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 We Are by COLOUR HAZE album cover Studio Album, 2019
4.48 | 3 ratings

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We Are
Colour Haze Krautrock

Review by prog_traveller!!

4 stars Colour haze is a German band who at the beginning was regarded as a stoner rock band. What is really important to say is that they evolve their sound with each album and with their last one they really reviled their prog side. We Are is the name of their last album and it was released in 2019. The albums main part still revolves around heavy guitar and bass driven riffs, but this time we got keyboards that go throughout. Hammond, electric piano and Fender Rhodes really gives the band more power and cool melodies. Lyrics on the album really complete this musical journey and you can say that it's a concept album. This is a really great heavy psych prog, and top 5 in 2019 for me.

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 The Book Of Souls by IRON MAIDEN album cover Studio Album, 2015
3.87 | 248 ratings

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The Book Of Souls
Iron Maiden Prog Related

Review by Hector Enrique

4 stars Iron Maiden surprises us with their first double album in more than 35 years of career. At first glance, given the extensiveness of several of theirs compositions, one might think that their progressive influences-Steve Harris and bandmates have recognized that Jethro Tull, Genesis, and Yes among several other legends have been an important part of his musical training-would master this work, and the answer is partly yes, but not completely.

Rather, it is a combination of sharp and direct themes typical of heavy metal and hard rock, with others of more complex developments, clearly related to the progressive genre.

Within the first group, we place the most typical Iron Maiden songs: tracks full of energy and dominated by galloping guitars that lead to dizzying and sharp solos. These include the initial and somber If Eternity Should Fail (Harris's excellent bass line), the short but forceful guitar-solo of The Great Unknown and its long final curtain, Tears of Clown, the magnificent tribute dedicated to Robin Williams after his fatal demise, a demonstration in turn that for a song to be epic, it is not necessary to prolong it to infinity but to have a solid structure and a well- conceived rhythmic base, and finally, the first minutes of the quasi ballad The Man of Sorrows, with the dying voice of Bruce Dickinson in excellent form.

On the other hand, the progressive vein also occupies an important part of The Book of Souls, with the excellent Red and the Black, heir to the legendary The Rime of the Ancient Mariner, a splendid instrumental development throughout the second part of the song and grace of the guitar riff until its end in which it takes up Harris's initial bass strum to round it out. The Book of Souls that gives the album its name, gives us a forceful halftime and an aggressive rhythmic section to end with an imposing guitar duel, and finally the super progressive Empire of the Clouds, the longest song on the album and the entire Iron Maiden discography. More than 18 minutes in which it costs at times to recognize the more traditional Maiden, given the introduction of the piano, the more baroque style of the guitars, the pauses and the lack of urgency to rush the subject, factors that combine to cover an insurmountable song that tells the story of the failed flight of the British R101 zeppelin in 1930, a tragedy far less well known than the famous 1937 LZ137 Hindenburg zeppelin in New Jersey that Led Zeppelin immortalized on their debut album.

The Book of Souls was long overdue for 5 years, after 2010s The Final Frontier, but they were well worth it. An excellent album and within the best of Iron Maiden of the 20th century.

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 The Night Watch  by KING CRIMSON album cover Live, 1997
4.46 | 306 ratings

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The Night Watch
King Crimson Eclectic Prog

Review by Uruk_hai

5 stars This is the good stuff!

When I reviewed the "Starless and bible black" album I only gave it three stars so it's actually kind of weird that I consider this an absolute masterpiece since almost the whole Starless album is performed in here, but there are two important differences that give this album the profile of a masterpiece:

1.- The album also contains songs from "Larks' tongues in aspic" and the amazing version of "21st century schizoid man" that make it a more complete record.

2.- The performances of the "Starless and bible black" album are not edited to look as studio songs, so the album doesn't fill as empty and incomplete as Starless; clearly these songs were made to be played alive and not to be on a studio album.

So this is a very groovy record from one of the best King Crimson line-ups, absolutely indispensable in any collection.

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 B'Boom (Official Bootleg - Live in Argentina) by KING CRIMSON album cover Live, 1995
3.71 | 177 ratings

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B'Boom (Official Bootleg - Live in Argentina)
King Crimson Eclectic Prog

Review by Uruk_hai

4 stars Another great performance of the Crimson King, this time in Argentina

'B'boom' was recorded in the city of Buenos Aires, Argentina in 1995 being part of the Thrak tour. The double trio of Bruford-Mastelotto-Gunn-Belew-Fripp-Levin played several nights and in this album they compiled some of their best performances.

