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 Eve  by PARSONS PROJECT, THE ALAN album cover Studio Album, 1979
2.71 | 243 ratings

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Eve
The Alan Parsons Project Crossover Prog

Review by stefro
Prog Reviewer

3 stars Considered controversial at the time of release, and saddled with a reputation that has been hard to shake, The Alan Parsons Project's 1979 album 'Eve' is, for many reasons, considered one of the group's lesser works.

A kind of quizzical concept album about the nature of woman kind - conceived and written by two men we must add - 'Eve' features a selection of songs that meditate on both the positive and negative aspects of the fairer sex, and features cover art despicting two models wearing veils. Only look a bit closer, and the glamourous women are revealed to have beauty-blighting facial scars.

Along with the concept, the cover was one of the many ill-conceived ideas featured on an album that was, sadly, symptomatic of it's era. The late seventies was still a time of overt male rule in the workplace, and despite the best intentions of both Alan Parsons and his erstwhile writing partner Eric Woolfson, 'Eve' as a concept is, at best, a clumsy mistake.

The duo's fourth album following 'Tales of Mystery & Imagination', 'I Robot' and 'Pyramid', 'Eve' was a calculated break from the progressive pop imprint of it's predecessors, and was the first Alan Parsons album not to start with an instrumental opener. Instead, this was a song-based album that sought to widen the group's appeal, a ploy that didn't work as well as intended.

Fronted by guest vocalists Chris Rainbow and Lenny Zakatek, and with Parsons and Woolfson once again backed by three quarters of the Scottish rock group Pilot, 'Eve' features the usual crisp production values, yet at first listen seems rather unexceptional.

However, like all good albums, 'Eve' needs multiple listens to fullt grasp.

The strength of the Parsons and Woolfson creative team was always the outstanding mix of first-grade production skills and hook-laden songwriting, and their ability to graft catchy melodies onto deceptively progressive music. Whilst the latter is largely absent here, it only goes to accentuate the former.

Tracks such as the groove-laden opener 'Lucifer', which postulates about the vices of woman, kicks proceedings off with a surprisingly tangy guitar-led sound, and features strong vocals from Rainbow, whilst the edgy 'Damned If I Do' powers along with sharp guitars and snapping snare drums.

There are less impressive moments.

'I'd Rather Be A Man' borders on the downright offensive, whilst also sounding like the kind of sub R'n'B-schtick Gloria Gaynor ended up doing in the mid-eighties, and the jerky 'Secret Garden' is beyond maudlin.

But the album actually holds together, even if the subject matter jars badly in the moden era.

There are few better at concocting string melodic progressive pop, which is both thoughtful and popular, than The Alan Parsons Project, and even on an album considered one of their weakest, their are still many strong songs, all once again brough out by the crystal clear production.

Parsons started as an Abbey Road engineer of course, working on Pink Floyd's 'Dark Side of the Moon' album in 1972 before becoming a fully-fledged in-house producer, overseeing albums for Steve Harley, Ambrosia, Al Stewart and The Hollies.

A songwriter, Woolfson worked for Andrew Loog Oldham's Immediate label, before leaving to conceive his dream project, a musical based on the works of noted horror author Edgar Allan Poe.

Their combined skills, and the unique nature of the group, which saw musicians brought in on an album-by-album basis to play the music written by Parsons and Woolfson, meant every album had it's unique concept, and it's own sound.

'Eve' is certainly one of their more mediocre efforts, yet there is still much to recommend.

STEFAN TURNER, STOKE NEWINGTON, 2016

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 Blomljud by MOON SAFARI album cover Studio Album, 2008
4.11 | 438 ratings

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Blomljud
Moon Safari Symphonic Prog

Review by stefro
Prog Reviewer

3 stars Modern prog has it's fair share of 'cheesemongers', yet there are few as who are as relentlessly upbeat as Moon Safari.

Hailing from Northern Sweden, this youthful symphonic six-piece first appeared in 2005 with debut album 'A Doorway to Summer', which was produced, mix and mastered by one of the band's own icons, Tomas Bodin of The Flower Kings.

Issued through their own label, the album quickly caught the attention of the prog world, and following several mini-tours and festival appearances the group returned to the studio in 2008, almost three years later, to record this follow-up.

