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 Corvus Stone Unscrewed by CORVUS STONE album cover Studio Album, 2015
4.00 | 3 ratings

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Corvus Stone Unscrewed
Corvus Stone Crossover Prog

Review by progrocks2112

4 stars Corvus Stone has done it once again, something new and unpredictable. Maybe not all new but new versions of some old fan favs. Unpredictable is what best describes Colin Tench and his merry co-horts, Pasi Koivu (Keys), Petri Lindstrom (Bass), Robert Wolf (Drums) as the nucleus of the band. Blake carpenter (The Minstrel's Ghost),Sean Filkens (Big Big Train), Phil Naro (Druckfarben) and Steff Flaming (Murky Red) lend vocals ,guitars and keys to this collection of new and reworked songs. The interesting thing about this band is the Unyielding cohesion they bring to the table. It seems to me, at least, the group as a whole works so well together including the guest artists that appear that they are unstoppable as a music project. This is, I believe is relatively rare today as egos get in the way and subpar recordings are made. This happens way too often and the listener is the one who pays for it. So now on with my thoughts...

Keeping things short and to the point we start with Brand New Day a a prog rock instrumental that has you flying,close your eyes and listen you will see and feel. The video release for this track is just what the dr ordered. Early Morning calls, which was Early Morning call on CS2 was an instrumental has been transformed into possibly the best track on the cd. A total re-do of this track has dual vocals by Filkins and Naro and what a combo this is to hear. Incredible harmony with these guys, guitar is new and cleaner imo.I love the original as I do all instrumentals but this track is very very good!! This should not be considered a re-work at all it is a brand new song!! Next up we have another very unusual title which CS is or should be known for at this point. Joukahainen Without Chips is a sad song. Slow and methodical it winds its way to a point when drums come along and becomes sort of a crescendo before it dies. Moving on we have Horizon another re-mix, it is a foot tapper to say the least with all kinds of "noises" in the background. Keys on this track are outstanding. Crisper and cleaner then original. Landfill is a quiet little track very clear and crisp at the start but then "bang" till it settles back into a little quite number. Again Corvus Stone "noises" are very much part of this. Drumming is subtle but positioned at perfect locations of the track. After Solstice another revamped track, just simply put ROCKS!! This would be a great song to perform LIVE!! JussiPussi is just a silly song, lots of strange noises and sounds. I often wondered what these guys were doing when it was recorded. It's a mashup of everything in the kitchen sink. Think Frank Zappa on ten times the amount of acid Timothy Leary took. Scary Movie Too is advertised as a longer version of the original. And if it is, it is in the mixing of the track that blindfolds me or earplugs me(?). I hear pieces of original but not at same places. This could be called a new song IMO. Petrified in the Cinema Basement is a very laidback track. Push back your recliner put on the headphones and just enjoy. Lost and found is an extended version of the original with Blake Carpenter putting his chords to task. He makes the track, his voice is so under-appreciated or under-used, maybe I should say, in the world of prog.I dont know how these guys do it but they put Blake in the best tracks that suit his style. I suppose that is how professionals work!! Cinema Finale, A rework of the original and very 1st Corvus Stone track i heard. It remains to this day as my favorite. I can't say anything more about this track other than to listen. It takes me away and places me where all is good. On a personal Note this is my go to track when i just want to be left alone and think. I set ipod to repeat and I'm good. Pack up Your Truffles is another very cool and relaxed feel just sit back enjoy this sweet little tune. MiM is a remix cleaner then the OEM. After listening to this I went back and revisited the originals. Now I keep CS on a 2 week turnaround for playing so I am familiar just a tad. I found the remixes to all be much cleaner the before as the earlier ones sounded "muddy" with the comparison. I do not know if that is proper terminology or not. The new tracks are very good tracks and even though Cinema has been and probably always be my favorite track I think Early Morning calls is the best of the cd. I appreciate the longer Lost and Found showcasing Blake's vocals very much. All in all considering this is a collection of remixes with few new tracks I would have to say that it is a must have for all fans of progressive rock. Not that Corvus Stone can be confined to that one genre. I say kudos to all involved with this faction known as Corvus Stone!! One last bit for those who have not yet heard or maybe did not appreciate the early releases I think it is time for a visit back and listen again. This will set your path in the proper direction.

