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 Lynch by MASCHERE DI CLARA, LE album cover Singles/EPs/Fan Club/Promo, 2015
3.00 | 1 ratings

Le Maschere Di Clara RIO/Avant-Prog

Review by Finnforest
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars Intense new EP

"Lynch" is the short but wild new EP from Verona's acclaimed Le Maschere di Clara, released in October of 2015.

LMdC aims to mold classical with rock in an attempt to "vent" feelings while maintaining the highest ideals of expression, improvisation, and artistry. Like many great RPI bands past and present they easily reach this threshold. And while "venting" may not have been the best translation or the word they would have chosen it seems to apply just fine to this recording.

This short work is a burst, a Molotov cocktail, intense as hell. Beginning with "Freak" the distorted bass is so massive and the drums so nuts it almost feels like some garage doom metal band's wall of sound, save for the theatrics of violin all over the top. "Istanbul" begins every bit as manic before a short breather, but it doesn't last. The pace quickly reverts back to intense through the middle section of the EP. The 10-minute long closer "Solar" becomes the show piece here. Beginning with a huge infectious groove and some Italian spoken word, the tension slowly builds with some looping effects that brings a sense of unease, disjointedness to the listener. Toward the end when the track is in full maelstrom there are these calming, uplifting notes but only at intervals. These bring the slightest bit of calming effect to the craziness, a bit of a post-rock hug after having your ass kicked.

I was disappointed though that the EP is already over following "Solar" and I guess that's why it doesn't do better than 3 star "good but not essential" for me. I wanted this one to be twice as long and see where it all led. I wanted much more. This is stimulating listening at its finest and will please all adventurous RPI fans, but it may leave you hanging and feeling somewhat unfulfilled. I would have held onto these cool songs a bit longer for an album.


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 E Fu IL Sesto Giorno  by METAMORFOSI album cover Studio Album, 1972
2.95 | 44 ratings

E Fu IL Sesto Giorno
Metamorfosi Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars Back in 1972 the Italian prog rock scene was in full swing and the nation set itself apart from many other European by taking the most interest in the exploding prog rock style and also was one of the few nations that utilized their own language for lyrics. In addition to the bigwigs of PFM, Bnaco, Area and the Celeste type acts out there, there were a gazillion smaller acts that blossomed into an equal amount of directions making the Italian prog rock scene one of the most fruitful and diverse in Europe with countless bands forming, recording an album or two and then disappearing into obscurity.

METAMORFOSI was one of those lesser known bands that came from Rome and managed to pump out two releases before they would take a hiatus until their 2004 comeback "Paradiso" Better known for their second release "Inferno," their debut release E FU IL SESTO GIORNO (And It Was The Sixth Day) came out in the height of the RPI craze. The band formed way back in 1969 and was originally part of the late 60s beatnik scene before heading into the realms of progressive rock and on this debut album can be heard some of the remnants of their pop years which in all honesty makes this album a little tame in comparison to the other bands of the period.

What begins sounding like one of the Andean folk bands with those unique sounding flutes and even the style i was beginning to think that someone slipped a Los Jaivas album in my METAMORFOSI digipak, but lo and behold the lyrics come out Italian and it starts sounding like the pastoral symphonic prog the Italians were pumping out at breakneck speed in '72. Many of the bands prog elements are in play here. This is first and foremost a classically keyboard album focusing on the playing of Enrico Olivieri who delivers nice hooks and pleasing melodies accompanied by the operatic vocal approach of Jimmy Spitaleri. One of the things that separates METAMORFOSI from other bands is that the guitar parts were kept to a minimum and when the very few solos occur they are usually accompanied by the flute.

For an RPI album of 1972 this is pretty weak. At this point the band hadn't stepped too far beyond the 60s and the songs are very boring compared to the explosion of creativity all around them. What we get is simple song structures that never really develop into much of interest. The melodies are pretty straight forward and there are literally no surprises like on "Inferno." This one plays it way too safe and suffers from a serious lack of imagination. After coming to this one after "Inferno" i was way underwhelmed. While nothing on here is bad by any means, nothing is memorable either. This is Italian pop rock that has a just a bit of prog lite that leaves me unsatisfied. Luckily they would step it up big time for their followup.


