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 Evolution by NEKTAR album cover Studio Album, 2004
3.39 | 75 ratings

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Evolution
Nektar Psychedelic/Space Rock

Review by BigDaddyAEL1964

4 stars What an inspired album! A major upgrade from the previous "Prodigal Son", with all the elements that make quality prog rock: nice melodies, reasonably lengthy songs, trippy lyrics, concept structure.

A very joyful work that flows very well and it's pretty listenable. If I was to choose one song as the stand-out one, that has to be "Old Mother Earth", but there is no weakness at all on this album.

The mostly acoustic nature of the album makes it even more trippy, with the piano playing a major role supporting the whole concept. This is maybe the last great album by Nektar; I guess we have seen it all from them and they will be officially disbanded soon, since Roye Albrighton died.

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 The Edges of Twilight by TEA PARTY, THE album cover Studio Album, 1995
4.38 | 75 ratings

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The Edges of Twilight
The Tea Party Crossover Prog

Review by Warthur
Prog Reviewer

5 stars Take Jim Morrison, put him in front of Led Zeppelin, and stick them in an isolation tank full of bong smoke and early 1990s goth albums and you might end up with something resembling The Tea Party's The Edges of Twilight. Although they don't sound very similar, I kind of think of this crew as being a bit like a Canadian answer to early Porcupine Tree, in the sense that in both cases the artists in question apply some of the production styles and motifs of 1990s indie/alternative rock to a progressive rock agenda, though they are rapidly distinguished from each other by their choice of influences. Porcupine Tree mashed up trippy psychedelia with aspects of trance music and jangle-guitared British indie pop, whereas The Tea Party take the most progressive moments of the Doors and Zep, taken the progginess a few steps further, and give them a Sisters of Mercy sort of aesthetic. It's a weird, weird plan, but somehow it works.

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 Zarathustra by MUSEO ROSENBACH album cover Studio Album, 1973
4.30 | 688 ratings

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Zarathustra
Museo Rosenbach Rock Progressivo Italiano

Review by ALotOfBottle
Prog Reviewer

5 stars "God is dead!"

The above statement is one of the maxims of Friedrich Nietzsche's work published between 1883 and 1885, Thus Spoke Zarathustra. Unorthodox, independent, critical, simply different, and much misunderstood, Nietzsche's hopes were for the work of his life to become somewhat of a guide for lost humanity. The philosopher, however, was met by great disappointment, dying in horrid suffering and depression.

Exactly 90 years after the first part of Thus Spoke Zarathustra, a group of young musicians from Italy, Museo Rosenbach, were getting ready to record what would later turn out to be one of the lost treasures of Italian progressive rock music. But first, let's have a look at the act's roots. "Museo Rosenbach was formed in Bordighera, a seaside town in the Liguria region, a few kilometers, from the French Côte d'Azur, in December 1971." - recalls Alberto Moreno, the band's co-founder, bassist, and composer. Museo Rosenbach emerged from the fusion of the groups Quinta Strada and Il Sistema. In fact, Moreno and Co. inherited some material from the latter. However, the young musicians felt they were in need of a vocalist. The guitarist, Pierluigi "Pit" Corradi, suggested they recruit blues-influenced Stefano "Lupo" Galifi, whom he had met during his military service. The current trend in Italy was to name bands after buildings, so Moreno came up with an idea of a museum (Museo) fused with the last name of a German publisher, Ottoman Ernst Rosenbach, which he really liked the sound of. After many live performances around the country, the band was offered to record an album and entered the studio in February 1973.

Similarly to Nietzsche's book, Museo Rosenbach's debut album Zarathustra is a bold, uncompromising statement. Musically, it could be said to derive its inspiration from many of contemporary bands like Genesis, Uriah Heep, Van Der Graaf Generator, and Pink Floyd, from the United Kingdom, as well as their countrymen, Banco del Mutuo Soccorso, Le Orme, Osanna, and Premiata Forneria Marconi. However, make no mistake, Museo Rosenbach's music cannot be compared to anything else in the world of music. Taking the power and might of Strauss' and Wagner's classical compositions, Museo Rosenbach make their elements shake hands with the heavy, raw quality of rock music, finding several common characteristics somewhere along the line. The music on Zarathustra is as heavy as it is finesse and tasteful - full of crunchy, overdriven guitar sounds, deep, expressive Hammond organ tones, and mellow, cloudy Mellotron soundscapes alike. Furthermore and probably even more importantly, Rosenbach's debut, similarly to Nietzsche's original work, is rich in evocative images, in this case musical images. Numerous tensions and their releases, a wide plethora of constantly changing atmospheres and auras, emotional, soulful storytelling - all these elements predominate on Zarathustra.