Titled 'Blomljud'(also, incidentally, the name of the band's label), this was considered one of the top prog album's of 2008 by a number of publications and, eleven years and four studio albums later, remains in many people's eyes their definitive work.

Some say they are essentially 'Flower-Kings-lite' - think Druid to the mighty Yes - yet others revel in their unashamedly symphonic glow.

And it's that sort of of record, warm, shiny, all yearning solo's and multiple harmonies, and exactly the kind of prog Roine Stolt has been producing since the 1970's.

But despite a perceived lack of originality, one must give Moon Safari their dues.

'Blomljud' features a rich, multi-layered sound, chiming vocal harmonies and an unshakeable happiness, and exudes the same kind of rose-tinted ambience found in the sun-dappled sixties pop of the Bee Gees and The Beach Boys.

The album's key piece is 'Other Half of the Sky', which the band describe as their first 'true' epic, and at over thirty minutes it certainly is epic.

Split into five different chapters, 'Other Half of the Sky' is both overlong and grandiose, yet it features some wonderful instrumental passages, and even allows the band to rock out with some harder edged guitars and booming percussion. However, much of the half-hour piece is taken up by achingly earnest vocals and gloopy synthesized melodies, and the overall sound isn't helped by a surprisingly thin-sounding production.

The album features two more sizeable epics - the fifteen-minute 'Methuselah's Children' and the near-twelve minute 'Bluebells' - alongside further eight tracks, most of which follow the strong symphonic blueprint.

The major problem, bar the length, is the lack of tone and shade, and the neverending, one-note optimism; the music is rarely anything but positive and shiny, and the lack of counter moods begins to detract from the technical expertise of the band. What made Yes so thrilling was the constant shifting from dark-to-light, and what makes the Flower Kings so are the surprising shifts in mood and tempo.

Both are in short supply on 'Blomljud'.

But there is still much to admire.

Technically, the band are excellent, and despite wrapping everything in a glutinous symphonic sheen, the relentless optimism does shine through. At it's best, like on the epic 'Other Half of the Sky', the music is genuinely inspiring.

A complex and lovingly-crafted slice of keyboard-dominated prog with strong pop-rock and AOR elements, those who have the time, and the stamina, may well adore 'Blomljud', and fans of The Flower Kings, Karmakanic, Yes and Starcastle should seek them out.

The Swedes have excelled at making this kind of prog for a long while now, and despite their flaws one, once again, does give Moon Safari their dues: sickly sweet they my be, but they do it damn well.

STEFAN TURNER, STOKE NEWINGTON, 2016

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 Masquerade by EYESBERG album cover Studio Album, 2016
4.08 | 7 ratings

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Masquerade
Eyesberg Neo-Prog

Review by Progrussia

3 stars For yet another time I've been alerted by PA to good old German neo-prog... This is what I call pensioner's prog - prog played by 50-somethings for the 50-somethings (not there yet, but close). How can you tell? If the singer sounds like he's from Genesis and laments the effect of social media on human relationships. I don't mean to say that it's lethargic. Joke on you opens quite energetically, in fact. It's just that it doesn't explore any edges, not venturing from the middle of what this kind of music is supposed to sound like - melodic but unassuming prog-lite. Good accompaniment for house cleaning on a lazy day.

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 Mad Fellaz II by MAD FELLAZ album cover Studio Album, 2016
4.03 | 39 ratings

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Mad Fellaz II
Mad Fellaz Eclectic Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars I was one of the mad fellas who fell in love with this unique Italian prog band's 2013 debut , a curious style that had both familiar and original features, the spirited playing of an all-instrumental set list of epic sized pieces that simply blew many fans and critics away. Everything about "Mad Fellaz" was inspiring: beautiful cover art, a 'squaddra' featuring a dual guitar approach, sensational bass and drum tandem, a flute/ clarinet to add some flavor , two monsters epics to start off with a bang and a general feel of sophistication. I, among many other reviewers, gave this an easy 5 star rating, a very well-deserved appreciation, especially for a debut album. It took three years to come up with a follow-up, a pretty much intact line-up with only a few minor changes but one major one: a lead singer! Anna Farronato sings in English (maybe a hindrance, maybe not), which threw everyone somewhat off guard, at first.

