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 That's When the Crying Starts by STRAWBS album cover Singles/EPs/Fan Club/Promo, 1987
2.00 | 1 ratings

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That's When the Crying Starts
Strawbs Prog Folk

Review by Matti
Prog Reviewer

— First review of this album —
2 stars After the mediocre -- well, pretty weak when compared to the classic albums just a few years before -- album Deadlines (1978), the British folk prog band Strawbs had their longest period of inactivity during which the frontman Dave Cousins did some solo stuff to almost deaf ears. To cite All Music Guide: "That might have been the end of the group's history, if it hadn't been for an invitation to play the 1983 Cambridge Folk Festival. The Strawbs responded, in the guise of Cousins, Hooper, Hudson, Ford, Weaver, and Willoughby, and the response was so favorable that a tour was scheduled, which in turn led to their return to America in the mid-'80s. The group followed this up with two new studio albums released in Canada." The first of those two albums was Don't Say Goodbye (1987). It was somewhat disappointing if one was expecting them to sound like in their prime time, but as a pop album of the mid-80's, it isn't bad at all. This single has two songs from it.

'That's When the Crying Starts' is a ballad about a breakup in a relationship. Musically it's more or less in the same field to me as some ballads that e.g. Dire Straits or Paul McCartney did at the era: well produced and suitably emotional but not too sentimental. Actually it's easily likeable for a Strawbs listener, if nothing more.

'We Can Make It Together' is a pop rock song with a faster tempo and a heavily repeated chorus. But there are also some soloing, nice arrangement details and a C part (is that a correct term?) to compensate the average songwriting. This might be a three star single on a pop site but let's stick to two stars here.

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 In The Wake Of Poseidon by KING CRIMSON album cover Studio Album, 1970
3.83 | 2089 ratings

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In The Wake Of Poseidon
King Crimson Eclectic Prog

Review by iluvmarillion

3 stars Disappointing follow up to ITCOTCK, unsurprising given the turmoil in the band with Ian McDonald, Michael Giles and Greg Lake leaving after the debut album and Lake/ Giles recalled to the recording sessions to add vocals/ drums, with Peter Giles adding the bass parts and Gorden Haskel providing vocals on Cadence and Cascade.

Picture Of a City is a fantastic jam and a pointer to the kind of music that Fripp will make with better musicians in David Cross, John Wetton, Bill Bruford and Jamie Muir in the trio of albums beginning with Larks' Tongues in Aspic. Epitaph from ITCOTCK is one of the most beautiful songs I've ever heard and while the song, In the Wake of the Poseidon, doesn't have the same memorable melody running through it, it nevertheless moves in a similar enchanting way. Sinclair's lyrics are sublime, of the Greek god, Poseidon reeking corruption and destruction on society. This is 8 minutes of wonderful music with Fripp's haunting Mellotron and acoustic guitar and Sinclair's beautiful words inspiring Greg Lake to some of his most emotional singing.

The rest of the album is forgettable. Cat Fish, which was turned into a single, is jazzy but too heavy for my liking. Cadence and Cascade is a nice little acoustic piece, but Gordon Haskell doesn't possess the vocal chords of Greg Lake. Devil's Triangle, an eleven minute piece, is neither epic or memorable, borrowing too much from Bolero. I doubt Robert Fripp would have been pleased with the result.

For the best King Crimson albums, we should skip this one and jump from the debut album to Lizard, which has a new set of musicians.

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 A Sceptic's Universe by SPIRAL ARCHITECT album cover Studio Album, 2000
3.69 | 141 ratings

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A Sceptic's Universe
Spiral Architect Tech/Extreme Prog Metal

Review by Todd M.