Side one of the album is fully occupied by a multimovement suite "Zarathustra", consisting of five parts. "We decided to build a suite that recounted Zarathustra's descent from the mountain after a period of meditation and his encounters with certain characters, who represent different schools of thought that the prophet criticizes...", Confesses Moreno. He also remembers composing the piece in fragments - writing for a piano and then transcribing the piece for the whole band. The first movement, "L'Ultimo Uomo" opens in a gentle, yet confident manner. This part somewhat resembles the very first notes of Richard Strauss' piece Also Sprach Zarathustra, which the band admitted to, allegedly even opening their concerts with a portion of that composition. Then, the listener is suddenly approached by a more self-assured motif, creating an effect similar to a rising curtain. A silent part with Walter Franco's vocals follows, accompanied by echo and reverb, representing Zarathustra's descent from the mountain cave. After several repetitions, which are less gloomy, yet still very delicate, the majestic, heavy main theme of the movement kicks in with an interplay of Hammond organ, Mellotron, and guitar accompanied by a very heavy-hitting rhythm section. Only a few minutes in, the listener is already successfully invited to take part in the unique journey Museo Rosenbach are taking them on. The next movement, "Il Re Di Ieri", dominated by organ and piano, both drenched in reverb, alters the atmosphere, making it a bit unsettled. When the listener becomes slowly familiarized with the part, comes a short solo, utilizing a crispy Moog synthesizer timbre. Next come vocals from Giancarlo Golzi. All of the sudden, the rhythm section accompanied by a distorted guitar joins the spectacle, leading to "Al Di La Del Bene E Del Male." This one takes no time to hesitate, since the very first notes, the character is heavy and rather aggressive. The movement features the whole band singing to illustrate the mass of the priests who denounce Zarathustra and his teachings. The following "Superuomo", pictures Zarathustra experiencing a moment of weakness, as Moreno explains. The mood here is rather melancholic and rather halting before going through numerous dynamically contrasted, diverse passages, representing Zarathustra reclaiming his power. The closing movement, "Il Tempio Delle Clessidre", opens with a haunting, celestial Mellotron, recalling Genesis' "Watcher of the Skies", until the main theme from "L'Ultimo Uomo" returns in its full glory, featuring a very emotional guitar solo in between the layers of organ, strings, bass, and rapid drums. This longer moment, very powerful and majestic, is the moment capable of bringing tears to one's eyes. The theme slowly descends towards silence.

Although the epic resonance of the title suite might seem hard to top, side two stands very strong, somewhat complimenting "Zarathustra." "Degli Uomini" opens with a high pitched Mellotron melody, which is quickly joined by the huge-sounding guitar and rhythm section. Going through dynamically contrasted sections, some based on the same melody put in different musical contexts, the track proves to be no worse than the overwhelming epic from side one in terms of composition and performance. "Della Natura" exposes its sophistication in the very first bars with a twisted organ melody. It is followed by a quieter vocal part, bringing Le Orme's most romantic moments to mind. It comes back after a brief instrumental interlude. The tension built is resolved in quite an opposite, baffling direction with a funky electric piano line. This leads to the loud chorus, which features very eccentric vocal parts. At one point, the atmosphere mellows out, repeating the Le Orme-like moment, which leads to a solo of interplaying Hammond organ, a Moog synthesizer, and screaming guitar. The closing track, "Dell'Eterno Ritorno" opens with a moment of abrupt heaviness, which quickly hides behind the constantly-developing passages, which, in my mind, really highlight every strength of the band - excellent compositional skill, a tremendous amount of instrumental know-how, and the ability to forge beautiful, striking instrument sounds. The track seems to finally settle in parts, but it's rather deceiving. After a few echoes of the previous motifs, the album closes with a symbolic Mellotron line.

It's worth remarking that the album caused a lot of controversy when it first appeared on the market. Not entirely due to being a tribute to Friedrich Nietzsche and his controversial work Thus Spoke Zarathustra, but rather to its artwork. It features a collage portraying a strange face, as Moreno indicates, that of Zarathustra, using images of jail bars, a countryside landscape, ancient buildings, and... a face of Benito Mussolini, a Nazi dictator from the period of World War II. Museo Rosenbach were accused of fascism, which in conjunction with poor marketing of the release and sheer bad luck (political protests at one of their biggest concerts, in Naples, unrelated to the band) led to the breakup of the band.

