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 Contrapasso by SEVEN IMPALE album cover Studio Album, 2016
4.02 | 51 ratings

Seven Impale Eclectic Prog

Review by Tapfret
Prog Reviewer

5 stars It's not often that I find myself doing such an about-face on an album. The amount of crow that was eaten during the second listen of Seven Impale's 2016 release, Contropasso, was staggering. I found myself fighting considerable bias toward the retro sound of their 2014 release, City of the Sun. I suppose as a self-proclaimed avid progressive rock listener, such bias should not be rote. The initial listen to the album found me considerably disappointed at the comparatively modern sound. But as further listening occurred, the textures and dynamic composition of the album shine through. So much so that it has become apparent that this is the album of the year for 2016, in this reviewer's humble opinion.

Vocalist / guitarist , Stian Økland has a voice that, while being very enjoyable and dynamic in City of the Sun, became quite a bit more eclectic in this release. The style could be best described on the previous LP as having an almost late era Jon Anderson quality to it. And while that sound was present at times in Contrapasso, it was also contrasted by periods of very goth, almost Peter Murphy style deep vampiric tones. Almost to the point where I thought a guest appearance was being made by fellow Norwegian Czral of Virus/Ved Buens Ende. Additional sections of soaring glam metal style vocals are also present. It is a very deeply rounded conglomeration of vocal styles that deeply textures this release. its a facet of progressive music that can often lead to the downfall of a great album. In this case augmenting it substantially.
Adding to the, dare I overuse the word, eclecticism, are the arrangements themselves. While the aforementioned overall feel is less retro than City of the Sun, the aspects of arrangement are still very classically Progressive. The instrumentations tend to be quite a bit heavier than the previous release, to the point that one could almost understand the occasional "metal" label that's put on the album by various music media outlets. But the amount of contrast in both volume dynamics and tempo are undeniably Prog. Even in the darkly oppressive Languor, and almost electronica sound of Phoenix. And then there's the saxophone, which was almost trademark to the sound of Seven Impale on City of the Sun. Here we find it not so much subdued, but blended and far more complimentary than in the previous release.

As time goes by I find myself becoming more and more of a Norweig-aphile. But even in a country that is standing out as a flagship of fresh Progressive rock in the 21st century, Seven Impale have shone through a rather thick field of creativity. Contrapasso is one of, if not the quality release of 2016 and is easily recommended for any Progressive rock library. 5 bright stars.


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 Totum by ABSTRACT TRUTH album cover Studio Album, 1970
3.32 | 25 ratings

Abstract Truth Indo-Prog/Raga Rock

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Offering a rare glimpse of the South African psychedelic scene as the odometer was turning from the 60s to the 70s, ABSTRACT TRUTH released their first of two albums with a healthy dose of covers in a psychedelic folk mood. The band emerged in the port city of Durban but had somehow caught drift of the psych and folk scenes drifting on the winds. TOTEM was primarily an expression of covers but a competent take on the world's scene diffused into their slowcore and contemplative folky take on things. While this debut is very much a nice little music sampler of everything jazz, blues, folk and mellow rock of the era, there's still an idiosyncratic approach to the tracks on board as the band makes them their own and the album actually feels like a cohesive whole of originals if only we didn't know better.

While the main influences seem to be everything from Donovan and Fairport Convention to Traffic, there is also a heavy leaning toward the escapist drugged out sounds of Pink Floyd's mellowest moments as well as a surprising trippy excursions into the jazz world as heard on the Dave Brubeck's "Take Five" segment of the tail end of a ten minute twofer track. The main instruments are the guitar, bass and tribal percussion with wind tradeoffs from both the flute and sax. The atmosphere is light and breezy as the mid-tempo tracks bring the future offerings of Comus to mind without the creepy subject matter nor the twisted progressive behemoth compositions.