The album that features songs from the 'Larks' tongues in aspic', 'Red', 'Discipline', 'Three of a perfect pair' and obviously 'Thrak' albums is a very cool example of how great the band (with this line-up) could be on stage.

I have not too much left to say about this album, except that this is a great recording in which we can appreciate the mere essence of the group in the Thrak-era.

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 Critical Point by CRITICAL POINT album cover Studio Album, 2020
4.87 | 6 ratings

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Critical Point
Critical Point Progressive Metal

Review by potoprog

5 stars I really enjoyed this album. I saw this band at a few music fests in their home town and other near cities in Mexico back in the days (2010's) when we attended the same university and they really showed a ton of energy on their live performances. As for this record, it is well recorded while keeping an organic feel. In my opinion, it is well balanced and is not hard to listen to in a single sitting. My personal favs are Triste Regresiˇn and El Punto CrÝtico. They changed vocalist and I think it's a good choice. Great work by these guys!

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 Ohms by TREES SPEAK album cover Studio Album, 2020
4.00 | 3 ratings

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Ohms
Trees Speak Krautrock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Obviously being relatives, Daniel Martin Diaz and Damian Diaz from Tucson, Arizona, are representing the TREES SPEAK core. They are showing a rather interesting concept, which is composed by a symbiosis of vintage and future-oriented. I mean, on the one hand, musically this is deeply influenced by the prior Krautrock phase. And then, the band name says it all by the way, the whole project is also referring to a somewhat (still?) fictional approach. Which is dealing with biotechnologies that will store processed data in plants. Hence, to be expected, the overall sound should fit this boundaries in some way or another, or what? They are delivering a collection of 17 mostly short downtempo sound sketches, snippets, running with a range from one to five minutes, which in total makes a vinyl length. And this, since having produced their debut in 2017, is a deliberated approach, comes as a distinct trademark.

How does it sound? 1960/70s rooted German crews meet modern neo krautrock followers - Neu!, Cluster, early Kraftwerk ... and Hedersleben, Lumerians, Electric Orange in the same way, to name some culled band references. TREES SPEAK are supported by several like-minded musicians here. Though unfortunately I could not yet reveal who plays which instrument. Acoustic drums, diverse guitars, bass, synthesizer, organ, Mellotron, saxophone repectively clarinet, that's what I could determine somehow, when it comes to the used stuff. The general flow, I'm sure there is a deeper sense intended. Hallucinative, looping impressions and hynotic motoric rhythms are merged. No random track order, I would say, most of them are cross-fading.

For example the triple Nitrous Cross, Shadow Circuit and Blame Shifter, this comes perfectly arranged, makes my day especially. I'm delighted, still. Simple however evocative sequencer lines and melancholic synth patterns give me the shivers. In its entirety this appears to be entertaining and brimful of ideas. Not a copy-cat case of the good old times. Yeah, rooted in the past, though equipped with contemporary sound quality and composing attitude. Just take the prominent and album closing Witch Wound including jazzy saxophone snippets, very much in the vein of neo krautrockers Electric Orange. This one appears on an extra bonus single, if you are deciding to purchase the vinyl version from the associated Soul Jazz Records label. This music grows on me with every listen. Definitely a soothing sound experience. 4.5 stars.

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 Secret Oyster [Aka: Furtive Pearl] by SECRET OYSTER album cover Studio Album, 1973
4.06 | 62 ratings

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Secret Oyster [Aka: Furtive Pearl]
Secret Oyster Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars Riding on the red hot heels of one of Denmark's early examples of jazz-rock fusion in the form of Burnin Red Ivanhoe which had a seven year run, the origins of SECRET OYSTER resulted from that band's disintegration through disputes in musical direction. Saxophonist and organist Karsten Vogel had aspirations of creating a more explorative styled jazz-fusion band and commenced to hand pick the new members who could master the art of a continuous rhythmic drive in jazz mode while adding their own creative stamps in virtuoso fueled improv jam sessions. After the star search was complete, Vogel settled on former Coronarias Dans keyboardist Kenneth Knudsen, guitarist Claus B°hling of the short-lived heavy psych band Hurdy Gurdy, bassist Mads Vinding and Bo Thrige Andersen who tagged along from Burnin Red Ivanhoe but also played with the psychedelic jazz-rock Blue Sun.