Zarathustra, Museo Rosenbach's only opus before their reformation in the 90's, is, in my opinion, one of the best, most creative, original, accomplished records to come out of Italy. Although stylistically, it is closer to rock music, I believe this to encourage some of the qualities of classical music of the highest order. Zarathustra is an astonishingly addictive journey and something to be experienced. Words cannot truly reflect the nature of this music. A jewel of progressive rock music!

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 The Prodigal Son by NEKTAR album cover Studio Album, 2001
2.86 | 53 ratings

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The Prodigal Son
Nektar Psychedelic/Space Rock

Review by BigDaddyAEL1964

2 stars The most prog thing about this album is it's (mediocre) cover artwork.

More of a soft rock album with prog elements, it has nothing exceptionally memorable to offer. Some of the lyrics are good, but musically it's nothing fancy, compared to other Nektar works and in general. There is not even a single stand-out song to elevate the general reputation of the album.

Nektar release an album after 21 long years, and the result is this? Through all of those years they should have arranged some masterpieces! That's what we were expecting at least... It's not a bad album in any way, maybe closer to 2.5/5, but how can I rate it higher when after the first listen I have no intention to replay at least a single song?

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 Underworld by SYMPHONY X album cover Studio Album, 2015
3.90 | 207 ratings

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Underworld
Symphony X Progressive Metal

Review by Warthur
Prog Reviewer

5 stars I'd always found that consistency was a bit of a weak point for Symphony X, with only V: the New Mythology Suite being much of a keeper among their early work. Then Iconoclast made a very positive impression on me, and now I actually think Underworld has all their previous work beat, offering a true classic of their power-prog metal style. The band have developed a really nuanced sense of when to be a bit more restrained and when to let forth with full force, having learned that cranking things up to 11 for the entire album isn't always the best way - sometimes your assaults hit harder when you give people a bit of breathing space between them.

Whilst Iconoclast was fantastically heavy and Underworld is no slouch in that department, I sense some of their prog inclinations returning to the foreground this time, and I'd be really interested to see where their sound evolves next. To my ears, at least, Symphony X seem to have hit the most consistently high levels of quality they have achieved over their entire career, and I sincerely hope they can keep it up.

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 A History of Madness   by THINKING PLAGUE album cover Studio Album, 2003
4.14 | 69 ratings

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A History of Madness
Thinking Plague RIO/Avant-Prog

Review by Warthur
Prog Reviewer

3 stars Thinking Plague's History of Madness demonstrates that a little thinking goes a long way. Often cited as being difficult, the fact is that none of the Plague's output has exactly been simple and accessible, and the avant-jazz stylings of this album don't feel like an enormous departure from past precedent. To my ears, each Thinking Plague album since the debut saw a fairly major development of their sound, but by this point they are more evolutionary than revolutionary, and this evolution takes them a little too far into the realms of complex technical execution without a distinct and strong idea behind it. Competent, but not classic.

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 Les Morts Vont Vite by SHUB-NIGGURATH album cover Studio Album, 1986
4.09 | 101 ratings

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Les Morts Vont Vite
Shub-Niggurath Zeuhl

Review by Warthur
Prog Reviewer

4 stars Keeping the flame of avant-prog alive in the mid-1980s, on Les Morts Vont Vite Shub-Niggurath prepare a release that exists partway between zeuhl (especially in Ann Stewart's operatic vocals) and the dark chamber RIO of Heresie-era Univers Zero (the later of which is evoked in particular by Jean-Luc Herve's harmonium). The end result takes a while to sink in, but over time I have found its finer elements begin to shine through bit by bit. The ensemble is large enough to attain a real chamber music sound, and Shub-Niggurath may be one of the few prog rock bands out there with a dedicated trombone player (in the form of Véronique Verdier), who is about to add a certain off-beat air to things.

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 Tangram by TANGERINE DREAM album cover Studio Album, 1980
3.90 | 243 ratings

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Tangram
Tangerine Dream Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Tangerine Dream's sound underwent a long transition in the second half of the 1970s, with various changes to the sound and different avenues explored, but in retrospect (once you set aside dead-ends like the interesting but flawed experiment Cyclone) the general direction seems to have been an evolution from their classic mid-1970s progressive electronic style as captured on Phaedra and Rubycon to a more accessible approach that would become the foundation of much of their 1980s soundtrack work.

