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 You Can't Do That On Stage Anymore, Vol. 1 by ZAPPA, FRANK album cover Live, 1988
3.98 | 97 ratings

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You Can't Do That On Stage Anymore, Vol. 1
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

4 stars Just as the title says, this is volume 1 of a large project put together by Frank Zappa that consisted of 6 volumes of live concerts and performances plus one sampler that collected the best of the series. This was quite a major undertaking done towards the end of his life. All of these recordings are top rate, much better than the Beat the Boots collections that gathered some of his bootlegged albums together with all of their flaws and production problems. These collections are top rate and polished so that they are highly listenable and enjoyable.

Most of the volumes follow a theme or concentrate on specific concerts. This first volume, however, is a collection of bit and pieces from concerts throughout his career from 1969 to 1984. Even with this mishmash of performances featuring various line-ups from his bands, the collection flows quite well and the quality of the recordings stays consistent throughout.

Like most of the reviewers have already stated, the first disc is the best, but both have some worthy highlights. On the first disc, "The Mammy Anthem" is a terrific instrumental that is from the horrible "Thing-Fish" album, but this recording was done before the release of that studio album and features great guitar work from FZ. "Diseases of the Band" is Frank conversing with the audience and telling them about all the sicknesses the band had at the time yet they were still there performing to their utmost as is proven by the following stellar version of "Tryin' to Grow a Chin". Then there is an enjoyable medley from an older concert of some instrumental gems. The thing that makes this collection a must-have for FZ fans is the inclusion of "Ruthie-Ruthie", which is a take on "Plastic People" which is in turn a take of "Louie-Louie" (a double take :P ), a funny little aside about Ruth Underwood who was the amazing percussionist of the time and this is followed by another track not available anywhere else called "Babette", which is definitely worth checking out. But not only that, the rest of the CD continues with amazing tracks with a version of "I Am the Slime" with a killer guitar solo. Then you get the amazing "Big Swifty" which in it's original form is a long longer on the album "Waka/Jawaka" but just knowing that this band could take this song on live is nothing short of miraculous. The song is structured as "Theme 1 - Improvisation - Theme 2" so that you know when it is starting and ending because those sections are always somewhat similar, but the improv part is always different every time it's performed. The miraculous part is the 2nd theme where a very complex melody is played by pretty much the entire band with Ruth Underwood following the lead guitar note for note on the xylophone which is something everyone should hear. Simply outstanding and worth the price of the CD on it's own. But that's not enough.....the entire 20 minute performance of "Don't Eat the Yellow Snow" is here with a lot of audience participation (you can hear for yourself how much fun a Zappa concert was) and also the rare coda for that entire suite (called "Rollo") is included and it was left off of the studio version of the suite which was on the album "Apostrophe".

The 2nd disc has less to offer as far as surprises, but there are some there and a few tracks that are still great. You get a 15 minute version of "The Torture Never Stops" with a great guitar solo, and the rest of the disc is shorter songs, some from the religious suite that was on the "You Are What You Is" album (but they are performed better here). You still have a few great instrumentals in "Oh No" and "Sofa #2" but nothing as stellar as on the previous disc. The faux lounge singing on "The Deathless Horsie" and "The Dangerous Kitchen" isn't too overwhelming this time and actually works better because of the brevity of the performance which helps increase the humor factor. The collection is tied together by the bookends of the album, namely Sofa #1 at the beginning and Sofa #2 which closes the collection. This adds to the continuity, which is a factor that Zappa pushed for in his music.

So, this is a great collection, and those looking for great live performances by Zappa and the band should examine this series of albums. This volume is definitely safe and would be a great purchase to help give you a good idea of what the FZ band line-up sounds like in its different incarnations. If you love a certain sound, then you will have a better idea which live albums from Zappa would appeal to you more. There are some weak points in this Volume 1 collection, but not enough to get too worried about because they don't take up much time out of the 2+ hours of music that is contained on the collection. This is essential for FZ lovers, but might not quite be to the 5 star standard for all prog lovers, but it is close. If you do get a chance to purchase this one, I wouldn't hesitate.

