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 Pike 94 - Magic Lantern by BUCKETHEAD album cover Studio Album, 2014
4.00 | 1 ratings

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Pike 94 - Magic Lantern
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
4 stars BUCKETHEAD - PIKE 94 - Magic Lantern 53rd album out of 60 in 2014 and 123rd overall All sounds brought to you by Buckethead and all instrumental This one clocks in at 29:24

"Magic Lantern" (6:29) starts with a feisty heavily distorted guitar riff chuggin' along a rushed paced without being frantic. It picks up its alternative metal groove and becomes a little bouncy and then alternates with some distorted arpeggio riffs. The drums and bass are right on the rhythmic bounce with the guitar but they soon relax and let the guitar do some finger exercises that aren't quite solos but more akin to some kind of bluegrass picking. It basically jumps around leading back to bouncy part and finger pickin' with some other alternate performance thrown in while keeping the same melodic skeletal system throughout

"Cheese Roof" (4:05) starts out mid temp with grungy guitar riffs and heavy bass and drums. It alternates heavier and lighter passages but when heavy has a loud abrasive single chord stomp that then turns into one of those finger pickin' extravaganzas for a while. It changes back into the ratchet it up riff with the drums getting faster and faster. The finger pickin' parts have a catchy melody and are played extremely fast and proficiently. Pretty cool track

"First Corridor" (9:59) is another bouncy distorted number with staccato start up and is fairly energetic. While fairly accessible has some little off-kilter time sig changes and then slightly shifts to another mode of operand. This one continues for some time in bouncy mode and even the changes have the same underlying rhythm. As it continues it incorporates cool guitar slides and electronic noises and has somewhat jazzy chord structures and also has a flair of funk in its mix. This one is pretty cool actually. Everything is set up well and flows logically yet surprises are abundant. As it progresses through its near ten minute run it continues to change things up by throwing solos, jazzy guitar breakdowns all the while alternating with the ubiquitous chord stomp and even manages to throw a country twang feel in from time to time. Very cool track that juggles many elements and strings them together quite remarkably

"Wind From Where" (3:44) picks up steam a bit and creates a frantic pace with a similar stomping type chord structure but has a more free flow to it for a while and then kind of derails into strange off-kilter time sigs and then picks itself up and becomes sort of normal. This one is very weird. It's like when you get up from a deep sleep and try to have a conversation. You know you're hearing yourself speak but still halfway in a dream state. This one distorts everything just enough every so often to throw the listener off. Still quite heavy rockin' even at its mellowest. Ends with a funky bass attack

"Land Of The Lanterns" (5:07) is quite the contrast as it begins with slow, dreamy, clean guitar tones. The bass and drum tag along like lazy sleepy-eyed tots arising after a sugar induced slumber. This is slow and breezy. No more in a hurry. Take it easy. The melody never really develops into anything OMG but it's pleasant enough. Nice effects and a little more interesting than the average PIKE that has thirty minutes of this stuff. Tagged onto the end, it's in a tolerable dose but not the most original of tracks.

I love this PIKE except the last track. It is quite the creative expression of experimental, progressive instrumental rock and metal. It is quite unique in BH's canon as well and i'm not sure how to explain it. It's one of those slightly off-kilter releases where everything seems like it was recorded on a different reality plane and doesn't quite resonate the same in this dimension, hence the "Magic Lantern" effect. The first four tracks are keepers

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 Hatfield And The North by HATFIELD AND THE NORTH album cover Studio Album, 1973
4.27 | 641 ratings

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Hatfield And The North
Hatfield And The North Canterbury Scene

Review by Kaelka

5 stars I sat at my keyboard to write a nice review, and then thought : what could I say about this album that hasn't already been said in all the previous reviews?

Nothing really.

So, just a little story then, one that will perhaps appeal to those who are visiting this page only because they wonder who's the band with the funny name.

The year is 1980, the place a middle-sized provincial town near the small provincial town where I was born. In those blessed times, there were still records shop (I don't know about your place, but they vanished from french provincial towns ages ago), and I was coming out of my weekly pilgrimage to the town's biggest records mall when I realized there was a tiny used-records shop next door. I wandered in and spent a few minutes rummaging through the stacks of albums and singles, and I finally extracted two battered-looking LPs and bought them at a ridiculously low price. As I was at a boarding school, I had of course no record-player, and I had to wait until going home the following Saturday to listen to them.

And it was love at first hearing, not with one of them, but with both! They're still around somewhere, probably gathering dust in the attic, but in due time their CD versions have replaced them. They're still in my heart, I listen to them almost every week, and they're still at the very top of my list of favorite albums.

