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 Mi Kubbesi by NEKROPSI album cover Studio Album, 1996
4.18 | 60 ratings

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Mi Kubbesi
Nekropsi Progressive Metal

Review by ctasan

5 stars Mi Kubbesi (Turkish: The Dome of Mi), released in late 1996 after 3 years of works, is one of the best albums ever made in Turkey, and able to compete easily with mainstream albums. This album appeared in cassette format (which was popular in Turkey from 1980s to 2006), and later on CD. Sadly, no vinyl copies. Group members define their style as "transsexual jazz, an invention which has no reference". It blends various styles such as thrash metal, industrial, ambient, progressive with the melodies of Middle East, experimentally. Turkish percussion instruments (bendir, darbuka, classic drum) and string instruments (kemençe, bağlama) are heavily used in this album.

Opening song "Crying Game" is one of the striking openings I've ever heard. Sadly, this song is short (there are more gems in this albums like this!). Basses and electro-bağlama dominate this with backing vocals yelling, murmuring and so on. No lyrics here.

Fok (Turkish: The Seal) starts with 2-3 seconds sound of a seal, and then basses. Speed and power is variable in this song along with good melody.

Efsane (Turkish: The Legend) is an upstanding song. At some point, folk dance ambiance is present with vocals of "Hey, hey!", then everything stops and ambience switches to dark.

Çarşı (Turkish: The Market, or downtown, especially in older cities) is another short song with guitar, bendir, and darbuka. Fully folk-inspired excellent melody.

94 Kor (Turkish: 94 Cores) has metal influences and speed. Drums enter and exit like there's a gunfire combat with otomatic ones. Too angry. Remember, in their first years, Nekropsi was a thrash band! (This could be used as a film music)

Derinlik (Turkish: The Depth) starts harshly, then gets soft as you don't imagine and relaxes you after a chaos.

Dımlı Mi (Turkish: Wet Mi) is quite psychedelic and tribal. Kemençe have been used here differently, creating dark atmosphere. (Ironically, it makes you play in anywhere if you're from Black Sea) Also, some ascents and descents are present, taking you from one place to another.

Lim (I couldn't understand what it stands for) is another short song, show of electro and bass. Hindu (Turkish: The Indian) is the same, with drums joining.

Çarklar (Turkish: The Wheels) is one of the songs I love in this album. It emulates spinning wheels perfectly, just with bass and bağlama, with speeding and slowing!

Ateis (It should reference atheist, one letter absent) starts with accords, then dominated with basses, has some metal influence.

Göç (Turkish: Migration) instead starts slowly and ambiently, then finishes suddenly with heavy guitars.

Kubbealtı (Turkish: Under The Dome) is just 30-seconds long improvisation record from 1993. A feeling like you're under a dome and echoes present.

Yollar (Turkish: Roads) starts with some ambient sound, then suddenly accerelates, takes some breaks, and finishes softly. Folk melodies exist highly, with usage of darbuka. Good guitar work.

Son (Turkish: The End) is chaotic, with guitar playing like a siren, and drums attacking sometimes. Good closing.

41 (A number has some mystic meaning) should be a track that added later issues. It resembles some industrial to me, with chaos. Like a game music.

Conclusion: An album that you can't find easily in it's genre. Masterpiece. Rating: 8.5/10

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 Unfolded Like Staircase by DISCIPLINE album cover Studio Album, 1997
4.24 | 345 ratings

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Unfolded Like Staircase
Discipline Symphonic Prog

