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 The Spirit Winds by BUCKETHEAD album cover Studio Album, 2013
2.10 | 2 ratings

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The Spirit Winds
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars PIKE 17 - THE SPIRIT WINDS is the 7th album released by BUCKETHEAD in 2013 and the 47th solo studio album overall. Once again BH handles all instruments on board and Dan Monti and Albert play producers. The album has 5 tracks with the title track engulfing 5/6 of the album and it clocks in at 30:51

"The Spirit Winds" (25:03) is the dominant track on this release. It begins slow with two different guitars with different tones weaving around each other to build up the melodic development. As expected because of its long length it's given permission to unfold at its leisure and that's exactly what it does. It only slowly deviates from its established pattern and holds onto the melody like a recalcitrant hen pecking any takers of her eggs. At ten minutes in, it's still the same riff and it's obvious by now that this is one loooooooooooong repetitive track that basically takes on tiny little riff and repeats to infinity. If this repetitive seduction is what you're into then look no further than a ridiculously simple riff with subtle guitar overlays that add a bit of subdued leading licks to the whole thing. This is BH easy listening to the max and the kind of stuff i find rather monotonous and well, boring. I mean let's face it. Any guitarist could learn how to play this all in like 5 minutes. Utterly unchallenging on the fingers as well as on the imagination. The drums are canned and the loop effect is not hypnotizing me at all but making me want to skip it. It's just too repetitive for its own good. It's too upbeat to be ambient and to slow to rock. Yeah there are subtle variations but too little to keep yours truly interested. Yawn

"Petal" (1:43) breaks the monotony with a mid-tempo almost folk track with clean guitar, bass and drums. Melody nice and for me much more interesting than track one. I wish this one was longer and the first was forgotten about period. This one has a more interesting melody IMHO

"Frog Charmer" (1:33) is a really cool Indian sounding track with tribal drumming and a nice acoustic guitar accompaniment with a totally exotic flair that makes this my favorite track of the PIKE. Another that should have had more space to breathe and evolve

"The Pier" (0:55) is a quicky in the form of an acoustic guitar and drum. It's rather slow-tempoed and has the same sort of melody as the title track. I'm not very fond of it

"Cab Window" (1:37) is yet another mellow track that has a mid-tempo riff, bass and drums. The melody is only ok. Exceeding the title track but not as cool as "Petal" and "Frog Charmer." It is the most rocking track as it actually has a break of electric guitar and slow lead guitar accompaniment.

This PIKE is quite boring. The last short tracks save it from being a total train wreck but because i totally hate the title track which swallows up all chronological real estate, i have to say this is a fairly uninspiring PIKE. 1.5 rounded up

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 Pike 16 - The Boiling Pond by BUCKETHEAD album cover Studio Album, 2013
3.00 | 1 ratings

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Pike 16 - The Boiling Pond
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
3 stars PIKE 16 - THE BOILING POND is the 6th album released by BUCKETHEAD in 2013 and his 46th solo studio offering overall. Yet another that began as a limited CD-R with hand drawn album cover that got repackaged and officially released. The untitled tracks have all been given proper titles. On this one there are 10 and the overall time is 30:05 with BUCKETHEAD handling all instruments while Dan Monti and Albert help out on the production.

"The Boiling Pond" (4:37) starts out with slow jangly guitar and then breaks into alternative heavy metal riffing. Rather down tuned and grungy dirty metal guitar. Kinda monotonous as a single chord is repeated but some sliding variations and riffs add some variety. Kinda just repeats the crunchy metal riffs and alternate a few passages

"Conductor" (3:04) starts out with a cool clean guitar riff that becomes accompanied by a cool distorted guitar riff and heavy bass and drums. Alternates with clean guitar passage and then back to thrashy metal riffs. Has some nice off kilter time sigs thrown in

"Ancestors" (3:57) starts out like a grungy Soundgarden track with sliding distorted guitars, bass and drums. Turns into a riff. Changes riffs up a bit but is basically a heavily distorted alt metal track

"Piledriver Impact" (2:33) is a bit more mellow as it starts out slower with echoey semi-distorted guitars and a slowed down drum and bass, well until it turns into a heavy alt metal rocker with fast riffs and then staccato chordage. A nice melodic guitar solo erupts from the din.

"Subterranean" (4:04) sounds more like a funkified Hendrix song on steroids. Very distorted and heavy but bluesy ballsy metal rock with alt metal riffage. Kinda repetitive though

"Punmul" (1:07) starts out slow with distorted guitar arpeggio and then erupts into a fast and furious classic heavy metal assault. Very 80s with 90s alt metal touches. It's pretty much over before it even begins

"Flesh Tearing Cliffs" (3:07) is a down-tuned doom metal track with thrashy riffs. Nice guitar slides and arpeggiated passages. Starts slow but picks up speed especially with blastbeat drumming that pops in. Basically a mid-tempo down-tuned grungy dirty filthy metal track that alternates slower parts with faster ones

"Life of a Fly" (3:05) is a groove metal riff delight. At least at first until it becomes a staccato chord thang with off timings. It likes to change up the riffs every few measures but basically the same melodic flow. Reminds me of various aspects of Pantera

"Screaming Skull" (1:09) is a high register screaming riff as the title suggests. Fast and furious and totally cool. Wish it lasted longer. My favorite track

"Subterranean Part 2" (3:13) is like Part 1 a slow and distorted guitar track that has down-tuned chords and drum beat. The riffs alternate with non-guitar measures. Doesn't sound like any bass participates in this one. Simply a recurring guitar riff on mid-tempo with a steady drumbeat. This one is fairly satisfying but not ridiculously original or anything of the sort. Nice guitar tones, nice reinterpretations of alt metal riffs and all kinds of nice down-tuned guitar action. Satisfying but OMG so. 3.5 rounded down

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 Happy Accidents by RASCAL REPORTERS album cover Studio Album, 1988
3.52 | 6 ratings

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Happy Accidents
Rascal Reporters RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

3 stars With a name like RASCAL REPORTERS you know these guys have a sense of humour. The band is actually two guys named Steve who were High School friends and both are multi- instrumentalists. I must admit that I often don't check out specifics of an album I'm listening to until I've spent some time with it, so yes I was very surprised to read the guests helping out here. In fact I really thought this was mostly a keyboard/ drum recording, which I guess it is(haha) but I missed the guitar and horns for some reason. Oh and who knew Steve F. from Cuneiform records was a musician? Not me, but he plays guitar on one track. Also Nick Didkovsky from DR. NERVE also plays guitar on one track, Guy Segers from UNIVERS ZERO plays bass on one track, James Grigsby and Dave Kerman both play percussion on one track, both from 5UU'S and Dave Newhouse from THE MUFFINS is the most prominent guest playing flute and sax and he plays on three tracks.

This is the album many state as RASCAL REPORTERS best and the fact it was released in 1988 a time that was pretty bleak for Prog fans certainly didn't hurt. This album has been a tough one for me to get into, it's divided into two suites and the opening one I quite like but I get annoyed with the second one which certainly affects my rating. It's just not clicking with me. It really sounds like they use a toy keyboard or something and there's some high pitched sounds that make me squint a bit. Yes I'm laughing right now. Hey this is avant music. The album seems to have a theme and that being transport trucks as the first suite is called "Weigh In On The Way- Out" and the second being "Trucks", yes I'm a genius. And the title of the album of course fit this.

"Pilgrim's Pride" has such a feel good intro that will be reprised a couple of times including near the end of the final track of this suite. I like when it suddenly turns melancholic with solo solemn flute. It kicks in a minute later with drums and high pitched keyboards. Another change a minute later as we get some great sounding angular guitar along with organ as percussion and drums support. Lots of more changes follow then that happy intro soundscape is reprised but it settles quickly as we get plenty of pulsating keys until the intro is reprised to end it. "The Chalky Substance Variations" is fast paced and avant before it calms right down with piano. Violin joins in and this is quite pleasant. Drums and distorted keys take over before the piano returns with drums this time. Again lots of changes on this track too.

"Karen's Chalky Pilgrim" opens with keys and shuffling drums before the keys start to pulsate and snapping fingers can be heard along with vocal melodies and bass too. A change 2 1/2 minutes in as drums and keys lead but with a different flavour. Pulsating keys are back along with bass and drums, catchy stuff. The intro from track one is reprised before it turns avant and it ends with some humour as we hear a sample of THE CARPENTERS popular song from back in the day. The "Trucks' suite is next with "Thunderstruck" as we here dual sounds that are off-set in this experimental intro before the drums kick in. Things change often though. It's dark before 2 minutes. Annoying high pitched sounds around 7 minutes pretty much to the end. "Moonstruck" has more high pitched keys with percussion and more. Not a fan. Fast paced high pitched keys after 3 minutes. It settles down before 5 minutes and flute eventually arrives before leading 7 1/2 minutes in as the tempo picks up and stays that way until the end.

Lots of fans of this one but it's just not my cup of tea overall.

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 All That You Fear Is Gone by HEADSPACE album cover Studio Album, 2016
3.86 | 112 ratings

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All That You Fear Is Gone
Headspace Heavy Prog

Review by poito

4 stars Are you old enough to recognize the spirit of early YES? Then you might recognize the efforts of Headspace not to be found there... without success. Metal djenty YES? It may not be a bad idea. Not original, but worth to try. Their former I Am Anonimous was a hodgepodge of sounds trying to appear as a complex and original composition that could not pass from a chaotic medley written and played by some wanabees for their own delight, though they took some by surprise. The noise in the media seems to have persuaded the band and surroundings that, maybe, they did have something to mean in music. Whatever happened in these years, they go formal and respectful to musical creation in this album. Still, it is a bit embarrassing to see how many rated this acceptable album higher than all-time masterpieces as Fragile, or Relayer. One by one, each of the band members' musical talent is eons away from their beloved parents. Wilson's singing is just tolerable here, trying at his most, blatantly emulating Anderson. The drums are naif. Guitars are doing an excellent work, but will never get close to Howe, and little Wakeman is ok. Anyway, this time I won't let myself go down by the overrating fever and I will recognize that the boys are growing. I would even say they may get high... in the next. Songwriting is the best of the album along with the guitar work and some arrangements at the keys. The Science Within is an excellent long epich. I liked the high spirit of The Day You Return. 3.5 rounded up for the balls to try.

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 Ferias Y Fiestas De La Posguerra by BOSNNIA album cover Studio Album, 2014
4.00 | 1 ratings

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Ferias Y Fiestas De La Posguerra
Bosnnia RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

— First review of this album —
4 stars Impressive bandoneon and violoncello vibes. BOSNNIA are founded as a new, promising Argentine rock unit keeping a strong intention for their native musical tradition. Massive folksy and black magical elements are heard via their first full-length creation "Ferias Y Fiestas De La Posguerra" ... not very avantgarde like pioneers in Avant-Prog scene but there is apparently mystic, mysterious, eccentric atmosphere anywhere in this album. Sounds like they had got excessively influenced by their soul cultivated in their hometown and reflected the soul upon their creation rationally.

Another important point is, let me say, that their enthusiastic love and affection for Argentina and Argentine music (folk, tango, or something) with their heartwarming movement should be stuffed into this album. Listen to, for example, "Parisiennes Y Ginebra" suite (no relationship to nationalism in this title though lol) please and we can touch kinda gentleness and sweetness drenched in hot bandoneon madness and weird violoncello numbness. Toughness to classify their artistic creation might notify us they cannot be called simply as an avantgarde progressive rock combo.

Whether we can feel of progressive rock honestly or not, it might not be doubtful they have opened up and cultivate a novel soundscape as a natural mixture of avantgarde rock and traditional folk. Innovation, novelty ... can be thought progressive, if rock or not. Cheers!

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 The Cosmic Jokers by COSMIC JOKERS, THE album cover Studio Album, 1974
3.95 | 108 ratings

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The Cosmic Jokers
The Cosmic Jokers Krautrock

Review by Modrigue
Prog Reviewer

3 stars Ash Ra Tempel's little brother

3.5 stars

Let's go straight to the point: COSMIC JOKERS is what ASH RA TEMPEL would have sounded in 1974 if Manuel Göttsching hadn't change direction after the departure of Hermut Enke: long immersive and trippy psychedelic / space krautrock jamming. Furthermore, the formula is identical: the first side is more rock-oriented, whereas the second side is more ambient and spacey. To be honest, Klaus Schulze's synthesizers are a bit more present, but this was a logical evolution in the genre in the mid-70's.

The two tracks are 20 minutes improvised pieces recorded in 1973 during sessions organized by Rolf-Ulrich Kaiser at Dieter Dierks' studio.

The first side, "Galactic Joke", is undoubtedly a little star in the space rock universe. Mainly dominated by guitars, it features different ambiances: mysterious, spatial, ferocious, and even sounding sometimes like HAWKWIND! You'll travel far far across the universe... The mystical finale is simply stellar! Any krautrock fan MUST hear this. Mindblowing! An excellent soundtrack for exploring the galaxies, with a quality on par with ASH RA TEMPEL's best compositions.

The second side, "Cosmic Joy", is unfortunately not as cosmic as the first one. More driven by keyboards, this ambient track feels rather like strange electronic short passages put together, sometimes nice, sometimes chaotic. It has a few nice moments, however does not really succeed at building something. Although the sonorities can remind Klaus Schulze's early solo works, the entire piece lacks overall musical direction. A bit deceiving after the galactic journey of the first side.

Keep in mind that "Cosmic Jokers" consists in improvised sessions, which were not supposed to be officially released as a studio album, not more from under an official band name! Despite all this, you can see the performers' talents, as this disc offers one of the best moments of krautrock.

Recommended to space rock and krautrock fans, and simply essential for ASH RA TEMPEL lovers!

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 Shifting the Equilibrium by UNIFIED PAST album cover Studio Album, 2015
4.05 | 26 ratings

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Shifting the Equilibrium
Unified Past Progressive Metal

Review by Mastyrx1979

5 stars I would suppose that the meaning of Unified Past is up for interpretation. To me I see four journeyman musicians who have brought their collective talents and influences to the world of progressive rock. In 2015 they release their new offering titled Shifting The Equilibrium on Melodic Revolution Records. From my observation I see four guys who have brought a little bit of every decade of progressive rock in the last 45 years and put it on one recording. When Stephen Speelman - Guitars, and I first made arrangements to get me a copy of CD to review, I honestly did not know what I was in for. After the first spin all the way through, I was very impressed. I can see why such respected publications such as Reuters, Yahoo News, Boston Globe and Bloomberg News has given this high regard. To top that off they also have received a huge billboard of advertising in Times Square in New York City. This praise has been well warranted. I have appreciated the originality of this project both instrumentally and lyrically. This is straight up pure power progressive rock that reminds me of the days of RUSH's Farewell To Kings, Hemispheres or 2112 to Emerson Lake and Palmer to even non progressive styles like Zebra and Triumph. There are 6 very different yet elegantly arranged tracks on Shifting The Equilibrium that clock in at a total of 56+ minutes. I will point of some highlights of each track on the album. Erasure Principle opens up with a great percussive intro with the cymbals playing a surround mix for the listener followed by a bass drum. Soon after the track takes a crunchy progression with a hard driving rhythm guitar before being followed up by the rest of the rhythmic section. The guitar deviates to some lead to rhythm interchanged before a very clean harmonic vocal from Phil Naro comes into play. Phil Naro's voice reminds me of a mix of one part Randy Jackson from Zebra meets one part Rik Emmett from Triumph and a final part Jon Anderson of Yes. Erasure Principle has a nice continuity of progression with various rhythmic sections, guitar solo's and neo progressive synths all interchanging at various signatures. Smile (In The Face Of Diversity) starts with a thunderous rhythm section and neo progressive synth in abstract harmony with one anther before settling in at the :50 mark. At the 1:29 mark the track takes a more traditional progressive metal approach much in the fusion area of say a Derek Sherinian with Planet X. This is also driven with great progressive keyboards driving the backbone. There are some proper breaks where the keyboard creates a great atmosphere for a isoalted vocal harmony before going back to straight away progressive rock time stamps. At the 5:29 mark Phil displays some semi melodic semi spoken word vocal styles. Stephen Speelman has some very tight solo's exchanging with rhythm portions. Etched In Stone begins with a electric acoustical guitar passage in harmony with the synth and midi programming. Once again the band employs a nice break where the vocals are isolated in harmony with the instrumental. The track takes on a good solid signature instrumentally to build harmony and melody on top one another. At the 3:00 mark the signatures going in and out wicked some very deep bottom bass progressions and guitar solo's. The vocal atmospheres get really tight on point in Etched In Stone. This is also a track that is a delight for the rhythm enthusiast with great tight drum bass harmonies. That is also with a perfect compliment from the stringed section between guitar and synths. At about the 6:45 mark the synth provides a flute like signature as a great harmonic melodic bridge. Peace Remains In This World opens up with a straight up power progressive passage of emotion that drives the lyrical content for the listener to follow in a groove laden manner. There is some great exchanges between the main rhythmic progression and guitar solo's that are really catchy. At times the track takes a semi pop sensibility. This is probably the heaviest track on Shifting The Equilibrium. Deviation From A Theme (Of Harmonic Origin) starts out with a power progressive fury. The band have definitely found their niche and identity on this one. This has some sick wicked straight away rock parts that break from time to time into a more lucid signature. There are big solo's and heavier bass to drum progressions. The guitar takes on effects as if speaking from time to time. The guitar in this reminds me a lot of Dave Bainbridge of IONA meets John Petrucci of Dream Theater. Deviation From A Theme (Of Harmonic Origin) is the only instrumental on the album that displays the band's instrumental prowess. Today Is The Day starts out with a very old school progressive psychedelic vibe much like Yes' Tales Of Topographic Oceans with some Sieges Even and Dream Theater combined elements. The keyboard atmospheres and rhythm atmospheres really gel in a tighten groove on this one. The lyrical content is one definitely influenced by Yes to Genesis. There seems to be a different instrumental with each verse and bridge at times having surround effects. In its 11:51 entirety, Today Is The Day has enough time signatures and progressions giving the listener the appearance the track is a 15:00 to 20:00 epic. Unified Past's Shifting The Equilibrium is on the edge of the evolution of cerebral progressive rock. Unified Past puts on both a instrumental and vocal harmonic clinic for how progressive rock is to be written, recorded, engineered and mastered. I can not wait to hear some of this in a live atmosphere. I give this a 5/5 for its spot on accuracy and thought provoking progressions.