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 Snegs by SOM NOSSO DE CADA DIA album cover Studio Album, 1974
3.82 | 46 ratings

Som Nosso de Cada Dia Eclectic Prog

Review by Atavachron
Special Collaborator Honorary Collaborator

3 stars As talented as this three-piece was and with as many good moments as there are on this first one, SNdCD kinda just sat there; at least compared to what else was happening in popular music during the early '70s. In rock as much as with any creative medium, maybe more so, at some point you have to grab people by the throat. Hopefully sooner rather than later.

In all seriousness there are quite a few killer bits here and maybe these old ears have just heard way too much vintage stuff to make an objective judgement on the Brazilian trio. But it is rock; you gotta give us something that's .. well .. spectacular. There was just too much else going on in music not to. The croons of Pedrão support slow but well-chorused 'Sinal da Paranoia' which has a neat synth wormhole ribboned through the center and features Manito's drunken fiddle, but 'Bicho do Mato' is a blues-rock shuffle that doesn't quite work unless you're playing Jabba the Hutt's palace. The very nicely counterpointed namesake cut is a keeper, has excellent chord progressions and fine keyboard leads, and six-minute 'Massavilha' steals the thunder with its Emersonian leanings. Spaced-out 'Direccion de Aquarius' is what may be a bad Beatles impression circa Abbey Road, hard to say, but luckily 'A Outra Face' saves us from taking a nice nap and is a mostly well-conceived funk/rock fusion bit with big funereal 'O Guarani' to finish.

A take-it-or-leave-it record, and with the incredible other music that was being issued in their time, this debut simply didn't rise to the challenge. Neither very good nor very bad, most assuredly.


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 Love Makes Sweet Music by SOFT MACHINE, THE album cover Singles/EPs/Fan Club/Promo, 1968
3.08 | 6 ratings

Love Makes Sweet Music
The Soft Machine Canterbury Scene

Review by Warthur
Prog Reviewer

3 stars With an A-side that is reminiscent of the sunny mid-1960s British Invasion pop that has only tastes of the tripped-out psychedelic Canterbury experiences to come, and B-sides that combine that approach with darker verses reminiscent of a prelude to Song From the Bottom of a Well from Kevin Ayers' third solo album, this first single from the Soft Machine - recorded even before the demo sessions which were later released as Jet Propelled Photographs - represents a very embryonic point indeed of the band's development.

Though Daevid Allen was in the lineup at this point, his presence is barely felt, whilst the jazzy influences that would inform their subsequent work are almost entirely absent - unless you count the freakier portions of Feelin' Reelin' Squealin' as free jazz. Interesting stuff, but not something to break the bank tracking down; perhaps the best way to find this is to pick up Polydor's 2009 CD remaster of the first Soft Machine album (which benefits greatly from superior sound quality to previous CD reissues that album to boot).


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 Behind the Gardens - Behind the Wall - Under the Tree ... by VOLLENWEIDER, ANDREAS album cover Studio Album, 1981
3.22 | 17 ratings

Behind the Gardens - Behind the Wall - Under the Tree ...
Andreas Vollenweider Crossover Prog

Review by AEProgman

3 stars A magical mystical journey!

I was amazed to see Andreas Vollenweider here on Progarchive. For those not familiar with him, he plays a "modified" harp which has a very cool haunting type of sound. Sort of a mild flanging or chorus, sliding effect. Like most of his albums that I am familiar with, there are other instruments blended in, such as synths, percussions, drums, guitars, sax, and vocals used as another instrument (which Andreas plays most of those himself). All done very tastefully to enhance the ride.