Just like the first album, the Mad Fellaz initiate the recording with another two sizable back to back epics, proving a point of style I guess. The first is the 14 minute "Hollow Shell" , a whopping instrumental that continues where the band left off, hurling inspired notes at break neck speed and oozing with class and flair. Lavish percussion and electric piano always gets my attention, so it took a mere 3 seconds to get me fixated on Paolo Busatto's stinging guitar as the bass and drums impel the theme forward. The vocal does take a few seconds of adaptation, as her style has a strange tone, a squeaking, girlish rant that hints at Annette Peacock or even Kate Bush perhaps, definitely frantic and deranged at times. Lots of perfected details here, Carlo Passuello's chunky and rambunctious bass guitar muscles along beautifully, amid the intricate drum patterns from Marco Busatto (who shines throughout) and stellar keyboard work from Enrico Brunelli, who also provides a mind blowing sax solo. These well- oiled elements do coalesce into a more Canterbury-like sound, complex rolls and loops that give way more width and depth than other more RPI like bands. Jagged, blurred, distorted, angry and then suddenly serene and almost apologetic, the roller coaster intensity is a unique pleasure to discover and rediscover again. It only gets better with repeated listens anyway.

The second opus is a two-part affair, "Blood Pressure I and II", a swooning and otherworldly voice haunts the fluid acoustic guitar phrasings on the short Part one, before that delectable bass rumble sets the wheels in motion for a shockingly delirious ride, doctored with that unmistakable band characteristic of combining comfortable and original in one whopping missile of music. Stinging and biting rhythms while the organ ruffles a few feathers, Anna blasts angrily into the fray, seemingly unafraid of the musical maelstrom being surgically placed at her feet. The electric guitar performs like a scalpel, devouring sinew and tissue alike, blistering and obtuse, hinting at some Italian cousin of Allen Holdsworth, while Anna resorts to sadistically emote urban poetry into the mix, the sax sounding like a car horn gone berserk in a traffic jam (trust me Italians know how to drive and are the world's best at beeping the bejesus out of their klaxons). Penetrating sounds, forcefully intimidating and pulsating furious with unabashed zeal, this is some kind of devilish progressive rock. This track is also a shocker.

Ti Piace? (You like?) "Me Gusta" (I like it) is, at first, a welcome relief after the 2 previous cataclysmic pieces but these fellaz like to keep the blood pressure on high, providing a rollicking promenade of exotic and ecstatic themes. At times, it sounds almost like Santana on steroids, complete with brassy blasts in a Latin frame of mind, slashed by an old school guitar solo that will bring your house down and a drum solo that winks at Michael Shrieve at Woodstock. This owns not only class and style but humor as well. Daring, adventurous and cool.

"Ovo" offers another 11 minutes of exhilarating enjoyment, giving the piano a chance for Enrico to show off more of his talent. Combining with flute is always a great concept, as the two work well together. As the luxuriant percussion?fueled beat intensifies, the electric guitar starts beaming its illumination in all directions, with Anna adding smooth vocalizations that throb and excite to no end. There is no doubt that there is a pronounced National Health vibe here, not exactly the worst influence one can hope for, as that British band certainly carved a reputation that is now legend. Burdened with endless stops and starts, twists and turns, this a perhaps exhausting labyrinth to deal with but if there is one absolute characteristic of Mad Fellaz, it's definitely their loyalty to ingenious insanity. Note the athletic drum work, the roiling organ forays a la Dave Stewart, the booming bass monster keeping everything in check.

The brutal and austere "Moslem Sabbath" could easily be a soundtrack to some Middle Eastern tragedy (like Aleppo), the lethally pounding drums akin to the devastation falling from the skies, the guitars raging and bloodied, all hammering mercilessly. And then there was ambient serenity, a mournful Arabic-sounding wisp of clanging hand percussion, glittering electric piano ruffles and aromatic flicks of the wrist over the guitar strings. The mysterious blare of the saxophone reprises the sense of forlorn doom displayed earlier, the sinuous clarinet offering prayer to the almighty and finally, the exotic entrance of both the electric guitar and the whirring organ, blasting a linear passage through the Kasbah of sounds. There is a quasi Mahavishnu Orchestra vibe going on here that is exquisite. The short finale resorts to more playfulness, though maintaining the oppressive feel, almost like a Post-rock exercise, slashing guitar panels throbbing wildly in some kind of agony. The theme grows into a crescendo and then, basta! Wow!