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 Tales From Topographic Oceans by YES album cover Studio Album, 1973
3.88 | 1888 ratings

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Tales From Topographic Oceans
Yes Symphonic Prog

Review by LearsFool

2 stars In prog's classic era it was actually pretty hard to truly jump the shark, and actual pretention was few and far between. As such, there we have the first of the two great accomplishments of "Tales From Topographic Oceans".

The main factor in this is the half-baked concept Jon Anderson cooked up. The story goes that at Bill Bruford's wedding reception, the Yes and King Crimson line-ups of the time both attended in good terms - by this point Bruford had already joined Crimson. Jon started talking with Jamie Muir, who was already planning on running off to that monastery, and Muir introduced Jon to Paramahansa Yogananda's classic "Autobiography of a Yogi". While touring Japan, he immersed himself in the tome, focusing on a footnote about the classes of Hindu scriptures. Suddenly, he wanted to make an album inspired by this. It apparently didn't matter to him that he'd never read a word of the holy writings. His ignorance should be obvious due to the fact that this concept of his is only reflected in the track titles; as usual, he based his lyricism on making his voice an instrument, not a storyteller. Already a strike when you're making a blasted concept album, but furthermore, whereas it worked so well before, often coming up with unique lines (remember the closing portion of "Close To The Edge"?) , it is just gibberish here, not even good enough to be glossolalia like the Cocteau Twins vocals. All in all, it's inadvertently about as offensive as any slanderous Chick Tract.

I think it's also important to note a few other things about the composing and recording process. Originally, Jon wanted to name the album "Tales From Tobographic Oceans" - yup, you read that right, Tobographic - inspired by Frank Hoyle's by then already widely discredited theories. He met over dinner with Phil Carson, then CEO of Atlantic, who noted that that word sounds similar to Topographic, and so Jon suddenly decided to change it. The band fought over where to record, with Jon wanting to record in the countryside, and Chris Squire and Steve Howe wanting to record in London. When they slunk into London's Morgan Studios, in search of their Ampex, Jon demanded pastoral trappings. White picket fences, keys resting on stacks of hay... and a model cow with electronic udders by a barn replica. Ozzy Osbourne could hardly believe his eyes when he peeked in during a break in the "Sabbath Bloody Sabbath" sessions! Rick Wakeman, who originally went along with Jon's ideas and wish to record in a rural setting, became disenchanted, and, having exiled himself from most of the proceedings, helped Sabbath cut "Sabbra Cadabra", demanding payment only in beer. You can put two and two together there.

But, in spite of all this, in spite of the album being made up of sub-par playing that is mostly by turns boring, tedious, out of place, stuck in a rut, any number of bad words, there are highlights on two of the tracks. "The Revealing" had a wonderful run up, and Wakeman's synth theme is pretty. They drop the ball from there, but it's all in all a decent track. And "The Ancient", the crazy part of the record, you just have to respect. That's the truly forward thinking part of this double LP, and in an album where most of the themes are, again, out of place in relation to each other, the progressions here are insane enough to work. I have a love-hate relationship with it. Heck, rather than cut any part of any track, Yes could've gotten away with a single LP of just "The Revealing" and "The Ancient", and it would've been pretty good, excepting the atrocious, abortive concept.

Having said all that, instrumentally this is probably a three star record, with good, bad, ugly, and nutty, that some can enjoy a lot. But really, that concept just drags this down further. 2.5 stars, rounded down. The last thing I want to say is that, even with "The Ancient", there really is nothing here to "get". Really. The emperor has neither clothes, nor even a corporeal form.

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 Iconoclast by SYMPHONY X album cover Studio Album, 2011
3.76 | 390 ratings

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Iconoclast
Symphony X Progressive Metal

Review by AndyJ

3 stars Symphony X's 'Iconoclast' is an album which sees the prodigious American metal band continue with the style established on 'Paradise Lost' and move further away from their earlier symphonic sound. I commend any band which seeks to evolve and try out new approaches to their music but unfortunately, for me, this new direction Symphony X have taken is the exact opposite of what I wanted to hear from them. They have become a bit more straight-forward in their compositions, and a bit more hard edged.

What I have always loved about this band is their utterly bombastic melding of progressive metal with symphonic classical music. That style has been largely replaced on this album with a far more aggressive style and reduced classical influence. For me they have lost a little bit of what made them such a special band for their earlier career.

