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 The Cliff by PELICAN album cover Singles/EPs/Fan Club/Promo, 2015
3.00 | 1 ratings

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The Cliff
Pelican Experimental/Post Metal

Review by JJLehto
Prog Reviewer

— First review of this album —
3 stars Another Pelican EP, just enough to keep us satisfied, but leave us hungry enough to want more!

This EP consists of three remakes of their song, "The Cliff" released on their last album, as well as one original song, "The Wait".

The first remake, "The Cliff (Vocal Version" is just that, the original song but with vocals. This is of course shocking for the instrumental band, and unlike their only previous song with vocals which featured the singing in an airy, light style, this song features distinct, clear singing with lyrics such as "I'm gunna wait. I'm gunna wait here for you. You're running late. I'm gunna stay here for you. You're gunna love me someday." Honestly, I was a bit shocked...but it works. The vocals fit superbly and the lyrics, well they work! Also note the lyrics about waiting and the final song, "The Wait". Refreshing song.

"The Cliff (Justin Broadrick Remix)" is just that. Broadrick of Godflesh amd Jesu fame adds a noisy, industrial touch to the lengthened song, leaving it recognizable but clearly unique. The Palms Remix is done by Aaron Harris and Bryant Clifford Meyer from Palms, as well as the legendary Isis, and features the first song, (complete with vocals) but with some extra touches to it, such as Harris' classic drumming, some electronic touches, and a recognizable though clearly redone section of "The Cliff" with a nice ending.

"The Wait" is a Pelican song with all that we've come to love and expect. Beauty, power, subtle textured songwriting building to a powerful climax and of course the clean/heavy dynamic and powerful drumming.

So what to make of this little EP? Any Pelican fan will like it, and while it doesn't add much at all to their discography, take it for what it is: a fun, simple snack. The star power on this small EP is an intriguing touch, and while small there is a bit of a story to all of it: the first song, simply vocals added to an older song, is redone itself later. The lyrics in that first song, add a bit to the last, knowing what exactly "The Wait" is referring to, and perhaps adds to it's power and movement.

If you like Pelican, give it a listen. If you've never heard the band, give it a listen. The former should find it a simple, nice and fun EP, the latter will hopefully be encouraged to try the band's other material!

Good but non essential

THREE STARS

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 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.50 | 348 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by DrömmarenAdrian

3 stars Pink Floyd is a band I like more than I appreciate and "The Endless River" is an album I appreciate more than I like. I have not really wanted to get into this band's music of some reasons. Perhaps it's because they are so popular by average people. However, Pink Floyd is a perfect reserve I know I should love if I wanted. I am also quite sure it will be a day like that! Atom Heart Mother, Meddle, Dark side of the moon and Wish you were here are magical masterpieces and they are also the only records of them I have heard. Now have the band though quit with "The Endless River" which becomes their fifteenth studio album. Even the cover shouts out farewell.

The music is almost entirely instrumental and was recorded some years ago and features David Gilmour, Nick Mason and Richard Wright together with a bunch of talented guests. Eighteen tracks amongst which the majority are short and atmospheric. On a harmonic and lovely keyboard sound wall are put the confident drums and the typical lyrical guitar which this band is so famous for. The music is slow and it doesn't happen a lot but I must confess it's really pleasant to listen to. Many tracks are a bit too ambient for me but it's still very nice to hear the typical Pink Floyd sound on a 2014 release. My favourite parts are "Louder than words"(10/10) the only song with vocals, and how I wish all songs would have been as good as this. The last song from this band could be one of the classic songs as well. The song has similarities with "Wish you were here" for example. "Sum", "Anisina" and "Allons-y2"(8/10) are amazing tracks with wonderful melodies and fine guitars. "Surfacing"(7/19) is a great opening act for the final track and "Allons-y1"(7/10) makes me feel very satisfied too. All of the other tracks would I rate 5-6/10 and I could easily say that this album is decent from the beginning to the end.