Well you probably guessed that one of them was "Hatfield and the North" (and Jonathan Coe was wrong, it's so much better than "The Rotters' Club"). The other one was Wyatt's "Rock Bottom". Not bad for a few minutes of improvised shopping, eh?

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 Chronometree by GLASS HAMMER album cover Studio Album, 2000
3.31 | 134 ratings

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Chronometree
Glass Hammer Symphonic Prog

Review by nandprogger

4 stars When I hear something of GL, I think: is more a prog tribute to classics of progrock. In this case is the same, but is more fantastic tribute. As a big fan of Elp I love this album, not only for this. A grand advantage of a lot of albuns of Gl is a mix of other elements that make sounds different. The sounds involving psychedelic elements of spacial/alien history. This psychedelic voices in ballads and the bass sounds create a immersion into history. In other had, I think if you are a big fan of ELP albuns but there are albuns that don't like, hear this. The theme "chronommetree" is in a whole of album inspired in the sounds of hammonds. Is right the criticism of variety of sounds of GL sounds only a tribute for 70's prog rock bands, but is don't take away the merit of a lot of GL albuns. For me is more a ELP album don't done for ELP as TRIUMVIRAT. 4 stars for fantastic ELP inspired album and immersion history

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 Metamorphosis by PANDORA SNAIL album cover Singles/EPs/Fan Club/Promo, 2016
3.00 | 1 ratings

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Metamorphosis
Pandora Snail Eclectic Prog

Review by admireArt
Prog Reviewer

— First review of this album —
3 stars Pandora Snail through the electronic glass.

Pandora Snail's "Metamorphosis", 2016, makes some gutsy move by letting some of their 2015 "War & Peace" songs go through the electronic remixing process and if anything this turn of events is daring. This alone is plaussible as it is in proportion quiet experimental and ironically will probably turn off most of those who raved over the original versions, thus in itself, it shows a true commitment to their personal evolution, free of any kind of prior attachments or compromises to external factors.

Opposite to what most non-progressive electronic followers and some other kind of prog listeners would expect or immediately assume as a direct route to young electronic dance floor music audiences, this release keeps on a healthy distance away from becoming a sell out route to success on mainstream's radio waves ( unlike, let me set as an example, Tangerine Dream's 80s, 90s and later works or YES' post "Going for the One" works or Steven Wison's popish Blackfield direction). This accomplished (opposite to those examples) by never allowing contemporary trends, their remixing processes and its fashionable gimmicks to interfere nor distort what they have already proposed, but allowing it to be deconstructed and restructured in a different plane focused on highlighting their flexibility and possibilities and not the other way around.

Now, for those original versions enthusiasts, I will hardly think this is the route Pandora Snail will follow in upcoming releases, so they should not take this EP too seriously, but should encourage this kind of uncompromising freedom in their future works.

As for rating this release, as such, I will not overrate nor underrate, therefore a respectful ***3 stars rating is quiet fair.

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 Act V: Hymns with the Devil in Confessional by DEAR HUNTER, THE album cover Studio Album, 2016
4.12 | 93 ratings

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Act V: Hymns with the Devil in Confessional
The Dear Hunter Crossover Prog

Review by Skyperion

5 stars I have been a relative new comer to the world created by Mr Crescenzo, having only started listing with any regularity to his albums since Act iv. However that album was quite a revelation to me and thus when I realised that the next act was out I immediately downloaded it and invested time in coming to know the previous albums as well. The striking thing about acts vi and v is the creative imagination they present and the variety of styles. Within its 73 minutes Hymn stretches from rock, prog to blues (and even big band!) - Casey shows his capability in all those areas. The production and musicianship are also top class.

Some highlight tracks would be Cascade, the Revival and A Beginning (one the best album endings in years!). Mr Usher also stands out from the (rat) pack being a slightly lighter track with a great big band sound, yes really, it also has some excellent vocal arrangements.

I have not been disappointed with Hymns with the Devil and over the last few months it has become my favorite album from Casey, furthermore it is currently my choice album of the year.