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 Everything is Connected by DEAD HEROES CLUB album cover Studio Album, 2013
3.99 | 57 ratings

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Everything is Connected
Dead Heroes Club Neo-Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars The heroes are dead? Long live the heroes! Wait, eh ... they still have a club on hand at least, and what a comfortable one. Anyway, in the meanwhile even rumours are circulating, that a new (their fourth) album is in the pipeline already. I lately came across them, at the time when they were mentioned by somebody alongside with the band Red Bazar. And next I had to learn that they are Irish, hailing from that bigger part of the territory which is politically independent from the UK.

There has been a lot of struggle in and around this island in the past, with a bunch of 'heroes' on all sides as the result ... this could have lead to the band's name, probably. Anyhow, with 'Exit The Queen' they are placing a provoking track title, inbetween Liam Campbell sings 'if you don't play the game our way, there'll be fire on the streets' and 'stand up against the call of nation'. Though this is not explicitly addressed otherwise, more generalized it seems. So possibly much more relevant and topical are those heroes which are pictured on their debut album cover sleeve.

With the first attempt concerning this album I found Michael Gallagher's appointed drum playing somewhat conspicious, a tad more mixed into the fore as usually methinks. Okay okay, stay cool, it's only striking, not that I would have a problem here. In consequence that means, the songs are showing a really proper drive, so much the more some will develop to earworms, sooner or later. 'Attention, might be addictive!' - the album cover should be provided with such a banner or so, in the style of a cigarette pack maybe.

My favourite song is the extended Machine In The Garden, getting out of line a bit due to some overdubbed guitar work added by Gerry McGerigle, partially howling and squeaking, so that you are relatively close to being worried about the instrument's condition afterwards (joke!). Fantastic! And not really genre typical. Yeah, this album leads an Irish band into the all-time Neo Prog ranks. If you are keen on compact melodic songs, not overwhelmingly provided with instrumental passages and solos, this will be a worthwhile attempt in the end.

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 Our Oceans by OUR OCEANS album cover Studio Album, 2015
4.23 | 12 ratings

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Our Oceans
Our Oceans Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars I love it when metal heads are smart and creative enough to eschew their habitual 'sturm und drang' day job and seek to delve into the softer realms of sonic manipulation. Case in point this new band from the Netherlands which nicely proves my point. Tymon Kruidenier is both a leading member of prog death metal band Cynic as well as Exivious, a highly talented guitarist, composer and vocalist. While these bands are not my cup of tea, I was quite determined to review this album, not only for the fabulously gorgeous cover art (album art of the year, me thinks!) but also because I was intrigued by the fretless bass video demonstration from Robin Zielhorst, which really resonated with me. His playing throughout is first rate, nicely up front and center, thankfully not buried deep in the mix. Tymon also has some pretty amazing vocal chords and the material he chooses surely elevate his talent even more. Shouldered by a terrific drummer in Jasper Barendregt and second guitarist Michel Nienhuis, this foursome certainly can deliver the goods. All four form the basic lineup of Exivious and having heavy and technically expert musicians playing 'lighter' material is a true measure of the excellence displayed here. What kind of music you ask? Well, generally short songs firmly in the crossover genre, relatively mainstream accessible but with overt power in the delivery and confidence on the playing ability. The quality of the pieces are on par with similar acts such as Steve Wilson or even recent Riverside which frankly comes as a purely intended compliment. Tymon sings with passionate thoughtfulness throughout, hitting a variety of high notes with seemingly little fuss, crowning the melodic prog-rock with some expressive power and feeling.

Songs flow naturally, all imbued with their own melodic preciousness, each one hitting the listener with immediate positivity. They are all fabulous tunes, no filler here, believe you me! Immediately attractive songs like the deliciously overpowering opener 'What If?' with its jazzy feel, airy vocals and fluid bass lines and the more mysteriously demure 'Tangled' really show off some serious talent, exuding both interest and confidence that bodes very well for the future. Tymon's vocals are awe-inspiring and technically intricate, the man can sing with the best of them. The electric guitar solo is a trembling and trilling flurry of sizzling notes and heartfelt zeal. More spine- tingling leads 'Precarious' along, a brief slice a dreamy atmospheric prog that really hits the mark. There are times when a slight jazz feel shows its head, a bit like Holdsworth-era Level 42, again a huge compliment indeed. The surprising 'Lioness' Sunrise' is the first of two longer track here, clocking in at over 6 minutes and is perhaps the most atmospheric and laid-back, showcasing restraint and ambient feel. Robin's bass roll dazzlingly along, a master of fretless resilience that really elevates this album to heights that I can really quantify.

The supremely melodic 'Am I Still Here?' hits some very high notes (damn, those metal boys sure can wail!), thus always keeping things interesting within the rather restrictive genre they have chosen. This short piece contrasts hard and soft craftily, seeming like a roundabout turnstile track and a sign of things to come. 'Illuminate' does exactly that, showering shimmering light upon the psychedelic proceedings, a warm settling breeze blowing through the clouds, 'drifting out of mind' . There is a cool Anathema-like feel, dreamy atmospherics marshaled front and center, with an airy voice that can suddenly wail mightily as the aromatic Zielhorst bass blows like a Mediterranean zephyr. The second part really intensifies into a grandiloquently lit stage for some harrowing interplay.

Another fabulous track, and longest here is the sinewy 'Turquoise', a dreamy and atmospheric journey that smolders like a sizzling campfire, mostly due to Robin's fascinating fretless bass furrow, rekindling commemorations of giants like John G. Perry, Percy Jones and the immortal Mick Karn. The colliding guitar cascades are harrowingly perfect, as both Kruidenier and Nienhuis cross axes with apparent affluence, Jasper beating his kit like some madman across the water. Stellar track, this! The immediacy of 'Let Me' aims straight for the pleasure nodes, a rolling and rocking piece that cuts to the chase and delivers a harder edge. The helium-fueled soaring vocals from Tymon are mind bending, the mood overpoweringly bombastic and a true blast for its immediacy, freshness and virtuosity!

My favorite track among many, 'Reawaken' is the splendiferous finale, fully loaded with serenity and eloquence, featuring Tymon's softest voice yet, gradually working up into a frenzy as the spirit of the song 'reawakens' the sense of pleasurable listening that permeates this entire recording. Pastoral and bucolic at times, then forceful and animated, the track does wonders with the enthralled mind seeking deliverance.

All in all, a stimulating addition to our precious prog community and certainly very deserving of added interest as well as more reviews on our site. Fans of Anathema, Sylvan and Riverside will like what they hear. Great debut with many more to come!

Dank u wel, Tymon!

4.5 Shared Waters

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 The Piper At The Gates Of Dawn by PINK FLOYD album cover Studio Album, 1967
3.88 | 1662 ratings

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The Piper At The Gates Of Dawn
Pink Floyd Psychedelic/Space Rock

Review by Atavachron
Special Collaborator Honorary Collaborator

4 stars

Have you got it yet?

If not, the joke's on you. Andy Kaufman, the lunatic genius who was far more interested in baffling people than making them laugh, knew the power of the put-on. Kaufman's was the deep practical joke; the art of the bluff. Of course in Andy's case he didn't much care if you understood that or not. He was having too much fun. So was Roger Keith Barrett.

There are other comparisons to 'Syd' Barrett. Brian Wilson comes to mind, but though also an innovative composer who shone bright in the 1960s and fell ~ possibly due to psychological imbalances and/or pharmaceutical substances ~ Wilson kept doing music and eventually returned with a run of very nice releases. And he's still alive. There's Lenny Bruce, mad comic scientist seemingly too outrageous for his own time whose politically incorrect material was so startling and corrosive that it killed him, forging a style of spontaneous story-telling that is still the foundation for most modern standup comedy.

Each came from middle class families, all gravitated toward the performing arts. But it is Andy Kaufman and his commitment to the joke's-on-you who reminds me most of Syd Barrett. Kaufman understood the price of unusual talent, was willing to pay it, and that brilliance is often accompanied by a kind of delirium. Or in literary terms, "Originality demands a degree of lunacy". In Syd Barrett's case, that's putting it mildly. Sadly we don't know with much clarity what Barrett's state of mind was when he died even though he was one of the most looked into and sought-after rock artists. After his midwifery of psychedelic pioneers Pink Floyd he recorded a couple solo records, withdrew from music, lived on royalties in hotels, and eventually moved to his mom's place in Cambridge. He became an avid gardener, painted abstracts, lived as quietly as he could, and died in 2006 of pancreatic cancer. And when we hear of his seclusion; Friends who'd given up or were long gone; His father's death when he was 15 (who had gotten him into music); Deep fear of injury or illness that could bring an important creative project crashing to a halt, our collective heart breaks and we want to give him a big hug.

Yet to my surprise, instead of the evasive, erratic, difficult artiste I'd surely expected, Mr. Barrett was open, interested and relaxed during our conversation in a modest motel room of gray drapes, imitation wood furniture, a mattress that'd seen better days and a funk that hung in the air like old cigarette smoke & coffee. Barrett's long jawline, thick brows, piercing brown eyes, stubble, and vintage paisley blouse did not betray his sixty years. "Have you got it yet?" he asked as I was fumbling with notes. "Yes, thanks for waiting" I finally said taking a deep breath and hunching on a lime-green Ottoman.

A - It's my understanding a person is very much the same after death, but you seem not at all the disconnected or sporadic person your legend suggests -

Syd - Yes well that's probably true, but it's been ten years and time has its influence. I was more dead when I was alive (smiles thinly).

A - Can you elaborate on that?

Syd - I don't think so, no, sorry. I'm not trying to be rude, you understand, that's just the best way to say it.

A - Sure. The innovations you brought to electric guitar, modern rock composing and presentation ended up being enormous. But the childlike qualities that you drew on from your love of fairytales, books like The Wind in the Willows, Cautionary Tales for Children, and The Little Grey Men are also quite clear.

Syd - Yes that's quite right. It was childlike and that was the point; that's what was interesting. The timing was right and I suppose a bunch of others dug it too. I couldn't play like Jeff Beck and had no interest in trying. It was about finding something so unexpected, so original and hard for another band to recreate, that it would stand out like a sore thumb. I mean in a good way (laughs).

A - The value of truly original work.

Syd - Well yes but it had to be in context-- I mean you can't just go out there and rub a vase across a guitar neck through an effect and expect people to come back. There has to be a measure of melodic content.

A - Talk about "melodic content" in reference to The Pink Floyd's early music.

Syd - People aren't sheep. They know what they like and respond to it, so if a lot of people get excited when you play a Blues or Surf number that goes screwy halfway through but don't get so excited when it's just all screwy, you have to pay attention to that. Or not be asked back by the club. On the other hand there were no rules to what we were doing, or at least we thought so, and we were trying to walk that line.

A - You consider yourself a songwriter?

Syd - Not a very good one.

A - Why is that?

Syd - (long pause) When you become dissatisfied with your own work it becomes an impossibility. I couldn't force myself to be excited by things I'd already exhausted. That's why the band's music changed so much between the first and second albums. No one could just stand still, not in that band, not me or Roger or Dave or anyone. Music was allowed to be fluid then, and there was great hunger to liquidate and expand. To grow.

A - That almost sounds like a CEO describing a corporation.

Syd - Yeah. That's what it became. But I don't blame those guys for taking it there. Sometimes you either move forward or die.

A - I wanted to discuss The Piper at the Gates of Dawn. Let's just jump in to 'Astronomy Domine', one of the most startling intros in rock history. The radioed voice, Morse signal, strange vocals, but still with some beat and, as you say, melody. The LP charted for fourteen weeks in Britain and peaked at #6. Pretty good for such an unique piece of work. How do you explain the immediate appeal 'Astronomy Domine' had?

Syd - I don't, except to say enough people, young people, were ready for something different. As different as Jackson Pollock was to modern art.

A - And 'Lucifer Sam' you must admit is pretty raw.

Syd - Yeah but in '67 that riff cooked. It cooked-up well. And then Matilda was the clincher, I think.

A - The "clincher"? How so?

Syd - It was a real tune. We could stack-up against the bigger bands with this one. Good to have in the pocket. Showed we could sing, sort of, and put together a decent bit. * Have you got it yet? *

A - The interview? Not quite, I'd like to get through as many of the cuts as possible, if that's alright?

Syd - Right.

A - How would you describe 'Flaming'.

Syd - A party tune.

A - Okay, and 'Pow R. Toc H.' ?

Syd - We were trying to break through, to break out, you know? This shows the jazz influence, but really our improvisational side. Unfortunately 'Stethoscope' was a cock-up.

A - 'Interstellar Overdrive' was a group composition, how did that manifest itself?; The process.

[* At this point Barrett began staring off into space. I indulged him, and waited.]

Syd - The process? Was there a process? I don't know . . .

A - 'The Gnome'; a Beatles influence?

Syd - Not really, more a generally British one. I preferred the Stones.

A - And a dose or two?

Syd - Marginally, but you must know I didn't often drop in the studio, too much to do. Have you ever tried to play a guitar while flying on acid? Can't be done with any degree of intention. 'Chapter 24' was more in a hallucinogenic vein. You can hear the impact this song had on everyone back then. Even the Monkees (laughter). 'Scarecrow' less so, more of a textural departure. One of my favorites on the LP.

A - Which leads us to one of my favorites, closing cut 'Bike'. The bizarre lyric, and the de-tuned bar room piano. Gingerbread men, lusty ambitions, the metalworks & duck calls at the end, all of it. Neat track.

Syd - Thank you. Now, have you got it yet?

A - Yes I think so.

Syd - Lovely seeing and talking with you.

A - Many thanks, Mr. Barrett.