While the tracks basically constitute a cover album that include jazz standards such as "Summertime" and "Comin' Home Baby" along with 60s psych pop takes on Donovan tracks suchs as "Jersey Thursday" and "Fat Angel," it does contain one original tune "Total Totum (Acid Raga)" which churns out the stoned hippie effect complete with George Harrison inspired sitar improvisations which bring the guru seeking dope-inspired 60s to mind where every musician suddenly found "god" and needed to express their oneness with the divine in musical prose that proffered salvation through a jam session that suggested the need for stoned out participations to be the ticket to ride. While not a necessary prerequisite to imbibe the bounties of the intoxicating universe to enjoy this, it certainly helps to understand where the band was coming from in its approach to tackling their musical visions.

While TOTEM is a perfectly enjoyable listen it does seem to ruminate a bit too much over the efforts of others and not really effective in making a musical statement of its own. Even with the final "Acid Raga" track which finishes the effort as the band's sole original statement it doesn't quite hit the mark in proffering the promised pastures of originality that we could hope to hear in the fertile crossroads of the year 1970. While everything is competently performed with hints of English folk, Krautish psychedelic overtones and overt tributes to past masters, this one just seems to fall short in terms of consistency but nothing on here is unpleasant in the least. ABSTRACT TRUTH would find much more fertile pastures with their second album of the same year "Silver Trees."


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 Pike 245 - Space Viking by BUCKETHEAD album cover Studio Album, 2017
1.00 | 1 ratings

Pike 245 - Space Viking
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
1 stars BUCKETHEAD (as Bucketheadland) / Pike 245 - Space Viking / 2nd release of 2017 / All instrumental / Contains 3 tracks / Clocks in at 30minutes 30seconds / everything played by Buck-buck-buckethead

'Space Viking (To Bernie Worrell, the greatest music maker of all) (21:29) swallows up 2 thirds of the PIKE's real estate and is one of the many ambient lullaby tracks. Ugh! My least favorite kind and at this time length i predict a serious snoozer-ama. It begins with a clean guitar melody and ambient backings. A bass is used sparingly and percussion is limited to cymbal action. As i suspected. This is nice mellow background music for surfing the web but totally boring otherwise. Nice production and would sound brilliant if he hadn't done this type of album a million times before but the problem is that it is repetitive and has no musical composition taking place. It is simply a loop of a simple riff that repeats to infinity. Really? How many times can BH repeat this same booooooooring type of track? Mellow is fine and dandy but what if Barry Manilow only wrote 'Mandy' and changed it around slightly for 100 times? In fact i'd rather listen to Manilow over this sterilized crap any day. The worst of the worst. Total sewage sludge on smear nursing home toilets. I'd rather watch paint dry than listen to this one more time

'Litten Well (3:20) picks up the speed and has a more percussion oriented groove with the clean guitar echoed more and sounds more akin to a folk rock track from Kansas or some other 70s prog folk entity. After the last dud any change is welcome of course but this pretty much takes the same timbres and tones and makes an interesting musical creation without wearing out its welcome. Perfect sounds, perfect composition and perfect time length for ideas presented. See BH? It's not the hard. Spare us of the long winded crap like track one and make decent albums where EVERY track is worthy of investing our limited life span for a listen

'Ever' (5:41) starts out sounding more rock oriented with echoey more distorted guitar and bass and drums. It picks up speed right away and then has a heavier drum and more distorted guitar but it stays in mid tempo range and reverts to slow. This type has been done to death as well since it has been featured on many a PIKE.

After a promising first PIKE of 2017, i'm immediately hit by a total dud. The second track is moderately interesting but nothing to warrant a special effort to hear this one. As far as i'm concerned this PIKE is total filler in a sea of releases that contain many traces of greatness. Is the point of these crap albums to create a contrast for a higher appreciation of the excellent ones? Hmmm'. maybe the chicken lover isn't so stupid but i'm not a believer that crap needs to fill the cracks between releases that are worthy of entering my ear canals. Overall i'm thoroughly bored by this rotting piece of excrement


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 Revelation & Mystery by SAMSARA BLUES EXPERIMENT album cover Studio Album, 2011
3.44 | 31 ratings

Revelation & Mystery
Samsara Blues Experiment Psychedelic/Space Rock

Review by Meltdowner
Collaborator PSIKE Team

3 stars It took me quite a few spins to get into this album, unlike their debut. It seems the progressiveness toned down a bit on this one. I used to lose focus by the third track but one time I paid more attention to side B and noticed how better it is.