This farewell from this great band thought contains too few masterworks and too many fillers, even if the fillers are quite good. I appreciate that the band made this conclusion and think that the future will give it a more fair judgement. My rating ends at 3.19 which meens three stars. Best song: "Louder than words"

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 Magician's Theater by KARFAGEN album cover Studio Album, 2014
3.71 | 89 ratings

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Magician's Theater
Karfagen Symphonic Prog

Review by DrömmarenAdrian

3 stars The reason why I chose to listen to and review this album was I really liked the previous album "Aleatorica" from 2013 and also that I was so amazed that this was a Ukrainian band. I actually visited Ukraine with my brothers this summer(Lviv and Kyiv). Unfortunately "Magician's Theater" doesn't manage to be as beautiful as "Aleatorica". The only thing that is better with 2014's album is the colourful cover which is appealing with all of its childish loveliness. It is a quite long album Antony Kalugin(keyboard, vocals, percussion,arrangement)and his partners have done. It lasts almost an hour and has nine normal length tracks and one long.

The last record was unique and special in my ears but these songs shine out just mainstream prog. I find it too heavy. The drums are beating and a lot of symphonic attempts are shown here and there. I though find it hard to feel the continuity within the tracks and the album. Over all, I find it rather pleasant to hear but not interesting and it definitely not gives my anything new. The shortest songs are also the best. "Turret"(8/10) is a lovely piece with medieval feeling and "Figment of the imagination 2"(6/10) are sweet too. A lot of songs are nice and works well but the "epic"(relating to its length""Magician's spell" are not coherent. It feels fragmented and a lot of ideas has been put together to perhaps create a long and impressive track. I wouldn't call it impressive though even if the instrumentalists are talanted(6/10).

My song to song rating ends at 2.85 which becomes three stars so it is fine music it is a big oppurtunity you like. I though am quite disappointed beacause I liked "Aleatorica" so much.

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 Apocalypse by MAHAVISHNU ORCHESTRA album cover Studio Album, 1974
3.61 | 189 ratings

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Apocalypse
Mahavishnu Orchestra Jazz Rock/Fusion

Review by DrömmarenAdrian

4 stars Mahavishnu Orchestra is one of the most famous and acknowledged fusion rochestras in the history of rock music. They were'nt active for so many years and their classical studio albums aren't very many but have important places in the history of prog rock. Especially "Birds of fire" of course but also their debut "The Inner Mounting Flame". Now I'm going to write some words about their fourth record(if we count their live record) "Apocalypse" from 1974, fourty years ago this year. It is a long record with a lovely cover where we see a flutist and a forest which is reflected by a lake. The record features, besides the band, the London Symphony Orchestra and it was produced by George Martin. The line up were John McLoughlin(guitar), Jean-Luc Ponty (electric violins), Michael Walden(drums, percussion, vocals, clavinet), Ralph Armstrong(bass, contra bass, vocals) and Gayle Moran(keyboards, vocals).

"Smile of the Beyond" has lyrical vocals which caresses the listener is a very harmonic musical landscape. This is the album's only track with vocals and taht is a bit peculiar in the world of mahavishnu Orchestra(7/10). This orchestra plays in one way very typical jazz music with long compositions where they vary some themes but at the same time the music is very rich and complex. The music is full of heavily expressed details and the compositions are well made. It not feels not like improvisation at all, which a lot of jazz music tend to in my opinion. The longest tracks are the album's best. "Vision is a naked sword"(9/10) is so magnificent and epic and balances all the time between being very pretentious and very humble(9/10). "Hymn to him"(8/10) is the longest song and experimental but in many ways classical. The cooperation with the London Symphonic Orchestra is interesting and worked out well. "Power of love"(7/10) and "Wings of Karma"(7/10) aren't the most itneresting songs I have heard but they are still harmonic and very enjoyable to hear. Over all this record is an excellent addition to a music collection and if you like fusion it is a must have. I rate the record 3.8 which will be four stars. Best track: "Vision is a naked sword"

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 Home By The Sea by GENESIS album cover Singles/EPs/Fan Club/Promo, 1983
4.80 | 6 ratings

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Home By The Sea
Genesis Symphonic Prog

Review by aglasshouse

5 stars Genesis' 'Home By the Sea' is probably the most outstanding track on their 1983 self titled (aka Shapes if you prefer). Most of the tracks that fill the album ranged from decent to good, but this track was the best. Many reviewers of the album (if they give it a fair shake that is) state that this is also the most "progressive" of the numbers. The band must have liked it too, seeing as they gave it a whole part two instrumental which lasted two minutes longer than the first part. I myself have already stated both in my review of it and obviously this one too that I love this song.