But focusing on the music and songs on this album there can be no doubt that this is fantastic quality, both in composition and musicality. Michael Romeo and Russell Allen get better and better with each album. The pair of them are an absolute force to be reckoned with. The songs are exciting and varied, but they don't carry the same weight as previous efforts. Some of the riffs and drumming on this album could easily be found in a melodic death metal band rather than Symphony X, such is the ferocity on display here.

What really fills me with fear is that we may never hear another 'The Odyssey' or 'Divine Wings Of Tragedy' from this band. I keep hoping with each new Symphony X release that they will re-discover their epic song writing style - but if anything they are moving further away from that.

Final thoughts are that the music on 'Iconoclast' is extremely talented and well composed, but when I compare this album to 'V: The New Mythology Suite', 'Twilight In Olympus' or 'The Odyssey' I find it less enjoyable. Fans of progressive metal will still enjoy this album though, myself included. 3-stars.

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 Shadows & Reflections by DOWNES, GEOFFREY album cover Studio Album, 2003
2.00 | 1 ratings

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Shadows & Reflections
Geoffrey Downes Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

— First review of this album —
2 stars Stream of consciousness

Shadows & Reflections was Geoffrey Downes' fifth solo album overall and the second one not to use the "New Dance Orchestra" name. This absence of that name is appropriate as this album is different from The Light Program, Vox Humana, and The World Service in that on Shadows & Reflections Downes decided to go full ambient. Like The Light Program, the present album holds long tracks with only two this time: one called Shadows and the other called Reflections. The former has a running time of over 20 minutes and the second is over 30 minutes in length. But unlike the melodic "electronic symphony" found on The Light Program, what we have here is mostly soundscapes and dreamy, relaxing mood music. Still, there are a few moments here and there where Geoff breaks out of the ambient mood and indulges in some electronic synth excursions and even plays some classical piano. Comparisons to the music of Vangelis is never far off when hearing Shadows & Reflections.

I find this album pleasant and enjoyable for the most part but it is a step backwards compared to the previous The World Service. Recommended only for people with a taste for ambient, electronic music.

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 3:47 E.S.T. by KLAATU album cover Studio Album, 1976
3.32 | 86 ratings

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3:47 E.S.T.
Klaatu Prog Related

Review by FragileKings
Prog Reviewer

4 stars A couple of decades ago or more, I heard a funny song somewhere. Perhaps it was on the radio or maybe on a compilation CD borrowed from the library. "Anus of Uranus". It could have been a MacLean & MacLean song with a title like that. Jump ahead to 2005 and I get my first lap top and it can burn CDs. Hooray! I had been a mixed tape kind of guy since the 80's. Now I would be able to burn mixed CDs. I had a theme in mind: a space song mix. And as I considered songs for the playlist, I recalled that silly anus song. A friend had introduced me to a web site where songs could be downloaded free. I always like to purchase music on CD but in this case, for one song, I got it from that site. Later I read that the band, Klaatu, were Canadian. Always interested in supporting home grown bands, I decided to keep Klaatu in mind.

Now we reach 2015 in my story and I was making a playlist of seventies Canadian bands, and Klaatu popped up from my memory. I checked them out on Wikipedia and was surprised to see them classified as pop prog. Prog? It's been my observation that Canada mostly missed two important periods in the evolution of rock music: the early first generation of heavy metal between 1968 and 1973 (not many bands that I know of) and the seventies prog movement (Harmonium, Rush and... Saga... and... ?). So this suddenly became a band I needed to hear. I ordered the anus album, "3:47 E.S.T.".

Now there's a funny story about this album and Klaatu. When the first couple of singles were released, there was an American DJ who heard the song "Subrosa Subway" and thought it sounded remarkably like the Beatles. He looked at the album and found that there were no names given and no photos of the band members. It was just Klaatu. "Could this possibly be," he surmised, "a Beatles album? That the Beatles have reformed and released an album under an alias?" He boldly announced his supposition to the public and enticed his listeners with supposed hints that his theory was true. The American label found that this was a great publicity stunt and would be good for boosting album sales and went along with the whole thing. The band, however, simply denied the story when asked. In the U.K., a music reporter pulled the plug on the story, saying that there was an American DJ foolish enough to not be able to distinguish the Beatles from this band. Nevertheless, Klaatu rarely performed live and recorded their second album and released it without any personnel mentioned by name, keeping an air of mystery about them.

