long, 3 piece project , "Hypnotannenbaumdronefuzz", focuses entirely on melody, beyond his previous experiments with noise. Again, he projects a low-keyed , no frills, up front, songwriting, similar to that of his earlier efforts.

Each piece relies on its own melody line, which is an almost invisible thread, that moves along extraordinary, yet almost imperceptible arrangements. The variety in its instrumentation, enhances its scope and depth. But nevertheless, its slow-paced mood sets the evocative and nocturnal tone of the whole project.

****4 "Imaginative, creative, hypnotic, laid back and up front, small masterpiece", PA stars.

PD. By the way its PA section is still missing like half of his albums, eventually I will upload the other ones I own.

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 Epsilon 1 by MAJESTIC album cover Studio Album, 2014
3.49 | 29 ratings

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Epsilon 1
Majestic Neo-Prog

Review by Rivertree
Special Collaborator Psych/Space Team & Band Submissions

3 stars Something new majestic is turning out, yeah! The band name perfectly matches due to a bombast approach coming up, equipped with symphonic keyboard patterns. As for that Jeff Hamel consequently continues his - definitely successful - concept with 'Epsilon 1', while merging neo and heavy prog as well as some metal and spheric psychedelic moments. As I was really amazed by the forerunner 'V-O.Z' I came to this with much curiosity, that was to be expected.- hence probably associated with defined standards which are relatively high.

Jeff routinely handles nearly all the instruments, except the percussion work which is Mike Kosacek's business once again. Even the vocal line-up is quite similiar to the prior album, though only quite, as - really noticable - Marc Atkinson is appearing for the song Starlight. Not wanting to bash the other vocalists in any case, but Marc and Jeff are very compatible I want to accentuate, as they both have the ability to represent a special melancholic sentiment. A very nice song, however this partially sounds only a few stones close to 'A Secret' somehow, which we already had on 'One Eye On The Sunrise' in 2012.

As a designated psychedlic/space rock fan, of course I have to notice Event Horizon - this comes like they (Jeff and Mike) are jamming a lot here, until vocalist David Cagle interfers into this affair sooner or later. 'Epsilon 1' establishs its real strengths especially when reaching for the second partition, the Epsilon suite as such. Musicianship is great without question, consequently this one is a solid prog album, again featuring a crossover of styles, nice vocals and harmonies, thus a recommendable offer to purchase without a doubt - 3.5 stars.

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 The Appointed Hour (with Roger Eno) by HAMMILL, PETER album cover Studio Album, 1999
2.89 | 29 ratings

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The Appointed Hour (with Roger Eno)
Peter Hammill Eclectic Prog

Review by admireArt

3 stars The audiophiles who knew too much!

I am going to bore you a bit, about how this "The Appointed Hour", 1999, music experiment came upon. On a specific hour and date, Roger Eno in his "studio", miles away of Peter Hammill´s one, recorded unconnected from each other for an hour exactly and then stopped at the same "appointed hour". Then met afterwards to mix both impro/compositions... Mmh! All of this, promptly explained in its packaging. Also an emphasis that - no overdubs or time/syncs were used. That shows how happy they were with the actual results!

The progger's ratings are quiet average. And then again, the average young progger does not even consider this kind of music to be prog for starters!..., I mean, "modern classical piano music" with "impressionistic influences" + "ambient" and no "happy" moments, all hell broke loose!

Anyway! 20 unaltered songs came out of this "dadaistic" way of composing. Completely "instrumental", impro like, but similar in its "classic music" oriented, "ambiental" tone.

All tracks do behold an above average quality, some are shinier, some others more "impressionistic" and some move towards the "obscure", but really all catch your attention, beyond a purist prejudice of this way of songwriting.

As I listen, Satie's and Debussy's piano pieces come to mind, as a reference not a comparison. "No masterpiece but neither trash!", ***3.5 PA stars.

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 Heaven & Earth by YES album cover Studio Album, 2014
2.53 | 226 ratings

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Heaven & Earth
Yes Symphonic Prog

Review by FXM

4 stars "Heaven and Earth" is the ninteenth studio album (not counting Keystudio) and has certainly come in for a lot of negative criticism. Although most of the reviews giving one and two star ratings appeared before the album was even released!! That makes me wonder if those reviewers even listened to the disk or just heard a few low-res samples on the internet, or are diehard fans of old school Yes who don't think the band can exist without Jon Anderson.

Having listened to the album many times since it arrived in the post a few weeks ago I have absorbed the music and all its nuances to feel that I can offer an objective unbiased review.

First thing to comment on is the artwork which is a fine piece of Roger Dean painting.