I stayed away from comparing this sophomore release to their magnificent debut, and even though it took many repetitions to finally feel comfortable to critique this album on its own merits, I can truthfully announce that it's a marvelous continuance for one of Italy's most promising acts and a beacon of unending entertainment for those who worship originality and style. The sublime cover art maintains the fine reputation that began with the first album. This is one hell of crew, certainly deserving of an avid following in Progland.

5 likes

PS. this review is dedicated to Aussie-Byrd-Brother, a hopefully kindred spirit who never steers me wrong. Ever!

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 Mind Transplant by MOUZON, ALPHONSE album cover Studio Album, 1975
4.06 | 15 ratings

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Mind Transplant
Alphonse Mouzon Jazz Rock/Fusion

Review by tszirmay
Special Collaborator Crossover Team

4 stars So many great jazz-rock drummers out there in Progland, luminaries like Billy Cobham, Lenny White, Peter Erskine, Jack DeJohnette, Tony Williams, Vinnie Colaiuta and Michael Walden, all made quite a name for themselves in a wide variety of sessions. There are some equally brilliant ones who are, sadly not quite as famous, such as Rayford Griffin (Ponty), Leon Chancler (Santana) and Chester Thompson (Ponty, Genesis). Which brings us to Alphonse Mouzon, a hyperactive drummer who should easily qualify to thump with the legends. His sensational technical display and furious passion are fully developed on this magical recording, a delightful coalition of instrumentalists helping him achieve the perfect groove. He would eventually carve out quite a reputation with Larry Coryell's 11th House, Roberta Flack and Al Di Meola. Guitarists Tommy Bolin, Jay Graydon and Lee Ritenour are into the mood, keyboardist Jerry Peters adding his jazz vibe and bassist Henry Davis keeping things nicely fastened and bolted. I found myself focused on Mouzon's incredible technique throughout the set list, after all, it's his solo outing and he is certainly not timid nor shy.

The eight tracks presented here are relatively short, precise and often hyperactive slices of jazz-funk-rock that explodes with resounding effect. From the opening title track, the intense suggestion is both swift and dynamic, showing off Mouzon's blistering technique and leading the crew into electric rocking horizons. Tingling and vocoder effects on the guitars from Bolin makes the grade while Henry Davis does great things to his bass guitar on 'Snow Bound', a singular display of choppy control, organized chaos and creativity. On the aptly named 'Carbon Dioxide', the mood varies between harsher expanses and softer climes, a definite showcase for Tommy Bolin to rip it up, muscled by a divine bass run and Mouzon's supersonic drumming, easily recalling Cobham's burly delivery. Peters flourishes on organ, adding more punch to the fury. A track that could have gone on for another ten minutes, at the rate they were going (cough, cough)!

Drum solo intro time on 'Ascorbic Acid' and what a powerhouse this one is, the relentlessly impatient burp of the bass egging the players closer to a razor edge, dignified by a pair of tortuous guitar solos that has speed, hysteria, sizzle and substance. Both Graydon and Ritenour duel mercilessly, each a thorough 'in the zone' blast. The much- maligned Ritenour also shines on the next two tunes, the lovely 'Happiness is Loving You', for this is a respected axe man who could have made a greater name for himself then just a gifted session man. Big surprise on the choppy funk tune of 'Some of the Things People Do'. Similar to Dr. John's 'In the Right Place', this is more of a vocal driven funk number that has a nice Southern feel with Ritenour's slinky rhythm work and slippery leads pushing the surprisingly adept Mouzon vocals into the spotlight.

Highlight track unquestionably, 'Golden Rainbows' is quite the rhythmic oasis, giving a bubbly groove that is unshakeable and resolute, thus providing the platform for some serious soloing, a slower-paced steam roller that forges forward bold and confident, with perfectly positioned keys, bass and that powerful drum beat. Bolin takes it over with perhaps some of his best work, in a gritty, talkative style that emotes very obviously and hints at some Hendrixian notions of sustained bluesy notes, lush with sweat and brawn. World class track, period, worth the price of admission. Counter that with the masterful 'Nitroglycerin' , a perfect description for the detonation on display here, a blistering musical racer that careens down the sonic highway with a no-holds-barred, 'pedal to the metal' mad dash to some imaginary checkered flag. Bolin and Mouzon are simply terrifying at surpassing the level of notes and beats thrashing about, seemingly effortlessly. Short, sweet and sick.