The album is quite work of progressive rock with strong pop melodies. It does indeed resemble the Beatles often, especially the songs with John Woloschuk on lead vocals. Though the music is never really complex, there's a strong formula of simple and catchy melodies and a clever use of rock and symphonic instruments to create music that goes beyond the standard pop song. Dee Long's "Anus of Uranus" (about a space man who picks up the song's narrator and takes him around the solar system) and "True Life Hero" are more standard rock songs but with interesting lyrics. Other musical themes include the experiment that was done to contact alien spacecraft through the transmission of a welcoming thought by thousands of people at once. You can read about the song "Calling Occupants of Interplanetary Craft" on Wikipedia and find the link to the real life story. This song was covered with great success by the Carpenters a year later. There's also the story of New York's first subway in "Subrosa Subway", one of my two favourite tracks on the album. I also really like "California Jam" which shifts through various themes like a musical number.

The last three tracks have as yet failed to really captivate me. "Sir Bodsworth Rugglesby" is a humorous song about a ship's captain who disappears at sea but seems to have returned, stating "I'm the only one who ever went to Hell and came back alive". It's done in a funny, Pirates of Penzance kind of way and has a female back up vocal group that make the musical effect even better. "Neutrino" is musically simple but beautiful, but also a bit weird with distorted vocal effects meant to emulate an imaginary neutrino voice. There's a story about the band experimenting with sound effects in the studio in Toronto when Mick Jagger walked in wondering what the heck they were doing in there. "Dr. Marvello" is also a bit show tunesy. Some songs remind me a little of It Bites' album "Once Around the World" and the song "Hunting the Whale".

Klaatu concocted some really wonderful music on this album. Some might not like it because it's not complex enough, too much like the Beatles, or too sweet in pop melodies. But I have been enjoying the first five tracks immensely over the last two months and keep coming back to them again and again.

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 2973 MMCMLXXIII La Nemica dei Ricordi by SPETTRI album cover Studio Album, 2015
4.00 | 7 ratings

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2973 MMCMLXXIII La Nemica dei Ricordi
Spettri Heavy Prog

Review by rdtprog
Special Collaborator Heavy Prog Team

4 stars This is their second album for this heavy Prog band. The music still maintain that dark symphonic sound with the Italian Prog influence and the music of the British scene like Black Sabbath, Emerson, Lake and Palmer and King Crimson, the latter specifically in the song "La Stiva". The keyboards, the old Hammond, and the saxophone are stealing the show to the guitars leaving them in the background most of the times. The music is played at the fast pace, bombastic, with some slower passages to get a little breather and with the final song "L'Approdo" who is a beautiful ballad with some flute and piano passages. In the song "Onda Di Fuoco", we are very close to the Emerson, Lake and Palmer style and sound. All songs are excellent from my point of view, like it was my cup of tea. This is a nice improvement from their first album who has more psychedelic tones and guitars.

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 90125 by YES album cover Studio Album, 1983
2.94 | 1200 ratings

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90125
Yes Symphonic Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars After the experiment of "Drama," the first YES album that replaced Jon Anderson and Rick Wakeman with members of The Buggles, the band did a whole tour but unfortunately Trevor Horn was unable to perform to the band's likings as far as sustaining the passable vocal abilities in the vein of Jon Anderson as heard on the album. The band decided perhaps the 70s meets 80s experiment had run out of steam and reluctantly called it day. The band known as YES officially ceased to exist after the end of the "Drama" tour. The plans of the members were to create new supergroups that would take elements of the YES era and incorporate them into the contemporary sounds of the early 80s. For progressive rocks lovers this was a tragedy. Commercially speaking, the then former members of YES would soon see some of their most economically beneficial music surpassing anything they had ever experienced.

While Steve Howe and Geoff Downes would go on to form Asia, Trevor Horn would go on to be a successful producer (starting with this one), Chris Squire and Alan White decided to create something new altogether. Originally they hooked up with Jimmy Page which didn't work out but the fruits of which ended up on Page's band The Firm's albums. Despite a lofty idea it was a no go and they had to recruit some new blood to the mix. They settled on Trevor Rabin who was somewhat successful in his native South Africa with a band called Rabbit and after a chance meeting with YES' original keyboardist Tony Kaye, Chris Squire rekindled musical ideas and invited him to play keyboards on the new project. This new super group was supposed to be called Cinema and was never intended to be a YES project at all. The final ingredient in the new group was unfilled: the vocalist. The disbanding of YES was totally amicable so when Squire played some of the new material to Jon Anderson, he really liked it and decided to sing on the new album. Someone thought it was a great idea to be under the YES moniker and thus the 11th YES album was born. Like it or not, YES released their most successful album with 90125 and even had a #1 single in "Owner Of A Lonely Heart." The title simply comes from the original Atco Records serial number of the original LP: 7-90215-1.