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 Pidanoma by RANDOM album cover Studio Album, 2014
3.72 | 34 ratings

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Pidanoma
Random Tech/Extreme Prog Metal

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Argentinian band LOS RANDOM, aka Random, was formed back in 2006. They released an initial EP in 2010, one year after the current line-up of the band was established, which was followed by their official debut album "Todo.s los colores del" in 2011. "Pidanoma" is their sophomore production, and was self released by the band in January 2014.

As this album kicks off with Corto Normal, we're treated to a 6 minute ride through an at times impressive display of dark metal. Brutal thrash metal, stoner metal and doom metal are blended together in a monumental construction of glorious dark and menacing metal, crushing it's way through multiple themes and alterations in pace and intensity in a curiously elegant manner, although this song does start to get a tad aimless in the final few passages. Still, an impressive opening, and a brilliant one for the first four minutes or so. The following atmospheric piece Ojota Y Media is bookended by sampled radio sounds, with distanced metal guitars and rhythms partially hidden behind a noise texture covering the sections in between them. A transitional creation if anything, setting the listener up for what is to come.

This album concludes with three massive creations, clocking in at 17, 16 and 21 minutes respectively. Epic length creations, and rather demanding all of them too. They are also radically different from the tracks that opens this album.

All of these compositions twists and turns through multiple themes and motifs, some more than others. Monumental riffs and intense interludes appear on more or less regular intervals, reminding us that we are indeed listening to music crafted by a metal band. Just about everything else is rather less than conventional however.

I guess the common denominator on all of these three compositions are sequences featuring light toned and often textured guitar details, creating psychedelic, cosmic and post rock oriented vibes. Sometimes as lonely, cold standalone entities of a frail nature, at other times supported by slow drum patterns careful percussion or intense and menacing drum rolls. Occasional jazz-tinged interludes appears, delicate plucked guitar driven passages reminding of Rush in their gentle late 80's phase makes occasional appearances too, and at other times the band will mix one or more of these ingredients with more of a distinct metal touch too. Dark impact riff driven sequenced, harder edged compact riff construction, driving and occasionally funky, booming bass guitar given free reign here and there. There's also room for both a bass solo and a drum solo in these curiously wandering and rather challenging escapades.

Just where to place this band within a genre context is tough, although I guess describing them as some sort of cosmic flavored avantgarde post metal band should be pretty close in terms of giving potential listeners some direction. And while Los Random is a markedly different band in just about all aspects, my gut feeling is that those who enjoyed the escapades of a band like Sleepytime Gorilla Museum might find Los Random to be an interesting band as well. In particular those among them that also tends to enjoy cosmic flavored music and post rock.

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 Restriction by ARCHIVE album cover Studio Album, 2015
3.72 | 28 ratings

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Restriction
Archive Crossover Prog

Review by Gallifrey

3 stars My only other experience with Archive to this date has been with With Us Until You're Dead, about 6 months ago. And that was a very weird experience.

On first listen, I was totally fascinated. It was like a merger of Porcupine Tree with bleep bloop- era Radiohead, simultaneously being rocky and groove-ridden as electronic and intricate. So naturally, I put it straight in my 'regular rotation' playlist, as I thought it would be a record I needed to listen to a bit more. But strangely, the more I listened to it, the more it stopped being interesting and started being really, really annoying. Parts I once considered great now frustrate me to no end, and some parts I'm left wondering what I even liked about it at all. The compositions were so rooted in repetition of annoying fragments, very little in terms of strong melodies or ideas, and the idea of listening to it again makes me more nauseous than exciting.

And strangely enough, on Restriction, I've sort of had the opposite happen. On first listen, I felt the same way that I felt about With Us Until You're Dead at the end - this is lazy, uninteresting music that puts about as much effort into the songs as they do life into the performances. All the songs sounded like B-sides from a band like The Gathering, songs that have little blips of goodness in them, but overall just don't stand up on their own to be called 'songs'. But now that I've given it a bit more time, it's actually grown on me quite a bit, to the point where I'd nearly call it a 'good album'. It still has that feeling of laziness to it, and some of the tracks are utterly maddening, but there is more good than bad here, and at times the album's actually surprisingly solid.