My subject walked outside to a car that was idled at the curb. The man driving looked familiar, doughy with a shaved head, blank expression, and an army field jacket. As my interviewee got inside the car, he and the man behind the wheel glanced at each other and grinned. Then I realized who the driver was. No mistaking him. It was Syd Barrett.

Yes, Syd, I got it. Finally.

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 Pike 15 by BUCKETHEAD album cover Studio Album, 2013
3.00 | 2 ratings

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Pike 15
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Originally PIKE 15 was only known as such with no secondary title attached amidst the rest of the PIKES that mostly carried a title but in the murky origins of the PIKE series this one got left out of the name game and was left to be known as PIKE 15 with only a hand drawn cover and untitled tracks. It was originally released on 8 June, 2013 but finally on 31 March, 2016 a new name was finally given and is now known as PIKE 15 - VIEW MASTER with a new dark cover of a barn door or something in a sea of brown and green and all 12 tracks have now been given proper song track titles. The album clocks in at 30:05 and while BH plays it all, Dan Monti and Albert produce this one

"Puzzle Box" (1:29) is a nice clean guitar arpeggiated number with no percussion but there is a second guitar. It's a mellow instrumental intro basically

"Ran" (2:16) builds on the same melody as "Puzzle Box" and amplifies the guitars and adds bass and drums but remains simmering with a slow tempo and then turns into a raging alternative metal riff cruncher with thrashy overtones that becomes more thrashy and then lets a majorly melodic sizzling guitar solo rip. Very classic 80s metal sounding at the end

"Pullout Drawer" (1:56) is another slow unaccompanied clean guitar instrumental with a slow tempo and an intermittent echoed percussive beat alongside a regular light percussive beat

"Early Coin" (2:08) is another acoustic guitar number with two guitars joining in together to create a rather folky feel. The percussion joins in and it's a very mellow track that's mellow enough to be on a Crosby Stills and Nash album

"View Master" (3:17) begins with an echoed clean guitar effect and somewhat dissonant chords and an ambient noise slowly building strength. The avant-ambience slowly gets a slight percussive beat in the form of a second guitar keeping a marching rhythm while the other starts making weird ethereal squeals. Intensity picks up a little but the whole thing still comes off as something that could have been on Pink Floyd's "Ummagumma" or some other 60s psychedelic freak folk bash

"First Day Of Autumn" (1:02) is yet another acoustic guitar number but this one is a happy uplifting melodic guitar track that becomes accompanied by a slow drum beat

"Find" (5:33) reverts back to the mellow space rock realms. It begins slowly but then a somewhat mid-tempo synth riff is accompanied by a slower tempo clean guitar lead. As it continues it has short bursts of silence, echoed guitar parts and electronic ambience to create a spaced out atmosphere. When it picks up again it has a bluesy Floydian guitar solo for a bit

"Dragon Shield" (2:23) is yet another acoustic guitar track with a stranger melody, stranger time sig delivery and feel. It picks up steam and tempo but remains an acoustic space rock track

"Big Little Book" (1:42) is another acoustic guitar with spacey ambient backings

"Stock" (1:41) is slightly more energetic and starts off with a strong drum beat and mid-tempo beat with clean guitar guitars and a laid back spacey melodic development

"Toys Of Jupiter" (1:03) is yet another mellow clean guitar track only this one is very dream pop in its approach and almost qualifies as a lullaby. It's basically simply a guitar and ambient background

"Learn Circle" (5:31) is yet another spacey mellow acoustic guitar track with more emphasis on the ambient spaciness. The percussion is echoed and the tempo is slow. The melody seems a bit dissonant but followable. It does build up a bit to become a mellow rocker but the melody remains the same and this is one of those "Colma" type tracks

Basically a non-metal chill album with the exception of "Ran" which has some metal. This one is decently performed and there's nothing bad on here but this PIKE doesn't blow me away either. It's simply a middle of the road type of BUCKETHEAD experience

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 Hope for a Mourning by MICE ON STILTS album cover Studio Album, 2016
4.20 | 62 ratings

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Hope for a Mourning
Mice On Stilts Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars From gorgeous New Zealand, we have a new album from Mice on Stilts, a progressive crossover artist that caught the community's attention with 2014's rather engaging debut 'An Ocean Held Me' and kept us wondering if another gem would be in the cards. Two years later, this sophomore release continues from where they had left off, a mercurial and original take on the crossover style that does not mean that it's the 'poppiest' of genres within the prog spectrum but rather wishes to incorporate a certain sense of accessibility. Ben Morley's has quite a singular flair when it comes to forging his own musical persona, a heady combination of various influences that defy the norm. Firstly, he possesses a voice that is just made for melancholic and heartfelt music, with a definitive yearning for emotional release and lyrical expression. At times, I was reminded of a modern-day Jim Morrison in terms of delivery though not necessarily tone. The musicians he chooses are closer to jazz and chamber, with lots of woodwinds, cellos and violas, way closer to Penguin Caf' Orchestra than your archetypal neo-prog line-up. The heavy use of piano and choir is another lucid clue into the Morley musical psyche, a deliciously intense universe of artistic seduction that deserves to be further noticed by the prog community. This is a major talent, proggers!

The tracks are impressively astute canvases on life, from the sweeping opener 'Kandallah', a piece that really sets the melancholic mood with reflective piano dispositions from the talented Brendan Zwaan and a soaring vocal delivery from Ben Morley, anointed with clever pastoral meanderings and a delicate sense of orchestral structure, swelled by a wall of sound effects that seek to blur the senses.

The splendid 8 minute 'Orca' is a different fish altogether (oops), the acoustic guitar taking the spotlight as Ben navigates the aching whitecaps of his tempestuous soul, Rob Sanders' slick drumming pushing the wavy brass section into an aquatic frenzy. There is a tremendous mid-section that first seeks out ambient paradigms, only to let the sax brave the seas and let the shrill synthesizer scour the sprays. A truly magnificent opus that has cinematographic tendencies as well as immense depth and sonic boom.

'The Hours' is short and sombre, 'a moment on my own' delivered in that fatigued, pillow-infected voice that is sleepy but despondently insistent, wholly minimalist at first with the piano and acoustic guitar in tow. That Jim Morrison impression shines through once again, a door into the past and I see it as rather unmistakable.

The next trio of songs form the core of this amazing piece of work, a trilogy of essence and creative genius, starting off with the 'And We Saw His Needs'', again the piano being the orchestra conductor, decorating the lush arrangement, along with some sensational trumpet work from guest Guy Harrison. When the celestial choir work kicks in, the proverbial jaw has hit the floor, as both Catherine Walker and Esther Tetlow elevate this to unforeseen heights! The resonant Zwaan piano is sheer brilliance, crystalline pearls of reverence and despair, furthered by the persevering choir. The very calm 'YHWH' keeps the agony ongoing, perhaps more soporific and psychedelia- induced at first. The guitars come clanging in rather brutally, slashing and slicing through the clamorous veil of sound, hinting somehow at those 90s bands that specialized in Gothic doom (Swans, Lycia, Black Tape for A Blue Girl, Love Spirals Downwards, His Name is Alive etc'). Again, sheer brilliance! The title track serves as a reversal of mood, very sinewy and obscurely swerving in ambiance, a slick vocal duet between Morley and one of the ladies, spurred on by thrilling brass and jazzy drumming. The agony and the ecstasy is plainly heard and ably expressed as the ethereal mood rolls forward like some grayish cemetery mist, momentarily chilling the senses.

All this impressive music is nothing compared to the magnificence of the incredible 11 minute epic 'Funeral', a fittingly somber reptile of a track full of sorrow and regret, nearly on the threshold of surrender. Ben offers up a heartfelt expanse of emotions that pulls at all the heartstrings, cello, violins and viola in tow. There is a definite Swans feel here, loads of dramatic interface, bellowing brass and furious drumming that swell ultimately into a rather obvious and expected apotheosis, with all musicians involved up to the hilt. A masterpiece of progressive rock music. Amen.

Hard act to follow such genius but so is the butterfly morphing from the caterpillar, as 'Monarch' sets the sun down on another stellar production from a musician that is truly carving out new territories. The song feels like a finale, a bittersweet and yet tender au revoir. This is the perfect lights-out, candles-lit, glass of Cabernet Sauvignon in the goblet type of recording, definitely nocturnal and perhaps even autumn-esque. Truth is the quality is so great that anytime, anywhere and anyway will work fine.

The cover art is once again a winner, deeply melancholic and childlike in its pure sensibility, as if designed to be a prog pastel coloring book. There is no doubt that Steve Wilson is a genial producer, composer and musician but the prog world needs to make some room for Ben Morley and his Mice on Stilts.

5 Courageous Bereavements

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 The Molotov Ribbentrop Pact by AUTUMN BREEZE album cover Studio Album, 2015
4.75 | 4 ratings

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The Molotov Ribbentrop Pact
Autumn Breeze Symphonic Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars Prog is the one musical genre that reaches out to history and literature in order to create a soundtrack for a good story and further the depth of adventure and art. I always found it rather surprising that one of the most ground shaking events in history has had such a light influence on prog, as there are few references to WW2 around. I can think of Coda's understated "Symphony", Big Big Train's "Gathering Speed" and a few great tracks (Renaissance, Al Stewart, The Flower Kings) but there is quite a scarcity of material that focuses of the calamity of WW2. I have been studying and writing about this catastrophe since I was a young lad, fascinated by the extraordinary righteousness of that war, a rather rare event I can assure you, as no other war was as justified and ultimately heroic than the last big one. I shudder to think what life would have been like as an 'untermensch' under such a devilish authority. The Molotov-Ribbentrop Pact refers to that extremely treacherous and thus brief alliance between the 2 bitter idealistic rivals of WW2, Nazi Germany (represented by foreign minister Joachim von Ribbentrop) and the Soviet Union (foreign minister Vyacheslav Molotov), the two opportunistically ganging up on their neighbour poor little Poland and attacking it from both sides. No time in history had ever witnessed two more brutal and sinister dictatorial governments, repressing their own populations with dreaded secret police (OGPU/NKVD on one side and the Gestapo/SS on the other), Stalin and Hitler are easily among the top three mass murderers in history. Swedish progressive artist Autumn Breeze took up the challenge and created a rather disturbing symphonic opus based on this clear example of political backstabbing and moral cowardice. Composer, lyricist and vocalist Gert Magnusson has researched this tragic event with a great amount of curiosity and interest, having read thoroughly amid various available archives and has come to the same conclusion that so many have come to: madmen can take over any society by promising illusion ("Nobody has to make war") and providing destruction. The various themes are all encompassing events that offer a window into a space and a time that still resonates today with potentially lethal consequences. There are tons of samples, hysterical speeches by Adolf Hitler, air raid sirens, detonations and pompous military bravado. The whole is deliberately chaotic, startling, at times monstrous and certainly never peaceful. Gert's hushed voice is brilliantly unique and original, sprinkling the tracks with quirk, strangeness and charm (Hey, Hawkwind). The backing crew is a full prog compliment of guitars, keys, bass and drums.

The opening song "Watchguard in Auswitch" (misspelled) is infectious, I was caught singing it the other day, a totally mesmerising intro into this quite eclectic recording. There are some extreme juxtapositions, a modern 'danse macabre' of colliding emotions, with contrasting manic guitar phrasings ("Vodka in the Moscow Night"), insane drum fills throughout and bizarre contradictions such as on "Katyn" the infamous massacre of the Polish elite in a forest that was blamed on the SS but in fact perpetrated by the NKVD, the Soviet secret police. 22,000 of Poland's finest minds, including military officers, diplomats, landowners, priests, jurists and politicians who were shot and reduced to disappear into mass graves. The chorus sounds almost like a love song until one realizes the context! There are Zappa-esque moments, such as the rumbling bass and oddball weirdness on "Helsinki fires in the Night" referring to the pre-WW2 Soviet invasion of Finland and the subsequent valiant defence put up by the taciturn Finns who beat the living daylight of the Red Army, a 10/1 kill ratio that is still taught today at military academies such as West Point, Sandhurst and St-Cyr. There are also moments that are straight out oblique rock music twists that wink at RIO and Avant, throwing in some cabaret stylings as well, raunchy guitar not withstanding (Party Girls). Carnival piano and merry-go-round 'Achtung' nods at Falco (the 80s Austrian rock singer who died in his prime). The miss- spelled "Bliezkrieg" is reminiscent of electronic duo Yello in its insistence and almost danceable mania. There is also a ton of sarcasm as the USA literally became an overnight super-power when attacked at Pearl Harbor, something many people seem to forget. And on it goes until Hitler's death.

This is a disturbing, choppy, frenzied, insidious musical symphony of immense originality and a rarity in the prog world, a subject matter still relatively untouched for reasons that I cannot understand.

5 fall winds

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 Friendship by ASH RA TEMPEL album cover Studio Album, 2000
3.56 | 39 ratings

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Friendship
Ash Ra Tempel Krautrock

Review by Modrigue
Prog Reviewer

3 stars Ash Ra Tempel in year 2000?

25 years after the band's last official recording, after the electronic revolution of the 90's, do you really expect that the reunion of the two synthesizers pioneers can result in a music comparable to the krautrock of the classic 70's ASH RA TEMPEL albums? Recorded in 1998 and 1999, "Friendship" consists in long ambient soundscapes weaved by Klaus Schulze's keyboards textures and Manuel Göttsching's whirlwinding guitar interventions. The style is pretty much similar to Schulze's modern solo works.

"Reunion" opens on a floydian and relaxing tone, until the distorted guitar floats over spacey synthesizers and modern drums. Nice but a bit lengthy. Mainly electronic, "Pikant" is the passage the most similar to Klaus Schulze's compositions, especially his 90's releases. It nonetheless contains an interlude where Göttsching offers a delicate solo, sounding a little Spanish. On the contrary, the title track is rather driven by electric guitar. A slowly evolving cosmic piece, nice and dreamy but not very varied.

As you may have understood, of the two band cofounders, Schulze is the one the influence can be the most perceived on this album. The music neither resembles classic ASH RA TEMPEL, nor a modern version of it (such as SUBARACHNOID SPACE), nor even ASHRA, regardless of the period. "Friendship" can be described as a pleasant 90's Klaus Schulze album accompanied by Manuel Göttsching's guitars. The quality is overall constant, however the only problem is that all tracks are too long and not very changing.

Consider this disc as an unexpected enjoyable bonus from the Germans. Don't pick this one if you're looking for immersive psychedelic / space rock, but you can give it a listen if you're into modern Schulze records and electronic ambient soundscapes.

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 Eclipse by ECLIPSE album cover Studio Album, 1976
3.58 | 8 ratings

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Eclipse
Eclipse Crossover Prog

Review by Progfan97402

3 stars I bought this at a record fair in Eugene, Oregon. Honesty, this was never been a favorite of mine, many other groups from Quebec getting my attention much more: Harmonium, Pollen, Sloche, Et Cetera, Dionne Bregent, and Michel Madore. Eclipse was a band lead by Pierre Gauthier, formerly of Aut'Chase, and this was the debut, from 1976, released on CBS. They released a second album, Night & Day, in 1977, with a complete lineup overhaul, aside from Gauthier (apparently is a much worse album, apparently firmly disco, who needs disco versions of "You Really Got Me" and "Born to Be Wild"? Songs like that should never get the disco treatment). This debut really puzzled me. It seems Gauthier really had some absolutely brilliant ideas, but for the most part, the music sounded like an unholy cross between Pink Floyd and ABBA, complete with female vocals. This album is really confused, between mainstream credibility, and the more obvious prog/electronic ambitions of Gauthier himself. During the more mainstream moments his synth plays really seems to clash. Three songs really did leave an good impression of me: "Le Rêve de John W.", "Pleine Lune", and "Honey #36". The first has a bit of a funky thing going on, with some really nice Moog playing. "Pleine Lune" is really what I felt the ideas Gauthier had in mind. A rather ominous sounding piece that's very far from the lightweight fluff on this album. "Honey #36" sounds a bit like Pulsar with female vocals. But the mainstream stuff on this album is a bit too close to ABBA territory, a good example going to "Du'attends-tu do Moi". It's as I expect them to do a French language version of "Take a Chance on Me" with spacy synths here (OK, so "Take a Chance on Me" did not exist in 1976).