Review by Progfan97402

2 stars One of the more overrated prog albums of the 1990s. Apparently Matthew Parmenter had just discovered Van der Graaf Generator prior to the recording of Unfolded Like Staircase, explaining why Push & Profit was quite a bit different. So it's little surprise the VdGG influence can be felt, but I also detect a Spock's Beard influence as well, because Parmenter's voice alternates between that of Peter Hammill and that of Neal Morse. "Canto IV" and "Crutches" aren't bad, but the problem in this CD is it's way too long and it sounds like they ran out of ideas after the first two cuts. It's CDs like this that gives me a reminder why in recent years, thanks to the vinyl revival (starting about 2007 or '08) many artists were starting to scale back to 40-45 minutes and the albums, to my ears, have improved, because you're not having to sit through lots of filler. It's easier for artists to pick the cream of the crop if having to stick to 40-45 minutes of music. Unfolded Like Staircase is much like Echolyn's As the World to my ears, just drawn out way too long. Of course I can't say that lengthy releases of the 1990s were all bad, Porcupine Tree managed some great music during their early space rock phase (pre-Stupid Dream) and their CDs were normally around an hour long or more, even during their more popular phase (In Absentia and beyond). And then you have Änglagård (who were wise to keep the music around 45 minutes), which set the standard so high it would be difficult for any other artist from that era to touch them. Still Unfolded Like Staircase doesn't fall into the neo-prog trap, but it's not entirely retro either, the vocals and style does sound '90s, even if some low key Mellotron is used. I realize in the 1990s they feel they'd sell more copies if the CD consists of two ten minutes cuts and a 20 minute piece, which I think is a dangerous trap to keep the quality consistent throughout. Spock's Beard's The Light, for example does have a couple ten minute pieces and one piece over 20 minutes, but surprisingly the CD is excellent (and I'm not even the biggest Spock's Beard fan, because my gripe about them is their frequent commercial/mainstream approach). I do take a lot of prog since the 1990s with a grain of salt, as many of them fall short of the great stuff (well known and obscure) from the 1970s. Discipline, to my ears, falls short. I know some of you will enjoy it, so I know Unfolded Like Staircase has its fans, but it simply left me cold, no matter how many times I've listened to it.

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 Contagion Max by ARENA album cover Boxset/Compilation, 2014
4.17 | 24 ratings

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Contagion Max
Arena Neo-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars After a ten year wait in 2013 fans of ARENA's monstrous neo-prog hit "Contagion" were finally treated to hearing the album as it was originally intended to be released in the form of the extended double disc CONTAGION MAX. Clive Nolan has always stated that the "Contagion" story was to be more intricate and drawn out with extra instrumental passages and vocal tracks that add more depth to the storyline. Well, Nolan wasn't too sure about the possibilities of releasing an extra long album and felt the pressure to to edit their ambitious project down to a single disc release. The result was that seven tracks were chopped off the listening experienced and released simultaneously on two separate EPs titled "Contagious" and "Contagium." While it was all fine and dandy to make those orphaned tracks to the public, much was lost regarding the context in which they were woven into the overall theme. After many years of a demanding public for the album to be released in full form, voila!

Fast forward ten years and the CONTAGION MAX anniversary edition finally sees the light of day in its complete original intended format. It contains all seven tracks in the proper order stuffed into the album "Contagion" from 2003 as a double disc digipak CD release. While i found nothing wrong with the original album "Contagion" and in many ways find it to be the peak of the creative juices flowing for ARENA in their lengthy career, i must say that i much prefer hearing it as the extended double album experience it was meant to be as it smooths out the ruff-around-the-edges transitions that become more apparent once listening in the band- desired delivery mode. CONTAGION MAX doesn't exactly make the two EPs that came before completely irrelevant if you are interested in hearing electronica induced remixes of the tracks "Witch Hunt" and "Salamander" but i find them a little cliche and devoid of any true reason to exist therefore i highly recommend this beautiful extended version of "Contagion" for anyone who loves that album and wishes that it was longer.

Despite being a fairly newer release, this album has become a little difficult but not impossible to find. Initially it was released as a pre-order campaign with band members adding their autographs but was only released in limited numbers therefore not as easy to obtain as the much easier to find "Contagion." Another worthwhile mention is that it seems that CONTAGION MAX is possibly a digitally remastered version of the original plus the extra tracks in the proper order. This album sounds EXCELLENT! The production is off the charts beautifully executed with every little sound shining like a crazy diamond and all aspects of the music perfectly mix together in superb splendor. It is unbelievable how well this album sounds and how wonderful it is to experience this one as it delivers on all accounts. Perhaps if this were released as intended it would have been considered a rival force to IQ's "Subterranea" which is of the same calibre but could also stand up to any of the great symphonic prog releases of the past.