The best part of the album happens at the end of the first half, with the run of 'End of Our Days' through to 'Half Built Houses', with Archive playing three of the best songs of their modern era in quick succession, all being slow, solemn, melodic songs. After a poor start to the album, 'End of Our Days' comes in with beautiful piano and vocals, but the track is really made by the fantastic use of vocal samples as ambience, creating beautiful layers of layers of sound during the song's climax. This then leads into 'Third Quarter Storm', another very soft ballad track, using the male vocalists this time, and proves that Archive can write some really nice melodies when they need to, there's some more great vocal layering here, and the song breaks into a thick synth section which is honestly the first time Archive do something electronic that doesn't sound uninspired. Thirdly we have 'Half Built Houses', which has some fantastic ambience again, this time made using distant tremolo guitars. It's honestly surprising how different these songs are to the first three, and I feel the album could be a bit better if they were more spread out.

But the album does pick up again after another gap of uninspired electro nonsense, for the last four tracks, and while they aren't as good as the three solemn tracks in the middle, they're still pretty decent and inoffensive. 'Crushed', despite continuing with that poor guitar tone, actually manages to get a bit of power and grit behind the song, actually feeling somewhat intense as opposed to weak and dated. 'Greater Goodbye' has a nice Anathema-esque vocal part over more ambient guitars, and like many songs here, feels like it could be a great track with a bit more work (although those 'la la la' vocals near the end are awful). 'Ladders' is a bit repetitive and annoying but it also has some nice melodies in it.

But while I enjoy these songs, there is still a great feeling of annoyance coming with these tracks. Taking big influence from Radiohead, the drums on the entire album sound straight off Kid A's title track, and not in a good way. Repetitive, uninteresting timbres riddle the entire record, with not so much as a glitch or a twist coming in to show of their producing skills. They use electronic percussion, but only use it for its bad parts, and not the good. And to add to that, and some of the less interesting timbres here (read: all the guitars and all the drums), many of the songs just quite simply don't have the substance to be worth anything.

The album's title track, and 'Ruination' are the only songs here I would really call bad, getting there by repeating one uninteresting line over and over and over until it becomes beyond the territory of uninteresting and into the territory of absolutely maddening. Especially in combination with that bloody guitar lick at the end of every phrase in the title track. God, I want to bloody punch my speakers every time it comes in. Opening track 'Feel It' starts off with a hellishly dull instrumental beat and one of the worst guitar parts I have ever heard, with only the vocals there to hold it up, but as the song progresses, some piano and raised intensity comes in to (almost) save it. In combination with the awful title track and the poor 'Kid Corner', the entire album gets off to a very poor start, which many will inevitably judge it on. 'Riding In Squares' starts off as one of the worst on the record, but about halfway through a truly awesome synth part comes in and turns it into one of the best. As I have already said, so many of these songs sound like low- effort b-sides that took five minutes to write. It's like I'm listening to a bunch of computer demos for a band about to go to studio to sort the bad from good.

But even if this album is very amateurish, maddening, and plain bad at times, there obviously is still some good here, and enough to bring me back to this record a couple of times. But personally, I wouldn't recommend this to anyone. The good is too scattered, and not worth going through the bad to get too. One thing I will give the entire album credit for is the flow - all the songs link together very well, although at times that is a bad thing and at times it's good, it certainly is the only thing that proves to me that Archive have put any real effort into this album. An okay album, but not one I'm likely to return to after this review.

6.2

Originally written for my Facebook page/blog: www.facebook.com/neoprogisbestprog

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 Physical Graffiti by LED ZEPPELIN album cover Studio Album, 1975
4.04 | 628 ratings

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Physical Graffiti
Led Zeppelin Prog Related

Review by Losimba

4 stars Physical Graffiti is recognized as one of the strongest Led Zeppelin albums, some even say that it is the most "proggy" one. While I definitely agree with the first statement, I'm not too sure about the second one. True, the album runs over a total of nearly 83 minutes. True, 3 of the 15 songs exceed the 8 minute mark. But is that enough?