I have been dismissive of this album because of this approach is a bit too jarring, but I've grown to like it. I wouldn't call it some sort of lost gem the way I felt Michel Madore's Le Komuso a Cordes is. I really think I'd dislike it much more if it weren't for Gauthier's synth playing.

I am rather amused that the back cover reads: "Eclipse utilise exclusivement les synthesizeur Moog (using the Moog logo)" (more or less translating as "Eclipse uses exclusively Moog synthesizers") except that's false. Certainly Daniel Barbe's only synths are Moog (Mini-Moog and Satellite), but the inner sleeve clearly shows Pierre Gauthier with a VCS-3, which I clearly hear one being used on this album, mainly for synth sound effects (which they're best for).

I don't know what to think of this, it's not total rubbish, and I'm sure after hearing Night & Day, this would look like a masterpiece.

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 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.40 | 532 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Legionnary

3 stars the last...

Above all,talk about the sales of this album, the success he has had. Its clear that Pink Floyd, a band created in 1965, succeeded 50 years after its creation to be at the forefront of the ranking of the number of sales all over Europe,in the UK of course, but also in France, Germany and many other country. I'm not sure thats can be true for Justin Bieber or Lady Gaga in 50 years. To the wise...

First, all of the songs on this album is that all that have not been chosen for the album "the division bell"! Therefore, in theory, if these pieces were not chosen for the previous album is that they were considered less good!This album is out in a the little brother of "the division bell".

"One noodle street" has a jazzy side very nice, it's my favorite song, "Taking Hawking" is quite surprising, with the voice of Hawking found in "Keep talking" from the previous album, finally note the bells of "high hopes" for the album "the Division Bell" that can be heard at the end of "Surfacing", there have not much to say unfortunately... The other titles are very flat and uninteresting, the problem is that it does not take off ... For an hour we expect a piece shalt we leave the planet Earth, but nothing at all ,its very frustrating. I think this is partly due to the length of the songs, in fact the 17 that make up this album, 11 have a length of about 2 minutes! Pink Floyd is still known to be one of the few groups have produced a title that takes a vinyl face (Echoes-Meddle). Those like me who like Pink Floyd among others for the solos of David Gilmour will be disappointed because there have not. Except perhaps on "It's what we do", the second song on the album which is also one of the only good songs on it . It reminds me somehow to a medley of several songs of the two previous albums .

I take the risk of repeating myself but 17 instrumental tracks, it's too much too ... Only "Louder than words" is the only song sung, in this case by Gilmour.

The Endless River is 3 stars no more, no less. The album is not bad, its listenable, but for a band like Pink Floyd we still expect better.

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 This Clear Divide by STARE AT THE CLOUDS album cover Studio Album, 2016
4.79 | 5 ratings

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This Clear Divide
Stare at The Clouds Experimental/Post Metal

Review by BrufordFreak
Collaborator Jazz-Rock/Fusion/Canterbury Team

5 stars More outstanding djenty atmospheric prog out of Australia. Like country-mates KARNIVOOL and Polish prog masters VOTUM, these musicians know how to create great melodies and moods within heavier musical walls of sound--and they are even better at building over or deftly interspersing their songs with awesome atmospheric, almost shoegazey passages!

1. "Prelude" (0:42) opens the album with some atmospheric guitar notes and constant keyboard soundscape in order to set up the barrage of sound that is unleashed at the beginning of #2. (9/10)

2. "The Falling" (3:31) opens with some full-brunt walls of sound very similar to the VOTUM and KARNIVOOL style of recent years. Great vocal also fitting into the VOTUM "First Felt Pain" style. At 2:50 the tempo is downshifted a few steps before falling away for a soft little atmospheric keyboard end. (9/10)

3. "Concurrent Abreaction I: Presage (The Hunter)" (8:22) opens strongly with vocals joining in soon after. But the song pauses and slows before the first minute is out for a sustained reset before returning to the opening pace and heaviness. It's a bit like being in a car that is driving in traffic--stop lights and all. The totally atmospheric section that begins at the end of the third minute is so cool--rolling, jumping bass lines and drums playing off one another while the guitar arpeggi and keyboard backgrounds accompany the soft vocal. At 4:34 the djenty bass and guitars return for a little display of their own. The vocal that eventually tries to join in is, unfortunately, a bit incongruous. Another soft, atmospheric section begins at the six minute mark--this one less pretty, less satisfying than the last--and soon gives way to another barrage of djenty guitar. The shifts from heavy, djenty walls of sound to atmospheric, almost Shoegaze soft sections throughout this song are quite interesting--and, now that I'm used to them, awesome. (9/10)

4. "Concurrent Abreaction II: Ocean (6:31)" opens very sedately, spaciously, until the very end of the second minute when some slow, heavy guitar-based walls of sound establish themselves in a kind of FOREIGNER "Double Vision" way. All ensuing song development is slow and methodical with nothing much very surprising or exciting save for a return at the 4:40 mark (to the song's end) to the shoegazey-atmospheric sound of the opening. (8/10)

5. "Concurrent Abreaction III: The Outside" (6:20) opens with some atmospheric guitar play over an interesting uneven time signature bass and drum rhythm. The vocal that joins in repeating "inside my thoughts" is a nice touch. As a matter of fact, this is the first song in which the lyric and vocal perfectly match the music being expressed beneath. At 3:34 the djent wall of sound is unleashed in a KLONE/ALIC IN CHAINS way--with vocalist reaching up to scream his lyrics along with the escalation in sound volume. This is, however, but a brief crescendo before all falls back to the more floating atmospheric levels of the opening section. (9/10)

6. "Concurrent Abreaction IV: Lucah" (4:26) is a song that again reminds me of a YANN LIGNER-led KLONE song for its first two minutes. Then it becomes a totally different song--an instrumental that contains some gorgeous ROBIN GUTHRIE-like atmospheric guitar chord play and guitar effects--for over a minute before returning to the KLONE- like grungy heavy metal sounds introduced in the opening section. The heavily treated GUTHRIE-like guitar can be heard contributing single note arpeggi throughout. This is awesome! One of my top three songs for the album. (10/10)

7. "Concurrent Abreaction V: We Lie In Shadows" (5:41) opens with some fun drum exercises before the shoegaze guitar sound joins in. Long, sustained FRIPP-like guitar notes accompany and soar over the other guitar, bass, and drum play. Beautiful! This is another beautiful albeit heavier version of a COCTEAU TWINS/shoegaze-styled song. Even the heavier buildups in the second minute take nothing away from the incredible syncopated, stop-and-play melody and rhythm play here. As a matter of fact, the densification that occurs at the end of the third minute within the multiple arpeggiating guitars is stunning! And the SYLVIAN-esque atmospherics in the middle of the fifth minute, too! Probably my favorite song on the album. (10/10)

8. "Concurrent Abreaction VI: Sehnsucht" (4:03) is an ENO-esque ambient ocean raft ride in which long note harmonized vocals and Fripp-like sustained lead guitar notes waft in and out of the gorgeous foundational music. Certainly a top three song for me. (10/10)

9. "Dead Letters" (2:27) is an instrumental that sounds like a reprise of an earlier theme played slightly more clearly and with different approaches to the drums, keys, and guitar sounds used. Still, gorgeous with memorable melodies used throughout. (10/10)

10. "Cutting The Ties" (5:33) is a rather low profile attempt to tie up loose ends and end the concept album on an even keel. Such a great sound! (9/10)

A five star masterpiece of progressive rock music. I love this album! Stare at the Clouds has produced a masterpiece of atmospheric djent.

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 The Third Frontier by UTOPIANISTI album cover Studio Album, 2016
4.98 | 5 ratings

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The Third Frontier
Utopianisti Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Jazz-Rock/Fusion/Canterbury Team

5 stars The next (third) album from the incredibly talented Finnish avant jazz composer/bandleader, Markus Pajakkala. I find myself liking this album much better than the previous albums because of it's conhesive flow. On II each and every song sounded and felt so different--which makes a lot of sense considering the use of completely different musicians on each and every song. Also, the increased presence of the operatic vocalization of female vocalist Suvi Väyrynen (on three songs) gives the album a bit of a Zeuhl (UNIVERSAL TOEM ORCHESTRA) or Canterbury (AMANDA PARSONS, ELIZABETH GASKIN and THE NORTHETTES) flavor--which I love. I just think Markus has probably matured, clarified his vision, and polishing his songs as well or even better than before (he has always shown impeccable attention to detail in the engineering room).

1. "Voodoo Mammoths From Neptune" (4:25) has such clarity in its sound production! It is an odd, cinematic piece with a nicely extended introductory section which allows the listener to get hooked in for the ride. Simply stunning sound! (9/10) 2. "Dr. Gravity's Evil Plan" (4:01) treads more into cinematic jazz like a good spy thriller--or a spoof of a whodunnit. Great ensemble timing opens before multiple trumpets are given solo lines--at the same time! At the end of the second minute some nice organ play bridges into the next section. (Again, the clarity of sound distinction is remarkable!) Awesome organ play gives way to flute while the background ensemble keeps things so tightly glued together! How Markus gets this kind of collaboration from his band is remarkable! Awesome, simple bass line near the forefront holds it all together so well. (10/10)

3. "Universe For Dummies" (5:52) opens with some staccato arpeggi from the electric bass before the wonderful vocalise of Suvi Väyrynen betrays the composer's Canterbury intentions. Great weave of some quite disparate threads--like from horns, vibraphone and electric guitar--breaks into full force at the one minute mark. Very much like a song from INNER EAR BRIGADE. Great soli (and from some odd instrumental choices/sounds) parade around the foreground while bass and organ continue tip-toeing around with the foundational bob and weave. Truly an astounding song! (10/10)

4. "White Dwarf" (1:24) slows things down as an electric piano (Rhodes?) solos slowly before being joined by reed instruments. Cool sound! (9/10)

5. "Life As We Thought We Knew It" (4:55) opens with a metronomic electric piano riff which is built upon by horns, vibes, guitars and cymbals. Very pretty. At 1:32 the volume turns up though the play of the horn section gives it all a kind of CHICAGO feel--if however briefly. At 2:38 things get more serious. This could be right off of FROGG CAFÉ's 2010 classic, The Bateless Edge (which makes me beg for the presence of some lyrics--like "Terra Sancta"). Nice song! (9/10)

6. "A Hundred Rabbits" (5:03) opens with a little funk coming from the rhythm section of bass, drums, congas, vibes and clavinet. These are shortly joined by horns and woodwinds and, a bit later, the synth-horn-like vocalizations of Suvi. Things are toned down a bit toward the end of the second minute to allow for the isolation of a flute solo. HUBERT LAWS would be proud! A little bass solo bridges our way into a protracted solo from a seething electric guitar. HENDRIX would be proud! Awesomely woven into the funky horns until it finally fades away into the background so that Suvi and the horns can take us out. Awesome song! (10/10)

7. "Spanking Season" (2:33) the first song I heard from the album has vocals! Odd, cabaret-like vocals--not unlike the stylings of HUMBLE GRUMBLE, PINGVINORKESTERN, KNIFEWORLD or MAJOR PARKINSON. Fun, funny, laughable and eminently clever song! Great solo from a 'Space Invaders' synthesizer toward the end. (9/10)

8. "13 Demons In The Disco Dimension" (3:12) opens with some odd radio clip before a campy melody and odd time rhythm establish a kind of Zappa-esque envirnoment--sophisticated, highly disciplined, and sleek. Not my favorite song but I truly respect and understand it. (8/10)

9. "The Last Reflection" (7:00) Has a bluesy soul and proggy feel to it, as the whole band seems to ride as one wave while the drums are free to play beneath! The delicate part in the fourth minute which opens up space for the vocalise soloations of the gorgeous voice of Suvi Väyrynen is perfection! Great restraint is shown throughout this song from both the composer and his musicians. Even the climax starting at 5:15 shows great emotion and sympathetic feel from all: horns, bass, drums, organ, electric guitar--I can really feel it from all of them! Amazing! (10/10)

All in all, Markus Pajakkala has packaged together a masterpiece of incredibly well contrived and well executed theatric jazz. Consistently, this is one of the best ensemble performances of very sophisticated music that I've heard in a while. Definitely one of the funnest albums of the year (so far).

Five stars; a true masterpiece of progressive music.

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 Neanderthal Nein by MEANDERING MINE album cover Studio Album, 2015
4.00 | 1 ratings

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Neanderthal Nein
Meandering Mine Experimental/Post Metal

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

— First review of this album —
4 stars This is an experimental newcomer outfit from Munich in Germany, picking you up for a real rollercoaster trip when it comes to their debut album 'Neanderthal Nein'. You know, sometimes bands are exaggerating when entering the stage and trying to develop something unique and special. But this guys rule! The album features 13 tracks, which are delivering a 70 minute adventure in total. Hereby Wolfgang (guitar), Roman (bass), Stefan (keyboards) and Fabian (drums) are acting as if they were a longtime experienced crew, thus I really do wonder what will follow hereafter.

Those who are keen on categorizing bands, just be it the (prog) style or the implementation will simply fail here. Blessing or curse for a reviewer? Is there any chance to be satisfied with your writing in view of that? So what, try to take it easy ... some trends are obvious though. The prog metal proportion is represented by a lot of guitar riffs, partially violent, moreover equipped with an industrial touch here and there. This by strictly avoiding simple noise, that's for sure. A balancing act, I mean either offering complex and tricky songs and still recording something accessible on the other hand.

Hence you will also detect mellow acoustic driven parts with singer/songwriter appeal, art rock a la Steven Wilson, hypnotic moments reminding of krautrock bands, even jazz, trip-hop and lounge feeling. My top favourite is the track Leer - literally seen more than contrasting of course, anything but empty. Nowadays everybody is able to experiment with samples, but this is art really. While adding such an intriguing 'Gute Nacht' example, they've put the cherry on the cake. Very ambitious and successfull. Might have been a contender for the album of the year 2015 ... if I only had been aware of this early enough - 4.5 stars.

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 Twelve Dreams of Dr. Sardonicus by SPIRIT album cover Studio Album, 1970
4.12 | 148 ratings

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Twelve Dreams of Dr. Sardonicus
Spirit Proto-Prog

Review by axeman

4 stars

Mostly what you can expect from a psychedelic band. Also, it contains some AOR radio favorites Nature's Way, and Animal Zoo. But after those two, we get our first (what I would consider) prog song: Love Has Found A Way. Then there is the folksy-acoustic Why Can't I Be Free. Next is the 60s boogie number Mr. Skin (think Dr. John). Space Child is a nice psychedelic prog piece, if lounge-lizardy piano with a Moog in the middle.

Then When I Touch You begins with a visit from Sid Barrett's fuzzy things, and then some raw rock guitar, which with keyboards, builds into a sort of atmospheric anthem-paced rocker. This one definitely leaves you with the feeling that you listened to some development. Street Worm rises above its potential as a formulaic rocker. A glam Morning Will Come is notable toward the end, but that about wraps it up.

I'm going to rate this as a fine addition to a collection. Definitely some well-done songs, but it never rises past the level of some good pop/rock. Still rather good pop/rock, and a solid album.

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 Permanent Waves by RUSH album cover Studio Album, 1980
4.30 | 1718 ratings

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Permanent Waves
Rush Heavy Prog

Review by Modrigue
Prog Reviewer

4 stars A permanent shift towards the radio waves?

Stuck between the great "Hemispheres" and "Moving Pictures", "Permanent Waves" is RUSH's transition album from ambitious epic suites to more accessible songs. Released January 1st, 1980, this seventh studio opus makes the junction between their 70's neo-heavy-prog style and the more radio-friendly and electronic compositions the Canadians will develop in the 80's. Musically speaking, the synthesizers' presence is growing in the band's universe, and the trio slightly starts to incorporate elements from other genres, such as reggae. Furthermore, the lyrics become more oriented towards human nature, society and technology than fantasy and science-fiction. So, has RUSH abruptly left the progressive sphere? Don't worry seventies fans, this a transitional record, so there are still hard/heavy prog rock/metal pieces with complex rhythms structures, uncommon time signatures and changing atmospheres.