This track listing shows the entire track listing of CONTAGION MAX with the titles in bold being the seven tracks that appear on this expanded edition which were originally spit up randomly and placed on "Contagious" and "Contagium." They are followed by brief descriptions

Disc One:

1 Witch Hunt (4:17) 2 An Angel Falls (1:14) 3 Painted Man (4:38)

4 VANISHING ACT (from "Contagious") (4:11) was originally a leftover instrumental track from "The Visitor" album and had the title "Sacrifice" but was rearranged, rerecorded and renamed. It begins with a space rock Floydian echoey guitar and synth run and then becomes more hard rocking with a ample change of riffs drenched in camp mellotron. Very cool sequencer beat and guitar solos that brings aspects of "The Wall" to mind

5 This Way Madness Lies (3:32)

6 THE HOUR GLASS (from "Contagious") (5:58) begins as a sensual ballad but adds some extra punchy guitars that display the vocal talents of Sowden and thick layers of synthesizers and a heavy bass led melodic development. It adds a continuity to the story as the narrative builds another layer of darkness to the mix

7 Bitter Harvest (2:50)

8 I SPY (from "Contagious") (2:33) is primarily an acoustic guitar folk number also displaying Sowden's vocal abilities. Other than acoustic guitar, only the bass is heard

9 Never Ending Night (3:11) 10 Spectre At the Feast (5.34) 11 Skin Game (4:44)

Disc Two: 1 Salamander (4:00) 2 On the Box (2:30) 3 Tsunami (2:30)

4 ON THE EDGE OF DESPAIR (from "Contagium") (5:40) begins with the same bass line and melody of "This Way Madness Lies" from Disc 1 and sort of a revisiting of that point in the story but after almost a minute switches gear and becomes an acoustic guitar ballad once again highlighting Sowden's vocals and lyrical supplementation. It continues to alternate between the beginning intro segments and then jumps back into acoustic guitar part again. Sounds really good together as the two parts contrast perfectly and add that flavor of life when some things seem familiar while totally new aspects are being introduced

5 City of Lanterns (1:23) 6 Riding the Tide (4:24)

7 CONTAGIOUS (from "Contagious") (4:07) begins with sirens and incorporates different sounds that are from the "Contagion" album and creates a little overture of sorts to revisit certain moods of the album. It features a strong bass line with John Mitchell delivering some of the most sophisticated and daring solos on the album. There is also nice background synthesized(?) vocals that add a spooky ambience to the overall mood. Nice keyboard runs as well. This is kind of a revisitation point on the album that takes a few minutes to reflect on what's already been happening. Very appropriate and nice to take a breather.

8 MARCH OF TIME (from "Contagium") (7:29) continues the only two tracks that sit back to back not on the original "Contagion." This sounds more like the majority of tracks as it begins with a heavy bass driven melody and screeching guitars in a Floydian style drenched by feedback and fuzz and then slows down a bit to usher in Sowden's vocals. Generally speaking the vocal parts are more Floydian and the instrumental parts are harder rocking. It also has some acoustic parts that remind me of The Who especially on "Tommy" with that Pete Townsend type of strumming.

9 Mea Culpa (3:45) 10 Cutting the Cards (4:41)

11 CONFRONTATION (from "Contagium") (5.05) begins with some sort of mixed media narration clips before ceding into a darkened bass line that is ominously overshadowed by more possibly synthesized background vocalists and that Who inspired acoustic guitar strumming pattern once again punctuated by a staccato heavy guitar chord. It all stops and enters church organ territory and then adds acoustic guitar again only before Mitchell channels his inner Pink Floyd guitar solo instincts and lets loose. This is another all instrumental track

12 Ascension (4:34)

Total Running Time Of CONTAGION MAX = 92 minutes and 40 seconds but i can't say i get bored once through it's entirety and much prefer this version as opposed to the truncated "Contagion" album of 2003. Something about the extra tracks connects all the dots for me on this one but that does not mean that the original CONTAGION album suffers from its brevity. On the contrary ARENA hit a home run with two stunning versions of this album that works with or without the seven tracks equally in my world.

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 Contagion by ARENA album cover Studio Album, 2003
4.18 | 565 ratings

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Contagion
Arena Neo-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars As ARENA entered the 21st century they finally hit a stable lineup and for the first time and released two albums in a row with the same band members which allowed them the opportunity to learn how to coalesce their individual talents and develop a strong and stable chemistry. On their fifth studio release CONTAGION they hit the high point of their career with yet another concept album that like many of their albums delivers vague and ambiguous notions of going through the trials and tribulations of being human and experiencing every emotion there is to be had a hundredfold. This one is supposedly about the end of the human race and all the emotional baggage of being alive until it happens. As much as i try i still haven't found a decent explanation of what exactly the concept is supposed to consist of but it matters not for at long last ARENA found their perfect sound with Clive Nolan (keys), John Mithcell (guitars), Ian Salmon (bass), Mick Pointer (drums) and their third lead vocalist Rob Sowden and the quality of the compositions on CONTAGION shows it.