After the lineup was complete, SECRET OYSTER proved to be a veritable powerhouse of talent that has gone down in history as Denmark's most accomplished jazz-rock-fusion act with quite the accomplished career that started in 1972 Copenhagen and lasted for five years before the changing tides swept many of these progressive bands out to sea including this almighty band that more than stands the test of time with its heavy rock fueled energetic drive hybridized with the intricacies of stellar jazz workouts and a well-packed magic paintbox that allowed the creative juices to flow like Amazonian waterfalls. The band's name SECRET OYSTER paid homage to Vogel's previous band Burnin Red Ivanhoe by mining the idea from the track "Secret Oyster Service" from the band's second album.

Long out of print, SECRET OYSTER's four album canon was finally reissued on the Laser's Edge label in 2007 for the first time on CD and this debut featured two bonus tracks. The original debut album that was released in 1973 had two completely different album covers and titles depending which side of the Atlantic you happened to reside. On the European continent the album was released eponymously with the cover art depicting some undisclosed quaint Danish city setting while in the USA the album was penned FURTIVE PEARL with a rather unremarkably drab beige cover with a canceled postage stamp on what was supposed to resemble a postcard from Denmark with selling points about the nature of the music contained inside. As far as the music itself, the track listing was identical but over time there has been a truce between the two versions with the European artwork sitting in tandem with the more flattering album title FURTIVE PEARL.

Somewhat sounding like the Danish version of the Mahavishnu Orchestra only more focused on an instrumental jamming style steeped with psychedelic and hard rock energy, SECRET OYSTER expanded on the members' strengths that they developed in their respective prior bands and in the process crafted one of my all time favorite heavy psych tinged jazz-rock albums of all the 70s. While the jazz provides that bass fueled swinging rhythm section with the incessant drive of hard rock driven by B°hling's feisty guitar heft, the band also were masters of drifting off into heady psychedelic soundscapes that focused on cyclical repetitive grooves which allowed all the tricks and trinkets up the sleeves of the keyboardist to erupt into seriously trippy excursions that remind the listener that the 60s were not too overly far away at this point. The dexterity of these juxtapositions is what makes FURTIVE PEARL an absolute gem of musical prowess where the balancing act between technical guitar infused jazz-rock is pacified by psychedelic groove sessions that switch back and forth with admirable precision.

Not leaving the world of Burnin Red Ivanhoe too far behind, the three tracks "Dampexpressen", "Free & Water" and "Vive La Quelle" follow that band's style only taken to the next level with piano and organ dominated drifting jazz-rock that finds a few saxophone squawks adding some color but brought to a more energetic frenzy by B°hling's decorative guitar solos that offer textures much like a skilled the decorative art of Steve Hillage crafting a more surreal counterpoint to the martial rhythms . "Public Oyster" and "Mis (S) Fortune" display the strong Canterbury connections with Soft Machine sounding organ runs and that special warm British sound effect in the form of chirping guitars and those unique chord progressions.

While the psychedelic touches punctuate the album throughout, by far the most experimental track overall is the avant-garde jazz closer "QVA-X" which features a series of saxophone squawks, droning effects and freeform piano, percussion and features a Krautrock kosmische effect which shows the strong influence of neighboring Germany from this same era. Add the decorative Canterbury flavors which culminate in oddball oscillations, talking saxophone lines and one of the most successful mashups of jazz, rock and psychedelia and it sounds more like something out of the Sun Ra playbook than what the rest of the album offers. For those with the CD version, the bonus tracks are worthy editions with a live version of "Dampexpression" and the military march meets psychedelia track "Orlav/er."

SECRET OYSTER would develop a more focused sound on the sophomore release "Sea Son" but on this debut crafted its most explorative and experimental journey that makes this one an unexpected treat for those who love an album that branches out in different directions. While this album is certainly less focused than those that follow, it's exactly that unabashed pioneering boldness to seek out myriad directions of expressionism that make this one absolutely perfect in my book! I can't count the number of "normal" jazz-fusion albums of the 70s but these wild roller coaster rides that are as decorative as the Pirates of the Caribbean ride at Disneyland are fewer in number. This one was a grower that kept begging me for a return visit but after a while i became hooked and mesmerized by SECRET OYSTER's seductive charm. For my tastes, album #1 is their true magnum opus but what followed was brilliant as well.

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 The Eclectic Measure by HYPNOS 69 album cover Studio Album, 2007
3.97 | 108 ratings

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The Eclectic Measure
Hypnos 69 Psychedelic/Space Rock

Review by prog_traveller!!

5 stars Hypnos 69 is one of the most underrated bands ever, they have released five albums from 2001 to 2010 and the last two in my opinion are prog masterpieces.

Besides heavy organ sound and fantastic guitar work you have clarinet, mellotron, Moog, saxophone, and theramin to widen the sound of this amazing band, a well-paced approach with the energy makes The Eclectic Measure from 2007 one of the underrated jewels of prog rock.