The album starts with "Flipside Apocalypse", a nice tune that gets constantly heavier with some parts that remind of Black Sabbath. I quite like the stereophonic guitar on it.

"Hangin' on the Wire" is more straightforward and mostly sung with an eruptive guitar solo near the end.

"Into the Black" is probably the one I like less, because it's difficult to listen: it's unecessarily long and constantly heavy with lots of guitar tracks that seem to dominate everything most of the time. Maybe it could be better with a more even mixing.

Side A ends with "Thirsty Moon", a most desired rest for the ears. It's a soft Rock song (well, for SBE's standards) with acoustic and crunch guitars, it reminds me a bit of Blue Öyster Cult. It also has some organ but it was mixed far too low.

"Outside Insight Blues" begins with a bluesy tune and a great guitar solo. It suddenly becomes faster and in a Hard Rock style. Then there's a cool section that brings Led Zeppelin to mind. After that, it unexpectedly turns into Swing, SBE style, introducing also the harmonica. The song then ends as it started.

"Zwei Schatten im Schatten" is the softest piece on the album, a breezy interlude for acoustic guitar and sitar. The title track starts right after it with a bang. There's a good combination of clean and distorted guitars, very nicely mixed. The vocals appear with vibrato effects, having some stereo interaction with the guitar. There's a crescendo and then a calmer part that includes the remaining instruments I was expecting to hear, synths and harp, with clean electric guitar and sitar. The vocals and distorted guitars join the party and we get to the beginning. The album ends with a long wah-wah guitar solo.

In conclusion, I miss the diversity and the long distance trips with more twists and turns of the debut, but it's still a really good record.

3.5 stars


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 Nosferatu by ZORN, JOHN album cover Studio Album, 2012
3.85 | 12 ratings

John Zorn RIO/Avant-Prog

Review by Lewa

3 stars Works perhaps better as a soundtrack than as an album.

As one can deduce from the subject matter this is one of John Zorn's dark jazz albums and in my opinion also one of his better ones. Parts of it are insanely dark and aggressive and all are mesmorizing. Consistent rhythm or melodies are not very present on the album. Interestingly, the metal influence that's often part of his darker works, mostly takes the form of industrial metal here. That's new and took me by surprise, especially considering that this is a work celebrating a 100th anniversary.

While there is light there is also some shadow in my opinion. The vast majority of the songs are very short and it is my impression that musical ideas are seldomly really explored. The changes from song to song are pretty aprupt and there is not much gradual evolution. In the end, I find that this hearts the album as a whole. It works quite good as a soundtrack or soundscape, though.

The stalking is the one track that stands out on this album. It is the only longer composition and follows a more traditional song structure. In this case a dub bass line that really grooves is repeated ad infinitum and the other instruments scream or wail over it. It is quite recommended as a song, though seven something minutes are enough of that bass line.

In the end this is recommeded to proggers who like dark jazz and appreciate soundscapes. A fondness for lots of variety and left turns also helps.


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  Split Seconds by MILLER, PHIL album cover Studio Album, 1989
3.61 | 16 ratings

Split Seconds
Phil Miller Canterbury Scene

Review by Warthur
Prog Reviewer

3 stars Split Seconds is Phil Miller's followup to Cutting Both Ways, and just like that release it's split between band tracks performed with In Cahoots and more intimate pieces recorded with the help of Dave Stewart and Barbara Gaskin, who'd been forging their own skewed pop sound since the disintegration of National Health.

At its best, it's more of the same; however, there are a few too many moments where the songwriting is thin enough that the thin 1980s production standards really show, and they have dated quite poorly. (I'd be interested if anyone knows just why so many Canterbury artists in particular seemed to come unstuck in the production department in the 1980s.) This feels, in fact, like an album consisting of off-cuts from Cutting Both Ways, and whilst that one manages to overcome the difficulties of the era, this one can't quite escape their gravity well. As it turns out, one course of 1980s In Cahoots is enough for me - I can't manage seconds, even if I split 'em.