From the first notes of "Witch Hunt" it is obvious that ARENA got major rekindling of musical mojo. At this point they sound less and less like 80s Marillion which was the sound of their early albums and more like their contemporaries IQ who also released a concept album at the same time. This time around the band found a new lease on neo-prog by adding heavier and harder rock guitar and bass often verging into metal territory briefly with virtuosic guitar solos and heavy churning riffs and thundering bass but still manages to weave it around the intricately delicate melodies that have been carefully crafted into extremely strong and catchy tunes that build upon one another and seamlessly transition from track to track until an entire album unfolds around you. There are also many space rock references to Pink Floyd with dreamy echoey guitars, sensual solos and Salmon's strong Rickenbacker bass lines.

CONTAGION is perfectly partitioned into vocal and instrumental tracks. "Witch Hunt" begins with a thundering bass line, heavy guitar riff and powerful vocal performance by Sowden which sets the tone for the majority of the album but there are also ballad segments like the beginning of the music box beat backed "Spectre Of Feast" and the piano laden "Never Ending Night" which weaves in tender moments surrounded by more thunderous heavy rock. Despite having the qualities of AOR, something about ARENA's attention to details make the music quite sophisticated with variations in the subtleties such as keyboard runs, echoey guitar backings or different types of drum fills. The melody is the main driver of the tracks with Sowden's vocal emphasis on the lyrics being mostly in the spotlight except when the band delivers excellent musical prowess such as on the instrumental beasts "This Way Madness Lies," "On The Box" and "Riding The Tide."

I must admit that i wasn't a huge fan of CONTAGION upon first listen as it sounds very much like many neo-prog albums that may come off as gimmicky with the heavier rock elements added but after a few spins i was hooked and the intricate charms of the album shone through with synth rich ambient notes backing heavy yet melancholically addicting melodies passing the torch to the next track that takes the listener onto a new adventure and then on to the next. While there are clearly stronger tracks than others, the beauty of the album is that is places all of the elements in key places. It opens with several strong tracks and then has some quieter less powerful tracks that skillfully link the various parts together. The musicianship is extraordinarily strong on CONTAGION with every member going the extra mile to eke out the most satisfying musical performances.

CONTAGION was originally intended to be released as a double album but Clive Nolan got cold feet on releasing such a sprawling 90 minute plus behemoth of a double album and nixed seven tracks and would release them simultaneously on two separate EPs titled "Contagious" and "Contagium." After many years of demands by rabid voracious fans to release CONTAGION as the originally intended double album, in 2013 it finally came to be as a tenth anniversary expanded edition titled CONTAGION MAX which contains all of the missing seven tracks in their proper places amongst the others. While it was not intended to replace the original truncated form and was solely intended to provide a supplemental insight into the album's history, i have to say that ARENA scored big time with CONTAGION as i find it works equally well in either form as CONTAGION doesn't feel forced and never indicates that certain tracks were left out merely for editing's sake nor does CONTAGION MAX feel like the extra tracks were superfluous filler either. Personally i would highly recommend both editions but CONTAGION is probably the first place to stop for anyone wanting to check out ARENA's thoughtful and subtly textured symphonic progressive rock. CONTAGION will surely go down as their magnum opus as it is one of those album's that only gets better the more you listen to it, at least that's the way it worked for me.

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 Contagium by ARENA album cover Singles/EPs/Fan Club/Promo, 2003
3.10 | 43 ratings

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Contagium
Arena Neo-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Clive Nolan's original intent for the "Contagion" album from his band ARENA was for it to be a double album with several instrumental tracks appearing at certain points in the album for there to be a smoother flow between the segments that spell out the storyline. But the record label had other ideas and the band was forced to scrap the idea and instead trim the album down to a single disc and with the leftovers created two separate EPs released simultaneously with the "Contagion" album.

There are several head scratchers about this decision of how to release these extras though. First of all instead of releasing one compilation album of the seven extra tracks, they were instead issued on two different releases, one called "Contagious" and this other edition CONTAGIUM which features the three leftover tracks "On The Edge Of Despair," "The March Of Time" and "Confrontation." In addition there is the "Special Remix Of Salamander" which sounds more like a psytrance meets hard rock track with plenty of mellotrons turned up to the max. There are also some multimedia additions that includes a video of "Painted Man," some ghost vocals that tell the story as well as a tour photo gallery and screensaver.