I would say that the success of this album is due to a mix of circumstances. First of all, the progressive pop tracks are all extremely catchy and well written as well as impeccably performed, but as we all know there is no reason any brilliant album should catch on to a larger audience without some sort of delivery to the larger public. Like many 70s bands of the day, YES was prescient enough to see the power of the video and when "Owner Of A Lonely Heart" caught on with a new generation of fans totally oblivious to the previous incarnations of YES, the video became a HUGE hit propelling the album to sell mass quantities to the chagrin of progressive rock snobs who only found the war of complexities to scratch their itch.

I absolutely adore this album. Not only was this the very first YES album i encountered, but it is one that stays with me over time. It was indeed my gateway drug to the affirmative one's unique style but was so well crafted and beautifully delivered that it holds a strong place in my musical world. While some early albums in my world are respected for their introductions to a band's discography, 90125 remains high on my personal list of albums simply because i enjoy the hell out of it. Not progressive enough? Gimme a break! This album may not take you to Saturn's rings like "Relayer" or "Tales From Topographic Oceans" but it is not meant to. This is an Earthly concoction of extremely well played progressively constructed ideas that find a more accessible rhythmic structure that fits nicely into the day and time but still sounds totally unique and is really unlike anything else not only released under the YES moniker but stands out from any other album ever released as well.

Personally i find the biggest hit "Owner Of A Lonely Heart" to be the weakest track on here and even so i still don't dislike it. This album is just filled to the brim with catchy progressive new wave and pop tracks. "Hold On," "It Can Happen," "Changes," "Leave It" and "Our Song" are simply just beautifully well crafted pop songs stuffed with progressiveness that doesn't feel forced or over contrived. The odd time signatures of "Changes" are particularly noteworthy of showing just how well this incarnation of the YES lineup could easily meld two seemingly opposite spectrums of the musical world together so brilliantly. I just cannot understand any negativity behind this one. Only the last couple of songs keep me from giving this a full five star rating. The difference between this and the most progressive of YES' albums is that like the previous couple albums, the melodies are the focus with the progressiveness being the icing instead of the cake, but on 90215 they really succeed in balancing these elements like a fifty foot stack of rocks on a river bed. Great music doesn't have to be based on a "complexer- than-thou" principle and 90125 is a wonderful example of just how satisfying well constructed songs that have recurring melodic themes can be.

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 Katy Lied by STEELY DAN album cover Studio Album, 1975
3.60 | 98 ratings

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Katy Lied
Steely Dan Jazz Rock/Fusion

Review by TCat
Prog Reviewer

4 stars I have to say that I absolutely hated this album for quite a long time. However, for whatever reason, I kept playing it when I accidentally bought it looking for tracks similar to what was then my favorite Steely Dan song "Black Friday". Of course, there is only one similar to that song on here and that is the excellent "Chain Lightning". Everything else on here is a pop/jazz fusion.

A few years later, "Aja", the almost perfect album, came out. I fell in love with the amazing title track on that one almost immediately. The other tracks were excellent too. Suddenly, a new light was shed on this album, which now I think is the closest album to "Aja" that Steely Dan recorded.

So, I called this music a kind of pop/jazz fusion. I hate pop music, unless there is some semblance of originality to it, which there is with this music. There are so many beautiful jazz elements in this music, that I wonder how I missed it at first. The guitar is usually understated, but listen to it closely, especially the solos. You'll notice that the guitar is not always mixed to the front, so it's not always obvious how excellent the guitar work is here. The piano/keyboards are also genius. The music is so simple, yet it's so complex. When I listen to this album, I think about how tough the sessions must have been, because everything is so perfect here, and the guests musicians were plenty, and they were top notch also. The music sounds perfected almost. That is usually a turn off for me, but it sounds so good here. Every note, every sound has it's perfect place throughout the album. It's almost too perfect, which works against it somewhat. But you can really hear how the masterpiece "Aja" would emerge from this kind of music. That album would also have the perfect sound, but all the problems would be worked out and the songs on that album would be allowed to breath a lot more, while the songs on here are not allowed to develop so much, probably in an attempt to win over some radio airplay.