The production by Roy Baker Thomas is first rate, instrumentation is crystal clear.

So how does Jon Davidson perform? I have seen Yes perform live three times since he joined the band and thought his singing was outstanding. He has no trouble reaching those high notes which Jon Anderson could achieve at his peak. In fact I would now prefer to listen to Davidson perform with them on tour rather than Anderson as his voice is not what it was, the last time I saw Yes with Anderson was about 10 years ago during a long tour and his voice was really suffering. On "Heaven and Earth" Jon Davidson is excellent and sounds as clear as a bell. So full marks for vocal performance.

As for the music I can't understand why this album has garnered such negative comment. It is one of their more mellow works probably closer in mood to Tormato than anything else in their discography as some reviewers have noted. Yes are not going to record "Close to the Edge" part 2, they have moved on from that I just wish some "fans" would move on too.

"Heaven and Earth" is one of the better albums that Yes have recorded since "Drama". "Magnification" was a good one but marred by some of those wimpy Anderson ballads that make me cringe. Thankfully the new release is free of those.

The first track on the album is "Believe Again" which is an excellent opener.

The album ends with the magnificent "Subway Walls" which starts with a baroque theme on keyboards. This is Geoff Downes' time to shine.

Steve Howe's guitar playing is outstanding throughout the disk. Chris Squire's bass playing is not too prominent on many of the tracks although he does come to the fore towards the end on "It Was All We Knew" and puts in a fine performance on "Subway Walls". I have never been fully convinced by Alan Whites' drumming, he is a solid player but lacks the flair of Bull Bruford. However, he also makes a fine contribution on this track

The only track I didn't think much of is "Step Beyond". The most off-putting aspect of this is the 1980's sounding keyboards. What was Downes thinking, surely he could have come up with something better than that.

In conclusion, I regard " Heaven and Earth" as a excellent album, it is mostly a fairly mellow recording but contains some superb musicianship especially from Howe who throws in lots of short intricate guitar pieces which are probably his best work in a long time. An album truly worthy of four stars and nothing less.

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 Abandoned Dancehall Dreams by BOWNESS, TIM album cover Studio Album, 2014
3.69 | 59 ratings

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Abandoned Dancehall Dreams
Tim Bowness Crossover Prog

Review by DrömmarenAdrian

2 stars One more record where the thing I appreciate most is the cover, unfortunately. The picture is very old-style and should fit a seventies LP-record fine, the dance couple seems aslo to be taken from an old movie or something. "Abandoned Dancehall Dreams" is a studio album by the american artist "Tim Bowness", it's his fifth work and on this record he plays guitar, keyboard but mostly sings.

The music does really feel abandoned, often it is like a sad voice in an empty roam. All the songs are very sad and pessimistic. I could have accepted that if the music contained more than it did. Sometimes I like what I hear on this record "Smiler at 50" is the record's best song with beautiful strings and great instrumentation and the vocals work fine too(6/10). "The Warm- up man forever" with great drums and guitar solo(6/10), "Dancing for you" with great guitar and synth(6/10) as well as "I fought against the south", which has great instrumental parts (6/10) are pieces I don't regret I listened to. But as a whole record it just makes me sad and melancholic.

I don't recognize things in this music, it's like the musicians aren't talking my language. The rest of the songs are hard for me to endure. "Abandoned dancehall dreams" has good points but I don't see the reason for me to hear them. Two stars!

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 Paradise Filter by CARAVAN album cover Studio Album, 2013
2.97 | 44 ratings

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Paradise Filter
Caravan Canterbury Scene

Review by FXM

4 stars This is Caravan's thirteenth studio album and is released ten years after their last one "The Unauthorised Breakfast Item". I find it hard to believe that it is ten years since that was released and it is something I still listen to quite regularly.

"The Unauthorised Breakfast Item" represented a return to form after some mediocre releases. So I was eagerly awaiting the release of "Paradise Filter". While it may not be as excellent as the previous album it is still very good and is an album that can stand proud amongst their discography.

It starts well with an uptempo track "All This Could be Yours" displaying some nice guitar riffs. There are a few of those quirky humourous songs such as "Trust Me I'm a Doctor"so typically of Caravan throughout their career.

Highlights on the album include I'll Be There for You" which features a banjo played by Geoffrey Richardson who manages to make the instrument sound good. "This Is What We Are" is another good one. The final track is the title track and is a nice soothing piece of music initially but livens up half way in with some fine guitar work followed by nice flute before it returns to the earlier mood. Another highlight is "Farewell My Old Friend" which is a fitting tribute to their former drummer Richard Coughlan who passed away last year

On their past albums there were often one or two tracks that I found annoying but not in this case. Overall it is a mellow album with fine musicianship, reflecting the maturity of the band members. Its a recording to chill out to, maybe on a summer's evening watching the sunset with a glass of fine vintage wine.