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 One World by MARTYN, JOHN album cover Studio Album, 1977
3.63 | 25 ratings

One World
John Martyn Prog Folk

Review by Warthur
Prog Reviewer

4 stars This is an odd little album that finds John Martyn teaming up with Steve Winwood, whose organ playing adds jazzy, funky accents to Martyn's already typically laid-back sound. The end result is a weirdly sunny-sounding album which sort of resembles a folk rock artist's attempt to figure out what reggae sounded like based only on some rather vague descriptions. A strange mix, yes, but somehow an intoxicatingly catchy one, making this stylistic experiment a resounding success. Despite the fact that it its further outside the usual folk rock sphere than either Bless the Weather or Solid Air, somehow this manages to be the most accessible of Martyn's 1970s works.


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 Invention of Knowledge by ANDERSON/STOLT album cover Studio Album, 2016
3.69 | 176 ratings

Invention of Knowledge
Anderson/Stolt Symphonic Prog

Review by BunBun

3 stars When I read that Jon Anderson and Roine Stolt would collaborate, I thought 'Why hasn't this happened sooner?' Well, after returning to this album several times over a period of half a year, I can safely say that I'm thoroughly disappointed with the outcome. Now, this is not a bad album but it is neither great. The problem is the lack of diversity within the album. Each song blends seamlessly into the next and it's hard to know that you are on track four when it still sounds like track one.

The vocals are always out front, and Anderson's vocals are still good considering his age, but I was hoping Stolt would at least contribute one vocal track to the album. It would have adding some needed change. Then there is a distinct lack of instrumental sections. Where is the energy? There is one short jazzy instrumental section at the end of 'Everybody Heals,' yet after about ten listens over the past half year, I was hoping for more than two memorable minutes from the album.

And that sums up the experience for a me. A nice, mellow, uplifting album but utterly forgettable. 2.5 stars from me because two stars seems a bit too low so I'll just round it up to three.


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 Cinemanemico by NICHELODEON album cover Live, 2008
3.47 | 8 ratings

Nichelodeon RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

4 stars Take a strong melody, surround it with noises coming from an electric guitar in the likes of the modern composer Rominetti (Claudio Milano has introduced me to his music), add very raw and harsh lyrics. The album opener "Fame" (Hunger) makes immediately clear which kind of music this album contains. What I think i s the principal characteristic of Nichelodeon, other than the great skill of the band members plus the great voice of Claudio Milano, is the mixture of strong melodies and Avantgarde arrangements. With RIO and Avant music it doesn't happen frequently to find melodies able to fix in your mind and resound for hours and hours. "Fame" is an excellent opener. Piano and voice are the melodic instruments while the others make the noise. "La Mosca Stregata" (The haunted fly) starts instrumental in a sort of chamber rock intro. Art Zoyd is what comes to mind, but after the intro Claudio and the piano go classical. It's incredible how a composition by haendel (from Rinaldo if I'm not wrong) is totally transformed into a psychedelic noisy improvisation which fades into what I personally consider the best song ever released by Nichelodeon.

"Malamore e la Luna" (Badlove and the Moon) is exactly what I was thinking about when i have mentioned melodies which remain in your mind and resounds for days. Try to listen to it just a couple of time and it won't leave your mind.

"Amanti in Guerra" (Lovers in War) is again based mainly on piano and voice. A slow and melodic song with dramatic lyrics. Less noise than on the other tracks.

"La Torre Piu' Alta"(The Highest Tower) is opened by Claudio's vocalizations reminding of Demetrio Stratos. A difficult track which has also been performed live with Walter Calloni (Area). The dark atmospheres like those of Art Bears permeate the track until the vocals stop. The instrumental part is quiet and sad with a strong RIO flavor, especially when it "wakes up" and Claudio is back in a sort of reprise. Funny...he then reads receipts like a chef and tells a story about "gnocchi" disappeared from the end in a coda made of electronic noise and vocals. The reason is that this song was part of a multemedial performance written by Pellegrino Artusi:

"Cio' Che Rimane"(What's left) brings the melody back to change into a piano riff remainding of Keith Emerson which backgrounds the track with bass notes while the synth takes the lead. Try to separate the melody from the other instruments. Anyway any little piece has its place. The noisy and the melodic parts are very well integrated. I just wonder how much of it is improvised.