There is one main point against defining Physical Graffiti as a prog album: There's little variety in the style of the songs. Only Boogie With Stu, which is the boogie the title hints at, acoustic Bron-Yr-Aur and the ballads In The Light and Black Country Woman are different from the rest. All other songs are dominated by strong and heavy guitar riffs, though most of them are more complex than the average hard rock riff of the time. Ok, the intro parts of those songs show some variety, too. And there is of course Kashmir with its string arrangement and complex patterns which certainly qualifies as a prog song.

But as I wrote in an earlier review, an album doesn't necessarily have to be prog to get a high rating from me. It only has to be of high quality which is certainly true for Physical Graffity. I already mentioned Jimmy Page's strong guitar work, but the other musicians performances follow up closely and occasionally surpass him. Especially drummer John Bonham has never performed finer and more energetical than on this album. The same can be said about John Paul Jones on bass and keys and vocalist Robert Plant. He may never qualify as an opera singer, but he did exactly what the song needed in all 15 cases.

I might edit the rating up to a 5 after I've had another quiet hour with Led Zep IV (which will most certainly retain its provisional 5 star rating) to find out whether I feel a difference in quality (and liking) between the two albums. But for now, I go for very strong 4 stars.

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 Ammerland by SCHICKE FUHRS & FROHLING album cover Studio Album, 1978
3.76 | 37 ratings

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Ammerland
Schicke Fuhrs & Frohling Symphonic Prog

Review by floflo79

5 stars This album is very, very great. This is atmospheric, beautiful, relaxing, very progressive of course, hypnotic, etc.... This is the first of album of SFF without the drummer Schicke. So it's credited as Fuhrs & Frohling. The trio already made "Symphonic Pictures" which is one of the best 1976 progressive rock albums. The songs of "Ammerland" are based on acoustic guitar and synth melodies, with great developpement, some soloing, and great sound effects. The album is very calming and reminds me some Mike Oldfield moments. I think that "Ammerland" is one of the best discoveries that I made in 2015. Thanks to ProgLine who uploaded this masterpiece !

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 Martian Chronicles II by SOLARIS album cover Studio Album, 2014
4.03 | 85 ratings

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Martian Chronicles II
Solaris Symphonic Prog

Review by Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist

5 stars After 30 years from their debut this album is an Impossibility in an impossible Universe

It's hard enough for a band to maintain the level after an outstanding first release, but it's almost a suicide to attempt doing a sequel from that album after three decades, despite the difficulties implied SOLARIS dared to release Marsbéli Krónikák II and managed to keep the same level.

Of course is an advantage to maintain almost the same lineup and specially two extraordinaire musicians as Robert Erdesz and Attila Kollar, but to recapture the magic of a masterpiece is a test that SOLARIS passed with the highest grade. So after the praises, let's go to the music.

The album starts with Marsbéli Krónikák II - 1. Tetel, a pompous and brilliant opener with Robert Erdesz creating a magical atmosphere, enhanced by Attila's aggressive flute and the beautiful choirs. The Eastern Europe folksy sound is perfect to capture the mystery involved in the concept, and the guitar solos by Csaba Bogdan (Who was also present in the original record I as guest) are strong enough to capture the interest of the listener with heavy rock riffs.

Marsbéli Krónikák II - 2-6. Tetel, is a 12 minutes epic where the band returns to their roots with that marvelous Eastern European atmosphere, but this time with the voice of Zsuzsa Ullmann and a magnificent violin passage, which blended with an amazing rhythm section traps the listener in the wizardry of this band. In part two Erdesz adds his keyboards to make it more mystifying if this is possible, but a heavy guitar solo by Csaba Bogdan makes us remember this is Progressive ROCK.

