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 Maašet by TENHI album cover Studio Album, 2006
4.05 | 29 ratings

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Maašet
Tenhi Prog Folk

Review by Warthur
Prog Reviewer

5 stars Tenhi play a dark, progressive style of folk music which draws much influence from Ulver's Kveldssanger and, secondarily, from the spooky textures (but thankfully not the sometimes-dodgy politics) of neofolk acts like Death In June or Sol Invictus. Maašet is an absolutely gorgeous example of the form, with crystal-perfect production bringing out the best in their rich, gothic folk concoction. With a deep, cavernous sound and equally deep and sonorous vocals, the band create a real sense of space, like there is a whole lightless universe contained within the depths of their music. If you want to make a strong case for "dark folk" as its own distinct subgenre, Maašet bolsters that argument nicely.

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 Speak No Evil by SHORTER, WAYNE album cover Studio Album, 1965
4.37 | 27 ratings

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Speak No Evil
Wayne Shorter Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars An upbeat post-bop album with Shorter backed by a fine range of sidemen, including Herbie Hancock. The sessions for this album took place on Christmas Eve, 1964, which seems to have put the participants in a positive and happy mood, because the album is decidedly uplifting in flavour. The combination of the album title and the cover shot of Wayne and his first wife Teruko Nakagami - the duo having split up prior to the album sessions - suggests some sort of resentful hidden message here, but thankfully that doesn't come out in the playing and perhaps when Wayne called it "Speak No Evil" he meant it, celebrating the happy memories rather than lingering on the bad.

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 Victor by RIGONI & SCHOENHERZ album cover Studio Album, 1975
3.30 | 10 ratings

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Victor
Rigoni & Schoenherz Crossover Prog

Review by branchranch

2 stars This is a most unusual recording. It seems to be a collaboration between a rock musician and a orchestral composer. Originally a 2-LP set of four side long tracks telling the story of Victor, and his relationship with his father as he grows up in a low-rent traveling circus. He yearns to leave the circus and live his own life, which he eventually does.

The lyrics are surprisingly intelligent and well-composed, particularly the time in the circus. (The latter end of the story becomes rather unfocused and rambling. I'm not sure what is going on in Victor's life. Is he traveling with Indians or hallucinating?)

The music, on the other hand, is an entirely different story.

The closest I can come to describing it is a poorly executed "Days of Future Passed".

It alternates between orchestral passages and rock songs. Unlike "Days of Future Passed", one seems to have no relationship to the other. Worse still, there are no memorable melodies or "hooks" that a listener can latch onto. It almost seems like the composers went their separate ways, then patched together their compositions at the end. The orchestral sections are executed quite well, although they could easily be spliced into the background soundtrack of a TV show. Very banal. The rock music is even worse. In the attempt to match the excellent lyrics, the composer has forgotten to include melody.

This could have been a superb recording. The lyrics are excellent, and the idea even better. But they should have borrowed more from "Days of Future Passed". Create a few nice melodic songs around the lyrics, and then have the orchestral parts echo and build upon the melody.

Disappointing x2, which is how many stars I will give this recording.

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 Sketches Of Spain by DAVIS, MILES album cover Studio Album, 1960
4.01 | 141 ratings

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Sketches Of Spain
Miles Davis Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

5 stars For their third collaboration, Miles Davis and Gil Evans teamed up to tackle the whole Third Stream business - then a big wave in jazz, much like jazz-rock fusion would become a big wave at the other end of the 1960s - and knock it out of the park. The inclusion of flamenco and saeta accents here and there ensures that the album keeps a little spice and voids descending into syrupy 1950s Hollywood-classical, and in addition a suitable amount of effort is made to ensure that the orchestra swings just as much as the jazz players do. The sound of the album will surprise listeners more used to Miles' modal jazz and post-bop offerings from around this period, but precisely because it stands out so much it becomes a real gem in Miles' extensive discography.

