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Prog Folk • United Kingdom

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Miranda Sex Garden picture
Miranda Sex Garden biography
It was 1988 when Katharine Blake, Jocelyn West and Kelly McCusker three young graduates of the Purcell Music School joined to sing Madrigals in the streets of London and Renaissance Fairs, in 1991 they are discovered by the songwriter Barry Adamson while singing on a street named Portobello Road, he is absolutely impressed by "the three purest clearest voices" he had ever heard (According to his words).

Adamson immediately invites the 20 year old girls to contribute in the vocals on his "Delusion" soundtrack. After that recording, Daniel Miller who is also impressed with her voices invites them to sign with Mute Records. Almost on the run in March 1991 they release their first single "Gush forth my Tears" somehow in the vein of ENIGMA, they described this track as a Madrigal with a beat.

The classical producer Tony Faulkner listens the single and is impressed with the voices but not so much with the added mix and takes them to the studio where they recorded in the incredible time of three days their first Madrigals LP called "Madra", where the only stars are the girls and their voices.

Mute Records decide to send them to the Astoria in April 1991 to promote the album and sing their music in front of hostile Blur fans, who later gave them their deserved respect when realized this girls could actually sing.

In May 1991 Madra is released with great acceptance of the classical critic it contains 25 traditional Madrigals from the 1600's, but they wanted to do something different, more complex and experimental, so they incorporate violins, aggressive guitars, bass, drums and organ with the help of Ben Golomstock (Guitars, organ, bass, vocals) and Trevor Sharpe (Drums, percussion, bass)

In the meanwhile Jocelyn West leaves the band and is replaced by Donna McKevitt who not only sings as well as her predecessor but also plays violin and viola. With this new crew they release in 1992 their second disk more precisely an EP called Iris, an album that reminds us of RENAISSANCE'S more Folk/Medieval stuff, but with an aggressive Gothic spirit, (Gothic is the late Medieval era, much more complex than the earlier Medieval, and of course darker than the Renaissance epoch).

Even though at this point the blending of Gothic, Celtic and Rock was enough to consider them Prog', Katharine Blake comments that they were bored of this strictly classical set up and they wanted to be more adventurous.

And sure they did, in 1993 the ban...
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Fairytales of SlaveryFairytales of Slavery
Mute U.S. 1994
Audio CD$79.99
$5.00 (used)
Carnival of SoulsCarnival of Souls
Cleopatra 2000
Audio CD$62.39
$14.99 (used)
Mute (Artist Intelligence) 1993
Audio CD$4.99
$1.57 (used)
Mute U.S. 1991
Audio CD$18.94
$0.99 (used)
Mute U.S. 1992
Audio CD$45.99
$1.48 (used)
Gush Forth My TearsGush Forth My Tears
Single · Import
Mute 2003
Audio CD$7.10 (used)
Play by Miranda Sex GardenPlay by Miranda Sex Garden
Audio CD$98.11
Mule Records Ltd
Audio CD$16.85 (used)
gush forth my tears 12gush forth my tears 12
Vinyl$8.00 (used)
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MIRANDA SEX GARDEN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.96 | 5 ratings
3.53 | 12 ratings
3.90 | 12 ratings
Fairytales of Slavery
3.52 | 6 ratings
Carnival of Souls

MIRANDA SEX GARDEN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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MIRANDA SEX GARDEN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.50 | 2 ratings


Showing last 10 reviews only
 Suspiria by MIRANDA SEX GARDEN album cover Studio Album, 1993
3.53 | 12 ratings

Miranda Sex Garden Prog Folk

Review by Warthur
Prog Reviewer

3 stars Not quite reaching the intricate and original style of the following Fairytales of Slavery, Miranda Sex Garden's sound on Suspiria is reminiscent of Siouxsie and the Banshees mellowing out and doing torch songs (with adeptly chosen covers like In Heaven from David Lynch's Eraserhead and the old standard My Funny Valentine teasing out that concept nicely). Weaving between gothic rock, shoegaze, ethereal wave and dream pop, the album flirts with all of those styles without entirely settling down with one, making this a diverse blend of alternative rock styles whose experimental approach has made it an intriguing piece worth exploring even this long after the fact. Though on balance I still think Fairytales of Slavery is a superior album, I can see why the experiments here were needed in order to get there.
 Fairytales of Slavery by MIRANDA SEX GARDEN album cover Studio Album, 1994
3.90 | 12 ratings