4 stars Spiral Architect stand alone at the peak of tech-metal's mountain. While many criticize this release for being just an excuse to show off the musician's chops, the truth is, in my eyes anyway, that the complexity creates it's own atmosphere. It's like the best science fiction that just challenges what one knows and understands and thrusts the imagination far beyond the typical. Not every band needs to be catchy and Spiral Architect certainly isn't. Haegland's vocal lines are damn near as angular as the avant-jazz-fusion architecture as the rest of the band. But I asked myself, if I were a singer and I got a tape with this music, how would I put vocals to it? The feel here is all quantuum mechanical mysticism. It reminds me of the roots of Jazz-Fusion. Which came first, the music? Or was it the galactic feel of Return to Forever, the Eastern mysticism of Mahavishnu Orchestra. Do the concepts drive the writing process, or do you try to find concepts that line up with the crazed musical output?

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 A Momentary Lapse of Reason by PINK FLOYD album cover Studio Album, 1987
3.06 | 1689 ratings

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A Momentary Lapse of Reason
Pink Floyd Psychedelic/Space Rock

Review by Hector Enrique

3 stars The will of the fans'among which I am included'to break off Floyd's saga dissolution after the release of The Final Cut was as eager as Roger Waters' determination to put an end to the group. It seemed everything was coming to an end due to the group's internal strife.

But David Gilmour and Nick Mason were not keen to simply please Waters, and after endless legal disputes, the first post-Waters Pink Floyd album was released: A Momentary Lapse of Reason.

The disc, crowded with invited musicians, was rather dull. Nevertheless, some good songs deserve to be plucked. On the Turning Away, for instance, is a beautiful and deep ballad; Yet Another Movie has a good instrumental development; Sorrow possesses an energetic and zealous guitar-opening; Signs of Life is, in a sort of way, a tribute to the group's earlier creations. But we have to stop counting: there is nothing worth anthologizing.

The really important matter was that Pink Floyd was back. All the fans eloquently expressed their gratitude: for 2 years, all the stadiums were full of people eager the hear A Momentary Lapse of Reason.

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 The Scream of Nature by LUNAR CLOCK album cover Studio Album, 2020
3.82 | 15 ratings

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The Scream of Nature
Lunar Clock Symphonic Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars This quartet has its homebase in the Netherlands and provides a very nice progressive art rock album with strong symphonic traces. Apart from the origin and the involved musicians there's yet, at this time, not much known about LUNAR CLOCK. However, the debut album 'The Scream Of Nature' reflects a very intensive engagement in the works of Edvard Munch, a Norwegian painter. Alongside with the album title the cover art shows a clear reference to his probably most famous work 'The Scream' from 1895. All the ten songs are inspired by different paintings. When it comes to the particular deeper sense ... they recently have started to describe their approach on the official facebook page.

Without exception all musicians are (inter)acting on a high level. Robin Boer serves fine lead vocals, the kick-off Frieze comes with great attitude definitely, while setting up an ambitious polyphonic presence. And moreover he rules while taking care of diversified keyboard stuff, oftenly symphonic tinged as noted beforehand. The second track Skrik aditionally adds a space ambient note, while the excellent A Winter Storm On Spring Blossom provides jazzy electric piano too, lively bass input and expressive guitar solo on top. And finally Part III of Metabolism puts another cherry on the cake.

Do not skip! Otherwise you might miss something. I would say there is not any centerpiece song given really. Many contemporary genre album are provided with an extended title track, where the respective crew is willing to give all blood and sweat at once. Each and every song comes relatively short here, but I'm sure the concept includes that you absolutely should listen to the entire album in one go. Respect! LUNAR CLOCK have recorded an essential addition to your progressive rock collection.

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 Live from New York by KINETIC ELEMENT album cover Live, 2020
3.18 | 2 ratings

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Live from New York
Kinetic Element Neo-Prog

Review by alainPP

3 stars KINETIC ELEMENT is a group made up of 5 members who must have listened a lot to the progressive dinosaurs such as YES, ELP and a little behind GENESIS but especially GENTLE GIANT; more recently it is especially DELUGE GRANDER, SPOCK'S BEARD or FLOWER KINGS that remind me of it. This live includes two tracks from their 2nd and 3rd CD, plus a new one. The titles are long, with drawers, a little messy because going quickly from rooster to donkey; the compositions are very beautiful but lack that little something that would bring them to the front of the major groups. A very good tribute group which composed beautiful music and which takes pleasure in playing it, a good group with a small defect in the voice too monotonous in my opinion to delight and keep the attendance of a sound debauchery. The 5 titles will take you to the sound of the 70's, updated yes, but without much creation because ultimately content to re-translate again and again the phonic sensations of a long time ago. A bit of a shame, some grandiose, symphonic passages mingling with others that are too linear and agreed.