The hit single "The Spirit Of Radio" is powerful and evolving. Simply rocks! In the ending section, RUSH even made their first (slight) incursion in the reggae territory, a style that they will further explore in their next three albums. The hard catchy "Freewill" is also quite nice and contains cool spacey guitar soli. However, the highlight of the disc is undoubtedly the somber progressive "Jacob's Ladder". Referring a meteorological phenomena, this track features multiple time signatures, epic riffs, oppressive metal passages and a spacey interlude. Great!

On the contrary, "Entre Nous" ("Between Us" in English) is a much more conventional rock. Average and not very original, this is the weak song of the record. "Different Strings" is a kind of soft and melancholic ballad, with cover art designer Hugh Syme performing a piano solo. Enjoyable. The disc concludes with the 9 minutes "Natural Science", the longest track. Beginning with river and forest sound effects, this hard/heavy prog metal piece has a few futuristic moments. The ending, named "Permanent Waves", is quite heroic. A pleasant but somehow uneven mini-epic.

"Permanent Waves" is definitively a transitional album, as well as a short one. Despite songs not as remarkable as its predecessor's and its successor's, the quality and inspiration are nonetheless overall constant and the trio's hard/heavy prog rock/metal is still efficient. Even if more accessible, the music should please all fans of the late 70's period of RUSH. Once again, the multiple breaks and complex time signatures may have influenced an important number of progressive metal bands.

That's why there is finally no reason not to give it a listen!

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 The 5 EPs by DISCO INFERNO album cover Boxset/Compilation, 2011
5.00 | 1 ratings

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The 5 EPs
Disco Inferno Post Rock/Math rock

Review by LearsFool
Collaborator Post/Math Rock Team

— First review of this album —
5 stars First of all: I don't even know how to start this review. I could say that Disco Inferno is one of the best bands you never heard of, or how post rock doesn't even begin to describe them, or how they're the best plunderphonics group ever without even focusing on being a plunderphonics group, or "Flipping faders, Batman! These three Brits covered so much ground and always sounded so beautiful and perfect!", or mentioning how this goes above and beyond the great experimental EPs and killer collections thereof in the '90's... or I could string all that together into one long run on of gush for these demigods.

Released over three years in original format, and first collected by an enterprising internet bootlegger in '99, these fifteen cuts touch a mind boggling myriad of genres and styles and master each and every one as they are subsumed into a eudaimonic whole. I'll just list: post rock, post punk, plunderphonics, electronics, britpop, noise pop, noise rock, acoustica, ambient, IDM, concrete. It was always ethereal, always experimental, always flawless. Nature and urban samples and electronic washes both surrounded and acted as the foundation for the band's exercises in genre busting, with tracks variously spacing out, chugging along like an '80's post punk band on Talk Talk, forming a pop song, or, by the end, just losing themselves in the set dressing. Ian Crause could gently and forlornly speak through the sheets of sound, or sing along when the song called for it. And on top of all that, "The Atheist's Burden" uses the electronics for rhythm, and "It's A Kid's World" drives on the back of pounding drums plundered from you'll-know-where.

This really is something else, with no words for it. Outclassing all comers, both from the genres they took from and from fellow EP wielding experimentalists like The Beta Band and Brainiac, this stands as Disco Inferno's completed magnum opus. And thank goodness that this collection eventually got an official release.

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 In The Court Of The Crimson King by KING CRIMSON album cover Studio Album, 1969
4.61 | 3504 ratings

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In The Court Of The Crimson King
King Crimson Eclectic Prog

Review by Scorpius

5 stars Considered one of the first prog records ever, I would be lying if I said it wasn't one of the greatest. The rest of King Crimson's discography is definitely overshadowed by this record, but it more than deserves all the praise it gets. It is one of the most complex recordings ever, and definitely not for beginning prog listeners.

21st century schizoid man is one of the craziest prog songs ever, and has some killer vocals and guitar solos. the intro is the most epic thing ive ever heard. A full orchestra blares along to a classic Fripp riff, whats better than that?

Track rating - 10/10

I talk to the wind slows things down a lot after such a crazy intro. Beautiful vocals from Greg lake and a calming melody make this song pleasing and calming. Be prepared for the greatness that follows.

Track rating - 8/10

Epitaph is no doubt the greatest song on the album, and one of the greatest prog songs ever. Soaring and haunting vocals from Lake send chills down my spine every time I listen. The musicianship and instrumentation on this track is unparalleled anywhere else. One of the greatest moments of my life was hearing this track for the first time.

track rating - 11/10

Moonchild is a bit of a weird one. Its starts out fine, with some really beautiful lyrics and melodies. 3 minutes later it transitions to something else that can only be described as a free-form jam session on drugs. This will either make or break the track for you. For me, it calmed me down and prepared me for what follows afterwards, but I know some listeners really don't like 9 minutes of weird sounds coming from instruments.

Track rating - 7/10 (personally 9/10 because i like the jam out session)

In the court of the crimson king is the title track that finishes the album. It is the perfect finish to a near perfect album, Greg Lakes vocals on the one line "In the court of the crimson kiiiiiiiing" get me every time. The instrumentation and the use of a symphony make this song a classic.

Track rating - 10/10

Overall, this is an absolute classic and one of the greatest albums of all time. If you haven't already, do yourself a favor and pick this one up. Its worth the price of admission.

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 Octopus by GENTLE GIANT album cover Studio Album, 1972
4.28 | 1558 ratings

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Octopus
Gentle Giant Eclectic Prog

Review by Scorpius

5 stars At the time of my first run-through of this album, I hadn't ever heard anything nearly as complex as Octopus. Songs like "Knots" left me confused yet satisfied. After several listens, I can state with confidence that this album is a must- have for every prog fan out there. Gentle Giant is one of the most underrated prog bands, and one of the most talented too. This album is the apex of the bands talents and creativity. Every track is an instant classic. "The Advent of Panurge", "The Boy's in the Band", and "Rivers" should all be regarded as some of the best prog tracks ever recorded.

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 The Final Cut by PINK FLOYD album cover Studio Album, 1983
3.17 | 1517 ratings

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The Final Cut
Pink Floyd Psychedelic/Space Rock

Review by Scorpius

4 stars Too me, this is Pink Floyd's most underrated album. This is due to the fact that is was released after the commercial hit "The Wall", which caused this album to just fly under the radar. The concept explores themes such as a post-war dream that wasn't achieved (The Post-War Dream), political ignorance of war (Not Now John), alcoholism and death (Southhampton Dock and Paranoid eyes), and most importantly, the impossible dream of a world without war (Gunners Dream). The combination of the concept, Roger waters emotional and biting lyrics and his connection to war, and the great musicianship displayed here make this album a hidden gem of the Pink Floyd discography. Definitely a great addition to an already great discography.

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 The Teen Years by ARNIOE album cover Studio Album, 2016
4.00 | 1 ratings

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The Teen Years
Arnioe Crossover Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

— First review of this album —
4 stars The new Arnioe album "The Teen Years" is a high quality production from multi instrumentalist Aron Scharfegger dedicated to his favourite albums. This is in fact a tribute to all of his favourite artists and the albums that began his record collection when vinyl was king. In the liner notes Aron explains "there was this fantastic record store located beneath the main central railway station where you could choose an album then go and listen to it on one of the 20 listening booths". As a teen Aron spent hours listening and he invites us to embark on a journey back through time reliving his teenage years in Prog. Here is an affectionate look back at some of the greatest progressive rock artists in history.

It begins with the infamous Uriah Heep and their album LOOK AT YOURSELF. As you listen to this song you will no doubt recognise the Uriah Heep trademark sound and like all these tracks, features some of the actual melodies from that album.

Next up is a tribute to The Who with their album WHO'S NEXT. The Who was Aron's first ever rock concert. Again the instrumentation is similar to what you might expect when listening to this band and it's a delight when Behind Blue Eyes chimes in.

Next is a tribute to Black Sabbath's PARANOID with some quirky passages of non metal until we hear the familiar verse from the original. Surprisingly sounds low key for a Sabbath.

A tribute to Pink Floyd's MEDDLE follows and even features some moments from Echoes with sonar bleeps and the affectionate guitar work dedicated to the brilliance of Dave Gilmour.

Deep Purple's MADE IN JAPAN is next and even features THAT riff that we all know and which all guitarists tried to mimic. The Ritchie Blackmore style is evident and there is that unmistakable sound of the powerhouse Hammond. This is definitely one of the highlights on this album but I was really taken with the next track.

Jethro Tull's AQUALUNG is simply one of the quintessential classics and this is a grandiose tribute. As one might expect it is replete with glorious flute and weird time changes in that inevitable Jethro Tull style. A wonderful track with some cool riffs. The flute is played by Adam Pume and other guests include Liz Sisales, on Cello and Viola, all real treasures on this album augmenting the sound and overall enjoyment.

The final cut is dedicated to Yes, my favourites, and it's CLOSE TO THE EDGE. Ah paradise! This is definitely one of the greatest albums of all time and the track on this album clocking in at eight minutes and 20 seconds is a definitive highlight. The liner notes explain once again "I was drawn to this album by the cover art work, the fadeout green and that brilliant Yes logo. It was in the new release rack so I had to have a listen. From the first few unusual bird sounds and into this totally different song structure, I was mesmerised". You are not alone Aron!

In conclusion, these original tracks that pay tribute to these great prog artists culminates in one of the most affectionate journeys back through prog history that I've heard in a long time. Aron does not attempt to copy any of these artists, for indeed that would be futile, rather he enjoys paying reverent homage to the sounds and the atmospherics of these wonderful bands. Check out "The Teen Years" for yourself and embark on this journey through progressive rock history.

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 Selling England By The Pound by GENESIS album cover Studio Album, 1973
4.63 | 3488 ratings

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Selling England By The Pound
Genesis Symphonic Prog

Review by Scorpius

5 stars This album personally is my favorite Genesis record. The concept, the lyrics and the music tie together perfectly to create the greatest 53 minutes and 50 seconds of your life.Dancing with the Moonlit Knight and Firth of fifth are both classic prog epics, while The Battle of Epping Forest and Cinema show boast some of the greatest instrumentation by Genesis. Not to mention Firth of Fifth has one of the greatest guitar solos ever to grace a Genesis song. I know what I like (in your wardrobe) was a surprise hit, and definitely a highlight on the album. After the Ordeal is an underrated gem for me, and really a great instrumental. More Fool Me is probably the only track I could do without, but its still a good one. Overall, this is an amazing album and a must have for any prog fan.

Overall Track rating: "Dancing with the Moonlit Knight" - 9/10 "I know what I like (In your Wardrobe)" - 8/10 "Firth of Fifth" - 10/10 "More Fool Me - 6/10 "The Battle of Epping Forest" - 8.5/10 "After the Ordeal" - 7.5/10 "Cinema Show" - 10/10

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 Seven by MAGENTA album cover Studio Album, 2004
4.08 | 282 ratings

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Seven
Magenta Neo-Prog

Review by CapnBearbossa

3 stars I must confess, I do not understand what compels this group of obviously talented individuals (not least Christina Booth, who is possessed of one of the loveliest singing voices in all of modern pop music) to want to call themselves a "Prog" band. Ok, Rob Reed is a talented multi-instrumentalist, as he has proven with his solo albums Sanctuary I and II, and he can do a mean imitation of a Tony Banks keyboard solo or one-man orchestrated work à la Mike Oldfield, but - really? - is it possible to go from seemingly rote imitation to being the real article? And if so, do they succeed?

Let us assume that by calling Magenta "Prog" (and yes, I've heard him describe his band using this word) Reed means not that they belong to that original British vanguard that serenaded us throughout the 1970s with one eargasm right after another, but rather that - as indicated by Magenta's "Neo-Prog" classification in this website - he is following the pattern set by early 1980's stalwarts such as Marillion who sought to revive the flagging banner of progressive rock in a slightly more commercial, if still extremely virtuosic, idiom.

If that is true, then I believe Magenta hits a shade skew of the mark with 'Seven' -- supposedly a concept album dealing with the seven deadly sins. The music is certainly polished and listenable, in an Asia-meets-Genesis kind of way, from the Howe-esque guitar solos to the Downes/Banks hybrid keyboard lines ... but, with few exceptions, that music does not help rekindle old fires or rejuvenate (if that was the hope) what in this sense of "progressive" is by now a long lost musical form - for better or worse.

Add to this that certain Steve Reed (brother to Rob? don't know) has written the lyrics for these songs, words that admittedly provide lead singer Christina with something to use those amazing pipes on (again, that's not a bad thing); but other than that they don't really have a purpose and, by themselves, don't much impress. More than that, a look through this rather vapid libretto shows not the slightest connection between the ostensible concept of this album -- as embodied in song titles such as "Gluttony," "Greed," etc -- and the lyrics to the corresponding songs. Make of that what you will; but, as usual with a group and album that purports to be - Proggy, for lack of better words - the music itself is actually going to be the thrust and the essence of the thing.

And on those terms, Magenta do pretty well, and the playing here is at least competent.

Group spokesperson Stephen Lambe admits in his liner notes (written for the special 2-disc remixed/remastered version of 'Seven' that came out in 2009) that Reed's purpose in presenting the Magenta debut album 'Revolutions' in 2001 was to make music in the spirit of Yes and Genesis, but goes on to quote Reed in his affirmation that he intended this, their sophomore effort, to "develop an authentic Magenta sound." I don't honestly know if I should take that as a good sign, given that the album stakes its claim on some pretty blatant imitations (among them, the almost exact same organ sound you hear in Genesis' "Mad Man Moon"). Now, quite obviously, the band is adored by a select few, and in deference to those I'll grant this 78-minute excursion into, erm, proggish territory three stars instead of the two I think it merits.

So, as for me then, this CD/DVD combo makes its way back to the shelf, and I may change my opinion in years to come. But for now, Magenta strikes me as a group clinging too much to glories of a bygone time, and always looking over their shoulder at past heroes.

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 The Mothers Of Invention: We're Only In It For The Money by ZAPPA, FRANK album cover Studio Album, 1968
4.12 | 552 ratings

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The Mothers Of Invention: We're Only In It For The Money
Frank Zappa RIO/Avant-Prog

Review by SteveG

3 stars "Are You hung up?"

No, not too much on this album, unfortunately.

We're Only In It For The Money was Zappa's satirical attack and put down of the so called 60's counter culture with hippies being the main target. Are You Hung Up is the album's first track where The Mothers perform another mishmash of Doo Wop, US pop, Beach Boys motifs, etc., combined with tape effects and whispering between the first few opening tracks, to bring the familiar but artful satire of the Mothers' music.

The hypercritical stab at the hippie culture get's old fast but Frank does have some witty commentaries on police brutality, which still reverberates today, as well as revealing lyrically that the ugliest part of someone's body, in a mock love ballad, is not a nose or a face but some people's minds. Clever stuff that's immediately mixed with absurdum in a song cycle of 18 brief songs that occasionally goes into musique concrete before quickly returning to the Zappa and the Mother's style of mixed musical influences that was featured on their first album from 1966 titled Freak Out!

The closing track titled The Chrome Plated Megaphone of Destiny is an avant-garde tape effects collage that, while effective, seems as if it had been tacked on to the end of the album.

In retrospect, it seems that Zappa spent a lot of effort knocking down what he perceived as sheep following a new master, as hippiedum was over almost as fast as it started. The following year (1969), Zappa would be telling students at a British college that the new hype of street fighting in the UK was nothing more than "last year's flower power." That's was how fast music and society changed in those days, and obviously this is what dates We're Only In It For The Money the same way as it dates the album that the cover of We're Only In It For The money parodies hilariously, the Beatles Sgt. Pepper's Loney Hearts Club Band.

We're Only In It For The Money is certainly essential for Zappaholics, but to the rest of the prog and rock listening public, Freak Out! remains strangely undated, and thus, far more enjoyable.