Fairytales of Slavery
Miranda Sex Garden Prog Folk

Review by VOTOMS

5 stars Review nº 232

Miranda Sex Garden - Fairytales of Slavery

"How long have you been lost down here? How did you come to loose your way? When did you realise that you'd never be free?"

The repetition of those lyrics above during a sad long track makes you lose the perception of time. Similar to the feeling portrayed on the album concept . How intelligent.

Fairytales of Slavery is the third full lenght release from this female vocal lead band, and honestly, here is where they achieved perfection. It was a great surprise. I got this album right after listening to their a capella debut, and with the first track I thought it would be another average-good post punk album. An agressive change looking back to Madra, their first album, from 1993. But it's deeper than that. Following the album, Fly, the second track, enlightened my curiosity for the rest of the album. Have you heard of CRANES? One of my all time favorites, their thrilling, breath taking album Wings of Joy is some kind of eternal unique piece. And that's what Miranda Sex Garden came offering with this title. The vocals are almost morbid dream apparitions. Fairytales of Slavery slowly moves more and more to an avant-folk ethereal, dark atmospherical gothic realm of claustrophobia, where the industrial/noise rock kicks send us to a medieval imprisonment torture opera. As the entrapment feel and grief approaches reality to the listener, haunted dissonant crescendos appears and levaes as ghosts of your own hallucination. Listening to the complete piece works as a concept album to a imaginative mind as mine. The musical texture describes mood and environmental changes and suggests different states, from lonely moments, when time seems frozen by your fear, to a thrilling escape as we heard on Transit, and so on. Among all those things, the undoubtful climax of the album is the last and the lenghtiest track, called A Fairytale of Slavery (the obvious main song). Nine minutes of painful beauty, feels like reading someone scars of hopelesness. It gives me chills all over my skin. A must have.

 Fairytales of Slavery by MIRANDA SEX GARDEN album cover Studio Album, 1994
3.90 | 12 ratings

Fairytales of Slavery
Miranda Sex Garden Prog Folk

Review by Warthur
Prog Reviewer

4 stars Miranda Sex Garden present a confident and polished version of their trademark folky goth with progressive elements on Fairytales of Slavery. Combining curious medieval-influenced wind recorders with esoteric keyboard lines, along with mysterious and evocative vocals, the album adeptly evokes the atmosphere of claustrophobic entrapment in strange magical realms that the lyrics suggest. At times I am almost reminded of something on the border of post-rock, with the unusual instrumentation favoured by the band producing something which doesn't quite sound like any other gothic rock band - think, perhaps, a more avant-garde incarnation of All About Eve or Dead Can Dance, after listening to a lot of late-period Talk Talk and early Steeleye Span.
 Fairytales of Slavery by MIRANDA SEX GARDEN album cover Studio Album, 1994
3.90 | 12 ratings

Fairytales of Slavery
Miranda Sex Garden Prog Folk

Review by The Truth
Collaborator Post/Math Rock Team

3 stars I could be looking at this from a not very progressive angle but nevertheless, I find it a good album.

Only Miranda Sex Garden album I have so I can't really compare it to their other releases, but as for this album the heavy use of goth-sounding violins is what draws me to it. The female vocals are some of the best I've ever heard and the variety of material really makes me glad to hear this album.

So many good things with one bad thing, I just can't get into the album. It always winds up background music somehow. It's probably my fault because I'll lose focus and then when I regain it, I feel "How did I miss that?!"

Good goth-prog-rock, I just got to focus on it more.