Definitely a must for fans of the artists presented above, guitar god aficionados as well as drumming students looking for heroes. This album sits nicely among my many jazz-rock gems.

4 Awareness uproots

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 Amaterasu by CORIMA album cover Studio Album, 2016
4.15 | 8 ratings

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Amaterasu
Corima Zeuhl

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars Wonderful modern Zeuhl with very strong presence of classical, jazz, and folk themes and instrumentation.

1. "Tsukutomi I" (6:44) starts out quite pretty then gets downright kelzmer! Yet, this is good, modern Zeuhl! (9/10) 2. "Tsukutomi II" (10:36) opens with some gentle foundation music supporting a nice soprano sax solo. (9.5/10) 3. "Tsukutomi III" (2:31) the finale of the three-part suite almost sounds like an overture from a late-1960s Broadway rock opera--heavy on the Hammond. (8/10)

4. "Amaterasu I" (3:45) Zeuhl classical piano?!! (9/10) 5. "Amaterasu II" (3:31) slowed down and spacious but just as ominous with violin, saxophone and female voices mirroring each other. (9/10) 6. "Amaterasu III" (4:53) again presents the Klezmer sound masked in JANNICK TOP/UNIVERSAL TOTEM ORCHESTRA- like female and male vocals. (8.5/10) 7. "Amaterasu IV" (2:34) sounds like it could have come straight off of a 1970s JEAN-LUC PONTY album! Great drumming. (8/10) 8. "Amaterasu V" (6:12) very standard Zeuhl in the Magma tradition (8/10) 9. "Amaterasu VI" (8:02) which is then continued in the album and suite's final song. (8/10)

4.5 stars; B+; a near-masterpiece of progressive rock music. It's so difficult for me to not like the intense spiritual feelings evoked by true Zeuhl music like this. This is the best Zeuhl album of 2016 that I have heard.

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 Noi al dir di Noi by PROMENADE album cover Studio Album, 2016
4.85 | 10 ratings

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Noi al dir di Noi
Promenade Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars Another great find for Italia's risk-taking, forward-thinking music label, AltrOck Productions! These creative musicians have a cool confidence that belies their youth.

1. "Athletics" (10:32) a fast-paced, complex instrumental opens the album as if to say: "We can play!" And, boy! can they! (9/10)

2. "Il Secondo Passo" (6:43) a scaled down, gentler song, with very delicate play from all band members and a great, understated vocal from lead singer, Matteo Barisone. Beautiful. The best song on the album. (10/10)

3. "L'albero magico" (4:33) starts out as another gentler song with some really nice guitar and fretless bass (Chapman stick?) interplay. The drum work also really shines on this one--not for its flash or demonstrativeness but for its solid support and subtle contributions. A top three song for me. (9.5/10)

4. "Roccocò" (5:48) Harpsichord! Renaissance minstrels/troubadours! A very fun 'period' piece--complete with farmers market noises and orchestration! (9.5/10)

5. "Kernel" (4:16) opens with lots of gentle arpeggi and soft drum play in a kind of celebration of 1970s jazz-lite. Once the vocal and lead guitar parts enter and take over, the rest of the band amps things up (especially the drummer!) and accelerates to all-speed ahead. Still some quirky pauses, temp shifts and sound samples liven this one, making it quite unpredictable. ANTIQUE SEEKING NUNS-like. (9/10)

6. "Pantera" (6:47) more fast-picking guitar and intricate bass and drum play over which Matteo sings in a style that seems both out of time and yet old. Amazing how fresh and refreshing this music is! I am quite reminded of the Chilean band AISLES with their twin masterpieces from 2010's In Sudden Walks, "Summer Fall" and "The Maiden." Another top three song. (9.5/10)

7. "Crisantemo" (7:53) sounds almost like a classical music piece from the Romantic era as written by COLIN TENCH. (9/10)

A five star masterpiece of progressive rock music and quite likely my favorite AltrOck release of 2016!