The song follows a basic yet strange plot. A thief attempting to steal from the home, stated in the title, before getting trapped and taken prisoner in the home by the sea forever more. There's many coinciding themes of darkness, creeping, as well as the overall attitude of a common thief sneaking through a house. Barreling riffs and clever songwriting make this an amazing song, who's second part brings in a more silly, synth-y approach which doesn't hold much water in the wake of the first part. Undoubtedly, however, this track is worth it, and deserves more praise than it gets.

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 Live Studio by BALLO DELLE CASTAGNE, IL album cover Live, 2015
3.91 | 3 ratings

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Live Studio
Il Ballo delle Castagne Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Lurking in the shadowy corner where the darker Italian prog bands dwell, Il Ballo delle Castagne closed out their 2014 with the recording of a live album simply entitled `Live Studio'. Performed live, sure enough, at the Nadir studio in Genova in the Spring of 2014, main composer Vinz Aquarian and his cohort Diego Banchero from fellow Italian dark prog masters Il Segno del Comando, along with other members of the band, played a selection of Castagne pieces and an interesting choice of covers by artists as diverse as Franco Battiato, psychedelic band Ya Ho Wa 13 and even German symphonic prog legends Eloy! The results are a superb little forty minute vinyl length live release, and fans of the band should greatly enjoy the results!

Marina Larcher's hissing chants and gothic priestess wail weaves around Vinz's weary vocal that's seemingly carved from a cursed altar stone throughout opener `Tema di Gilgamesh'. Heavy slab guitars and sprinkles of organ ploddingly lurch along until spacey swirling synths flitter around strangled electric guitar soloing in the climax. The slow burn bluesy/acid rock guitar strutting that quickly turns wailing throughout `La Terra Trema' over spectral church organ instantly calls to mind Antonio Bartoccetti's Antonius Rex, and Diego gets some playful jazzy bass soloing before Fernando Cherchi's drumming erupts to life with fiery purpose. Lusty foot-tapping guitar grooves saunter through the hallucinogenic synths and ghoulish female beckonings of `Il Viaggio', the most subtle of jazzy flavours dancing throughout, and a rollicking piece originating from one of Diego's side projects Egida Aurea, `Odore di Benzina', offers frantic dark funk, his relentless bass purring with wicked delight.

`I Giorni della Memoria Terrena' is a dramatic and dreamy reinterpretation of German band Eloy's `Appearance of the Voice', Vinz's distorted spoken vocal (with new Italian lyrics) groaning over reflective and tasteful guitars replacing those shimmering synth lines of the original. A further cover of Italian legend Franco Battiato's `Areknames' is given a frantic new-wave punky sprightly pop/rock makeover. A ranting narrated introduction over rising church organ builds a brooding mysterious menace throughout `Omega' before the band twist it into a devilish Black Sabbath stomp, and the band close on Ya Ho Wa 13's acid-rocker `Fire in the Sky', where endless scorching electric guitar soloing burns with hellfire intent, the repeated chanted chorus crushes your precious hold on sanity and a repetitive bass-line smashes down on your skull over and over for all eternity!

`Live Studio' is limited to just over a hundred copies, and despite it being a CD release, it comes in a glossy fold-out 7" LP sized sleeve, with the disc carefully placed in a plastic pocket inside. It's a beautiful presentation for a special little live document that, although not essential, offers a frequently exciting live performance with plenty of spontaneous fire and rough intimidating gloom from a fascinating darker Italian band. It's meant as a friendly gesture of thanks to fans for supporting the band, and while it's definitely recommended, the March 2015 release of their next studio album, `Soundtrack for an Unreleased Herzog Movie' promises to surely be even more exciting!

Four stars nonetheless.

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 Hand. Cannot. Erase. by WILSON, STEVEN album cover Studio Album, 2015
4.30 | 71 ratings

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Hand. Cannot. Erase.
Steven Wilson Crossover Prog

Review by floflo79

5 stars Here it is ! The album that I wanted the most for 2015 ! Two years after the amazing "The Raven That Refused To Sing", Wilson come back. And he shows that he is more creative than ever.

First Regret : An introduction song which is very cool, with gloomy piano like at the end of Nine Inch Nails' Closer, but with a typical Wilson melody. A great opening.