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 Le Berceau de Cristal by ASH RA TEMPEL album cover Studio Album, 1993
4.16 | 38 ratings

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Le Berceau de Cristal
Ash Ra Tempel Krautrock

Review by Modrigue
Prog Reviewer

4 stars A crystalline soundtrack

Recorded in 1975, but not officially released until 1993, "Le Berceau De Cristal" is the soundtrack of an obscure experimental French movie directed by Philippe Garrel, featuring VELVET UNDERGROUND's ex-female singer Nico as an actress. Not quite in the psychedelic rock style of the first four classic ASH RA TEMPEL albums, the music is much more electronic and atmospheric, in the vein of early Klaus Schulze's material, with a slight touch of Manuel Göttsching's "Inventions For Electric Guitar". These oneiric, fully instrumental and slowly evolving soundscapes sometimes announce the direction the German pioneer will later take with his future band ASHRA.

This record also marks Göttsching's first collaboration with AGITATION FREE's ex-guitarist Lutz Ulbrich. He will return four years later as a member of ASHRA, with Harald Grosskopf.

Longest passage of the disc, the 14 minutes title track is an exception, as it's a live recorded improvisation. The first half deploys spacey synthetic textures mysterious, but the second half sounds rather strange and spooky. Uneven, and lacking a bit of coherency. The ethereal "L'hiver Doux" is nice and delicate, whereas the ambient and aquatic "Silence Sauvage" features somehow futuristic percussions. Original.

In the vein of "Inventions For Electric Guitar", the trippy repetitive and minimalistic "Le Sourire Envol'" and "Deux Enfants Sous La Lune" shape the style Manuel Göttsching with adopt for ASHRA. Then comes one of the most beautiful moment of the album: "Le Songe D'or", slow and contemplative. In this peaceful landscape, the weird tortured "Le Diable Dans La Maison" looks like an intruder. The weakest track of the record. "...Et Les Fantômes Rêvent Aussi" concludes the disc with an ambiance ' la Klaus Schulze.

Despite a few odd passages, "Le Berceau De Cristal" is a very cool soundtrack. Driven by synthesizers, the style follows Göttsching's logical evolution in the mid-70's. To better represent the music, this should have been released under his artist name instead of ASH RA TEMPEL's.

A forgotten and spacey little gem, recommended if you enjoy early Klaus Schulze, Manuel Göttsching's "Inventions For Electric Guitar", or even the first ASHRA albums.

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 Spartacus by TRIUMVIRAT album cover Studio Album, 1975
3.80 | 290 ratings

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Spartacus
Triumvirat Symphonic Prog

Review by ProgressiveHypocrite

3 stars This album could easily be confused as an ELP record. You can't deny that it's got all the trademark elements; booming bass, ferocious drumming, Hammond organ and moog swells; it's ELP in all but name. Maybe I'm being too harsh; this is my first listen. I don't hate it; The ballads are a nice inclusion, like School of Instant Pain, The Sweetest Sound of Liberty, and March to the Eternal City. If I had the option to add half a star, I would. I don't feel I can give this album four stars; it's too derivative. I'm better off for giving it a chance though, and maybe I'll give it another listen someday.

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 Welcome To My DNA by BLACKFIELD album cover Studio Album, 2011
3.37 | 194 ratings

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Welcome To My DNA
Blackfield Prog Related

Review by Prog Leviathan
Prog Reviewer

2 stars This third release by Blackfield, known here due to the involvement of Steven Wilson, continues the collaboration's between one of the most prolific musicians in art/prog music and Israeli singer/songwriter Aviv Geffen. I found Blackfield enjoyable for the most part, Blackfield II laborious, but not quite disappointing, and now with Welcome to My DNA unpleasant in exactly the ways I was expecting.

The songs are short, warm, melancholic, and filled with lush instrumental sounds. They have the stellar production values we've come to expect with anything bearing Wilson's name, and the combination of background sounds - strings, keyboards, guitar textures - is the overwhelming highlight of this album. The writing is serviceable for the album's goals, and is actually sometimes quite interesting, such as in the jaunty and drifting "Waving," or the intensity and time changes in "Zigota." Mostly, though, the songs are just nice.

But this is a "pop" album, so there's bound to be plenty of singing for "normal" people to "enjoy." (OK, no more "excessive" finger quotes).

Wilson's vocals are smooth as always, though noticeably more bland then in his principle works. He sits comfortably in his middle register and doesn't give the listener much to walk away or help connect with. Remember the soaring passion heard in Hand.Cannot.Erase? Or maybe the skillful inflection on In Absentia's "Trains"? There isn't an ounce of that here. Ironic, given that Blackfield albums are meant to be emotional pop records. Geffen's vocals are not as good. In fact... they're actually quite unpleasant. In timbre and inflection he comes across as sniveling. Suffice to say that it's distracting and draws the ear away from the fine tones and chords of the music in the background. However, the real strike against Welcome to My DNA is the puerile lyrics, which sort of grumble their angst-filled way from song to song. Some of them are genuinely bad, others are offensive, some noticeably poetic, but mostly they're just boring.

If this were an instrumental album, then I'd be on-board and enjoying the experience much more. The vocals, and therefore the album simply don't work for me, and unless you're a 100% die-hard Steven Wilson fan-boy, it probably won't for you either (as it turns out, I'm only a 99.9% fan-boy).

Songwriting: 3 - Instrumental Performances: 2 - Lyrics/Vocals: 1 - Style/Emotion/Replay: 2

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 Back To The Stars by RØSENKREÜTZ album cover Studio Album, 2014
3.91 | 51 ratings

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Back To The Stars
Røsenkreütz Crossover Prog

Review by FragileKings
Prog Reviewer

4 stars As with many albums I buy, I picked up Røsenkreütz with only a cursory listen. There are so many new artists these days, often individuals playing every instrument and recording at home, and I find it overwhelming to sample so many new recordings as I see them posted on Facebook prog pages and at the same time underwhelming as it becomes difficult to pick out someone who sounds different, who isn't just writing generic modern prog (oxymoron?). So after listening for a few short moments on YouTube, I decided to give this artist a shot, hoping I would at least grow to like the music.

At first I was not quite so impressed. By the time the album arrived, I was into thrash and death metal and so I listened once to be sure the disc had no defects and then set it aside. But once I put it on a couple of weeks later, it had my attention, mainly due to the incredible title track. But before I go there, please allow me to introduce the rest of the album.

There has been a lot said about prog bands these days trying to recapture or recreate the styles and sounds of classic prog and comparatively little attention given to the eighties and nineties. Røsenkreütz seems to be of the mind that the eighties mattered, even though their PA bio says they show a strong love for British seventies prog. The first five songs, especially "Conditioning" and "Childish Reaction" sound more like latter-half 1980's pop rock tunes with an even balance of synth-heavy European dance pop akin to what I'd imagine from Dead or Alive, hard rock/almost hair metal à la Europe, and an upbeat crossover prog style that's great to listen to when your mood is ready for swinging your arms and snapping your fingers. The opening track "Signals in the Water" also fits this description though I did feel some similarities to Supertramp in the music in parts, most likely because I have been listening to three of Supertramp's classic albums recently.

"Nothing More in You" begins with a female vocalist, Angela Merlin, and piano and once the male vocals come in, it feels like it will develop into a very attractive duet. The song leans more toward the male vocals as it progresses and there is still a strong post seventies feel to the music, much more modern. I guess I should say here that although this is not my usual choice in music style, it is very well written, arranged and performed and the recording quality is excellent. In recent days I have been sure to add this album to album playlists that include more heavy-guitar oriented music.

My two favourite tracks are "Sitting on the Edge of Heaven" and the title track. "Sitting on the Edge" begins with some Spanish-style acoustic guitar and some traditional percussion (by that I mean not a drum set). Then it gives us this bold, anthemic musical theme that resembles something of the more pop and pomp offerings of Blackmore's Night. There's an incredible A cappella vocal break that jumps in abruptly and then the song goes hard rock for a bit. At just over eight minutes, the music really moves and changes, coming back to the lighter acoustic beginning.

At last we have the title track, "Back to the Stars". If Røsenkreütz are fans of seventies prog then this is where it shows through the best. The song is 17:32 long and is a bit like "Supper's Ready" in that there is a story behind the lyrics (an astronaut who returns to earth and finds everyone has disappeared, then reflects on some memories, and finally talks about his return to the stars) and the song is a clever stitching together of several musical ideas. The beginning with its beautiful piano and strings and soul-stirring vocal melody are easily one of the most ear- catching parts of the album. Then responding on cue, the song suddenly switches to organ, drums and guitar and takes us into classic prog territory. The music keeps changing and changing again. There are instrumental passages that conjure up memories of Yes, ELP, and Genesis as well as Saga, KariBow, and Spock's Beard. No doubt other progheads will find more bands that compare, most likely in 90's neoprogressive groups. After a series of different stages, the song returns to its sweet beginning as our protagonist announces that he is now truly heading home, back to the stars. This is one very enjoyable piece of 17 minutes plus of song and music!

I almost forgot to mention the cover of "I am the Walrus". It is rather good I feel as the music stays within the sound/style parameters established by the rest of the album but still maintains enough sincere adherence to the original that the song is not basterdized. Some may choose to disagree and I do notice that the song still stands apart from the rest of the album, but I think it's a nice touch.

Though a little light on the prog side at times, there is some excellent music on this album with two tracks really standing out for me but the rest also being worth listening too as the whole album plays front to back. Four very solid stars!

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 Hemispheres by RUSH album cover Studio Album, 1978
4.37 | 1984 ratings

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Hemispheres
Rush Heavy Prog

Review by Modrigue
Prog Reviewer

4 stars Beyond the black hole

4.5 stars

Often referred as one of RUSH's best albums alongside "2112" and "Moving Pictures", "Hemispheres" extends the musical approach and story developed on "A Farewell To Kings". Still consisting in sophisticated changing tracks, uncommon time signatures and complex rhythms with fantasy / sci-fi lyrics, the musicians develop their neo- hard/heavy progressive identity they've been crafting in their two previous opuses. Unlike its 1977 predecessor, there are no filler songs here, the quality and inspiration remain constant this time.

The story of "Cygnus X-1 Book Two" begins where the first book stopped. Initially describing the descent into a black hole, the second book explores what's beyond this spatial singularity and the possible conflicts between the two cerebral hemispheres, by mixing Greek mythology and philosophy. This 20 minutes epic is in the same neo-heavy- prog vein as the suites from RUSH's two previous albums. It alternates soft, calm and rocking passages but is a bit lengthy. Nice, although not as dark and epic as "Book One" or as remarkable as "2112".

"Circumstances" is a powerful heavy rock in the style of "Something for Nothing" from "2112". Geddy Lee even sings a part of the lyrics in French: "Plus ça change, plus c'est la même chose". It rocks! "The Trees" is social fable narrating the battle between two tree species, the oaks overshadowing the maples. At the end, Man comes to cut all trees down, making them equal in death. This song includes nature and bird sounds and features acoustic and nervous changing passages. Another very good track. However, the genuine highlight of the record is clearly the great mini-epic "La Villa Strangiato", RUSH's best instrumental with "YYZ". Here, all musicians deploys their talents and personality through multiple soli showing their virtuosity at their respective instruments, supported by complex rhythm structures. The music itself offers a wide range of various ambiances: Spanish, trippy, beautiful, hard rock, heroic, and even prog metal and little jazzy moments. Original and mindblowing, this composition alone justifies the listen!

Apart from "Cygnus X-1 Book Two" which may be a little repetitive and not as inspired as the other songs, the overall quality of the disc is much more constant than its predecessor's. Unique at the time, the Canadians develop their identity and still manage to bring something new to the progressive world in the late 70's during the punk revolution, when the British elders were rather getting away from it. No other band was offering such neo-heavy- prog at the time. No wonder they strongly influenced DREAM THEATER.

"Hemispheres" is indeed one of RUSH's best albums, maybe the most progressive in terms of structure. Highly recommended!

This sixth studio release is also their last opus to contain 20 minutes suites. The musicians were beginning to find the long epics songwriting too stressful. After this one, the Canadians' music will become a little more accessible, but this does not necessarily means a loss of quality or interest...

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 Pike 14 by BUCKETHEAD album cover Studio Album, 2013
3.90 | 2 ratings

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Pike 14
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars BUCKETHEAD - Pike 14 - The Mark Of Davis

2013 - 4

4 stars

PIKE 14 - THE MARK OF DAVIS is the 4th album released by BUCKETHEAD in 2013 and the 44th solo album overall. The title is a possible reference to Marc Davis who was an animator for Walt Disney Studios and it's no secret that BH is a total diehard for Disneyland where he even dragged Axel Rose to in order to sign the legalities for joining Guns 'N' Roses, so i would vehemently have to agree that his love for the world of Disney is finding weaseling its way into his music. And when all the rules are thrown out the window and anything goes'.. why not? This PIKE clocks in at 31:49 and has EIGHT tracks that are

"Ricochet" (4:42) is a heavy metal track with weird time sigs. Well at least at first. Then is mellows out and then it becomes an alternative metal track. It then has a funky bass, energetic solo guitar contribution and steady drumbeat. Very cool track. This offering is BH mixing traditional and eclectic all in one

"Nebula" (2:13) is a staccato metal track with strange keyboard contributions. Along comes lead guitar and weirdness ensues.

"The Canals" (3:45) is thrash metal for a little bit then weird alternative metal for a bit then a little guitar solo weirdness for a bit then OMG, weirdness

"Chickephant" (10:28) is a more energetic solo guitar effort. Basicaly guitar practice set down to digital reality. This long track goes all over the place but is basically a guitar solo gone wild. Crazy all over-the-place-ism in full practice

"Dry Ice Screeches" (1:42) is weird and cool. Very UN metal

"Death Star Surface" (3:10) is weird and cool! Very metal and all kinds of weird changes up

"Tree of Lanterns" '(4:58) is an even more crazy metal change0it0up'.. very thrashy in the most extreme but punctuated by softer passages. You really just have to experience it to get it

"Elephicken" (0:51) isafreakinfunkandrockfreakinextravaganzasogetusedtoitandfreakinadapapttoanewwrldthatishereandnow!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Yes i like this. It makes me wanna impregnate Thanksgiving turkeys. It is OmG coOL, sO u wANNa heAR soMETHing cOOL then heAr

Me likey

So VERY free kin MUCH!

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 Pike 13 by BUCKETHEAD album cover Studio Album, 2013
4.00 | 3 ratings

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Pike 13
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars PIKE 13 is the 3rd album released by BUCKETHEAD in 2013 and the 43rd overall solo offering. The album cover is unique in the whole BUCKETHEAD catalogue in that it is the ONLY album to host a photo of the unmasked chicken lover as a teenager hugging his father and was a tribute to his then ill father and pretty much the only evidence that BH is actually a real human but i guess a well-disguised alien or robot could have posed here as well :) This is a total ambient album with 9NINE tracks that are all untitled. This one clocks in at 33:08 and features BH performing all instrumental duties with Dan Monti and Albert helping out on production.

Although there are separate track listings this is one of those where we get a continuous flow of ambient music without any real distinction between the tracks. As far as the sound goes, this is one of the most ethereal BH releases much in the vein of "Electric Sea" but more spacey. It has many of the same elements such as an acoustic guitar delivering the melody, very slight accompanying percussion and all laid out in the slow to mid-tempo range with ambient background atmospheric intensifying synth effects.

The music certainly conveys the mood of BUCKETHEAD during the trying times of his father's illness and is probably some kind of therapy that channels all of the anger, sadness and confusion into a musical healing session. Although the music is ambient, mellow, ethereal and slow, there are many different parts to it. The guitar is the lead instrument and it does follow BH's tendency to alternate different types of passages in certain patterns albeit totally in an ambient manner. Constructionwise however, the tracks are much like a majority of BH's output whether they be thrash or alternative metal or the mellowness heard here.