Like on "Contagious," these leftovers are quite decent quality listens but this EP as well has been made quite irrelevant since these leftover tracks found a new home on the 2013 anniversary re-issue called "Contagion Max" which featured all of the extra tracks in their proper place on the album as originally intended in its double disc form. The only track that has never found a new home is the remix of "Salamander" and it is hardly worthy of making this bunch of tracks relevant as the "Contagion Max" places the tracks that matter in their proper context.

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 Contagious by ARENA album cover Singles/EPs/Fan Club/Promo, 2003
2.89 | 47 ratings

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Contagious
Arena Neo-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Clive Nolan's original intent for the "Contagion" album from his band ARENA was for it to be a double album with several instrumental tracks appearing at certain points in the album for there to be a smoother flow between the segments that spell out the storyline. But the record label had other ideas and the band was forced to scrap the idea and instead trim the album down to a single disc and with the leftovers created two separate EPs released simultaneously with the "Contagion" album.

There are several head scratchers about this decision of how to release these extras though. First of all instead of releasing one compilation album of the seven extra tracks, they were instead issued on two different releases, one called CONTAGIOUS and the other "Contagium." On this release CONTAGIOUS contains the tracks "Vaninishing Act," "I Spy," the title track and "The Hour Glass." In addition to these surplus musical tidbits, there is a "Special Remix Of Witch Hunt" which sounds more like an early 80s new wave band than ARENA.

While the music on this one is quite good, this EP has been made somewhat irrelevant since in 2013 an anniversary release called "Contagion Max" was finally made public and included all the extra tracks in their original intended ordered on a double CD. That means only the "Witch Hunt" remix is unavailable anywhere else and believe me it's certainly no reason to track this down separately. It's also strange that these tracks don't appear sequentially on the "Contagion Max" edition and are scattered about randomly on both discs.

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 Headroom: Direct to Disc by FM album cover Studio Album, 1978
3.79 | 76 ratings

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Headroom: Direct to Disc
FM Prog Related

Review by Walkscore

3 stars This is the second album from this Toronto-based band, and one with a very interesting history. The album was originally called "Direct to Disc", and this is because it was recorded in one go, very literally direct to disc (or rather direct to special vinyl cutting machinery, producing the vinyl lacquer used to produce the metal stamps for stamping new vinyl albums. This limited the length to about 16 minutes per side, as that is the limit to how much room the lacquer had). The title "Headroom" was added later after MCA records threatened to sue their label because MCA had released the soundtrack to the film 'FM' and did not want this band's record to conflict with their sales strategy. So, 'Headroom: Direct to Disc' it became for later pressings and the international releases of this album. Even more interesting is that only 20,000-30,000 copies of the album could be made from each lacquer, because each lacquer could only make one metal stamp, and that wore out after printing/stamping that many copies. For this album, the limit came at 26,000 copies. After the record sold this many, the record company had to find another lacquer to print the albums. FM recorded their songs four times, creating four lacquers. The last one was consider the best take, and so the first 26,000 albums printed used that lacquer. However, once that limit had been reached, the record company had to use a different lacquer, and so went with the second-best takes. So, anyone who bought later pressings of the album was buying different versions of the songs than those who bought the first 26,000 copies!

The version I am reviewing is the remaster CD re-release on Esoteric Recordings. The sound quality is excellent, and this uses the original versions of the songs (from the first 26,000 pressings). The music is relatively sparse - because it was recorded in one go direct to disc, there are no overdubs, and no opportunities to tweak any errors. With only three musicians, the recording has a very airy and sparse feel to it. It also have a very 'live in your basement' feel (augmented, I think, from the excellent remastered sound quality). This is both the album's strength, and its weakness. Strength - it feels very present, sincere and authentic, the direct opposite to typical over-produced rock music. The music combines classic 1970s progressive rock feel with early electronica and is one of the few bands with an electric violin player. Furthermore, there are solos on this, and the band stretches out in places, which is quite nice. Weakness - in order to get the best out of the compositions, the music here I think could actually benefit from more intricate arrangements, and from more instrumentation (ie overdubs). On the second side there is a drum solo, which is very nice (and I wish there were more drum solos recorded on contemporary albums), but on this track makes it drag out a bit. Compositionally, the music seems a bit rushed, like they had to finish the compositions shortly before recording them, instead of taking them out on the road and refining them based on how they sound played live.