Marsbéli Krónikák - 7. Tetel caught me by surprise, because after a beautiful acoustic guitar and bass intro they leave their typical Hungarian sound for some sort of Space Rock with clear influence of "A Great Gig in the Sky". Not a copy but obviously inspired by the Floyd.

Hangok A Multbol Tetel ? 1-2. (Voices from the Past), is the only track where the two parts are clearly different, the first one is basically a collection of sounds created by Erdesz upon an hypnotic melody, but in part 2, the band moves towards electronic music with an acoustic guitar that creates a delicious clash of styles, and to make it more complex, Attilla Kollar plays a killer flute. The finale is so pompous and excessive that made me remember with nostalgia the early years of Symphonic Prog.

A Vilag Nelkulunk (The World Without Us) represents one of the best team efforts by SOLARIS, even though the musicians have the chance to show their dexterity in several passages, it's a beautiful melody that flows gently from start to end with a couple of strong sections, specially provided by Bogdan's guitar and Kollars flute in a style that resembles Thijs Van Leer.

In Az Emberbogarak Buszkesege (Pride of Human insect) the band returns to the mood of the original 1984 album with that mystical Hungarian sound with a nice chorus to enhance the effect, but again Bogdan is in charge of some really heavy moments.

Lehetetlen ("Impossible" but translated as "We are Impossibility in an impossible Universe Ray Bradbury") is one of the strongest tracks of the album because of the radical changes from melodic to frenetic, SOLARIS pushes the pedal to the metal and offers us one of the tracks that we progheads love so dearly.

The album is closed by Alien Song, a catchy melody where Erdesz and Kollar feel free to add all the effects that they want crafting a track that works as a tension reliever after a strong album. Some people find it silly, I believe that humor has a place in Prog Rock (Ask Keith Emerson about "The Sheriff" or "Benny the Bouncer") and this track reveals brilliantly and with class this underrated side of music.

To finish this review will only add that I like Marsbéli Krónikák II even more than the band's debut, so I will rate it with 5 solid stars and propose it as the best 2014 album.

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 L' enigma della Vita by LOGOS album cover Studio Album, 2014
4.20 | 175 ratings

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L' enigma della Vita
Logos Rock Progressivo Italiano

Review by ProgShine
Collaborator Errors & Omissions Team

3 stars Logos was a band formed in the mid 90's and that towards end of that decade and beginning of the next one released 2 albums. After that the band went into a hiatus of 13 years without any new release.

Many changings in its line up happened since then and their third album L'enigma Della Vita (2014) was released after 6 years of recording (Between 2006 and 2012) and 2 more till the album was finally released by Andromeda Relix/Lizard Records.

I knew the band because some years ago they were giving away their 2 first albums for free in their official website and I gave a try on Ásrava (2001) by that time. It didn~t really appealed to me so I pretty much forgot about the band. Last year they contacted me about a possible review and here I am.

L'enigma Della Vita (2014) is not a bad album, I gave the CD several spins in the last months but it happen to have 3 things that just doesn't work for me in Prog music:

1 - The sound of Logos is based on the Prog made in mid 90's and all sounds - specially the keyboards - reflect that quite well.

2 - Production wise the album feels like a demo in many moments. That added to the weak vocals become a turn off for me.

3 - The album is far too long. 76 minutes of music, for me, is way too much and some moments felt as big fillers instead of the killer tracks they could come up in this big period they took to record it.

Now, for me it's pretty clear that this is an album that has plenty of moments to appeal to a wide variety of Proggers and tracks like 'Venino Da Un Lungo Sonno', 'L'enigma Della Vita' and 'Pioggia In Campagna' show that! But then again, for me, those 3 points I mentioned killed it for me!

Still is worth listening to the album!

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 Monster Movie  by CAN album cover Studio Album, 1969
3.80 | 249 ratings

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Monster Movie
Can Krautrock

Review by aglasshouse

5 stars Can's 60's debut is one of the few first albums by a band that I can safely say is my favorite of said band's discography.