While i'm not usually a fan of the slower BH releases because they can be a bit repetitive and failing to inspire the whole imagination and all, this one is actually quite outstanding in its delivery of poking and prodding your emotional complex and eking out the desired response. This one exudes a very lugubrious feel to it and it's almost as if we are being pulled in by the musical gravitational pull to experience the agony of the musician himself. I am feeling impending uncertainty and dread upon listening to this one. This is excellently constructed ambient music and not one bit of it is boring. In fact, it seems like this was just a warm up to the Halloween countdown series in 2015. I rather fancy this one i do say. Splendid indeed. One of his best ambient releases. Original. Heartfelt. Personal. Sorrowful

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 Travelog by KINETIC ELEMENT album cover Studio Album, 2015
3.97 | 87 ratings

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Travelog
Kinetic Element Neo-Prog

Review by Mastyrx1979

4 stars When Mike Visaggio of Kinetic Element set me up with the album Travelog I was in a state a anticipation I had not been in quite some time. After my review of Anuryzm's All Is Not For All off Melodic Revolution Records I spotted the making of a great progressive rock/metal label. Now with Kinetic Element's Travelog it has only served to reinforce and confirm that Melodic Revolution Records is postioning itself to contend as a great prog label. First of all, if you are a progressive rock purist this album will be a sonic paradise for your listening pleasure. The band lists Yes, Genesis, ELP, King Crimson, Kansas, IQ, Transatlantic, Renaissance as some of their influences. When I listen to Travelog I hear those and so much more. Throughout this review I will point those out. War Song is the 'perfect' progressive rock track to open Travelog as it clocks in at 20:29. The intro beckons the epics of the past such as Yes' Close To The Edge and Revealing Science Of God - Dance Of The Dawn from Tales Of Topographic Oceans crossed with Genesis' Suppers Ready and Emerson Lake And Palmers Tarkus. There is some great atmospheric keyboards tuned to mellotron and hammond organ standards, with rich rhythm sections between bass and drums. The vocals are like a cross of Jon Anderson of Yes meets Donald Faegen of Steely Dan. Between the 12:50 to 13:00 marks there is a great yet subtle fuzzy distorted guitar to match the keys in perfect harmony. The vocals really explode at the 14:00 mark and work with the atmospheric background the keyboards continue to carry in this track. Travelog opens up with a plush 16th century style acoustic renaissance vibe. It has shades of the prog band Renaissance meets Al Di Meola . Then a plush harmonic vocal of the opening to the USA's National Anthem. It reminds me of how Yes would use items like Roundabout's from their homeland or Genesis' Selling England By The Pound, as classy patriotic inuendoe's. Into The Lair is a defining track. It seems as if the band have taken their influences along with their own arsenal and formed their own sound out of thise fires. With the female vocal on it I am often reminded of Annie Halsam of Renaissance and Renate Knaupf of Amon Duul ii , the 2 first ladies of progressive rock for sure. Into The Lair completely reminds me of Renaissance's track like Mother Russia crossed with epic power of Amon Duul ii Phallaus Dei . It also presents a wide cross section of time signatures where every instrument stands out as a collective thus tightening Travelog even more. Her begins with a lush gorgeous orchestral piano style passage. This is followed with a very deep rhythm section. The intro most definitely reminds me of the jazz style employed on Steely Dan's Aja album with some Alan Holdsworth sprinkled over it for flavour. Her is a prog version of a Steely Dan's Kid Charlemagne meets Yes' Heart Of The Sunrise both lyrically and instrumentally. Vision Of A New Dawn definitely opens up like more a jazz symphonic progressive rock assembly. Heavy in keyboards building a tapestry for the deeper colours of shade with the rhythm section between drums and bass. The keyboards at times have flute effects reminding me of Ian Anderson at some points throughout the track. At 18:26, Vision Of A New Dawn is perfectly arranged on the album. Much like War Song was a great epic to open the album, Vision Of A New Dawn eloquently and properly closes the album. After a few listens Travelog grew on me and I understood where the band was taking the listener. If you are a prog rock purist that loves a few 20 minute tracks and a journey in your mind Travelog is that album for you. Nick Katona and Melodic Revolution Records have found a great live band and festival band. Kinetic Element are one of those bands that can be a label staple anywhere in the industry. I give Travelog a 5/5 for grace and purity of the heritage of symphonic prog's past, present and future.

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 Home by PROCOL HARUM album cover Studio Album, 1970
3.52 | 137 ratings

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Home
Procol Harum Crossover Prog

Review by SteveG

4 stars If Procol Harum have one distinguishing fault, it's the overall quality of their albums. Title tracks like A Salty Dog and Grand Hotel are classic songs they few can aspire to in the progressive rock cannon, but the remaining songs on these respective albums are hit and miss.

Home is one of Procol Harum's first albums to contain great songs all the way through starting with Robin Trower's powerful blues riffing on Whiskey Train in which the narrator pledges his divorce from the bottle for the love of his sweetheart. Gary Brooker easily laying down the requisite whiskey voiced pleading while adding color with some old time piano from the wild west. It remains one of Procol's best rock songs along with the foreboding and dramatic About To Die which features more heavy riffing from Trower mated to Keith Reid's fascination (on this album) with death. The song's stiff verse turns on a dime into a chorus that would fit easily on any early album by the Band, and is aided with rustic but compelling piano from Brooker. This also sounds inspired by the Band.

The death theme reappears on the acoustic strummed ballad titled Nothing I Didn't Know. A pining lament for a girl dumped and somehow ends up deceased, with Brooker singing how he should have died instead. With all this death in the air, you would think that home was a dreary album but the truth is that Brooker, Trower, drummer BJ Wilson and bassist/organist Chris Copping laydown such compelling music that Reid's lyrics seem almost like an afterthought.

This album's highlight is the progressive masterpiece titled Whaling Stories, where Reid's lyrics return to early Pocol Harum surrealism with an orchestra and choir adding dramatic flare to this suite-like song. Another Procol classic on par with A Salty Dog and Grand Hotel, but not seeming as grand as the other album tracks on Home are so good in themselves.

For many Procol Harum fans, this is there favorite album. It may not be my mine, but I can certainly understand their reasoning. An extremely solid album. 4 stars.

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 Weather Systems by ANATHEMA album cover Studio Album, 2012
4.01 | 792 ratings

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Weather Systems
Anathema Experimental/Post Metal

Review by Prog Leviathan
Prog Reviewer

5 stars Weather Systems is one of the most rousing, beautiful, bitter-sweet, and powerfully emotional musical experiences I have ever encountered. The first suite of songs will build you up, shatter you to pieces, leave you at your most vulnerable and introspective, and then restore you to something stronger than you thought possible. Is this hyperbole? No. I purchased this album shortly before ending a very long-term relationship very tragically, and Weather Systems articulated the circumstances almost too apropos... and so wonderfully musically, that it literally sent me to the floor through cathartic metamorphosis. To. The. Floor.

The first 20 minutes, an extended suite of four tracks, are basically a break-up song, but holy cow is it perfect. Anathema has slowly transitioned from their bleak dark metal roots to masterful romantics, creating lush and sweeping songs that combine thoughtful compositions, a rising swells of dynamics, outstanding musicianship, artistic sensibilities, and pure class; class that puts them in a class their own. For me, these 20 minutes are the pinnacle of the band's output (to date). The songs roar with acoustic and electric guitar sounds, interwoven piano and percussion textures, and deeply resonant bass work. And the vocals... Cavanagh is masterful: pitch-perfect sustains, emotive phrasing, and genuine inflection. Feminine guest vocals by Lee Douglas and orchestra strings just tip things over the edge. Even years later, and after dozens of listens, it still effects me. If you enjoy rock music and life, you'll fall in love with Anathema by the time that "Lightning Song" comes around. If you don't, then I don't think we can be friends anymore.

The second half of the album is just as good, covering more ground conceptually and dynamically. Anathema shows us tracks that are some of their heaviest, yet also most fragile, which is saying something. The band is on an outstanding winning streak, but with Weather Systems they manage to create a release that may be their definitive combination of sounds and styles.

Among my highest recommendations. The perfect place to be introduced to a wonderful band, and perhaps to cross- over into the world of more progressive music.

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

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 We All Raise Our Voices to the Air by DECEMBERISTS, THE album cover Live, 2012
3.09 | 7 ratings

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We All Raise Our Voices to the Air
The Decemberists Prog Folk

Review by Prog Leviathan
Prog Reviewer

3 stars Indie/folk darlings offer up a proper live album to showcase their infectious blend of playful, anachronistic, and gentlemanly rock music. The whole affair is a jaunty and lively experience, well-played and soulfully sung. However, and it's sort of a big however, the group's sound has difficulty capturing the same level of depth and texture that we hear throughout their studio work. Instead, the songs feel more riff heavy and electric than we're used to. Not necessarily a bad thing, considering that this live set-list is meant to get your toe-tapping, but in general it doesn't sweep one up as much as I would hope.

The songs emphasize the newly released King is Dead, with some dabbling primarily from Picaresque and Crane Wife; effective selections overall, though if you're looking for something as sensitive or artistic as you heard on Hazards of Love, you won't hear it. We All Raise Our Voices to the Air has a crowd-pleasing, festival feel, and is more concerned with creating a fun concert experience than it is with reveling in the antique and finely crafted sound that the band produces in the studio.

Definitely check it out if you're interested in seeing a slightly heavier side of a legitimately good indie/folk band.

Setlist: 3 - Instrumental Performances: 3 - Stage/Energy: 3 - Live Experience: 3

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 Live I by ISIS album cover Live, 2003
3.04 | 8 ratings

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Live I
Isis Experimental/Post Metal

Review by thwok

3 stars As my fellow reviewer Sularetal has suggested, ISIS' Live I will mostly appeal to post rock lovers and established fans of the band. I generally adore ISIS' live albums, unlike most live albums. I would give it 3 1/2 stars - 4 for genre or band fans and 3 otherwise - but that's not an option. The sound quality is just fair, but that's not surprising considering Live I was self-released.

Aaron Harris has obviously been a fantastic drummer since the band's beginnings. There is almost no singing, but vocal quality was never a priority for ISIS. I won't single out individual songs for merit, even though ISIS was definitely not your run of the mill post rock band from the start. Their music became increasingly more varied and interesting over time. I would call ISIS' first live release more of an EP than an album. It's only four songs lasting a total of 40 minutes. However, that's just semantics. Over all, this is a very listenable 40 minutes.

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 A Farewell To Kings by RUSH album cover Studio Album, 1977
4.34 | 1843 ratings

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A Farewell To Kings
Rush Heavy Prog

Review by Modrigue
Prog Reviewer

3 stars Rush's most uneven album?

This fifth record by RUSH is a mystery for me. "A Farewell To Kings" pursues the same musical approach as its great and mindblowing predecessor, but unfortunately not the same inspiration and constancy. As groundbreaking as "2112", this disc is full of contrasts, as it contains two of the best mini-epics the Canadians ever composed, but also their least convincing short songs of their 1974-1984 period.

The combination of changing rhythm structures, progressive approach, fantasy and science-fiction themes with hard/heavy rock/metal songs was quite risky in 1977, during the punk revolution. Although not as complex as YES' or GENESIS', the music is nonetheless more direct and catchy. Synthesizers become slightly more and more present in the band's vocabulary.

The title track opens with a delicate medieval tune to then become more aggressive. Containing rhythm changes and variations, this song is a bit strange and uneven, but overall rather enjoyable. Unfortunately, this is the best short piece of this disc. The first mini-epic, "Xanadu" is simply a little fantasy prog gem. Unique, the music transports you to a magical world that can remind YES, but however different, as it alternates calm, epic and ferocious moments. A part of the hidden missing link between symphonic and neo progressive, really unique. Then begins the weak middle of the record. The hit single "Closer To The Heart" is over soapy and cheesy. It will unfortunately become one of RUSH's most popular song and a concert favorite...

Don't really understand how RUSH could have composed the boring "Cinderella Man", as this track sounds not very personal. Concerning "Madrigal", it's an average peaceful ballad. But at least comes the highlight of the record, the somber "Cygnus X-1 Book One". The title comes from the name of the first officially identified black hole ever, in 1971, in the Cygnus Constellation. This mini-epic is the first part of the "Cygnus X-1" dyptic, which will be concluded on the next album. "Book One" describes the journey an astronaut in a spaceship diving in to the black hole. Despite its title, the music is no space rock but rather complex prog metal. Beginning with electronic effects like "2112", the different sections weaves terrifying, powerful and cosmic ambiances. Quite ahead of its time, the song is full of syncopes and unusual rhythm signatures. Mindblowing! The general oppressive impression is coherent with the title and retranscripts well the idea of being absorbed by a black hole. One of my personal favorite from RUSH!

As a conclusion, the fantasy progressive "Xanadu" and the dark suite "Cygnus X-1" are truly the main interests of "A Farewell To Kings". No other bands was creating this kind of neo-heavy-prog music at the time. These compositions really display the talents and the originality of the Canadians. In contrast, the short tracks are not that interesting, which is hardly understandable as the ones from "2112" and from their next albums are overall very good. This record stands as an exception, a kind of black hole concerning the short songs... If these were of the same quality as the two mini-epics', this opus would have clearly been a masterpiece.

Anyway, although uneven, any RUSH or hard / heavy progressive rock fan should listen to this disc, at least for "Xanadu" and "Cygnus X-1"!

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 Land Of Shadows by GIFT, THE album cover Studio Album, 2014
3.59 | 50 ratings

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Land Of Shadows
The Gift Symphonic Prog

Review by Dirkteur

2 stars I bought this album blindly, because of the former masterpiece. But even with these big historical credits, after some months listening, I'm not running enthousiastic for it. There aren't any thundering parts that make me shiver, like in Awake & dreaming. Instead, the river is slowly meandering and this experience is quite the same during the songs, the big and wide views aren't appearing. I couldn't create it myself, so that should save some respect, but as a listener I feel the band is trying very much, sadly not touching my inwards with this second piece. Still grateful though, for the mean out of 2 album is still above average.

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 Alive by GOBLIN REBIRTH album cover Live, 2016
4.02 | 3 ratings

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Alive
Goblin Rebirth Rock Progressivo Italiano

Review by Matti
Prog Reviewer

4 stars The band bio informs that there are many GOBLIN-related acts around. GOBLIN REBIRTH released a studio album of the same name in 2015, but the double live CD is recorded before that (in Rome, April 22nd, 2011), so it concentrates on the original Goblin output from the mid-seventies onward, a large part of which is film music to horror flicks mostly directed by Dario Argento (the best known of those films are Argento's "Profondo Rosso" and "Suspiria", and George Romero's "Zombi - Dawn of the Dead"). I'm not a connoisseur of that field at all, so I have to take this set as simply 107 minutes of instrumental prog -- with occasional voice samples, to be exact. As I listen to it, I'm not so interested to keep track which particular piece is going on.

That said, I want to clarify right away that this is excellent stuff. The quintet featuring two keyboard players can build very strong atmospheres. The music is not indulgent "skill-masturbation", but the musical competence is evident nevertheless. The musicians' co-operation is extremely precise and organic, slightly in a jazzy way. The compositions are pretty full of melodies too.

Sorry for not describing the music in a more detailed way and pointing out to possible highlights. Also the non-soundtrack classic album Roller (1976) is heavily covered. The band doesn't introduce any pieces as far as I remember, or talk anything else either, and the audience has quite a little time to applause before the next piece starts. This is a good thing, making the concert a continuous musical journey. The leaflet features gig photos; of course it could have given some information on the original recordings, for example. If you don't already have numerous GOBLIN albums, this set is an excellent summation. A connoisseur naturally rather buys the DVD version.

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 1984 - L'Ultimo Uomo d'Europa by FABBRICA DELL'ASSOLUTO, LA album cover Studio Album, 2015
4.00 | 97 ratings

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1984 - L'Ultimo Uomo d'Europa
La Fabbrica dell'Assoluto Rock Progressivo Italiano

Review by Matti
Prog Reviewer

4 stars Here's one of the many rock albums inspired by the famous dystopian novel "1984" of George Orwell. And it might also be the most intensive one, but in my case (although I was deeply impressed by the book already in my teens) the intensity of the music has its negative side too. For the rest of my review I handle this album as music, not as a literary adaption -- for which approach I wouldn't have the knowledge on Italian language anyway.