The compositions, on this and other albums, really do give you the feel of taking a mystical journey through some peaceful, but exciting fantasy land. Like adventuring through a Roger Dean album cover or painting. The tempo ranges from peaceful to mild prog to almost classical and jazzy tendencies.

I had discovered Vollenweider back in the late 80s on his Down to the Moon album, which I like more than this album. I wound up getting all of his albums from the 80s which I would recommend to anyone looking to explore his music. White Winds is another excellent album. With the album Dancing With the Lion, he began to explore some new directions in his music but is still excellent.

I have not listened to Andreas since the early 90s as the old media I had of his albums is long gone. Rediscovered this album by rumaging through a thrift store/flea market (a new favorite habit) and found this and it brought back some fond memories. I give this album a 3.5 star rating but will round down to 3. I almost was tempted to deduct the rating more due to this goofy album cover, just kidding!


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 The Envisage Conundrum by GODSTICKS album cover Studio Album, 2013
3.60 | 17 ratings

The Envisage Conundrum
Godsticks Crossover Prog

Review by Mellotron Storm
Prog Reviewer

3 stars I remember when GODSTICKS were added to the site here and the buzz around that. I did pick up their debut album at the time which I thought was a good 3 star album. This is their second release and there's not a lot to pick between the two hence my 3 star rating here. In a way this recording feels like it's in no-man's land as it's not heavy despite the hints of it, neither is it too mellow, it's somewhere in between. By the way the band feel that their latest "Emergence" released in 2015 is finally the album where they found their sound. And it's heavy! I like the Alternative vibe on here which comes mostly from the vocals.

"Convergence" is the short intro track that is quite spacey. "Caught In A Bind" is a top three track for me and I like the heaviness early on with the crunchy guitar. It settles back as the vocals join in. Nice bass and drum work here. It becomes fuller with backing vocals until we get this short but enjoyable instrumental section then the vocals return. "The Envisage Conundrum" has this heavy, rumbling soundscape as the guitar plays over top. Vocals join in. A top three tune. "In A Way That Ended Me" has this piano intro before it turns fuller. I like the soaring guitar as well as how understated this song is. Vocals do arrive as well. "Benchmark" is another restrained vocal track and I enjoy the intricate instrumental work. "Submerged" has some energy to it as the vocals join in, but it settles into a mid-paced vocal track.

"A Brief Foray" is another mid-paced vocal track but perhaps more laid back than the earlier ones. "Disclosure" is a nervy attempt by the band in my opinion as we get piano melodies throughout. By the way they got rid of the keyboards on their next album. "Borderstomp Pt.1" has a heavy intro to it that I like as the vocals join in in this Alternative sounding piece. "Borderstomp Pt.2" has this restrained heaviness that I like with vocals. Nice guitar solo after 3 1/2 minutes and before 5 1/2 minutes. "Borderstomp Pt.3" is my final top three song and it's because of the heaviness, love the riffs. Soaring guitar after 4 1/2 minutes when the vocals have stopped. The guitar goes on and on, so good! "Raised Concerns" opens with acoustic guitar as the reserved vocals join in. It's a little fuller after 1 1/2 minutes. Then we get a nice piano interlude before 3 minutes and vocals are back a minute later. Some violin late.

Another good one from this band but they really did find their sound with the latest "Emergence".


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 Ultreia (Canzoni Sulla Via - Atto 1) by RANDONE album cover Studio Album, 2014
4.01 | 27 ratings

Ultreia (Canzoni Sulla Via - Atto 1)
Randone Rock Progressivo Italiano

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Italian project RANDONE is the creative vehicle of composer and musician Nicola Randone, and first appeared on the scene in 2002 with the album "Morte Di Un Amore". Since then Randone has been a stable and active creator of music, with one collection, a DVD and 6 studio albums released under this moniker to date. "Ultreia (Canzoni Sulla Via ? Atto 1)" is the most recent of the latter, and was released through Italian label Electromantic Music in 2014.