3 Years Older : One of the longest song of the album, and also one of the best. Pure prog, with great melodies, furious and calm sections, really cool.

Hand Cannot Erase : The title track is in fact the worst track on the album. But it's not bad. It's just pop. Pop is not really a problem, but the others songs are better, that's all.

Perfect Life : A atmospheric song, pleasant and really apperciable.

Routine : A 9 minutes great prog song, with beautiful piano and vocal work.

Home Invasion : One of the best tracks. Begin like a jazz rock jam, with awesome keyboard riffs, and great vocals.

Regret#9 : A great synth solo and a f**in amazing guitar solo. Just beautiful.

Transience : An acoustic interlude, very nice.

Happy Returns : A more pop song that I didn't really enjoy.

Ascendant Here On... An atmospheric final, great closing for a great album.

A wonderful album by the king Wilson !

5 stars !

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 Live At Leeds by WHO, THE album cover Live, 1970
4.03 | 104 ratings

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Live At Leeds
The Who Proto-Prog

Review by ster

5 stars I am really glad to see The Who include on PA. Due to my own personal definition of prog rock, bands like The Who, Led Zep, Deep Purple, Black Sabbath (among others) deserve to be considered prog since at the time of the their formation, rock music was progressing because of what these bands were producing. Tons of original ideas with players to back it up. One of my all favorite bands, The Who never stopped experimenting and constantly pushed the envelope of rock music.

Live At Leeds, The deluxe edition, is the only Who album you need if you are only going to own one. This one sports an incredible sound from such an early live record. Raw but loud and clear. It also shows how incredibly daring they were going off into improvisations on some tunes and how incredible John Entwistle and Keith Moon were as a furious and dynamic rhythm section. Also Pete Townsend seemed to never run out of ideas and he proves on this record that nobody did and ever will rock harder. Roger Daltrey needs no introduction as the greatest rock belter of all time.

Ever song on this record sounds MUCH better than their original counterparts. Just check out A Quick One While He's Away, Tattoo, My Generation for proof.

I wouldn't call this a prog-rock masterpiece in the "traditional" sense. But there is no way in hell I will ever give this record any less than 5 stars on any forum.

Now go get it, crank it up. You'll thank me later.

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 Hand. Cannot. Erase. by WILSON, STEVEN album cover Studio Album, 2015
4.30 | 71 ratings

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Hand. Cannot. Erase.
Steven Wilson Crossover Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'Hand. Cannot. Erase.' - Steven Wilson (81/100)

I think it is a testament to the brilliance of Steven Wilson as an artist, that the least immediately gratifying album thus far in his solo career is still one of the most impressive things I've heard in these nascent months of 2015.

While I'm altogether certain I'm not the only one who longs for a Porcupine Tree reunion one of these days, Wilson's latest flagship has long since proved itself. His 'solo' phase has not been so much a continuation of that band's sound as it has been a liberation from the expectations fans might have had for any successor to The Incident. Porcupine Treeis synonymous with the sort of melancholic 'alt-prog' they're known for popularizing, but fans with a cursory knowledge of Wilson's music should know that was only a facet of his art. His poppiest tunes went to Blackfield. His love for drone and krautrock manifested themselves in Bass Communion and I.E.M respectively, and his longstanding collaboration with Tim Bowness (as No-Man) channelled ambiance in several shades. For any of the material that fell in- between these lines, a project under his own name was perfect. In spite of the heavy praise Steven Wilson has received for his eclectic solo work, I am positive a lot of the stylistic expeditions would have been given flak, had it been released with Porcupine Tree. An audience's preconceptions and expectations can make shifting sounds a tricky thing; this is something Wilson's pal Mikael Åkerfeldt might have taken into account when Opeth released Heritage (to intensely polar reactions) back in 2011.

The sleepy Insurgentes and - to an even greater extent - jaw-dropping Grace for Drowning pulled in sounds from every corner of Wilson's art. With these last two albums however, Wilson has let his love of classic progressive rock guide his approach. I don't mean to imply that Hand.Cannot.Erase. is a repeat of 2013's The Raven that Refused to Sing, but the open-ended, career-encompassing variety that had me obsessed with Grace for Drowning back in the day isn't so much a part of Wilson's solo material these days.