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 Ascenseur Pour l'…chafaud (Lift To The Scaffold) by DAVIS, MILES album cover Studio Album, 1958
3.18 | 26 ratings

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Ascenseur Pour l'…chafaud (Lift To The Scaffold)
Miles Davis Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars Film noir jazz at its best. This is much more stripped-down and sparse than you usually think of when it comes to Miles Davis' work, perhaps in part due to him working with a mostly French backing band instead of his usual suspects. Imagine Miles under a spotlight surrounded by pitch darkness playing mournful trumpet solos as something suitably noirish and/or Lynchian happens. Recent rereleases add a plethora of bonus tracks made up of unused and unreleased takes, which will be interesting to jazz historians but doesn't make for quite a good listening experience compared to the carefully chosen and nicely succinct original LP running order.

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 Sign of the Crow by CROSS, DAVID album cover Studio Album, 2016
4.09 | 9 ratings

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Sign of the Crow
David Cross Jazz Rock/Fusion

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

4 stars The best album King Crimson never made

Sign Of The Crow is the second release and the first studio album to be credited to David Cross Band (rather than just simply David Cross). The first time the full band moniker was used was for the excellent live album Alive In The Underworld released in 2008. The leader of the band is obviously David Cross himself, best known from his participation in King Crimson between 1972 and 1974. The rest of the band is made up of Paul Clark on guitars, Mick Paul on bass, Jinian Wilde on vocals, and Craig Blundell on drums, with Alex Hall contributing keyboards to some of the tracks. Cross himself also plays keyboards in addition to his main instrument the electric violin. Personally, I love the violin in a Rock context and appreciate bands who use it like Curved Air, UK, and FM.

Even though this new album comes a little over a decade after David Cross' previous Rock album, 2005's Closer Than Skin, there is nonetheless a natural continuation between that album and the present one. Both Closer Than Skin and Sign Of The Crow are excellent progressive Rock albums in the vein of King Crimson during Cross' time with that band only more melodic and less experimental - and, in my opinion, much better! The Jazz-Rock/Fusion categorisation Cross has received here is really only appropriate for his first solo album. Most of his albums are more fittingly categorised as Eclectic Prog.

Sign Of The Crow has a nice flow and variation. Highlights include the opener Starfall, the title track, and the folky The Pool, but the whole album is strong. It is quite incredible that someone who entered the music business such a long time ago is producing his best albums in recent years, but that is indeed what David Cross (born 1949) is doing. In my opinion, Sign Of The Crow is the best record David Cross has ever made!

Highly recommended together with Closer Than Skin and Alive In The Underworld. Now, I'm hoping that another live release (preferably a full length concert on DVD video) will follow featuring songs from the present album as well as some of the best songs from Cross' previous solo albums plus a wealth of King Crimson classics.

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 Ultra Violence World by AWAKE & GALLO album cover Studio Album, 2011
3.00 | 1 ratings

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Ultra Violence World
Awake & Gallo Krautrock

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

— First review of this album —
3 stars Not sure if they have made this creation under a subliminal perception against atomic bombs but via not only the monotonous sleeve reminding us of Hiroshima or Nagasaki (or corpses piled up like a mushroom cloud) but also their inorganic devastated sound horribleness, I as a Japanese, would get strongly impressed with their serious sense of crisis by this album, and simultaneously possess a massive hatred against such a dark, dangerous world situation. At first let me say their interpretation with sound variation be much appreciated. This impression via their synthesizer is incredibly terrific and hypersensitive enough to drive me crazy from the beginning of a horrible ambient opening.

Even slow, steady sound streaming like the second shot "First Dawn" cannot give me safe nor sound. Full anxiety is here ... what is happening around me currently and how we would get to be in future. Small bird's chirps would notify me of a vacant world under the grey sky. The following titled one is kinda killa. Quiet, dry-fruity electronic heaviness creates indolent sullen inner space. Leave myself into such a Fantasia and keep on depressing ... this track aka the masterpiece of this album is worth doing so. "The Little Man" might have walked around and around the burned-out ground I imagine, along with depressive downtempo sound delivery.

The last 4 songs reminding me of something like Magdalena Solis are not bad too. Especially the seventh "Cosmic Cry" is filled with pop, catchy melodic essence and cynical sound dissection (great) based upon tapping percussive rhythm, and this track can make me smile for a little little while. The epilogue "Forever" exactly is in the same vein of The Dark Side Of The Moon and pretty suitable to be called as the dark side of the world ... one of my faves indeed. Not comfortable but pretty provoking and understandable this whole world is, for the reason above mentioned. A decent creation, at least for me.