On the whole, this experimental album has an important and unique, if somewhat minor, place in progressive rock history. It is good, but not brilliant. It makes very interesting first, and maybe second, listens, but I doubt one will want to put it on after that. I always listen to an album multiple times before I review it, as albums usually reveal their musicality over subsequent listens, and the best ones get better with each additional listen. This one started becoming boring after the third listen for me. I give this 6.9 out of 10 on my 10-point scale, which translates to 3 PA stars.

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 Asunder, Sweet And Other Distress by GODSPEED YOU! BLACK EMPEROR album cover Studio Album, 2015
3.63 | 77 ratings

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Asunder, Sweet And Other Distress
Godspeed You! Black Emperor Post Rock/Math rock

Review by Walkscore

4 stars This album is better than their predecessor 'Allelujah! Don't Bend Ascend'. It remains rooted in the harder style noted on 'Mladic' (the best composition from that album), but on this one the entire album flows together much better. Indeed, although the album is broken into four tracks, they are all part of one long composition (the formerly-named 'Behemoth', mentioned by the other reviewers). I have seen this composition performed live, and it works very well in that setting. I think it works slightly less well on the album, mainly because it starts so starkly with the two drummers hammering a loud 6/8 beat for a few bars, followed by the entrance of electric guitar power chords. That is, the album doesn't start quietly like their other albums, building to a crescendo. On this one, they begin at (or close to) the crescendo. I find the first two (of the four) tracks less musical than the last two, but those last two (the second half of the long piece) are definitely worth waiting for. The third track involves improvised droning, and a particular delight is the fuzz bass (providing evocations of Soft Machine - one of my very favourite bands - and the Cantebury scene in general - indeed, parts of the third track sound like they almost could have come out of SM live recordings from their 'Fourth' and 'Fifth' periods). On this album and the predecessor, GYBE do not feature nearly as many beautiful quiet passages as their pre-break albums, nor the many sound effects, radio/tv snippets, street noises, talking, etc that added political and emotional weight to their (otherwise instrumental) music. When they play live, they are always accompanied by visuals, which add this weight in that live setting. I am not sure this particular album needs them, but the previous one ('Allejuh...') surely could have used them. Overall, I give this album 8.0 out of 10 (on my 10-point scale) and so PA 4 stars.

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 Garolou by GAROLOU album cover Studio Album, 1978
3.67 | 13 ratings

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Garolou
Garolou Prog Folk

Review by Walkscore

4 stars This is Garolou's best album, and the one that best describes (and thus would be the best introduction to) their sound. Some of the members are new since the debut, and they changed their name (from Lougarou to Garolou), and in doing so became more firmly re-oriented in the Quebec progressive rock scene. The change in line up is particularly felt on the vocal front, as a number of these songs feature multi-part harmonies that are really quite beautiful (e.g. 'Wing-tra-La'). Garolou largely got their inspiration from historic folk tunes (and indeed, re-made a number of them into art-rock songs) and the history of French settlement in North America. While some of the tunes remain folk songs (again, 'Wing-tra-la' and the (already noted very fast) 'Alouette', others become rock songs ('Aux Illinois', 'Victoria' etc). The longer 'Germaine' is a show-stopper, a classic 1970s progressive-tinged rock song. On the whole, this is a very musical album, and like their first album (Lougarou) stands the test of time and multiple listens. There is not a bad song on the album (some don't like 'Victoria', perhaps the most 'normal' rock-radio song on the album, but I find it quite listenable, easy to sing along to). It is a classic Canadian album. It receives an 8.7 on my 10-point scale, and thus just a tinge short of receiving a 5-star rating. So, PA 4 stars.

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 A Lenda do Quarteto 1111 by QUARTETO 1111 album cover Boxset/Compilation, 2008
3.20 | 6 ratings

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A Lenda do Quarteto 1111
Quarteto 1111 Eclectic Prog

Review by VianaProghead

3 stars Review Nº 107

"A Lenda Do Quarteto 1111" is a compilation of Quarteto 1111 and was released in 2008. It has songs released by the band on EP's, singles and also on their eponymous debut studio album, Quarteto 1111, released in 1970.