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 The Third Policeman- Revitalized by TOXENARIS album cover Studio Album, 2020
3.00 | 1 ratings

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The Third Policeman- Revitalized
Toxenaris Jazz Rock/Fusion

Review by Steve Conrad

— First review of this album —
3 stars It Sucks to Be Dead

Especially When You're a Murderous Blighter

All right, all right. I confess I have NOT read Flann O'Brien's (actually Brian O'Nolan's) novel "The Third Policeman". But I HAVE read ABOUT it.

This album by TOXENARIS (actually Timo Aspelmeier) is a whimsical, cinematic adaptation of the novel.

Got it?!

And, if I'm reading ABOUT the novel correctly, the never-identified narrator turns out to be dead, and living in his version of hell due to being a murderous blighter.

HIS version of hell is filled with cops, bicycles, infinitely nested intricately carved chests, and pseudo-intellectual philosophizing- and the eternal stuff of the universe, 'omnium'.

So Let's Just Pause

A moment of respect for TOXENARIS AKA Mr. Aspelmeier for refusing to be content with simple, straightforward, decipherable points of reference or discussion or themes in his composition.

What a Lovely, Mysterious, Whimsical Adaptation it is

The album is entirely instrumental, although there is a muffled statement in the final track, "Happy Return". I couldn't make it out- maybe you can.

For me, the terrain is experimental, eclectic electronic progressive music laced with complexity, whimsy, textures, programmed drums, live cello and some guitars, live grand piano, and walls, rivers, and streams of synthesized music.

Contrapuntal Music

The complexity- and for me the challenge and fascination of the music- lies in its deceptive sophistication.

Often there is a meandering theme that develops, wanders, grows, builds, then devolves. Meanwhile beneath it lie offset bass and drum patterns, sometimes busy, sometimes pastoral, sometimes mysterious, rarely frenzied.

It Almost Becomes a Soundtrack

There are effects, like the hammering sounds in track 10, "The Codex and the Scaffold", or whooshing wind sounds, or chiming tones.

Listening as I did with headphones, it was easy to become immersed in the variations and moods and textures.

And to forget it's a version of hell, wherein a murderous blighter lands as his due destiny!

As I said- a challenge, and much respect.

In Conclusion

I found this a most enjoyable, lovely way to stretch my understanding of just desserts for dirty deeds. Yes, it sucks to be dead, so maybe give a thought to being a decent person?! 3.75/5

Originally posted on my blog: https://progressiverockfanatics.wordpress.com/2020/08/02/lovely-mysterious-whimsical-adaptation/

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 Supertramp by SUPERTRAMP album cover Studio Album, 1970
3.47 | 334 ratings

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Supertramp
Supertramp Crossover Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nš 361

Supertramp is a British progressive rock band formed in 1969 under the name of Daddy, before changing their name to Supertramp, in the early of 1970, inspired by a book of William Henry Davies, "The Autobiography Of A Super-Tramp". Sponsored by the Dutch millionaire Stanley August Miesegaes, vocalist and pianist Rick Davies put an ad in the Melody Maker looking for members for the band's line up, in 1969. Thus, Rick Davies saw join to him the vocalist and guitarist Roger Hodgson, the vocalist and guitarist Richard Palmer-James and the drummer and percussionist Robert Millar.

Thought their music was initially categorised as progressive rock, they have soon incorporated a combination of more traditional rock, art rock and pop into their music. The band's work is mainly marked by the great inventive song writing of Roger Hodgson and Rick Davies and the very distinctive and unique voice of Roger Hodgson. Supertramp soon would enjoy great critical and commercial success when they incorporated a more conventional musical approach with radio-friendly elements into their music, in the late of the 70's. Because of that, they became as one of the best known and most successful progressive bands, selling more than 60 million albums in the world, reaching their peak of commercial success with their sixth studio album "Breakfast In America", which has sold more than 20 million copies.