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 The Wilderness by EXPLOSIONS IN THE SKY album cover Studio Album, 2016
2.43 | 9 ratings

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The Wilderness
Explosions In The Sky Post Rock/Math rock

Review by Neu!mann
Prog Reviewer

2 stars The celebrated Austin quartet spent the previous half-decade doing movie scores, and on their first stand-alone album since 2011 the group appears stuck in that same, soundtrack mindset. In place of the expected "cathartic mini-symphonies" (their own words) the new album collects a random assortment of shorter instrumentals, each one attractive in its own modest way but together not adding up to an impressive sum.

Every track might have been a leftover doodle from an unrealized film commission, buffed to a spotless high-gloss sheen but hardly developed beyond the level of an impeccable demo. My apologies for using the lowest adjective in a Proghead's critical arsenal, but the dreaded m-word applies here: "The Wilderness" is a very mainstream album, tailor-made for wider commercial appeal with its less challenging, easier-on-the-ears Post Rock aesthetic.

There's nothing wrong with taking the low road, for a change of scenery. But the means to that end required the band to downplay all the uncanny magic that made their earlier albums so compelling. The title track is a good example, presenting a not unpleasant techno variation of the classic EitS sound, more effects-driven than usual but still evocative, up to a point. Previously the music would have risen gradually to a heavenly crescendo, instead of ending suddenly on an unresolved fadeout, well before the five-minute mark.

No album by artists this sensitive or intelligent is going to be a complete sell-out. But it's certainly the band's weakest offering since "The Rescue" (2005): a shallow wade into lukewarm waters from a group more accustomed to the raptures of the deep.

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 Paix by ALPES & CATHERINE RIBEIRO album cover Studio Album, 1972
4.14 | 34 ratings

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Paix
Alpes & Catherine Ribeiro Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

4 stars This sounds like a cross between Acid Folk and Psychedelic music, there's very much a hippyish vibe here especially on the first two tracks. The highlights though are the final two songs that clock in at over 15 1/2 minutes and 24 1/2 minutes respectively. Man Catherine is a beautiful woman, just a unique and gorgeous face while her voice is strong and deep.

"Roc Alpin" opens with guitar, bass and drums as vocal melodies come and go. An upbeat tune with keyboard-like sounds that come and go. This one's fairly straightforward and there's a 60' vibe with the vocals. "Jusqu'a Ce Que La Force De T'aimer Me Manque" opens with strummed guitar and vocals as the organ floats in. Keyboard-like sounds come and go too. Vocal melodies follow then back to vocals. The Psych/ Folk flavour to this one is strong. "Paix" has a sparse beginning with percussion-like sounds and atmosphere. The organ becomes more prominent then it's fuzzed out before 4 minutes. Nice! Catherine starts to speak before 6 minutes as the guitar melodies come and go while the bass, drums and organ continue. This is trippy yet her words seem serious. She starts to get more theatrical before 10 minutes and the music also turns more powerful. Love the fuzzed out organ that returns. Some almost avant sounding guitar around 11 1/2 minutes. Vocal melodies are back at 13 minutes. A psychedelic beauty right there, almost perfect and my favourite song on here.

"Un Jour... La Mort" is spacey with trippy guitar sounds to start. Vocal melodies and a change in sound after 4 minutes as bass and strummed guitar help out as well. Love the organ-like sounds after 5 minutes and also a minute after that. Vocals arrive just before 7 1/2 minutes and there's lots of depth instrumentally as she sings so beautifully. She starts to sing with more passion at 8 1/2 minutes. The vocals then stop as the music winds down until there's silence after 10 1/2 minutes. Then it kicks in with percussion, vocals, organ and more. Intense and determined is the sound here. Suddenly they seem to jam as the vocals stop. Organ and drums stand out here. The vocals are almost drugged-out sounding around 15 minutes, then she sings normally and man this all sounds so amazing. Silence before 18 1/2 minutes then solo picked guitar takes over. Strummed guitar and vocals follow. Bass and organ also join in. Some deranged vocal yells come and go over the last few minutes.

This is such an enjoyable album and it's often adventerous both vocally and instrumentally. A solid 4 stars and well worth tracking down.