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 Coaster Coat by BUCKETHEAD album cover Studio Album, 2014
2.95 | 3 ratings

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Coaster Coat
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BUCKETHEAD - PIKE 93 - Coaster Coat 52nd album out of 60 in 2014 and 122nd overall All sounds brought to you by Buckethead and all instrumental This one clocks in at 32:46 One of two PIKEs that spells BUCKETHEADLAND in Japanese katakana on the cover

"Coaster Coat" (12:43) starts out with a steady beat and beefy bass with a space rock guitar riff in a mid tempo march and develops an easily digestible melody right off the bat. The guitars remain clean with a warm tone and it evolves into a more subdued section before picking up steam again but it never really heats up past simmer. While Pink Floyd is the usually suspect for space rock influence, this one doesn't sound anything like them although it does have the same general feel. Close to the four minute mark the tempo picks up a bit and a guitar solo wails away. It is rather bluesy and gains intensity with the help of some electronic effects but after it runs out of gas it gets calm and placid again. The melody always remains in the same mode and this doesn't jump around randomly like the previous PIKE did. As it continues it basically trades off more rockin' passages with slow breakdowns. The upbeat segments include guitar soloing over the riffs. This one is a fairly decent example of BH creating a highly accessible meandering but melodic track. It goes on a bit too long but has some nice moments, especially some of the guitar work towards the end

"Flying Cat" (9:00) begins totally differently with a funky bass and heavy drumbeat mixing with slap happy guitar funk. After a fairly straight forward intro it does some time sig tricks. It then returns to the funk rock and then has a staccato guitar attack before bringing in da funky part once again. It continues with slight variations of the general theme and alternates the familiar for a few measures with something improvised off it for an undetermined amount of time. A fairly straight forward but fun track

"Coastline" (11:03) is once again different than the others. This one begins with clean dreamy guitar parts without percussion or bass. It develops a very strong and spacey melody and does bring some Pink Floyd to mind and also has some cool slide guitar. In addition to the two guitar parts (one rhythm, one lead) there is plenty of background ambience to give the whole thing a airy ethereal feel. Usually i don't like these tracks because there is cheesy percussion that ruins it but i'm liking this one. The lead guitar parts become more bluesy and Floydian as the track progresses. This one remains in dream state and simply focuses on a recurring melodic loop that slithers along at a snail's pace. It's very soothing

This is a cool PIKE that focuses strictly on melody rather than the bizarre and avant-garde. While i prefer the latter, this one is a very nice accessible slice of BUCKETHEADLAND. Perhaps not the most original release and could use a little more coal in the fire but a very pleasant listen

3.5 rounded down

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 Through The Fire by ILLUSION album cover Studio Album, 2001
3.55 | 9 ratings

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Through The Fire
Illusion Eclectic Prog

Review by SteveG

4 stars A wonderful little known album that should be in the possession of every fan of the Mach 1 Renaissance, and band Illusion, featuring Jane Relf as the female voice. This lineup also featured ex Yardbirds Keith Relf (Jane's brother) on guitar and vocals and Jim McCarty on drums and vocals. Filling out this early Renaissance line up was Louis Cennamo on bass and the great John Hawken on piano and keyboards.

All have returned in 2001, save the departed Keith Relf, to help Jim McCarty flesh out this wonderful material that has a deep Renaissance/Illusion spiritual vibe both musically and lyrically. McCarty is the sole songwriter and chief vocalist, with Jane singing warm emotive backing vocals. The star of this album is once again Hawken, who's seems to channel some of the late John Tout's regal touch and excels on piano on every track that features him. Even the two tracks that don't feature Hawkin showoff McCarty's growing skills as pianist, along with his drumming and percussion work on all but one track on this album. Cemanno demonstrates why the Mach 2 Annie Haslam fronted lineup had to be as good or better than the original. The depth of talent, even minus Keith Relf, is so staggering that it makes me wonder why the Mach 1 line up never hit it big in their short time as classical/symphonic proggers.

Guest players handle the mostly acoustic guitar parts admirably and the stand out songs are "One More Turn Of The Wheel" (which probably could have been the title track if it was not so similar sounding tho the Mach 2 group's album tilted Turn Of The Cards), "Good Heart", "Glorious One", "Mystery Of Being", and the album's title track "Through The Fire."

McCarty was an early songwriter for the Mach 2 Renaissance that followed him with songs like "Kiev", "On The Frontier" and "Bound For Infinity", so have no doubts that this album is a must have for fans of both Renaissance and Illusion, as McCarty has crafted a fine album that elegantly bridges the gap between both of those groups.

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 LMR by LEVIN MINNEMANN RUDESS album cover Studio Album, 2013
4.14 | 91 ratings

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LMR
Levin Minnemann Rudess Heavy Prog

Review by Prog Leviathan
Prog Reviewer

5 stars I'm just going to throw down the gauntlet here: Levin Minnemann Rudess is one of the best instrumental prog experiences you'll ever hear ... and it's a travesty that this album has been kept a secret for years since its release. How am I only the third reviewer!? Well I hope that changes in a hurry, because this is one of the best musical discoveries I've experienced for a long time.