Though this approach would gain wide exposure when applied to the soundtrack of Thief, it is on Tangram that its first pure expression is found, the new lineup of Franke, Froese, and Schmoelling gelling almost immediately to present a peaceful, meditative long-form piece with melodic almost-cyberpunk elements, offering a purist electronic sound which casts away some of the more rock-oriented accretions that Tangerine Dream had added and finds them adapting to new technologies as perfectly as they had the synthesisers of the 1970s.

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 Godbluff by VAN DER GRAAF GENERATOR album cover Studio Album, 1975
4.49 | 1660 ratings

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Godbluff
Van Der Graaf Generator Eclectic Prog

Review by Modrigue
Prog Reviewer

5 stars The resurrection of Van Der Graaf Generator

Fans of alternative prog, rejoice! After four years of silence, Peter Hammill, David Jackson, Hugh Banton and Guy Evans unexpectedly reunite in 1975 and simply offer one of VAN DER GRAAF GENERATOR's best albums! "Godbluff" inaugurates the band's second era in the mid-70's and proves that miracles exist. After "Pawn Hearts", Hammill started a solo career and his works were a bit different from VdGG's style. Same goes for the other members, who released average jazz-rock albums, under the name "The Long Hello", without their singer. These three separation years thus demonstrates that Peter Hammill is not VAN DER GRAAF GENERATOR all by himself, and, vice-versa, that VAN DER GRAAF GENERATOR cannot exist without its lead vocalist.

Composed of four mini-epics, "Godbluff" is their first self-produced opus, as well as their most accessible. Again, the music, somber depressive, tortured and dominated by keyboards and saxophone instead of guitars, investigates the depths of the human mind. This time, the atmosphere is maybe even more bitter and aggressive than on "Pawn Hearts". In addition of his raging and theatrical voice, Hammill makes an important usage of clavinet and Jackson's saxes are literally possessed here. Also featuring various changes and complex rhythms, the songs are perhaps a little less demanding than those of VdGG's first era, but still as interesting, creative and touching.

Opening with whispering vocals and saxophone, "The Undercover Man" is sad and beautiful. Melodies to cry for. The tension then rises with the raging and somber "Scorched Earth". After its heroic overture, the music goes crescendo, stronger to conclude with a surprising distorted guitar section. A powerful track, driven by the organ and Jackson's demented sax.

Do not trust the ambient free jazz introduction of "Arrow": this song is the most violent and darkest of the record, but also the maybe the most heartbreaking. A magnificent explosion of mastered wilderness! Back to calm with the more melodic "The Sleepwalkers" and its strange bossa-nova interlude. This ethereal ender contains also quite spacey keyboards and a grandiose finale. Epic!

Out of time, "Godbluff" is much more than just the return of a major progressive band, it's a miraculous resurrection, a musical black meteorite darker than most other disc of the same time-period. Each track is superb and offers its own variety of ambiances. A little gem of tortured and frightening impressions, so human...

Most accessible record from the band, this fifth opus is definitely the one to start with for newcomers. "Godbluff" is a masterpiece of depressive prog, VAN DER GRAAF GENERATOR's creative peak, with "Pawn Hearts" of course...

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 Terminal Redux by VEKTOR album cover Studio Album, 2016
3.98 | 62 ratings

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Terminal Redux
Vektor Tech/Extreme Prog Metal

Review by friso
Prog Reviewer

4 stars Vektor - Terminal Redux (2016)

Vektor is an US technical thrash metal / progressive metal band. I haven't heard another album of this band, but this conceptual space techmetal album caught my eye. I don't listen to anything much louder dan Iron Maiden that often, but I do like Voivod, Devin Townsend's Ziltoid and Pestilence. Vektor has a sound with a bit of every band mentioned here, but more fierce and speed death metal like. Furthermore, the vocals / grunts of David DiSanto are high-pitched and rasping in a way I never heard before. The guitars sound surprisingly mid- ranged for such a heavy record, which spares some room for bass-guitar in the mix.

The album tells the story of a rising ruler in the Cygnus part of space. Aiming for a society that is orderly and endless he first wages war with 'technogenetic' weapons and more traditional space weapons. Ruling with advanced mind control techniques the ruler slowly becomes aware of himself again after being sucked up in his own lifeless mind controlled society. After that he decides to introduce change and transience - knowing it will lead to his own demise and the end of his empire. Life is incomplete without death.

Impressive.. most impressive..