I've never been a huge fan of krautrock- most of what I've heard is pretty disjointed, most likely because of me listening to things like Organisation which I absolutely abhor-, but Can was my introduction and still to this day reigns as my favorite from the genre. My largest highlight of their consecutive releases is obviously Can's 1969 Monster Movie. Everything about it is great, at least on the first side of the LP.

Many people make points about how Monster Movie has large amounts of early punk elements. I mean sure, I suppose, but really the seven minute opener epic 'Father Cannot Yell' is most likely the most connected to the genre, but overall this album pioneers flowing, almost hypnotic riffs that early krautrock bands were doing. The band largely relies on improvisation to get through the longer tracks, not unlike jam bands such as the Grateful Dead. In fact, 'You Doo Right' was originally a whopping six hour long jam until it was compressed into twenty minutes. Most of the songs on here have at least some iota of Can's later atmospheric hypno-rock, with in this case a style that paved the way not only for the band but also for other krautrock bands.

The opener 'Father Cannot Yell' as said before it is a speeding, punk-influenced song that starts off the album. Although it was a strange way to set off this particularly slow album, it is quite enjoyable as a casual listen. 'Outside My Door' is a shorter, even more punk-ish track that uses more repetitive drumming as well as some cool guitar riffs.

'Mary, Mary So Contrary' is the best song on the album and perhaps my favorite song from it's genre as well as the band. It uses very different mesmerizing tones with lyrics based off of a children's rhyme. The guitar work, although seems to be pretty standard, sounds absolutely epic in the light of it's overall atmosphere. Mooney's vocals are absolutely outstanding, using a tired, almost scratchy feel to give his voice that needed effect.

Ah, 'You Doo Right'. Probably one of the most boring, repetitive songs I've encountered in my progressive wanderings. Even when the song is three times as long as it should be, it's still boring and retains the same sound throughout listening. It uses massive repetition, and although I can say that I like when Can does it on their other songs, here it's just pointless. Absolutely mediocre and not enjoyable to sit down and listen to.

Even in the light of the second side, Can's Monster Movie still gets a 4.5/5 from me. It introduced me to the genre, and I still love it with all my heart to this day. In the light of me liking it so much, I've rounded the rating to a full five rating. Absolutely fantastic.

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 Full Horn by CORNUCOPIA album cover Studio Album, 1973
3.92 | 38 ratings

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Full Horn
Cornucopia Krautrock

Review by stefro
Prog Reviewer

2 stars Fairly schizophrenic krautrock-era craziness from the one-shot German outfit Cornucopia, this intriguing yet somewhat infuriating debut was issued by the legendary Brain imprint sometime after the summer of 1973. Featuring a seven-strong line- up(eight if you include guest musician Jochen Petersen) and a full arsenal of instruments, 'Full Horn' is the kind of record that could have been great, yet certainly isn't thanks to a colossally overwrought sound which stuffs far too many conflicting ideas into the melting pot. Too many cooks ruins the broth, they sometimes say. Featuring everything from grinding proto-metal riffs to proggy keyboard washes, strange sound effects, warbling vocals and spacey electronics, Cornucopia's major problem is their complete and utter refusal to settle down into one accepted style, continuously scuppering promising melodies at birth and inserting odd and unattractive instrumental passages into the mixture just when they really weren't needed. All this adds up to one eclectic and consistently shifting listen, and once the epic nineteen-minute opener 'Spot On You Kids' (finally)finishes - with a splash of disconcerting fairground ambience - the idea of sitting through yet more random madness seems almost unbearable. Germany and 'krautrock' gave us many fantastic acts during the fertile 1970's; Cornucopia certainly weren't one of them. A tiresome, silly and slightly disturbing slab of bad-trip psych-rock, 'Full Horn' is a mess from beginning to end. STEFAN TURNER, STOKE NEWINGTON, 2015

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 Acting Very Strange by RUTHERFORD, MIKE album cover Studio Album, 1982
1.65 | 60 ratings

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Acting Very Strange
Mike Rutherford Prog Related