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 Requiem For Hell by MONO album cover Studio Album, 2016
3.23 | 7 ratings

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Requiem For Hell
Mono Post Rock/Math rock

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

3 stars I love Mono and what they do, but I have to say that this album is quite a disappointment after their previous three albums--which were all great.

1. "Death in Rebirth" (8:05) a typical slow building Mono song but what's up with the drummer? He seems to be way off and too militaristic. The song finally gets good at the (prolonged) crescendo and when the drums disappear. (7.5/10)

2. "Stellar" (4:58) starts off with some awesome strings and then piano to play the slow weave of arpeggi. Tuned percussion joins in in the third minute and then the staticky guitar feedback. Very nice, if simple, tune. (8.5/10)

3. "Requiem for Hell" (17:48) opens with two guitars weaving their arpeggi to perfect beauty. Things start getting a little raunchier (in a good way) with some distorted guitar tracks and bells in the third minute. When the drums join in at the five minute mark it's like someone stuck a needle into a balloon--it diminishes the beautiful effect that had been built up to this point. How could the band and producer not hear the horrible effect the drums have on this music? Luckily, there is a reprieve from the drums starting at 9:15. By 10:15 the song is starting afresh with all new arpeggi coming from the guitars. Drum play is added in the twelfth minute, but only to accent the other instruments. Then, when all hell breaks loose (no pun intended) at 12:20, the drummer is mixed farther back in the mix and his play is more in tune with the cacophony occurring all around. This is actually quite an appropriate and effective psychedelic section for the subject matter (not unlike some of the frenzy in more recent MOTORPSYCHO songs). And it plays out for the entirety of the song's final five and a half minutes! Best song on the album. (9/10)

4. "Ely's Heartbeat" (8:27) one of the weakest Mono songs I've heard in a long time. The drums are so off and the instrumentalists seem to be careless. (6.5/10)

5. "The Last Scene" (6:43) a very pretty, slow and deliberate almost HAROLD BUDD/ROBIN GUTHRIE song. (8.5/10)

A good album that is worth hearing--especially if you are a Post Rock or Mono fan.

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 Eros & Thanatos by SYNDONE album cover Studio Album, 2016
3.94 | 42 ratings

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Eros & Thanatos
Syndone Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars Master of theatric (almost operatic) storytelling through music NICK COMIGLIO is back with another eclectic blend of sounds and styles, often based in classical or jazz idium, but enhanced/embellished by electronic twists and effects, theatric Italian vocals (Riccardo Ruggeri), frequent contributions from the vibraphone (Marta Caldera), and very solid drum and bass play--thanks to Martino Malacrida and Maurino Dellacqua, respectively. Unfortunately, the music sometimes feels a bit formulaic, rooted in rote traditions and borrowed progressions and styles, though the bombast factor seems more reined in (or more polished and finessed) than on the previous Syndone album.

Five star songs: 1. "Frammento" (1:01) (9/10); 4. "Gil spiriti dei campi" (5:27) (9/10), and; 7. "Alla sinistra dei mio petto" (3:08) (9/10).

Four star songs: 9. "L'urio nelle ossa" (7:15) (8.5/10); 5. "Qinah" (6:10) (8.5/10); the MYRATH-sounding 8. "Fahra" (3:19) (8.5/10); 3. "Terra che brucia" (5:26) (8/10); 11. "Cielo di fuoco" (7:38) (8/10), and; 10. "Bambole rmk" (4:15) (7.5/10).

A nice addition to a prog rock music collection--especially if you know and like theatric Italian prog.

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 Macroscream by MACROSCREAM album cover Studio Album, 2016
3.60 | 15 ratings

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Macroscream
Macroscream Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

3 stars AltrOck Productions' Fading Records is releasing this new collection of quirky prog--complex 'show tunes' that float somewhere in the universe of GENTLE GIANT, KHATSATURJAN and HUMBLE GRUMBLE. A group of accomplished musicians and adventurous composers from Italy, Macroscream supports a large lineup of musicians and guest artists--no less than six in the main lineup with a virtual army of session artists. Five star songs: 2. "Then It Goes Away" (6:13) and 3. "Unquiet" (8:04).

Four star songs: 5. "Goliath" (10:51)

Three star songs: 1. "Mr.Why" (12:52); 4. "The Flying Giampy" (8:56), and; 6. "Impenetrable Oak Bark" (12:15).