When dealing with Italian artists exploring progressive rock, you are bound to encounter the expression RPI at some point. This three letter expression is short for Rock Progressivo Italiano, and signifies that for at least some people, there is a marked difference between at least some progressive rock made in Italy and progressive rock made in other parts of the world. There has been calls for similar subsections in some progressive rock environments of course, but so far Italy stands alone as a nation in being given their very own subgenre in progressive rock, and one that only applies to some rather than all artists originating from that nation at that.

Those who are in favor of this specific description, and that has an understanding about what it signifies to them, should treasure this album by Randone, as it does fulfill most if not all of the criterias I have been quoted will make an artist or an album to be placed under this niche umbrella. Stylistic variety, clear and distinct references to vintage progressive rock and, most important of all, the use of the Italian language for the lead vocals.

This is an album that orients itself firmly towards keyboard driven progressive rock, where both the organ and the Mellotron are used liberally throughout, with splendid support from what mainly sounds like other vintage keyboards. Occasional jazz-oriented instrument details have their place here, and an even more frequent detail added to the proceedings are folk music, both by way of instrument details and vocals, but also with some key arrangements having a more firm folk-oriented direction. That there's space and room for dramatic, operatic type lead vocals here isn't all that surprising, and that occasional orchestral touches are added in is also a good and somewhat expected but still effective detail of note. That some beefy and occasional fiery electric guitar details are used liberally as well, up to and including some guitar solo runs with more of a shred style touch, is perhaps a bit more unexpected I guess. The use of what sounds like electronic instrument details, at times in a rather dominating manner, may be another detail that isn't as common on productions of this kind, but by and large they work well in this setting.

What may be a bit more detrimental, at least for those not fluent in the Italian language, is the cinematic nature of this album. A feature increasingly more dominant are interludes of spoken voices, in form coming across as sampled dialogue of the kind you'll find in movies where ordinary people are talking to themselves, to others or with others, with appropriate daily life sound effects. Not just at the start and end of songs, but also as interludes within the songs. I get a strong cinema movie feeling at times with this album, and as this is the first of what presumably is a series of albums, there is a concept explored here and a story being told that will remain hidden for those not fairly well versed in Italian I guess. Presumably this perhaps not so slight detail will be a strong positive for any Italian progressive rock fans, but as I am not fluent in that language myself I just have no way of knowing how well this is executed.

All in all I find "Ultreia (Canzoni Sulla Via ? Atto 1)" to be a well made and versatile production, in substance and style adhering fairly closely to my understanding of the elements needed for residing inside the progressive rock subgenre RPI. Besides those who have a specific interest in this subset of progressive rock, I would guess that symphonic progressive rock fans with a fairly versatile and liberal taste in music of that orientation might want to have a go at this one.


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 Komara by KOMARA album cover Studio Album, 2015
4.81 | 8 ratings

Komara Eclectic Prog

Review by olaras

5 stars KoMaRa is Slovakian experimental guitarist and composer David Kollar new trio project with an acoustic and electronic percussions magican Pat Mastelotto and Paolo Raineri on trumpet. It sounds very fresh and exciting. Without doubts this realease is one of the best from 2015. Only 6 ratings and one review so far on PA site is probably the only reason why I can not see this record in the top ten of 2015. Music brings to mind some King Crimson or Fripp works mixed with Nils Petter Molvaer soundscapes and experimental-post metal moments. There are also some similarities to Tony Levin's World Diary or even more some Stick Man pieces especially in bass lines with tint of Miles Davis trumpet excesses or, in some parts also with Trevor Dunn's Trio Convulsant prog-hardcore-jazz experiments. This was my associations after the first three hearings, however this stuff is darker and denser, somewhat industrial-like and full of heavy moments interrupted by more melancholic and gently pulsing fragments. My favourite track is "Afterbirth" with one minute of silence at the end. Some associations around band name: "komar" means "mosquito" in Polish. We can say as linguistic joke: "komara" for female mosquito but correct form of this noun in Polish is "komarzyca" :-) Back to topic - four and a half star rounded to five. Highly recommended!