It's not the love note to 70s' prog rock that The Raven was, but Hand.Cannot.Erase. continues to pay homage to Steven Wilson's classic influences. His pop songwriting (one of his best talents, I think) takes a backseat to longwinded prog observations, the likes of which only usually seen once per Porcupine Tree record. "First Regret / 3 Years Older" is replete with Wilsonian vocal harmonies and successfully moving choruses, but its greatest charm lies in its not-so-subtle nod to A Farewell to Kings-era Rush. Yeah- I wouldn't have ever expected to mention the Canadian trio in a Steven Wilson review (his classic influences tend to rest near the psychedelic spectrum) but the precise basswork and bright power-riffs demand the comparison be made.

The comparisons don't end there either. "Home Invasion / Regret #9" starts with chugging, quasi-metal fare (it's not the first time Wilson's love of Meshuggah has found its way into his art) before it expands into a jazzy, King Crimson-esque exploration. From there, it falls into a longform, gradually building solo showcase shared between Adam Holzman and Guthrie Govan- again, this kind of chilled and soulful soloing could be traced to Pink Floyd, but so many prog rock bands have made use of it since that it may well be considered common property. "Routine" may be the only longer track here that escapes all quickdraw comparisons to classic prog. It's soft, varied and beautifully dynamic; I've seen a few people call "Routine" their favourite cut from the album; it might be a little over the place and rhapsodic for me to call it one of my favourites, but following the beautiful minimalism of "Perfect Life" before it, it's a refreshing switch of gears.

Hearing Wilson place an emphasis on this kind of tried-and-tested longform composition is both impressive and frustration. Wilson's natural talents with writing, matched with his encyclopaedic interest in the genre, his warmth as a producer and cast of brilliant musicians (some of them legends in their own right) make the least- involving moments on Hand.Cannot.Erase. a joy to behold. Coincidentally (and I may strike a note of controversy for saying so) those 'least-involving' moments all fall in the stretches of time Wilson hands the reins over to his backing soloists. Guthrie Govan stands as one of the best working guitarists today (his masterpiece debut Erotic Cakes is proof of that), but I notice my attention slipping whenever another extended guitar solo rolls around. From a technical standpoint Govan (and keyboardist Adam Holzman) hit all the proper marks, but the compositions fall into the age-old issue of making added space for the solos, without creating the dynamic surroundings to make it feel more than an expression of (their admittedly superb) technical musicianship. When it comes to some of these lax instrumental passages, I feel myself reeling back to thinking of the way Wilson masterfully opened up The Raven, with "Luminol". "Luminol" offered some of the best musicianship I've ever heard in the progressive genre, and felt consistently engaging in spite of its length. There wasn't a need to create longwinded solo passages then, and I don't think there was a need for it here.

I know I could have stopped with simply saying "TOO MANY SOLOS" and risked sounding like just as much of a curmudgeon, but the talent of everyone involved is worth far more than falling on old tricks like that. Barring that, any issues with Hand.Cannot.Erase. are negligible. Steven Wilson's work with would-be prog 'epics' has seen better days to be sure, but the three 10+ minute tracks grow with every listen. "First Regret / 3 Years Older" is the most contagious opener I have heard in a long time, and in spite of my criticism towards it, "Home Invasion / Regret #9" seems to get more charming with every listen. "Ancestral" was the slowest grower of the lot for me; the darkest note on Hand.Cannot.Erase. begins with Floydian melancholy, and erupts into one of the closest skirmishes with prog metal Steven Wilson has ever had. The dark atmosphere and oppressive riffs fly close to the heavy climax on The Incident, but unlike that album, Wilson makes sure to give the aggression due time to emerge and erupt.

Also quite like The Incident, the album's final moments following the climactic storm are tender. "Happy Returns" isn't quite as heartbreaking as "I Drive the Hearse", but I'm sure it was written in a similar mindset. To be honest, this sort of Porcupine Tree-ish tenderness and beauty strikes an even stronger note with me than the more progressive and overtly sophisticated material on Hand.Cannot.Erase. To anyone who's heard the album already, it shouldn't come as any surprise that the title track is my favourite song. "Hand Cannot Erase" is, without a doubt, one of the most infectious and enjoyable songs Wilson has ever written, up there with "Trains" and "Lazarus". The melodies are crisp, the lyrics intimate and Wilson's voice fittingly warm and passionate.