Fagen and Becker put a lot of effort into this album and they were disappointed when the sound wasn't what they expected because they were using new technology at the time. Some of the problems were worked out, but they refused to listen to this album for quite some time. Newer issues of this album have resulted in a cleaner, crisper sound, and the music is so good here that those reissues should be purchased over the original. The original recording was way too soft and the intricacies that make this album so excellent are not as pronounced as they should be, but that problem is worked out in the reissues.

Fans of "Aja" should check this out for music that is similar to that album. Give it time and you'll find the jewels that are abundant in this album, which tends to get ignored by a lot of fans because it moved away from the harder rock sound of their other albums. But to me, it is what gave birth to their masterpiece and what would become their true signature sound. Excellent album.

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 Karma by KAMELOT album cover Studio Album, 2001
3.85 | 129 ratings

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Karma
Kamelot Progressive Metal

Review by TCat
Prog Reviewer

2 stars I had heard some good things about this band and the fans here definitely have a lot of things to say about them. Symphonic Metal can be a guilty pleasure for me from time to time, and after hearing a few tracks from a few of their albums, I was initially impressed enough to check them out a little bit more.

So after hearing this album, I agree that the band has a symphonic edge to their music, but there is nothing much on here that is progressive. The band, in reality, is not much different from the "metal" of the 80's, of which I am not a fan. The only thing that really sets them apart much from those hair bands, is a speed metal drummer, but the music isn't speed metal, it's, like I said, too similar to bands like Europe. I know that will offend some, but I really couldn't get past the fact that this could have easily fit in with those types of bands.

The vocalist is quite talented, and you can definitely hear his passion in some passages and especially in the beautiful song "Don't You Cry" (which was actually one of their first songs I heard and it was one of the songs that I thought was decent enough to give the band a try). That song is definitely a highlight of the album. There are some nice guitar passages, but they don't expand the songs enough. And I hate the fade outs that occur from time to time. They seem to be inconsequential and misplaced simply to keep the songs down to a radio friendly timing.

Anyway, this album for me was not a positive experience. It seemed too cheesy, too reminiscent of a bad decade and the speed drumming just doesn't fit with the music. There are too many great progressive metal bands out there to spend too much time with music like this. I know it fits the taste of some of the listeners out there, but hopefully no one is mislead to believe this is progressive at all. Fans of this type of music will enjoy it anyway....so....fans only. 2 stars.

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 Sweet Nothings by PLINI album cover Singles/EPs/Fan Club/Promo, 2013
2.67 | 8 ratings

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Sweet Nothings
Plini Jazz Rock/Fusion

Review by memowakeman
Special Collaborator Honorary Collaborator

2 stars Australian majestic musician Plini has released so far a trilogy of EPs, being 'Sweet Nothings', launched in 2013, the second one of those. For those who don't know, this young man has been creating extraordinary music in this decade, but all of them spread in singles or EPs, not in full-length albums yet, something I hope he consider in the near future because I am sure that his quality and creativity will surprise us with a memorable album.

Meanwhile, it is possible to enjoy his music in the diverse online platforms such as bandcamp, where I particularly listen to his releases. Plini composes and practically plays everything here, though there are a couple of guitar players as guest musicians, along a piano guy on the final track. Well, Sweet Nothings has four compositions that make a total time of 16 minutes. It starts with 'Opening', whose jazzy flavor appears since the first seconds, however, later when that virtuoso guitar enters it adds a djent sound for a brief moment. The song prevails in that jazzy realm, delighting me a lot.

With 'Tarred & Feathered' Plini shows off again his amazing skills as composer and performer; the music has now a tendency to post-rock but also a bit of djent lives there as well. Besides guitars, which are evidently the main element, here I like a lot the atmosphere created by keyboards, which is more evident after 2 minutes where the song becomes more emotional. 'Away' starts with a lot of technique and string-complexity, again post-rock meets djent but in this track the guitar is played faster and with endless notes, so I think the best way to describe it would be math rock.

The final song is 'Sweet Nothings' which is another great composition. The melody is great, progressive jazz with some post rock hints, a constant piano and wonderful guitar riffs. It has several time changes, and after three minutes it becomes heavier, more in the metal vein. So it is a challenging composition that once again let us know about the fascinating skills of Plini, a musician that has kept me mesmerized in the last couple of weeks.