"Flower Of Innocence" gives more room to the guitar which here reminds to Fripp and the early King Crimson. It's a short evocative track which can feature in a movie or a documentary soundtrack.

"Disegnando cattedrali di cellule Pt.II" (Drawing Cathedrals of cells Part II) is back to chamber rock. One of the most experimental tracks of an experimental album. A very dark track in the vein of Art Zoyd. In particular I think to Generation Sans Future. Again a menu is read and the final features a jazz vocal solo backed by the crazy arrangements which are omnipresent in this album.

"Il Ladro di Giochi" (The toys thief) Despite the Italian title is sung in English. another crazy set of lyrics on an excellent melody supported by piano while synth and guitar make some noise around. It includes a ghost track which is noisy and chaotic. Perfect for who loves the genre.

An album that I personally love, Inparticular the mentioned Malamore e la Luna which I consider a little masterpiece.

4 solid stars with the temptation for the 5th.


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 The Clockwork Fable by GANDALF'S FIST album cover Studio Album, 2016
4.02 | 121 ratings

The Clockwork Fable
Gandalf's Fist Neo-Prog

Review by chiang

5 stars This is a great album!!! Never heard of "Gandalf's Fist" before and, being a Tolkien's fan, I have to say that I came here cause the name. But I found a great band (or a great musician, cause most of the music is Marsh's work). Three C.D.s, three hours, lot of good songs, a nice story (better than most on lots of concept albums). The idea of the interspersed radio play bits is nice but I don´t like to listen to them more than twice; fortunately I can skip them. "The Lamplighter" is a great epic. "The capture", "Victims of the light" and "Fight for the light" are very good also. In fact I like all the songs, and the musicians are very well chosen. Every moment of the story has a correct musical feelling. The album cover (the whole pack in fact) is a very good work, dark but beautiful. I don't miss the old 12in paperboard anymore. One of the best albums from 2016.


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  4. apps79 (2629)
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    Jethro Tull
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    Pink Floyd
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    King Crimson
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    Pink Floyd
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    Van Der Graaf Generator
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    King Crimson
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    Miles Davis
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    Banco Del Mutuo Soccorso
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  66. In Absentia
    Porcupine Tree
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    Porcupine Tree
  70. Hatfield And The North
    Hatfield And The North
  71. Acquiring The Taste
    Gentle Giant
  72. Viljans Öga
  73. Arbeit Macht Frei
  74. Spectrum
    Billy Cobham
  75. The Inner Mounting Flame
    Mahavishnu Orchestra
  76. Hamburger Concerto
  77. K.A
  78. Rubycon
    Tangerine Dream
  79. If I Could Do It All Over Again, I'd Do It All Over You
  80. Anabelas
  81. Radio Gnome Invisible Vol. 3 - You
  82. Script For A Jester's Tear
  83. The Perfect Element - Part 1
    Pain Of Salvation
  84. Romantic Warrior
    Return To Forever
  85. Elegant Gypsy
    Al Di Meola
  86. Voyage Of The Acolyte
    Steve Hackett
  87. L'Isola Di Niente
    Premiata Forneria Marconi (PFM)
  88. Crimson
    Edge of Sanity
  89. Remedy Lane
    Pain Of Salvation
  90. Bantam To Behemoth
    Birds And Buildings
  91. Bitches Brew
    Miles Davis
  92. Felona E Sorona
    Le Orme
  93. Doomsday Afternoon
  94. Lateralus
  95. Grace For Drowning
    Steven Wilson
  96. Leftoverture
  97. Caravanserai
  98. Sing To God
  99. Part The Second
    Maudlin Of The Well
  100. Abraxas

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


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