"Supertramp" is the debut eponymous studio album of Supertramp and was released in 1970. It was sometimes released under the name of "Now And Then". This is in general considered one of their albums that feature more progressive characteristics, in their entire musical career, having long instrumental passages and with an emphasis on the keyboards and guitars. "Supertramp" is also the only album of the band that includes the participation of Richard Palmer-James, as a band's member, who acts as a lyricist in addition to playing other musical instruments. Later he became the lyricist of King Crimson. Robert Millar also acts only on this album from the group, as a drummer, because he unfortunately suffered a mental breakdown and left the band shortly after the departure of Richard Palmer-James.

So, the line up on the album is Roger Hodgson (vocals, acoustic guitar, bass guitar, cello and flageolet), Rick Davies (vocals, organ, harmonica, piano and electric piano), Richard Palmer-James (vocals, acoustic guitar, electric guitar and balalaika) and Robert Millar (harmonica, drums and percussion).

"Supertramp" is quite a bit different than some of their later radio and AOR musical material. It's inundated with some instrumental meandering, with greater emphasis and attention granted to the keyboards and guitars than to the writing and to the overall effluence of the music. All music was written by Roger Hodgson and Rick Davies and all lyrics were written by Richard Palmer-James. The album is bookended by the two "Surely" musical pieces, which gives to it a kind of a conceptual air. Despite all the tracks are good, I really think that its the tenth track "Try Again" that deserves a very special mention. In the first place it's very rare to see a Supertramp's song with more than 10 minutes. In their entire musical career, only three songs have more than 10 minutes. Only "Brother Where You Bound" and "Fool's Overture" have that in common. In the second place "Try Again" represents the best musical moment on the album. It's basically a progressive ballad expanded to making of it a sort of a great epic track. It has really a great, moody and melancholic chorus based around some nice vocal harmonies specific of Roger Hodgson, and has an excellent screechy guitar solo, too. This is, in reality, a well made track but it also shows that the band needs some more time to develop their music. So, we can't expect of it the same quality level and the maturity of "Fool's Overture" or even of "Brother Where You Bound". But the rest of the tracks are all in general good. There are some attractive moments too, such as the mixture of ardour and subtlety that arises in "Words Unspoken", "Surely" and "Nothing To Show", there are some tasty emotional acoustic songs like "Home Again" and there are the decent rockers "It's A Long Road" and "Maybe I'm A Beggar". These songs are catchy with convincing riffs, good vocals, engaging lyrics and nice instrumental passages.

Conclusion: "Supertramp" represents a very different start from the band, so different that someone who doesn't know enough well the story of the beginning of the band doesn't recognize this album as a true album of Supertramp. It's very different from their next releases, because this is an album more in the vein of "Trespass" of Genesis or "The Aerosol Grey Machine" of Van Der Graaf Generator. "Supertramp" is strangely a very interesting and curious album, because and despite its simplicity and naivety, it's in general, an album much more progressive than some band's latter efforts. "Supertramp" is a good album, very well balanced and with a musical purity that no more could be present in any other album from them. Because of that, this is an album that reminds me, very often, "Trespass" of Genesis. Concluding, "Supertramp" is a very nice album for a debut album. Although it's far from being a great album because it has some weaknesses, but it's definitely better than some of the other studio albums made by them. 3,5 stars really.

Prog is my Ferrari. Jem Godfrey (Frost*)

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 Octopus by GENTLE GIANT album cover Studio Album, 1972
4.30 | 1954 ratings

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Octopus
Gentle Giant Eclectic Prog

Review by Prog12104

5 stars Octopus by Gentle Giant is an album from 1972. It is also a fantastic album. The album is comprised of 8 songs. Each song is at least good. Some of the songs are absolutely spectacular. The first song is called the Advent of Panurge. This song is a really good way to start off the album. This song is really complex and progressive, but not as complex or progressive as one of the songs later on in the album. This song is a good mix of progressive elements and medieval qualities. The next song is called Raconteur Troubadour. This song is also very good. This song is very medieval sounding, like the previous one. Raconteur Troubadour also has some great vocals to them. The vocals mix well with the music.