"Perfect Life" was a far less intuitive choice for a single, but it's come to hit me just as hard emotionally. The anecdotal spoken word (performed by Israeli singer Ninet Tayeb) is an intimate gateway into the album's concept of isolation. Foreboding electronic beats build underneath. Halfway into the track, the atmosphere switches from tension to tenderness. Steven Wilson's voice chimes softly: "We have got a perfect life..." From underneath that, a one-man chorus of harmonies emerge, themselves building up in layer and intensity until the song ends. I describe this moment because it is completely haunting every time I hear it; I know the word 'haunting' is tossed around in music reviews as many times as McDonalds sells Big Macs in a fiscal year, but this is one of the occasions that truly warrants the description.

To date, the only album concept from Steven Wilson that really meant something to me was Porcupine Tree's Fear of a Blank Planet. Deadwing and The Incident are conceptual works, but there's not a great deal of narrative or symbolic sense to make of them. I've always loved Steven Wilson's intimately poetic lyrics, but I've rarely cared to draw conclusions about the album concepts themselves. In the case of Hand. Cannot. Erase., the concept is more clear, although Wilson's left particular lyrical meanings up for an audience's interpretation. Suffice to say, the album's conceptual foundations (of a woman who isolates herself from human contact for three years) fall in line with Wilson's recurring anxieties towards modernity. Even if the narrative's character is female, the lyrics feel too personal to have come from anything but Wilson's own experience. What are we to make of the way the story ends? The woman finally re-enters society, but sees nothing has changed while she's been away. It's a bittersweet way to part ways with a character so disenfranchised with the isolation inherent in modern living. Still, it seems a brighter ending than the one shared by the concept's real-life inspiration; Joyce Vincent (an abused woman living in London) was discovered in her apartment three years after she died. Given the anxieties Wilson explored on Fear of a Blank Planet, it's not surprising he would have been moved enough to create art based on that story.

I wonder, were she alive to hear it, what the real-world Joyce Vincent would have thought of Hand. Cannot. Erase. The essential beauty of art and music is that it allows people to share their emotional experience, conveying the hidden depths of themselves to another person they have probably never met before. Humans feel more isolated than ever, and none moreso than in cities. The kind of feeling an artist like Steven Wilson brings to his music has never been so important. No, I'm not awe-struck the way I was with Grace for Drowning or his other best work, but Hand. Cannot. Erase. feels resonant and powerful. Wilson may play with traditional progressive notions here, but unlike your Flower Kings and Transatlantics, he never succumbs to them. By this point, Steven Wilson's solo work has become a monument, increasingly independent from the legendary prestige of his old band. Part of me still hopes he'll revive Porcupine Tree one of these days and follow-up The Incident, but I'll eagerly await anything of his if he keeps up with this brilliant standard of quality. The man has no signs of slowing down any time soon.

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 NichelOdeon Boxset/Compilation, 2013
3.67 | 12 ratings

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NichelOdeon "Bath Salts" + InSonar "L'Enfant et le Ménure"
Nichelodeon RIO/Avant-Prog

Review by Conor Fynes
Prog Reviewer

3 stars 'Bath Salts + InSonar "L'Enfant et le Ménure' - NichelOdeon/InSonar (59/100)

I don't think it would be fair to call Bath Salts + L'Enfant et le Mčnurea real 'split' album; both are driven by the same core member (Claudio Milano) and both operate by similar guidelines. Both NichelOdeon and InSonar could be resomably described as 'avant-ambient' progressive rock, both projects' included albums are unreasonably long, both projects highlight Claudio Milano as a brilliant vocalist, and both employ far more guest musicians than they rightly know what to do with. In a sense, L'Enfant et le Mčnure and Bath Salts are close mirrors of one another. While the former goes for an 'everything but the sink' approach to avant-prog (that ultimately leaves it feeling indistinct) Bath Salts grounds the sound a little more, cutting out some of the unnecessary filler and capitalizing purely on Milano's voice. Between the two, Bath Salts is endlessly better than its counterpart. Listening to the two back-to-back only reinforces this notion.