The RPI tradition can be roughly divided into two styles. The first one is more pastoral and romantic (PFM, Celeste, Errata Corrige, ...) and it often involves instruments such as flute and violin. This is very much up to my musical taste. And the second style is heavier, darker, edgier etc, with influences not only from prog bands such as ELP and VdGG but from e.g. DEEP PURPLE and BLACK SABBATH as well. Naturally there's no absolute division into these two styles; both can use elements from the other one and many bands are somewhere in the middle. LA FABBRICA DELL'ASSOLUTO is however clearly closer to the heavy side of RPI. Seemingly this is the case with most of the new RPI bands that sound like they could come from the 70's. Fabbrica's domestic influences might include e.g. ALPHATAURUS, IL BALLETTO DI BRONZO, MUSEO ROSENBACH, PANNA FREDDA and SEMIRAMIS.

The 55-minute work starts with disturbing shouts and a brief dramatic narrative followed by intense Hammond-dominated heavy prog. Soon the proper vocals enter and are intertwined with sharp synth passages. Already at this point the listener can be sure to have one hell of a prog ride. The vocals are mostly a bit shouty, reaching higher notes and being also quite flexible, but the voice itself lacks charisma and depth. Frankly, I don't like them. But the band is truly full of fiery power, especially the many-sided keyboard arsenal with its ELP flavour.

After the nearly seamless flow of highly intense tracks, the more delicate 'Giulia' is a gorgeous highlight. 'La Stanza 101' is another good, melancholic song, but to my taste the whole is too intense and highly strung. And yet, I just can't rate it lower than four strong stars. Definitely one of the most remarkable items in retro-RPI of these times!

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 Harmogram Suite by AYRES, MARVIN album cover Studio Album, 2012
3.00 | 2 ratings

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Harmogram Suite
Marvin Ayres Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

3 stars Layer over layer of electronically processed strings counterponting each and another by contrast, brightness, intention and melody lines. The symphonic mode is set by this meltdown of multiple string lines coming together at once.

"Harmogram Suite", 2012, consists of 6 tracks, the first 5 are structured as a "Suite", thus their respective numerical names and closing non-suite track "Lament".

The sections of this suite by numbers.

Number 1 is mesmerizing and this release's best. Number 2 is overly sweet. Number 3 is close in mood to number 2, a bit less sugar added, but still close.

Number 4 breaks away from its elder siblings in favor of the "less is more" formula and even better if the music composition is heartfelt and not overly emotional. It beholds an strangely attractive "Bela Bartok quartet" quality in its structures, chaos is represented not really present. Very good!

Number 5 is dramatic, yet in its attempted heights, its sweet tooth shows up again and kind of brings the whole thing down.

"Lament", closes this release with a short solo violin, less the electronics, piece, which stays in balance between being passionate without sounding over the borders.

Kind of a dissapointing release, as far as my past, far more fortuitous encounters with this extraordinary composer & performer.

***3 "flat" PA stars, which may find its way in more "sweet-toothed", listeners.

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 GAM 1976 by GAM album cover Studio Album, 1986
3.17 | 10 ratings

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GAM 1976
Gam Krautrock

Review by admireArt
Collaborator PSIKE Team

3 stars After some long time I finally acquired, at last, this "kind of underground", GAM's first 1976 album.

Having listened and liking very much their second release,"Eiszeit", 1978, my expectations were high but not unrealistic.

The first track "Gam Jam" as it title reveals is a spacey/electronic//Krautrock, with a "Hendrix like funk (without the Funky or Motown tone)", jam. Therefore it will be absurd to think of it otherwise. Add to that some kind of splashes which resemble Led Zeppelin's live Jimmy Page's bowed electric guitar solos. Its true beauty is found in between the lo-fi and crappy stop overs recordings in the form of 3 intense sections of creative and bombastic communion among the three musicians. 2.5 stars.

"Abricot Brandy", the second track lets simplicity step forward and lowers the thunderous previous aftertaste. A dream and drunken like heavy/metal mood eventually evolves, with GAM's detached sense of giving explanations or being liked. Its experimental nature is quiet groundbreaking if we consider that in 1976 nobody was talking about Post Rock/Math Rock, Shoegaze, etc.. 4 stars.

"Für Elise Und Alice", the closing track, is the kind of composition that makes some releases worth acquiring or at least being known. As it title also reveals, brings Ludwig shortly to the beginning and last scene, in the form of a comic like music box rendition of his famous composition mismatched with GAM's own intentions. A fast paced, pulse driven, symphonic thought construction which can be pin pointed as the blueprint of their future and most commonly known and very good rated second and last album. 4.5 stars.

The real deal about GAM, as both of their releases show, are its non-existent or close connections with the USA's R&B and Blues roots found in most Krautrock bands and musicians. Opposite to that (and to my benefit) they were strangely close to the electronic side of it. This marks a very clear distance between this trio and their other contemporaries of the genre.

As for rating it things can get kind of messy. A 3 track release, which first and longer track is by far non-essential, among almost half the time very good and essential compositions. Not being a butcher....

***3.5 PA stars.

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 Ao Vivo by VELUDO album cover Live, 1994
3.00 | 8 ratings

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Ao Vivo
Veludo Eclectic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars Veludo was one of the most important underground bands from Brazil during the difficult 70´s. Several important musicians played in this band and it was not easy to maintain a stable line up. And although their concerts were quite famous and the band cut a big name with the youth, they never released anything during their time, Legend says fans took tape recorders to some of their shows and recorded the basis for this live album. According to the same story, a fan would had pressed 2000 copies of this album in 1975. A nice tale, but unfortunately it seems that someone made it up, since all the official information I got from all the sources I could find (including their own site) tells that those songs were recorded on a cassette direct from the mixing board and only resurfaced in 1985. The first ever release of these tapes came in 1994, when it was released on CD, by bassist Nelson Laranjeiras.

The show was recorded in 1975 during a prog festival called Banana Progressiva. Here we can hear for the first time their music. Obviously the sound quality is not great, but acceptable for the times and circumstances (but a good remastering with available technology would make it much better). Their songs are a complex mix of late 60´s psychedelia, hard rock and symphonic prog plus a few braziian rhythms throw in for good measure. Long instrumental passages are a must with a lot of improvisations and solos, as it was a kind of norm at the period. Clearly not the kind of music the recording companies saw as "marketable". The keyboards parts are the best feature , although some guitar lines are also creative and interesting. The vocals remind of O Terço and Mutantes were doing at that time.

The bonus track . Suite As X Fases Do Homem Comum is very interesting: it´s the only studio song on this album and was recorded some three years later, in 1978, with a completely different line up when it was made. Only Paulinho Laranjeiras and Paul De Castro remained from the original members. At that time they were incorporating folk. latin and and MPB elements to the music. the piece is divided in ten parts and features some guests on vocals and trumpet. Although very different and experimental, it had fine original, creative moments and makes us all speculate how far this band would go if they had indeed released a studio album with that personnel.

All in all I found this record an important document from the brazilian prog scene of the 70´s. I t showed that we had many unsung heroes around and I´m glad their voices finally found a way to be heard at last.

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 The Rotters' Club by HATFIELD AND THE NORTH album cover Studio Album, 1975
4.18 | 454 ratings

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The Rotters' Club
Hatfield And The North Canterbury Scene

Review by Mens1MeterDash

5 stars This might just be my favorite album of all time. Any genre, period. And it's an *album* meaning that each song flows into the next.

I listened to this just about every day for a year or two while attending Berklee College of Music and at the end of that period, I still couldn't say for certain which parts were improvised vs. composed, where one song started or ended. Well, some points are obvious, and on the CD, the tracks are labeled, but with the vinyl, it all sort of blended together.

Other questions too, like "Is Phil Miller an abstract genius, or is he just terrible?" plagued me for years. Clearly he's not a technical wizard and you can hear him hit some obvious clams in the solos, but he's not marching to the beat of anyone else's drum, he does a lot of upper-structure triads with his harmonizations and he composed some of the best pieces (like Underdub). So, yeah, he knows what he's doing, but he's just raw and a little outside.

I know the general consensus is that the first (self titled) album is better, but I have to disagree. It has some high points, to be sure, but this one is just more mature. After listening to them both for 25 years or so, I really don't want to listen to the first album any more, yet I'm almost always delighted when this one comes on shuffle.

In terms of it's place in Prog Rock, I can't say this album is better than Kind of Blue, Birds of Fire, Permanent Waves, The Yes Album, One Size Fits All, or In Absentia. But I like it just the tiniest smidgen better than those and musically I put it in the same league. Thus: favorite album of all time.

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 Starring Rosi by ASH RA TEMPEL album cover Studio Album, 1973
3.28 | 62 ratings

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Starring Rosi
Ash Ra Tempel Krautrock

Review by Modrigue
Prog Reviewer

3 stars Not really the same temple

3.5 stars

When did Manuel Göttsching sleep? "Starring Rosi" is ASH RA TEMPEL's third studio release during the year 1973! This record is an exception in the band's discography, as it does not feature long tracks or improvisations, as the previous records, but is composed of short-medium songs, the longest one lasting 9 minutes. Although the music can still be linked to space and krautrock, it incorporates elements from different musical styles such as folk, pop and even funk.

Why this evolution and this album title? Simply because Manuel Göttsching is the original member left now and does what he wants. Klaus Schulze continues his solo career, whereas Harmut Enke decided to definitely quit the music business! Therefore Göttsching asked for help from some friends: WALLENSTEIN's drummer, future Schulze's and ASHRA collaborator Harald Grosskopf, well-known producer Dieter Dierks and especially his wife Rosi Müller.

Wait a minute... Short songs, less improvisations, pop, funk, a conventional cover art... is this still ASH RA TEMPEL?

The opening track is surprisingly one of the weakest. "Laughter Loving". Beginning with an odd laughter, it mainly consists in a soft pop with slight country accents. Basic, boring and too lengthy. On the contrary, the floating "Day Dream" is an oneiric and beautiful folk piece. There is some future ELOY spirit here. The superposition of Rosi and Manual's vocals enhances the dreamy ambiance. Then comes the instrumental "Schizo", a spacey rock a bit mystical. It's no easy task to describe "Cosmic Tango", this nice funky-space-blues that can vaguely remind GONG.

The other weak passage of the disc is "Interplay Of Forces". The first half is mainly ambient and average , nothing really happens, whereas the second half, in the same vein as "Laughter Loving", is not really remarkable either. Fortunately, "The Fairy Dance" is an instrumental faithful to its title. A magical and aerial breathe, light and beautiful, with harp and mellotron. My favorite track of the record. The closer "Bring Me Up" shows glimpses of Manuel Göttsching's future musical direction in the late 70's with ASHRA. Original, this kind of dynamic floating funk resembles SANTANA at times.

Apart in ASH RA TEMPEL's discography, "Starring Rosi" remains the most accessible and varied offering of Göttsching and co. However, the music still remains pretty good and innovative in its own way too. Although not as cosmic and trippy as the previous albums, the compositions are more lively and colorful. Therefore you have no valuable reason not to give this record a try.

Don't expect deep immersive spacey soundscapes here, just enjoy this charming album and relax...

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  79. Kazuhiro (299)
  80. Flucktrot (293)
  81. Modrigue (290)
  82. Proghead (289)
  83. OpethGuitarist (287)
  84. progaardvark (286)
  85. Second Life Syndrome (267)
  86. daveconn (266)
  87. Trotsky (264)
  88. Muzikman (263)
  89. Slartibartfast (256)
  90. clarke2001 (254)
  91. The T (254)
  92. Andy Webb (237)
  93. Bj-1 (235)
  94. GruvanDahlman (233)
  95. 1800iareyay (225)
  96. aapatsos (223)
  97. js (Easy Money) (222)
  98. poslednijat_colobar (220)
  99. Raff (217)
  100. The Crow (216)
Remaining cache time: 326 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. In The Court Of The Crimson King
    King Crimson
  6. Foxtrot
    Genesis
  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. Nursery Cryme
    Genesis
  13. Pawn Hearts
    Van Der Graaf Generator
  14. Larks' Tongues In Aspic
    King Crimson
  15. Per Un Amico
    Premiata Forneria Marconi (PFM)
  16. Moving Pictures
    Rush
  17. Mirage
    Camel
  18. Hybris
    Änglagård
  19. Moonmadness
    Camel
  20. Hemispheres
    Rush
  21. Darwin!
    Banco Del Mutuo Soccorso
  22. Relayer
    Yes
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. In A Glass House
    Gentle Giant
  25. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  26. Si On Avait Besoin D'Une Cinquième Saison
    Harmonium
  27. A Farewell To Kings
    Rush
  28. Aqualung
    Jethro Tull
  29. Kind Of Blue
    Miles Davis
  30. Birds Of Fire
    Mahavishnu Orchestra
  31. Meddle
    Pink Floyd
  32. Crime Of The Century
    Supertramp
  33. Hot Rats
    Frank Zappa
  34. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  35. Still Life
    Opeth
  36. Ommadawn
    Mike Oldfield
  37. The Silent Corner And The Empty Stage
    Peter Hammill
  38. H To He, Who Am The Only One
    Van Der Graaf Generator
  39. Images And Words
    Dream Theater
  40. Depois Do Fim
    Bacamarte
  41. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  42. Permanent Waves
    Rush
  43. The Lamb Lies Down On Broadway
    Genesis
  44. The Grand Wazoo
    Frank Zappa
  45. The Yes Album
    Yes
  46. Mekanïk Destruktïw Kommandöh
    Magma
  47. The Mothers Of Invention: One Size Fits All
    Frank Zappa
  48. Still Life
    Van Der Graaf Generator
  49. In A Silent Way
    Miles Davis
  50. Scheherazade And Other Stories
    Renaissance
  51. Hand. Cannot. Erase.
    Steven Wilson
  52. The Power And The Glory
    Gentle Giant
  53. The Snow Goose
    Camel
  54. Octopus
    Gentle Giant
  55. Free Hand
    Gentle Giant
  56. A Trick Of The Tail
    Genesis
  57. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  58. Rock Bottom
    Robert Wyatt
  59. In The Land Of Grey And Pink
    Caravan
  60. Zarathustra
    Museo Rosenbach
  61. Second Life Syndrome
    Riverside
  62. The Road Of Bones
    IQ
  63. Blackwater Park
    Opeth
  64. Arbeit Macht Frei
    Area
  65. Ghost Reveries
    Opeth
  66. In Absentia
    Porcupine Tree
  67. Emerson Lake & Palmer
    Emerson Lake & Palmer
  68. Spectrum
    Billy Cobham
  69. Viljans Öga
    Änglagård
  70. Fear Of A Blank Planet
    Porcupine Tree
  71. Acquiring The Taste
    Gentle Giant
  72. Misplaced Childhood
    Marillion
  73. Hatfield And The North
    Hatfield And The North
  74. K.A
    Magma
  75. The Inner Mounting Flame
    Mahavishnu Orchestra
  76. Space Shanty
    Khan
  77. Hamburger Concerto
    Focus
  78. Radio Gnome Invisible Vol. 3 - You
    Gong
  79. The Perfect Element Part 1
    Pain Of Salvation
  80. Rubycon
    Tangerine Dream
  81. Script For A Jester's Tear
    Marillion
  82. Pale Communion
    Opeth
  83. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  84. Doomsday Afternoon
    Phideaux
  85. Remedy Lane
    Pain Of Salvation
  86. Lateralus
    Tool
  87. L'Isola Di Niente
    Premiata Forneria Marconi (PFM)
  88. Elegant Gypsy
    Al Di Meola
  89. Voyage Of The Acolyte
    Steve Hackett
  90. Uzed
    Univers Zero
  91. Anabelas
    Bubu
  92. Felona E Sorona
    Le Orme
  93. Caravanserai
    Santana
  94. Grace For Drowning
    Steven Wilson
  95. Part The Second
    Maudlin Of The Well
  96. Bitches Brew
    Miles Davis
  97. Hiromi's Sonicbloom: Time Control
    Hiromi Uehara
  98. Choirs Of The Eye
    Kayo Dot
  99. Crimson
    Edge of Sanity
  100. Leftoverture
    Kansas

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

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