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 Different Sun by ELECTRIC EYE album cover Studio Album, 2016
4.00 | 2 ratings

Different Sun
Electric Eye Psychedelic/Space Rock

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Norwegian band ELECTRIC EYE is a fairly new group, and from what I understand they are something of a local super-group consisting of fairly well known musicians all living in or near the town of Bergen. Their debut album was released back in 2013. With "Different Sun" they are ready with the mythically dreaded second album, which was released through Norwegian label Jansen Plateproduksjon at the start of 2016.

I stumbled upon this album by chance myself, when following up on something of a vanity project I have: To list all new albums sorted under the progressive rock tag which is available to by from digital vendor emusic. Not an important task at all of course, but it is interesting for me personally to see the sheer number of albums that in some way or other is marketed directly or indirectly to this niche audience. This new album by Electric Eye was among the recent additions to that list, and after giving it a brief run on Spotify I decided that I needed to get this one. And while emusic couldn't supply me, due to region restrictions, Google music could satisfy my need for instant gratification quite nicely.

As I do spend a fair deal of my spare time reviewing music, I figured I might as well have a go with this one as well, as my curiosity rather demanded that I had a full run through this album. And I have to admit that I am rather impressed by what this foursome have accomplished here. As with many other bands active today this isn't a band out to rewrite the rules of music as we know it, that should be crystal clear, but those who tend to be fascinated by psychedelic and progressive rock might want to take note.

My main impressions are that this is a band very much in love with the psychedelic music of the late 1960's and early to mid 1970's. And then spanning the whole canvas of music described in a psychedelic context from this era, albeit perhaps with a stronger orientation towards the rock based rather than pop based artists in general, and with something of an affection also for music of a more challenging nature in those landscapes. Not that this is an album I'd describe as challenging as such mind you, but there are numerous small details here that indicates that at least some of the guys in this band know their way around music that focus much more on chaotic and freaked out arrangements than those revolving more closely around distinct melodies and harmonic constructions.

So we have a song like Never Fade Away, a piece with a certain degree of hit potential to my ears, but with a sound that makes me feel like describing it as a bastard child of The Doors and late 70's Eloy. The more atmospheric laden concluding track Part One is a creation that would have been a good match for many late 70's Eloy albums as well, although I kind of presume that certain similarities in sound and style in this as well as the former case is more of an accidental thing. The bassist in Electric Eye would probably have a fun time listening to some mid to late 70's Eloy albums though, at least if my ears and my memory makes the right connections when writing this.

Elsewhere the band treats us to their amalgam of 60's and 70's material, some with more of a garage rock feel to them, other with a more clear orientation towards the cosmic aligned and space oriented bands from the 70's, with at times a liberal use of repetitive elements of the kind that was a staple in many krautock bands. Cosmic sounds and effects are at times used extensively too, and here and there there are even some subtle Hawkwind vibes creeping in amidst the more floating and elegant material with arguably more of a Pink Floyd touch to them, if not in sound and expression then at least in approach and spirit. But disharmonious and freaked out instrument effects have their fair and natural place too, adding a subtle touch of psychedelic freakout to the table. That effects of this kind can be included in a subtle manner is, at least for me, rather impressive.

All in all a strong production, and an album that appears to live and breathe tendencies from the heyday of psychedelic and cosmic rock in terms of songwriting, performance, instrumentation and production. If you have an affection for this kind of music in general, and a special soft spot for artists unafraid to explore it in a comparable manner to the ones active in the golden years of psychedelic rock, this is an album that merits an inspection.