Eating up over three hours cumulatively, Bath Salts + L'Enfant et le Mčnure isn't something I would recommend be heard in a single listen. Even one of these albums can be tough to get through at once; not necessarily due to the quality but the aimlessly subdued instrumentation shared by both albums. Even the strongest material here demands a level of patience some listeners may not have. If you're thinking about getting into this, check out the first disc of Bath Salts; it's the most grounded and consistent of the four CDs, and arguably delivers the best experience. As a final word, I'd like to bring attention to the album's packaging. The cardboard layer atop the CDs and booklets is plain, save for the green imprint of lips atop it. I think it reflects the music here fairly well; minimalism, with an almost out-of-place theatrical touch.

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100 MOST PROLIFIC REVIEWERS

Collaborators Only

ratings only excluded in count
  1. Mellotron Storm (3682)
  2. Sean Trane (3159)
  3. ZowieZiggy (2917)
  4. apps79 (2538)
  5. Warthur (2194)
  6. Easy Livin (1925)
  7. UMUR (1858)
  8. b_olariu (1844)
  9. Gatot (1811)
  10. Conor Fynes (1551)
  11. SouthSideoftheSky (1450)
  12. Evolver (1380)
  13. Bonnek (1329)
  14. AtomicCrimsonRush (1261)
  15. Tarcisio Moura (1242)
  16. snobb (1210)
  17. erik neuteboom (1201)
  18. Windhawk (1171)
  19. Finnforest (1103)
  20. ClemofNazareth (1009)
  21. kenethlevine (1007)
  22. Cesar Inca (926)
  23. loserboy (895)
  24. Rune2000 (859)
  25. kev rowland (843)
  26. Marty McFly (833)
  27. octopus-4 (819)
  28. tszirmay (814)
  29. memowakeman (766)
  30. Matti (762)
  31. Chris S (753)
  32. Eetu Pellonpää (719)
  33. greenback (685)
  34. Guillermo (672)
  35. progrules (666)
  36. Rivertree (639)
  37. Seyo (638)
  38. Epignosis (624)
  39. Prog-jester (623)
  40. lor68 (601)
  41. Neu!mann (582)
  42. Ivan_Melgar_M (545)
  43. philippe (538)
  44. hdfisch (492)
  45. Chicapah (479)
  46. stefro (478)
  47. friso (470)
  48. colorofmoney91 (459)
  49. J-Man (449)
  50. zravkapt (436)
  51. russellk (435)
  52. Prog Leviathan (426)
  53. Menswear (413)
  54. Sinusoid (402)
  55. ProgShine (401)
  56. Atavachron (397)
  57. Queen By-Tor (395)
  58. siLLy puPPy (373)
  59. andrea (366)
  60. Greger (365)
  61. Zitro (359)
  62. tarkus1980 (359)
  63. Nightfly (356)
  64. Cygnus X-2 (353)
  65. fuxi (352)
  66. Aussie-Byrd-Brother (348)
  67. Andrea Cortese (348)
  68. EatThatPhonebook (326)
  69. lazland (317)
  70. Negoba (316)
  71. Guldbamsen (315)
  72. richardh (313)
  73. Tom Ozric (300)
  74. Kazuhiro (299)
  75. admireArt (290)
  76. Proghead (289)
  77. Flucktrot (289)
  78. OpethGuitarist (287)
  79. progaardvark (286)
  80. daveconn (266)
  81. Trotsky (264)
  82. Muzikman (263)
  83. Second Life Syndrome (258)
  84. clarke2001 (254)
  85. The T (253)
  86. Slartibartfast (250)
  87. TCat (248)
  88. Andy Webb (235)
  89. Bj-1 (231)
  90. 1800iareyay (225)
  91. js (Easy Money) (222)
  92. poslednijat_colobar (220)
  93. The Crow (216)
  94. Raff (214)
  95. avestin (214)
  96. Syzygy (214)
  97. GruvanDahlman (211)
  98. NJprogfan (211)
  99. seventhsojourn (211)
  100. aapatsos (209)
Remaining cache time: 318 min.