Progrock, jazz rock and their own interpretation of psychedelia goes throughout this masterpiece, you can tell they really brought a new meaning to space rock in general.

I and You and Me is an intro to this album and it's an entrance to The Eclectic Measure and Forgotten Souls, two tracks that yust take you to a magical world of Hypnos 96 filled with heaviness, great melodies. They just get hold of the listener and launch to a place of amazing musicianship, vocals and lyrics. The Antagonist is a real heavy prog rocker, the fantastic uptempo song led by splendid guitar, organ and rhythm section.

This album, for me, really delivers all the ellements that a masterpiece should have.

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 Avaric by AVARIC album cover Studio Album, 1979
3.95 | 2 ratings

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Avaric
Avaric Prog Folk

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars A true example of the 1970s French underground, the folk band AVARIC emerged in the city of Bourges and existed from 1979 to 1983. This band blended a unique mix of melancholic medieval folk mixed with contemporary styles and added a touch of symphonic and progressive rock elements. The name of the band was taken from a place called Avaricum from Roman times. The name of the band is a clue for its medieval folklore and sounds that stretch back several centuries. The band consisted of Patrick Aubailly (vocals, dulcimer, flute, psaltery), Franck Lopez (vocals, dulcimer, flute, acoustic guitar, psaltery, cromorne), Eric Milhiet (vocals, flute, organ), Lionel Baillemont (guitar, bass, vibraphone, synthesizer, metallophone) and Jean-Marie NoŰl (bongos, percussion, cymbals, triangle).

The band released four albums during its short run with this self-titled album being the first. This is really a French experience through and through as the lyrics are sung in the mother tongue and the references of the content relate to French history. The exception is the sole track "Out In The Garden" which features English lyrics but given that they sound clumsy, it's far better to hear AVARIC perform in their native tongue rather than sound goofy. The tracks are all extremely melodic with acoustic guitar, tribal percussion and lots of flute sounds as there are three flautists on board although they don't necessarily play in a blitzkrieg attack.

The tracks vary in their emphasis with some such as the opening "En Mes Pays Quand Me Trouve En Repos" featuring prominent acoustic guitar, whereas others like the traditional "Bell Qui Tiens Ma Vie" showcasing a tight harmonic interplay of the vocalists, all three of them. While described as folk rock, the latter genre is nearly absent but progressive rock compositional elements give this album a more sophisticated edge over much contemporary folk of the 70s. The tracks are all colorful and fueled with a fiery passion for an era long gone but updated for a modern take that adds contemporary elements of prog and all things French.

This band's albums are true obscurities and there is virtually no info out there about the band or its albums however if you can't get enough of music that incorporates Medieval music into modern folk settings then AVARIC won't disappoint. In a way this band is sort of the French version of Gryphon without the harshness of the crumhorn and doesn't drift as far into progressive folk as did its British counterpart. All in all this is a rather unique sounding album given that i'm not really familiar with the style of French folk that is presented here given that France is divided into many regions with radically different traditions. AVARIC certainly did a decent job of crafting a nice memorable album of catchy tunes fortified with electro-rock instrumentation.

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 Legacy by HYPNOS 69 album cover Studio Album, 2010
4.21 | 332 ratings

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Legacy
Hypnos 69 Psychedelic/Space Rock

Review by prog_traveller!!

5 stars Hypnos 69 was a progressive rock band from Belgium and one of the most underrated bands ever. Their album Legacy from 2010 is a pure music gold. Hypnos 69 has a really unique sound and the combination of heavy guitars, organ, mellotron, jazz elements with sax and flute parts and it is all masterfully combined into their 18 minute epic Requiem (for a Dying Creed) a three part masterpiece. Various mood changes that stretch from heaviness to calm and back.

An Aerial Architect is one of the coolest songs I've ever heard, fantastic dense brass opening lines and energy that goes out trough out this piece make this an amazing track.

My journey to the stars is a shorter, more melodic song which features a great vocal performance. The Sad Destiny We Lament is a melodic tune filled with space elements it represents a passage from and to the thunder.

The Empty Hourglass is a heavy prog piece and it introduces us to Jerusalem. a tale that is being told trough the clarinet and the interesting vocals.

The four part epic The Great Work is a fantastic way to end this album, a 18 minute prog ride, starts slowly and mysterious and again we have a fantastic build up from the band and down-tempo outro. This album perfectly delivers various styles of prog from space psych to heavy, symphonic and eclectic.

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