Review by stefro
Prog Reviewer

2 stars Whilst Rutherford's 1981 solo debut 'Smallcreep's Day' wasn't exactly a masterpiece, it did feature a handful of decent, well- written tunes, some interesting ideas and an over-arching concept - the little-read novel of the same name - that was strong enough to hold it together. Issued a couple of years later and much lighter in shade and tone, the same cannot, however, be said of 'Acting Very Strange'. The second-and-final solo effort from the original Genesis member before the formation of his blockbusting 1980's pop-rock act Mike + The Mechanics, this is essentially a straight-ahead commercial pop album designed to appeal to a mainstearm audience of housewives, pre-teenage girls and guys with no style. Prog-Rock this ain't. As a result, 'Acting Very Strange' really does struggle to justify it's place on this website, with the only explanation being the overall thoroughness of progarchives and the rule of: if you include one, you have to include the rest. And I wholeheartedly agree. Sadly, however, that means you will get occasional albums such as 'Acting Very Strange' slipping through the net. In this case, it's due to the light progressive textures found dotted throughout 'Smallcreep's Day', yet even that enjoyable record leans more towards casual pop-rock stylea than it does prog. The point being that even if you liked Rutherford's debut, you might struggle with this. However, if Mike + The Mechanics and unexceptional 1980's pop is your thing, you may just be tempted to take a look... STEFAN TURNER, STOKE NEWINGTON, 2015