As I wrote before, the presence of Quarteto 1111 in the end of the 60's in Portugal represents the birth of progressive rock music in my country. Nothing was the same after them. They were a breath of fresh air in Portugal, at the time. Quarteto 1111 was a band strongly influenced by the British music of those days, mainly The Beatles, despite their lyrics were almost in Portuguese. They made music influenced by the British music with typical Portuguese features.

"A Lenda Do Quarteto 1111" has twenty tracks. The first track "Os Faunos" was released on their debut EP. It's a song about fauns, which was a rustic Latin god or goddess of Roman mythology. The second track "A Lenda De El- Rei D. Sebastião" is the title track of their debut EP released in 1967. It's about a Portuguese king who disappeared during the battle of Alcácer-Kibir, in Morocco, and Portugal lost its independence to Spain in the XVII century. The third track "Balada Para D. Inês" is the title track of their second EP released in 1968. It's about the tragic love of infant D. Pedro, the future king of Portugal, with D. Inês de Castro, a noble Galician, which was executed by order of the father's king, D. Afonso IV, the king of Portugal, in the XIV century. The fourth track "Partindo-se" was also released on their second EP. It's about anguish and sadness in our eyes when we see our beloved family depart to distant places in search of a better life. The fifth track "Dona Vitória" is the title track of their third EP released in 1968. It tells us about the contrast between those who lived well and had a good job and those who lived in the suburbs and had no job. The sixth track "Meu Irmão" was released as a single in 1968. It's a psychedelic song that speaks about love, solidarity, friendship and brotherhood among men. The seventh track "Dragão" was also released on their second EP. It's about the sad, dull, hard and routine life of any working man. The eighth track "Os Monstros Sagrados" was released on their single "Génese" in 1969. It's about the purity of nature against the human technology and its industrial applications. The ninth track "Génese" is the title track of a single released in 1969. It's about the beauty of nature in contrast with people that suffers because the different colour of their skin. The tenth track "Bissaide" was released on their single "Nas Terras Do Fim Do Mundo" in 1969. It's a very simple instrumental song. The eleventh track "Nas Terras Do Fim Do Mundo" is the title track of a single released in 1969. It's about one of the most brilliant chapters of Portuguese History, the Portuguese discoveries, released in the XV century. The twelfth track "Domingo Em Bidonville" was released on their first studio album in 1970. It's about Portuguese emigrants who left their country in search of a better life, and leave their country, family and friends. The thirteenth track "João Nada" was also released on their debut album. It's about emigration. It's about a man who returns to his homeland, at the end of his hard working life, and he has nobody waiting for him, except his coffin. The fourteenth track "As Trovas Do Vento Que Passa" was also released on their first album. It's a cover of a song of Adriano Correia de Oliveira with a poem of Manuel Alegre. It's a song of the resistance of Portuguese University students against the dictatorship regime. The fifteenth track "Maria Negra" was another song released on their first album. It's an anti-racist song about the women with black skin, which are often viewed and treated as inferior human beings. The sixteenth track "Todo O Mundo E Ninguém" is the title track of a single released in 1970. It's a song with intimate and symbolic lyrics about life and dead. The seventeenth track "É Tempo De Pensar Em Termos De Futuro" was also released on their single "Todo O Mundo E Ninguém". It's another song with intimate lyrics. It tells us that it's now time to think about to build a better world, uniting races and breaking down the barriers. The eighteenth tack "Back To The Country" is the title track of their single released in 1970. It's a song that appeals to men to the return to the fields. It represents the first attempt to internationalize the band singing in English. The nineteenth track "Ode To The Beatles" is the title track of a single released in 1971. It's represents homage to The Beatles. It represents also the second attempt to internationalize the band singing in English. The twentieth track "Uma Nova Maneira De Encarar O Mundo" was released on their single "Sabor A Povo" in 1972. It's a song, as its name indicates, which makes an appeal to a new way of seeing the world. This is a way of seeing it with more peace and love.

Conclusion: "A Lenda Do Quarteto 1111" is the third compilation of Quarteto 1111. The others are "A Lenda De El- Rei D. Sebastião" and "Singles And Ep's". Like the other two, it's also a very interesting and important compilation with many similitude with the other two. After reviewing the other two compilations, I can say that "A Lenda Do Quarteto 1111" is a better option, because is the biggest and most complete of the three. If you want to have on a single album many of the songs released by the group and dispersed on so many singles and EP's, this is the right place to have it.

Prog is my Ferrari. Jem Godfrey (Frost*)

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