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 Nuevo Mesias by FLOR DE LOTO album cover Studio Album, 2014
3.82 | 18 ratings

Nuevo Mesias
Flor de Loto Prog Folk

Review by poito

3 stars Short and easy. Here the band finally did a move. The sound is different, less folk flavor, rock almost gone, slower pace, some keys going to the front, it is definitely for a different audience, I would say the band has grown old, and a bit lazier, they took a mainstream detour if you like. Again, you won't find much new, the music is still well crafted, but there is a general feeling of deja vue, not in the band's production, but from out there. Contrary to the balance of its predecessor IMPERIO DE CRISTAL, there are some fillings here, but there are also some highs, check Creados del Fuego. These good themes are a bit better than before, but there is no homogeneity in the creative work and, well, skipping themes while listening is not good. Three and half rounded down.


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    Gentle Giant
  24. Darwin!
    Banco Del Mutuo Soccorso
  25. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  26. Si On Avait Besoin D'Une Cinquième Saison
  27. A Farewell To Kings
  28. Kind Of Blue
    Miles Davis
  29. Aqualung
    Jethro Tull
  30. Birds Of Fire
    Mahavishnu Orchestra
  31. Crime Of The Century
  32. The Silent Corner And The Empty Stage
    Peter Hammill
  33. Still Life
  34. Hot Rats
    Frank Zappa
  35. Meddle
    Pink Floyd
  36. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  37. Ommadawn
    Mike Oldfield
  38. Depois Do Fim
  39. H To He, Who Am The Only One
    Van Der Graaf Generator
  40. Hand. Cannot. Erase.
    Steven Wilson
  41. Images And Words
    Dream Theater
  42. The Lamb Lies Down On Broadway
  43. The Yes Album
  44. Permanent Waves
  45. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  46. One Size Fits All
    Frank Zappa
  47. The Grand Wazoo
    Frank Zappa
  48. In a Silent Way
    Miles Davis
  49. Scheherazade And Other Stories
  50. The Snow Goose
  51. Still Life
    Van Der Graaf Generator
  52. The Power And The Glory
    Gentle Giant
  53. Mëkanïk Dëstruktïẁ Kömmandöh
  54. The Road Of Bones
  55. Octopus
    Gentle Giant
  56. A Trick of the Tail
  57. Free Hand
    Gentle Giant
  58. Rock Bottom
    Robert Wyatt
  59. In The Land Of Grey And Pink
  60. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  61. Second Life Syndrome
  62. Zarathustra
    Museo Rosenbach
  63. Blackwater Park
  64. Arbeit Macht Frei
  65. Spectrum
    Billy Cobham
  66. In Absentia
    Porcupine Tree
  67. Ghost Reveries
  68. Misplaced Childhood
  69. Viljans Öga
  70. Emerson Lake & Palmer
    Emerson Lake & Palmer
  71. Fear Of A Blank Planet
    Porcupine Tree
  72. Hatfield And The North
    Hatfield And The North
  73. L'isola di niente
    Premiata Forneria Marconi (PFM)
  74. Time Control
    Hiromi Uehara
  75. The Inner Mounting Flame
    Mahavishnu Orchestra
  76. Acquiring the Taste
    Gentle Giant
  77. Hamburger Concerto
  78. Space Shanty
  79. K.A
  80. Pale Communion
  81. Rubycon
    Tangerine Dream
  82. Radio Gnome Invisible Vol. 3 - You
  83. The Perfect Element Part 1
    Pain Of Salvation
  84. Remedy Lane
    Pain Of Salvation
  85. Script For A Jester's Tear
  86. Felona E Sorona
    Le Orme
  87. Doomsday Afternoon
  88. Lateralus
  89. Elegant Gypsy
    Al Di Meola
  90. If I Could Do It All Over Again, I'd Do It All Over You
  91. Uzed
    Univers Zero
  92. Anabelas
  93. Part the Second
    Maudlin Of The Well
  94. Caravanserai
  95. Voyage Of The Acolyte
    Steve Hackett
  96. Choirs Of The Eye
    Kayo Dot
  97. Bitches Brew
    Miles Davis
  98. Memento Z Banalnym Tryptykiem
  99. Symbolic
  100. Uomo di pezza
    Le Orme

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


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