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100 MOST PROLIFIC REVIEWERS

Collaborators Only

ratings only excluded in count
  1. Mellotron Storm (3676)
  2. Sean Trane (3159)
  3. ZowieZiggy (2917)
  4. apps79 (2481)
  5. Warthur (2194)
  6. Easy Livin (1925)
  7. UMUR (1853)
  8. b_olariu (1839)
  9. Gatot (1811)
  10. Conor Fynes (1535)
  11. SouthSideoftheSky (1450)
  12. Evolver (1380)
  13. Bonnek (1359)
  14. AtomicCrimsonRush (1254)
  15. Tarcisio Moura (1241)
  16. snobb (1210)
  17. erik neuteboom (1201)
  18. Windhawk (1144)
  19. Finnforest (1102)
  20. ClemofNazareth (1009)
  21. kenethlevine (1005)
  22. Cesar Inca (926)
  23. loserboy (895)
  24. Rune2000 (857)
  25. kev rowland (842)
  26. Marty McFly (833)
  27. octopus-4 (819)
  28. tszirmay (804)
  29. memowakeman (764)
  30. Matti (756)
  31. Chris S (753)
  32. Eetu Pellonpää (719)
  33. greenback (685)
  34. progrules (666)
  35. Guillermo (662)
  36. Seyo (638)
  37. Rivertree (637)
  38. Prog-jester (623)
  39. Epignosis (622)
  40. lor68 (601)
  41. Neu!mann (574)
  42. Ivan_Melgar_M (543)
  43. philippe (538)
  44. hdfisch (492)
  45. Chicapah (479)
  46. stefro (472)
  47. friso (469)
  48. colorofmoney91 (459)
  49. J-Man (449)
  50. russellk (435)
  51. zravkapt (434)
  52. Prog Leviathan (426)
  53. Menswear (413)
  54. Sinusoid (402)
  55. ProgShine (399)
  56. Atavachron (396)
  57. Queen By-Tor (394)
  58. Greger (365)
  59. andrea (362)
  60. Zitro (359)
  61. tarkus1980 (358)
  62. Nightfly (356)
  63. siLLy puPPy (353)
  64. Cygnus X-2 (353)
  65. fuxi (352)
  66. Andrea Cortese (348)
  67. Aussie-Byrd-Brother (339)
  68. EatThatPhonebook (326)
  69. Negoba (316)
  70. lazland (316)
  71. Guldbamsen (315)
  72. richardh (313)
  73. Tom Ozric (299)
  74. Kazuhiro (299)
  75. Proghead (289)
  76. Flucktrot (289)
  77. OpethGuitarist (287)
  78. admireArt (286)
  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. Andy Webb (235)
  88. Bj-1 (231)
  89. 1800iareyay (225)
  90. js (Easy Money) (222)
  91. poslednijat_colobar (220)
  92. The Crow (216)
  93. Raff (214)
  94. avestin (214)
  95. Syzygy (214)
  96. NJprogfan (211)
  97. seventhsojourn (211)
  98. TCat (209)
  99. aapatsos (206)
  100. Progbear (206)
Remaining cache time: 309 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. Per Un Amico
    Premiata Forneria Marconi (PFM)
  15. Moving Pictures
    Rush
  16. Larks' Tongues In Aspic
    King Crimson
  17. Hybris
    Änglagĺrd
  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. Ommadawn
    Mike Oldfield
  32. Aqualung
    Jethro Tull
  33. In a Silent Way
    Miles Davis
  34. The Silent Corner And The Empty Stage
    Peter Hammill
  35. Hot Rats
    Frank Zappa
  36. Still Life
    Opeth
  37. Depois Do Fim
    Bacamarte
  38. The Road Of Bones
    IQ
  39. Meddle
    Pink Floyd
  40. Permanent Waves
    Rush
  41. H To He, Who Am The Only One
    Van Der Graaf Generator
  42. Images And Words
    Dream Theater
  43. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  44. The Yes Album
    Yes
  45. The Lamb Lies Down On Broadway
    Genesis
  46. One Size Fits All
    Frank Zappa
  47. Scheherazade And Other Stories
    Renaissance
  48. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  49. A Trick of the Tail
    Genesis
  50. The Grand Wazoo
    Frank Zappa
  51. Still Life
    Van Der Graaf Generator
  52. The Snow Goose
    Camel
  53. Rock Bottom
    Robert Wyatt
  54. Octopus
    Gentle Giant
  55. Second Life Syndrome
    Riverside
  56. Zarathustra
    Museo Rosenbach
  57. In The Land Of Grey And Pink
    Caravan
  58. The Power And The Glory
    Gentle Giant
  59. Arbeit Macht Frei
    Area
  60. Free Hand
    Gentle Giant
  61. Viljans Öga
    Änglagĺrd
  62. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  63. Hatfield And The North
    Hatfield And The North
  64. Mëkanďk Dëstruktďẁ Kömmandöh
    Magma
  65. Blackwater Park
    Opeth
  66. Rubycon
    Tangerine Dream
  67. The Inner Mounting Flame
    Mahavishnu Orchestra
  68. Misplaced Childhood
    Marillion
  69. L'isola di niente
    Premiata Forneria Marconi (PFM)
  70. K.A
    Magma
  71. Spectrum
    Billy Cobham
  72. Space Shanty
    Khan
  73. Felona E Sorona
    Le Orme
  74. Emerson Lake & Palmer
    Emerson Lake & Palmer
  75. The Perfect Element Part 1
    Pain Of Salvation
  76. In Absentia
    Porcupine Tree
  77. Time Control
    Hiromi Uehara
  78. Elegant Gypsy
    Al Di Meola
  79. Radio Gnome Invisible Vol. 3 - You
    Gong
  80. Acquiring the Taste
    Gentle Giant
  81. Ghost Reveries
    Opeth
  82. Fear Of A Blank Planet
    Porcupine Tree
  83. Doomsday Afternoon
    Phideaux
  84. Hamburger Concerto
    Focus
  85. Bitches Brew
    Miles Davis
  86. We'll Talk About It Later
    Nucleus
  87. Script For A Jester's Tear
    Marillion
  88. Lateralus
    Tool
  89. Crimson
    Edge of Sanity
  90. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  91. Operation: Mindcrime
    Queensr˙che
  92. Ocean
    Eloy
  93. Pale Communion
    Opeth
  94. De-Loused In The Comatorium
    The Mars Volta
  95. Uomo Di Pezza
    Le Orme
  96. Caravanserai
    Santana
  97. Anabelas
    Bubu
  98. Voyage Of The Acolyte
    Steve Hackett
  99. Remedy Lane
    Pain Of Salvation
  100. Anno Domini High Definition
    Riverside

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

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