Every track on this seventy minute long 2lp is very technical and well written, but the real gems are in the beginning and the end. Charging The Void (9:11) and Cygnus Terminal (8:15) make up the first side with an endless stream of musical ideas and lyrics that work best together. When listening this album with the lyrics sheet it really 'opens up' so to speak. The music hasn't much space rock sounds, but when you get involved in the story you will start imagining galaxies and mind control devices. On the second and third side of the record the music gets into more 'regular' speed thrash death metal territories and I feel like the songs could have been a bit more concise. Still high quality playing, but it's not THAT easy to listen to seventy minutes of this kind of music. A bit more focus on melody and catchy parts would not hurt here. On side four Vektor treats us with two of the albums best songs. Collapse (9:22) starts of as a ballad type song. Yes it does, with clean vocals that remind me a bit of psych folk. The second part of the song has a lot of melodic death metal parts before being launched into the epic Recharging The Void (13:36) with some added female vocals and a great folky middle section. The lyrics on these two last songs form the philosophical crux of this concept album. The self-conscience and hopeful dive into self-destruction for the greater good makes up a great lyrical sheet for the intense ending.

Conlusion. This music is probably too heavy and intense for most listeners, but I really like this album and I think the concept and the music work well together. Vektor creates an album with moments of true epical proportions and impact. It requires six listens (ast least one with lyrics) to get into it, but it's more then worth it for me! In this niche of progressive / metal music this one of the best albums ever made I guess. Four stars, but I might come back to add another star later.

It's full of stars..

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  42. The Grand Wazoo
    Frank Zappa
  43. The Yes Album
    Yes
  44. The Lamb Lies Down On Broadway
    Genesis
  45. Mekanïk Destruktïw Kommandöh
    Magma
  46. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  47. The Mothers Of Invention: One Size Fits All
    Frank Zappa
  48. In A Silent Way
    Miles Davis
  49. Scheherazade And Other Stories
    Renaissance
  50. The Power And The Glory
    Gentle Giant
  51. The Snow Goose
    Camel
  52. Still Life
    Van Der Graaf Generator
  53. Octopus
    Gentle Giant
  54. Hand. Cannot. Erase.
    Steven Wilson
  55. A Trick Of The Tail
    Genesis
  56. Free Hand
    Gentle Giant
  57. Rock Bottom
    Robert Wyatt
  58. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  59. Zarathustra
    Museo Rosenbach
  60. In The Land Of Grey And Pink
    Caravan
  61. Second Life Syndrome
    Riverside
  62. Blackwater Park
    Opeth
  63. The Road Of Bones
    IQ
  64. Arbeit Macht Frei
    Area
  65. In Absentia
    Porcupine Tree
  66. Ghost Reveries
    Opeth
  67. Emerson Lake & Palmer
    Emerson Lake & Palmer
  68. Fear Of A Blank Planet
    Porcupine Tree
  69. Viljans Öga
    Änglagård
  70. Spectrum
    Billy Cobham
  71. K.A
    Magma
  72. Acquiring The Taste
    Gentle Giant
  73. Hatfield And The North
    Hatfield And The North
  74. Space Shanty
    Khan
  75. Misplaced Childhood
    Marillion
  76. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  77. The Inner Mounting Flame
    Mahavishnu Orchestra
  78. Hamburger Concerto
    Focus
  79. Anabelas
    Bubu
  80. Radio Gnome Invisible Vol. 3 - You
    Gong
  81. Script For A Jester's Tear
    Marillion
  82. Rubycon
    Tangerine Dream
  83. The Perfect Element Part 1
    Pain Of Salvation
  84. Pale Communion
    Opeth
  85. L'Isola Di Niente
    Premiata Forneria Marconi (PFM)
  86. Lateralus
    Tool
  87. Doomsday Afternoon
    Phideaux
  88. Elegant Gypsy
    Al Di Meola
  89. Remedy Lane
    Pain Of Salvation
  90. Voyage Of The Acolyte
    Steve Hackett
  91. Romantic Warrior
    Return To Forever
  92. Hiromi's Sonicbloom: Time Control
    Hiromi Uehara
  93. Uzed
    Univers Zero
  94. Felona E Sorona
    Le Orme
  95. Caravanserai
    Santana
  96. Grace For Drowning
    Steven Wilson
  97. Part The Second
    Maudlin Of The Well
  98. Bitches Brew
    Miles Davis
  99. Memento Z Banalnym Tryptykiem
    SBB
  100. Leftoverture
    Kansas

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

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