A definite 4 star recording!!!

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 Electric Silence by DZYAN album cover Studio Album, 1975
4.03 | 154 ratings

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Electric Silence
Dzyan Krautrock

Review by friso
Prog Reviewer

5 stars Dzyan - Electric Silence (1975)

The search for obscure progressive records is the search for magic, but as you listen to an obscure record the magic usually fades - it was made by people with instruments, like every other record. This record 'Electric Silence' is however an obscurity that sounds so mysterious and non-human that the feeling of magic doesn't fade that much.

No vocals, just multi-ethnic jams by brilliant musicians with an other-wordly ethos, if the avant- prog moments would not have been present it would have been spiritiual. The musicianship is plain brilliant and all three musicians play multiple instruments. The recording is good - not perfect - but the amosphere is great; delicate, mysterious and spacious. I like the fact that the record can not be understood, it can only be listened to in amazement.

Conclusion. Brilliant other-worldly music. Recommended to fans of krautrock, spacerock, jazzrock, avantprog and prog with world-music influences.

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 Camembert Electrique by GONG album cover Studio Album, 1971
3.71 | 247 ratings

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Camembert Electrique
Gong Canterbury Scene

Review by friso
Prog Reviewer

4 stars Gong - Camembert Electrique (1971)

I've been a longtime listener of the Radio Gnome Trilogy (RGT), but finding this record on a vinyl is a different game. I was excited at first listen and what suprised me is the fact that 'Camembert Electrique' sounds very professional and well recorded - perhaps even better then the first two installments of the RGT. Of these four records that share the same style and ethos I think this one is most intense & bizarre, almost like avant-prog sometimes.

The album has some clear Canterbury/Zappa influences, but Daevid Allen' craziness has its own flavour. The lyrics already hint towards the themes of the RGT on some tracks, on other tracks it just plain silly in a hippiej fashion like on 'I've been stone before'. The musicianship is quite frantic on some tracks 'You can't kill me' & 'Dynamite', on other tracks the vibes are more relaxing. The second side is overall a bit more attractive for the progressive rock listener, whilst the first side is more psychedelic and acadic.

Conclusion. Very good record, though I'd prefer the less frantic approach of 'Flying Teapot'. For fans of Gong this is not to be skipped, fans of Canterbury and psychedelic/space rock might also want to give this a spin. Four stars!

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100 MOST PROLIFIC REVIEWERS

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  4. Warthur (2187)
  5. apps79 (2179)
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    Pain Of Salvation
  63. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  64. Rubycon
    Tangerine Dream
  65. Spectrum
    Billy Cobham
  66. Radio Gnome Invisible Vol. 3 - You
    Gong
  67. Misplaced Childhood
    Marillion
  68. Blackwater Park
    Opeth
  69. Arbeit Macht Frei
    Area
  70. Mëkanīk Dëstruktīẁ Kömmandöh
    Magma
  71. Space Shanty
    Khan
  72. Emerson Lake & Palmer
    Emerson Lake & Palmer
  73. Felona E Sorona
    Le Orme
  74. Viljans Öga
    Änglagård
  75. Elegant Gypsy
    Al Di Meola
  76. Fear Of A Blank Planet
    Porcupine Tree
  77. Ghost Reveries
    Opeth
  78. In Absentia
    Porcupine Tree
  79. Acquiring the Taste
    Gentle Giant
  80. Doomsday Afternoon
    Phideaux
  81. K.A
    Magma
  82. L'isola di niente
    Premiata Forneria Marconi (PFM)
  83. Lateralus
    Tool
  84. Hamburger Concerto
    Focus
  85. Script For A Jester's Tear
    Marillion
  86. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  87. Ocean
    Eloy
  88. To Shatter All Accord
    Discipline
  89. De-Loused In The Comatorium
    The Mars Volta
  90. Operation: Mindcrime
    Queensr˙che
  91. Anno Domini High Definition
    Riverside
  92. Memento Z Banalnym Tryptykiem
    SBB
  93. Voyage Of The Acolyte
    Steve Hackett
  94. Remedy Lane
    Pain Of Salvation
  95. Time Control
    Hiromi Uehara
  96. Leftoverture
    Kansas
  97. Grace for Drowning
    Steven Wilson
  98. Unfolded Like Staircase
    Discipline
  99. Caravanserai
    Santana
  100. ~
    iamthemorning

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

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