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 Shamblemaths by SHAMBLEMATHS album cover Studio Album, 2016
4.53 | 7 ratings

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Shamblemaths
Shamblemaths Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. SHAMBLEMATHS is the project of Norwegian duo Simen Ellingsen and Eirik Husum plus we get about nine guests helping out. This is one of those albums that I really think has something for every Prog fan out there. This contains a lot of variety as well as excellent lyrics. We get three long suites spread out over the 56 minute length of this album. I like in the liner notes where the band thanks... "both our fans out there: we actually could have done all this without you. But thanks anyway." The vocals remind me a little bit of Roine Stolt. Yes humour and lights out playing are the bands strengths I'd say.

We start with the almost 27 minute suite "Conglomeration" which opens with piano that is promptly blown away by vocals and heaviness. Check out the avant guitar work here reminding me of GARDEN WALL. The vocals here are shockingly Zeuhl-like all the way, I mean this is Zeuhl before 2 minutes. So good. Ripping guitar follows then a sax solo. Normal vocals after 3 1/2 minutes with strummed guitar as organ and bass join in. VDGG-like sax is back as the vocals stop as we get a killer instrumental section. A PORCUPINE TREE-like calm after 7 minutes as reserved vocals join in. It turns powerful again after 8 1/2 minutes. A calm with piano only at 12 1/2 minutes then reserved vocals join in. I like when the organ floats in replacing the vocals. Vocals are back at 14 1/2 minutes. Intricate guitar with piano after 15 minutes. Great sound 16 1/2 minutes in with that mellotron. Check out the guitar after 18 minutes. Oh my! And the bass too, then back to that intricate guitar as piano follows. The organ floats in again followed by mellotron and vocals. Another change before 21 minutes as the vocals return and the tempo picks up. Killer bass with drums and mellotron before 23 1/2 minutes. It's heavy before 25 minutes but it's brief. More amazing mellotron follows. Laid back vocals, guitar and sax end it.

"A Failing Ember" is the shortest song at just under 10 minutes. Strummed guitar and relaxed vocals to start but it builds quickly. It's fairly uplifting before 2 minutes then it kicks into gear as the vocals continue. Organ to the fore 3 minutes in then we get a really good instrumental section. It's pretty intense before 5 minutes then we get a calm. A bit of a hillbilly vibe(haha) after 6 minutes. A baby can be heard before 7 1/2 minutes, mellotron too. It kicks in majestically a minute later with vocals.

"Stalker" opens with strummed guitar and vocal melodies which reminds of MORTE MACABRE. It picks up and it's quite uplifting here as vocals and piano follow. It kicks in even more before 4 minutes. Nice. Contrasts continue and I love the organ 6 1/2 minutes in and the guitar ripping it up after 7 minutes. So good! Sax follows then more guitar but it's soaring this time. How amazing does this sound 10 1/2 minutes in, especially the drumming. A calm follows reminding me of MORTE MACABRE once again. Sax and a more powerful sound after 13 1/2 minutes, nice bass too. Another great section 16 1/2 minutes in with lots of energy and outstanding playing.

Man I could bump this up to 5 stars after more listens, it's that good. Without question a contender for Album of the Year in my World.

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Collaborators Only

ratings only excluded in count
  1. Mellotron Storm (3896)
  2. Sean Trane (3159)
  3. ZowieZiggy (2929)
  4. apps79 (2629)
  5. Warthur (2346)
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  34. Chris S (753)
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  36. Rivertree (690)
  37. greenback (685)
  38. Neu!mann (673)
  39. progrules (666)
  40. Seyo (642)
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  43. lor68 (601)
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  45. Ivan_Melgar_M (555)
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  48. admireArt (491)
  49. friso (489)
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  53. Dobermensch (462)
  54. colorofmoney91 (459)
  55. DamoXt7942 (457)
  56. zravkapt (451)
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  60. ProgShine (421)
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  63. andrea (397)
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  65. TCat (377)
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    Santana
  96. Part The Second
    Maudlin Of The Well
  97. Hiromi's Sonicbloom: Time Control
    Hiromi Uehara
  98. Bitches Brew
    Miles Davis
  99. Memento Z Banalnym Tryptykiem
    SBB
  100. Leftoverture
    Kansas

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

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