List of all PA collaborators

TOP PROG ALBUMS
  1. Close To The Edge
    Yes
  2. Thick As A Brick
    Jethro Tull
  3. Selling England By The Pound
    Genesis
  4. Wish You Were Here
    Pink Floyd
  5. Foxtrot
    Genesis
  6. In The Court Of The Crimson King
    King Crimson
  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. Pawn Hearts
    Van Der Graaf Generator
  13. Nursery Cryme
    Genesis
  14. Moving Pictures
    Rush
  15. Per Un Amico
    Premiata Forneria Marconi (PFM)
  16. Larks' Tongues In Aspic
    King Crimson
  17. Hybris
    Änglagård
  18. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  19. Mirage
    Camel
  20. Moonmadness
    Camel
  21. Hemispheres
    Rush
  22. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  23. Si On Avait Besoin D'Une Cinquičme Saison
    Harmonium
  24. Relayer
    Yes
  25. Darwin!
    Banco Del Mutuo Soccorso
  26. A Farewell To Kings
    Rush
  27. In A Glass House
    Gentle Giant
  28. Kind Of Blue
    Miles Davis
  29. Birds Of Fire
    Mahavishnu Orchestra
  30. Crime Of The Century
    Supertramp
  31. Aqualung
    Jethro Tull
  32. Ommadawn
    Mike Oldfield
  33. The Silent Corner And The Empty Stage
    Peter Hammill
  34. In a Silent Way
    Miles Davis
  35. The Road Of Bones
    IQ
  36. Hot Rats
    Frank Zappa
  37. Meddle
    Pink Floyd
  38. Still Life
    Opeth
  39. Depois Do Fim
    Bacamarte
  40. H To He, Who Am The Only One
    Van Der Graaf Generator
  41. Permanent Waves
    Rush
  42. Images And Words
    Dream Theater
  43. The Yes Album
    Yes
  44. Scheherazade And Other Stories
    Renaissance
  45. The Lamb Lies Down On Broadway
    Genesis
  46. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  47. One Size Fits All
    Frank Zappa
  48. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  49. Still Life
    Van Der Graaf Generator
  50. The Snow Goose
    Camel
  51. A Trick of the Tail
    Genesis
  52. The Grand Wazoo
    Frank Zappa
  53. Rock Bottom
    Robert Wyatt
  54. Zarathustra
    Museo Rosenbach
  55. In The Land Of Grey And Pink
    Caravan
  56. Octopus
    Gentle Giant
  57. Arbeit Macht Frei
    Area
  58. Second Life Syndrome
    Riverside
  59. Mëkanīk Dëstruktīẁ Kömmandöh
    Magma
  60. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  61. Free Hand
    Gentle Giant
  62. The Power And The Glory
    Gentle Giant
  63. Viljans Öga
    Änglagård
  64. Blackwater Park
    Opeth
  65. Misplaced Childhood
    Marillion
  66. The Inner Mounting Flame
    Mahavishnu Orchestra
  67. Spectrum
    Billy Cobham
  68. L'isola di niente
    Premiata Forneria Marconi (PFM)
  69. Hatfield And The North
    Hatfield And The North
  70. Felona E Sorona
    Le Orme
  71. K.A
    Magma
  72. Space Shanty
    Khan
  73. Emerson Lake & Palmer
    Emerson Lake & Palmer
  74. Rubycon
    Tangerine Dream
  75. Fear Of A Blank Planet
    Porcupine Tree
  76. Elegant Gypsy
    Al Di Meola
  77. Radio Gnome Invisible Vol. 3 - You
    Gong
  78. Acquiring the Taste
    Gentle Giant
  79. In Absentia
    Porcupine Tree
  80. Hamburger Concerto
    Focus
  81. Bitches Brew
    Miles Davis
  82. The Perfect Element Part 1
    Pain Of Salvation
  83. Ghost Reveries
    Opeth
  84. Doomsday Afternoon
    Phideaux
  85. We'll Talk About It Later
    Nucleus
  86. Script For A Jester's Tear
    Marillion
  87. Time Control
    Hiromi Uehara
  88. Lateralus
    Tool
  89. Uomo Di Pezza
    Le Orme
  90. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  91. De-Loused In The Comatorium
    The Mars Volta
  92. Ocean
    Eloy
  93. Crimson
    Edge of Sanity
  94. Operation: Mindcrime
    Queensr˙che
  95. Anabelas
    Bubu
  96. Caravanserai
    Santana
  97. Voyage Of The Acolyte
    Steve Hackett
  98. Anno Domini High Definition
    Riverside
  99. Pale Communion
    Opeth
  100. Choirs Of The Eye
    Kayo Dot

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

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