Now don't pay attention to my rating, because as a reviewer I have my "own rules" which don't allow me to rate releases under 20 minutes with more than 2 stars, unless it is the EP or single of my life.

Enjoy it!

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100 MOST PROLIFIC REVIEWERS

Collaborators Only

ratings only excluded in count
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  2. Sean Trane (3159)
  3. ZowieZiggy (2917)
  4. apps79 (2629)
  5. Warthur (2195)
  6. Easy Livin (1925)
  7. UMUR (1870)
  8. b_olariu (1866)
  9. Gatot (1811)
  10. Conor Fynes (1572)
  11. SouthSideoftheSky (1491)
  12. Evolver (1385)
  13. Bonnek (1332)
  14. AtomicCrimsonRush (1271)
  15. Tarcisio Moura (1257)
  16. Windhawk (1219)
  17. snobb (1212)
  18. erik neuteboom (1201)
  19. Finnforest (1104)
  20. kenethlevine (1016)
  21. ClemofNazareth (1009)
  22. Cesar Inca (927)
  23. loserboy (895)
  24. Rune2000 (860)
  25. tszirmay (843)
  26. kev rowland (843)
  27. Marty McFly (834)
  28. octopus-4 (819)
  29. Matti (807)
  30. memowakeman (795)
  31. Chris S (753)
  32. Eetu Pellonpaa (720)
  33. Guillermo (695)
  34. greenback (685)
  35. progrules (666)
  36. Rivertree (649)
  37. Seyo (638)
  38. Epignosis (624)
  39. Prog-jester (623)
  40. Neu!mann (602)
  41. lor68 (601)
  42. Ivan_Melgar_M (549)
  43. philippe (538)
  44. hdfisch (492)
  45. Chicapah (480)
  46. stefro (478)
  47. friso (476)
  48. colorofmoney91 (459)
  49. siLLy puPPy (457)
  50. J-Man (449)
  51. Prog Leviathan (447)
  52. zravkapt (439)
  53. russellk (435)
  54. Menswear (413)
  55. ProgShine (409)
  56. Sinusoid (402)
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  100. seventhsojourn (211)
Remaining cache time: 369 min.

List of all PA collaborators

TOP PROG ALBUMS
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  2. Thick As A Brick
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  3. Selling England By The Pound
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  4. Wish You Were Here
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  5. Foxtrot
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  6. In The Court Of The Crimson King
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  7. Dark Side Of The Moon
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  8. Red
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  28. Kind Of Blue
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  29. Birds Of Fire
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  30. Aqualung
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  31. The Silent Corner And The Empty Stage
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  32. Crime Of The Century
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  33. Hot Rats
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  34. Still Life
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  35. Ommadawn
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  36. Meddle
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  37. Depois Do Fim
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  38. In a Silent Way
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  40. H To He, Who Am The Only One
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  49. The Snow Goose
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  52. Still Life
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  56. In The Land Of Grey And Pink
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  57. Free Hand
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  58. Zarathustra
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  59. Octopus
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  60. Banco Del Mutuo Soccorso
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  61. Arbeit Macht Frei
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  62. K.A
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  63. The Power And The Glory
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  64. Second Life Syndrome
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  65. Blackwater Park
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  66. Spectrum
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  67. In Absentia
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  68. L'isola di niente
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  69. Misplaced Childhood
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  70. Felona E Sorona
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  71. The Inner Mounting Flame
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  74. Acquiring the Taste
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  75. Bitches Brew
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  77. Ghost Reveries
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  78. Space Shanty
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  79. Fear Of A Blank Planet
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  80. Radio Gnome Invisible Vol. 3 - You
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  81. Pale Communion
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  82. Rubycon
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  83. Hamburger Concerto
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  84. The Perfect Element Part 1
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  85. Doomsday Afternoon
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  86. Script For A Jester's Tear
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  87. Elegant Gypsy
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  88. Crimson
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  89. If I Could Do It All Over Again, I'd Do It All Over You
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  90. Lateralus
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  91. Voyage Of The Acolyte
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  92. We'll Talk About It Later
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  98. Caravanserai
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* Weighted Ratings (aka WR), used for ordering, is cached and re-calculated every 15 minutes.

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