3.5 stars; not for everyone but definitely entertaining and ambitious--and worth checking out for your selves. "Macroscream" is listenable but often too quirky and quick to twist and turn for my attention span. The band has room to grow.

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100 MOST PROLIFIC REVIEWERS

Collaborators Only

ratings only excluded in count
  1. Mellotron Storm (3945)
  2. Sean Trane (3159)
  3. ZowieZiggy (2929)
  4. apps79 (2629)
  5. Warthur (2445)
  6. UMUR (1945)
  7. Easy Livin (1928)
  8. b_olariu (1922)
  9. Gatot (1811)
  10. Conor Fynes (1607)
  11. SouthSideoftheSky (1587)
  12. Windhawk (1426)
  13. Evolver (1406)
  14. Bonnek (1332)
  15. Tarcisio Moura (1330)
  16. AtomicCrimsonRush (1278)
  17. snobb (1219)
  18. erik neuteboom (1201)
  19. Finnforest (1139)
  20. kenethlevine (1087)
  21. ClemofNazareth (1011)
  22. tszirmay (933)
  23. Cesar Inca (928)
  24. Matti (918)
  25. loserboy (895)
  26. siLLy puPPy (878)
  27. Rune2000 (869)
  28. BrufordFreak (861)
  29. octopus-4 (856)
  30. memowakeman (850)
  31. kev rowland (844)
  32. Marty McFly (834)
  33. Guillermo (788)
  34. Chris S (753)
  35. Eetu Pellonpaa (722)
  36. Rivertree (704)
  37. Neu!mann (688)
  38. greenback (685)
  39. progrules (666)
  40. Seyo (643)
  41. Epignosis (624)
  42. Prog-jester (623)
  43. lor68 (601)
  44. Prog Leviathan (572)
  45. Ivan_Melgar_M (556)
  46. philippe (540)
  47. admireArt (524)
  48. Aussie-Byrd-Brother (510)
  49. friso (498)
  50. hdfisch (492)
  51. Chicapah (483)
  52. stefro (482)
  53. DamoXt7942 (472)
  54. Dobermensch (462)
  55. colorofmoney91 (459)
  56. zravkapt (455)
  57. J-Man (449)
  58. russellk (435)
  59. Atavachron (430)
  60. ProgShine (426)
  61. Menswear (417)
  62. Sinusoid (402)
  63. andrea (399)
  64. Queen By-Tor (396)
  65. TCat (377)
  66. tarkus1980 (367)
  67. Nightfly (365)
  68. Greger (365)
  69. Zitro (359)
  70. Cygnus X-2 (353)
  71. fuxi (353)
  72. Andrea Cortese (348)
  73. EatThatPhonebook (326)
  74. lazland (324)
  75. Guldbamsen (321)
  76. Modrigue (320)
  77. Negoba (316)
  78. richardh (314)
  79. Tom Ozric (306)
  80. Kazuhiro (299)
  81. Flucktrot (294)
  82. Proghead (289)
  83. OpethGuitarist (287)
  84. progaardvark (286)
  85. Second Life Syndrome (268)
  86. daveconn (266)
  87. Trotsky (264)
  88. Muzikman (263)
  89. Slartibartfast (257)
  90. clarke2001 (254)
  91. The T (249)
  92. GruvanDahlman (238)
  93. Andy Webb (237)
  94. Bj-1 (235)
  95. FragileKings (232)
  96. aapatsos (230)
  97. 1800iareyay (225)
  98. js (Easy Money) (222)
  99. poslednijat_colobar (222)
  100. Raff (217)