The next song is called A Cry for Everyone. This song is very complex and progressive. Gentle Giant also uses very odd time signatures in their music. They are in my opinion: one of the most complex bands out there. The next song is called Knots. This is the one of the best tracks of this album. This song is very complicated and not very easy to get into. Once you get into this track, you can see how unique of a band Gentle Giant are. The next song is the Boys in the Band. The Boys in the Band is another complex track, but not as complex as Knots. the Boys in the Band is another good song, but not as good as Knots.

The next song is called Dog Life. Dogs Life is also a really great track. It is an acoustic track. It definitely has a classical feel to it. The next track is Think of Me with Kindness. This is a really beautiful track, but is somewhat different from the rest of the album. It doesn't feel like any of the other tracks on this album. The next and final track is called River. River is a good way to end the album. River is an okay track.

Overall, this is a really great album that is essential to any prog fan out there. Every prog fan out there should listen to this at least listen to it once. It is one of the great progressive rock classics that came out in the 1970's. Definitely check it out. It is really great.the Overall rating is a 4/5.

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 A Night At The Theatre (by Dreamwalkers Inc.) by TDW / DREAMWALKERS INC. album cover Live, 2020
5.00 | 1 ratings

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A Night At The Theatre (by Dreamwalkers Inc.)
TDW / Dreamwalkers Inc. Heavy Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

— First review of this album —
5 stars Recorded in Alphen aan den Rijn on 31st August 2019, this is the first official live album from Dreamwalkers Inc. The project may have gone through a few name changes over the years, but it is no longer a studio project from Tom De Wit, as it is now a living and breathing beast so this is the first album not to have 'TDW' on the cover. Of course Tom is still very much at the helm as lead singer, but he is accompanied in that role by Radina Dimcheva, there are two guitarists in Lennert Kemper and Norbert Veenbrink, plus Peter den Bakker (bass), Vincent Reuling (keyboards), Kenneth Martens (drums) along with Cailyn Erlandsson who provides additional vocals on one song.

I smiled when I read the press release, as not only is there a quote from my great mate Jerry van Kooten, but there is also one from me where I am now shown as 'The Progressive Underground', whereas it always used to be PA, MLWZ, Rezonatz, House of Prog, Progressor, Amplified, Gonzo, or wherever else the review had actually appeared. Anyway, the quote they lifted was 'Complex, complicated, metal as hell while still being progressive, this is one heck of a band'. I still stand by those words, and this album displays just that. I honestly do not know another band who sound quite like these guys. Bringing metal into prog is not new, but here they have cranked it right up yet somehow are far removed from the rest of the prog metal crowd, which is quite something given just how diverse that scene is. Twin singers also are not a new invention, but it is actually quite rare within the prog scene, at least with neither playing an instrument onstage. Tom is primarily the main singer, but Radina takes the lead at times, duets or provides support, whatever is needed. Just listen to 'Aphrodisia', 8 minutes of chaos and calm, coming together to demonstrate exactly what this band is all about. But that is by no way the longest song on the album, that honour belongs to 'The More We Remember' where the band are loud and heavy, quiet and restrained, all in one number which somehow seems far shorter than it actually is. This is progressive music with real breadth, refusing to sit still within one sub-genre or another, yet also bringing home the guitars when the time is right to do so

When asked who they appeal to, Tom feels their music is for fans of Porcupine Tree, Riverside, Pain of Salvation, Threshold and Tool, but that is far too restrictive to my mind. This is for all fans of either progressive rock and metal, who want the genres blended together to make something which is very special indeed. It feels very English in its approach, and Tom certainly sounds it, so much so that when he speaks in Dutch between songs it sounds quite wrong in many ways! If you have yet to come across Dreamwalkers Inc., then this is the album with which to correct that major wrong.

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