Not that it was much of a gamble, really. Come on, Tony Levin is legendary for a reason. Jordon Rudess is like keyboard wizard (stifled now for years in Dream Theatre), and Minnemann is a drumming journeyman whose probably played with groups or artists currently in your collection. Getting them together is a sure-fire win, but probably not at the level you maybe assume ... it's better.

This record really is one of the best instrumental prog releases I've ever heard. You can compare it to Liquid Tension Experiment, but while that project (also featuring Levin and Rudess) was also heavy on Petrucci guitar and improvisation, Levin Minnemann Rudess is a meticulously crafted technical masterwork. These guys have instrumental chops that are mind-blowing, and are put on display with a very high level of songwriting finesse and ambition. You'll have a lot of fun with these tunes.

It would be difficult to go through individual songs, because they're so twisty-crazy and diverse, but suffice to say this release is modern heavy-prog that features huge riffs, timbre that ranges from manic to mellow, and improvisational highlights throughout. Tony Levin's playing is sharp, creative, and personality-filled. There really is no one that sounds quite like him; bravo Tony for continuing a 30-year streak of excellence. Rudess is like a knight in shining armor for me. I've loved his playing since I first him on 6 Degrees of Inner Turbulence, but his contributions to the mediocrity of Dream Theater had me pretty much writing him off - but holy cow does he cook here. The man carries much of the melodies throughout this album, and brings tremendous energy and charm to the songs. Minnemann also impresses by shifting between the tracks' numerous style and time changes with ease. Very technical; very hip. Exceptional work across the board.

How this record has gone undiscovered here on the Archives is beyond me, but I hope everyone reading this checks it out and supports this group's collaboration. I'm rounding up to a 5-star because there really hasn't been anything quite like this for a while, and it's just excellent. A first-rate instrumental experience!

Songwriting: 4 - Instrumental Performances: 5 - Lyrics/Vocals: NA - Style/Emotion/Replay: 4

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 Hunky Dory by BOWIE, DAVID album cover Studio Album, 1971
4.15 | 404 ratings

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Hunky Dory
David Bowie Prog Related

Review by Prog Leviathan
Prog Reviewer

3 stars This early work by Bowie has irresistible charm and depth, sticking to that sort of energetic mid-tempo pop-rock that appeals to pretty much everyone. Not yet the "glam rocker," Bowie here has crafted some handsomely arranged rock n' roll that wraps up a variety of styles and tones - from the boogie-woogie, to folk, to western, to classical, and back to rock n' roll again. It's a great listen, often lush and always emotive.

A handful of standouts, like the immensely likable "Changes," intricately composed "Life on Mars?", and experimental "Andy Warhol," grab one's attention. The other songs, while offering many points of interest for the careful listener, do drift somewhat into the background of acoustic and string textures. For me, the impression is that Hunky Dory would make excellent dinner-party music; inoffensive in its mild tone but also fun for its genuine charm. There's a timelessness here and in Bowie's performance. Bowie's voice and lyrics are of course excellent, as is the songwriting in general. Instrumental work is fine; not much to laud but effective overall.

Recommended but not essential. Hunky Dory is great if you're interested in Bowie the musician, or for thoughtful pop-rock that proves that the '70's really are the time to go for creative and genuine music.

Songwriting: 4 - Instrumental Performances: 3 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 3

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 Of Queues And Cures by NATIONAL HEALTH album cover Studio Album, 1978
4.26 | 333 ratings

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Of Queues And Cures
National Health Canterbury Scene

Review by Kaelka

5 stars Despite some slight personnel changes (Greaves for Murray on bass, and the vanishing of the heavenly Amanda "Northette" Parson), there is such a continuity from "National Health" to "Of Queues and Cures" that they could almost have been released as a double. This review (and the 5 enthusiastic stars that go with it) is therefore meant for both works. So many nice (and true) things have been said here about NH's first two albums that all I can do is add my little voice to the choir of praise. Yes, this music is incredibly brilliant and complex, so full of surprises and time and tone changes, so brimming with ideas at every turn of a bar, that you can never get tired of listening to it. Yes, those guys are so good that they don't need to show off with never-ending solos, the way some jazz musicians do. And yes, this music is funny and joyful (to call it "cold" is deeply absurd) to the point that you could almost call it "feelgood music", to echo the concept of the "feelgood movie". To all intents and purposes, National Health is essentially Hatfield and the North under another name, and without Sinclair's songs (the same way Soft Machine got rid of Wyatt's songwriting and singing in 1972, although with far less interesting results). What you have here is the quintessence of Canterbury sound. Whatever began at the Simon Langton school in 1963 with the Wilde Flowers (although of course none of NH members were there at that time) reached its summit in 1978, at a time when prog was almost beaten senseless by the punks, with those two eternal albums.

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

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

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