List of all PA collaborators

TOP PROG ALBUMS
  1. Close To The Edge
    Yes
  2. Selling England By The Pound
    Genesis
  3. Thick As A Brick
    Jethro Tull
  4. Wish You Were Here
    Pink Floyd
  5. In The Court Of The Crimson King
    King Crimson
  6. Foxtrot
    Genesis
  7. Dark Side Of The Moon
    Pink Floyd
  8. Red
    King Crimson
  9. Animals
    Pink Floyd
  10. Godbluff
    Van Der Graaf Generator
  11. Fragile
    Yes
  12. Nursery Cryme
    Genesis
  13. Larks' Tongues In Aspic
    King Crimson
  14. Pawn Hearts
    Van Der Graaf Generator
  15. Moving Pictures
    Rush
  16. Mirage
    Camel
  17. Per Un Amico
    Premiata Forneria Marconi (PFM)
  18. Hybris
    Änglagård
  19. Moonmadness
    Camel
  20. Hemispheres
    Rush
  21. Relayer
    Yes
  22. Darwin!
    Banco Del Mutuo Soccorso
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. In A Glass House
    Gentle Giant
  25. A Farewell To Kings
    Rush
  26. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  27. Kind Of Blue
    Miles Davis
  28. Si On Avait Besoin D'Une Cinquième Saison
    Harmonium
  29. Aqualung
    Jethro Tull
  30. Birds Of Fire
    Mahavishnu Orchestra
  31. Hot Rats
    Frank Zappa
  32. Still Life
    Opeth
  33. Meddle
    Pink Floyd
  34. Crime Of The Century
    Supertramp
  35. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  36. Ommadawn
    Mike Oldfield
  37. The Neal Morse Band: The Similitude Of A Dream
    Neal Morse
  38. H To He, Who Am The Only One
    Van Der Graaf Generator
  39. The Silent Corner And The Empty Stage
    Peter Hammill
  40. Depois Do Fim
    Bacamarte
  41. Permanent Waves
    Rush
  42. The Mothers Of Invention: One Size Fits All
    Frank Zappa
  43. Images And Words
    Dream Theater
  44. The Lamb Lies Down On Broadway
    Genesis
  45. The Grand Wazoo
    Frank Zappa
  46. The Yes Album
    Yes
  47. Metropolis Part 2 - Scenes From A Memory
    Dream Theater
  48. Scheherazade And Other Stories
    Renaissance
  49. In A Silent Way
    Miles Davis
  50. Hand. Cannot. Erase.
    Steven Wilson
  51. The Snow Goose
    Camel
  52. Mekanïk Destruktïw Kommandöh
    Magma
  53. Octopus
    Gentle Giant
  54. The Power And The Glory
    Gentle Giant
  55. Still Life
    Van Der Graaf Generator
  56. A Trick Of The Tail
    Genesis
  57. Free Hand
    Gentle Giant
  58. Rock Bottom
    Robert Wyatt
  59. Zarathustra
    Museo Rosenbach
  60. In The Land Of Grey And Pink
    Caravan
  61. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  62. Blackwater Park
    Opeth
  63. Second Life Syndrome
    Riverside
  64. The Road Of Bones
    IQ
  65. Ghost Reveries
    Opeth
  66. Misplaced Childhood
    Marillion
  67. In Absentia
    Porcupine Tree
  68. Fear Of A Blank Planet
    Porcupine Tree
  69. Space Shanty
    Khan
  70. Emerson Lake & Palmer
    Emerson Lake & Palmer
  71. Viljans Öga
    Änglagård
  72. Hatfield And The North
    Hatfield And The North
  73. Arbeit Macht Frei
    Area
  74. Spectrum
    Billy Cobham
  75. Acquiring The Taste
    Gentle Giant
  76. K.A
    Magma
  77. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  78. The Inner Mounting Flame
    Mahavishnu Orchestra
  79. Hamburger Concerto
    Focus
  80. Rubycon
    Tangerine Dream
  81. Anabelas
    Bubu
  82. Script For A Jester's Tear
    Marillion
  83. Radio Gnome Invisible Vol. 3 - You
    Gong
  84. The Perfect Element Part 1
    Pain Of Salvation
  85. Bitches Brew
    Miles Davis
  86. Elegant Gypsy
    Al Di Meola
  87. Voyage Of The Acolyte
    Steve Hackett
  88. L'Isola Di Niente
    Premiata Forneria Marconi (PFM)
  89. Romantic Warrior
    Return To Forever
  90. Crimson
    Edge of Sanity
  91. Remedy Lane
    Pain Of Salvation
  92. Doomsday Afternoon
    Phideaux
  93. Felona E Sorona
    Le Orme
  94. Lateralus
    Tool
  95. Grace For Drowning
    Steven Wilson
  96. Leftoverture
    Kansas
  97. Caravanserai
    Santana
  98. Pale Communion
    Opeth
  99. Sing To God
    Cardiacs
  100. Part The Second
    Maudlin Of The Well

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

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