 Suspiria by MIRANDA SEX GARDEN album cover Studio Album, 1993
3.53 | 12 ratings

Miranda Sex Garden Prog Folk

Review by Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist

4 stars Following with MIRANDA SEX GARDEN'S career, it's time to review their second album "SUSPIRIA"; a record that marks a radical change, because they leave the beautiful classical madrigals for Rock music, don't know if full Prog, Gothic, Industrial or a complex blend of the three, but surely a very original sound in the 90's.

Despite what some respected reviewers believe, it's more than evident for me that we are before a band that has it's roots in Gothic music from the Late Medieval Period, the complex organ performances in "Open Eyes" for example, present clear reminiscences of the "Notre Dame Period" (1300's) and the vocals in tracks as "Ardera Sempre" are clearly oriented towards Folk music of the 1400's, so yes, I do believe they play Gothic rather than Goth (Also known as Victorian Gothic revival).

Even though "Suspiria" is much more melodic and less aggressive than their later albums, we can witness the seeds of their peculiar Industrial - Post Rock - Alternative - Prog sound, combining the melodies with tough passage in which the dissonances are delightful.

The album starts with "Ardera Sempre" (Forever Burn) a track that begins with a long, experimental and mysterious introduction that combines, sounds and haunting echoes, but this lead to a very fast and fluid passage where the voices of Katharine Blake, Donna McKevitt and Kelly McClusker take us to a point where the Pagan and sacred seem to hold hands, the frenetic instrumentation, just completes the scene.

From the start that aggressive Industrial sound is present and helps to make the song flow `perfectly from start to end, incredibly beautiful song.

"Open Eyes" is opened by a Gothic organ that decreases in intensity to allow the voice to cover the scenes as a dense mist covers the land in a winter morning. This time the chorus are much more elaborate and melancholic, may seem a bit repetitive, but that's the effect the band pretends to create, a perpetual circle, pay special attention to the fantastic violin passages that can be heard softly in the back. As good as the previous track.

"Sunshine" is something special, because they seem to open the gates and set the beast free, until this point they seemed repressed, like trying not to show us all their weapons, but now they let themselves go and the heavy artillery free, excellent drumming, the vocals are extremely complex and elaborate, the orchestral instruments play softly while guitar and keyboards pass over everything. Frenetic from start to end.

"Distance" is opened by a melancholic and paused piano, in the background an almost haunting voice adds the touch of mystery required, then a second voice enters to the chorus and a third one singing three different lyrics and or sounds, when one is soft and high, the other is loud and low covering all the musical spectrum. Again strong arrangements.

Play has just everything, for several minutes flows gently in a tense calm guided by the beautiful voice of Katherine, until they explode in a burst of sounds, howls, noises that create a wonderful chaos, now they seem closer to what is known as Darkwave, but much more elaborate and experimental.

"In Heaven (Lady In The Radiator Song)" has a short and claustrophobic violin intro that leads to a vocal passage where Katherine dares to take risks and be different, even more radical when the other two vocalists join her in a terrifying lament that tries to turn into a sweet melody but is brought back to the dark side, it's clear that the Purcell School of Music has done a great job with this girls being that they have absolute control of everything they do, doesn't matter if they are respectful or irreverent, the sound is always perfect.

"Bring Down the Sky" marks another radical change, if all the previous tracks had a Medieval Religious/Pagan touch, this one is hard to be defined, now the Rock component is more evident, the tense drum section prepares the audience for an explosion that seems to be there but never blows, leading instead to a `passive instrumental break that seems like the eye of the storm because after a few minutes of tense calm, the repetitive guitar enters in the scene with it's constant sound that goes in crescendo with a terrifying violin in the background,preparing us for a new explosion that again never happens but instead leads to a very fluid passage where the whole band and voices present us an extremely beautiful section, if this guys know something, is to play with the audience.

"Feed" is a lesson to those bands that focused in Celtic music but fell in the tedious monotony of New Age, MIRANDA SEX GARDEN never tries to relax us, they threaten our senses, jumping from calm melodic passages with sweet voices to dissonant vocal arrangements and contradictory instrumentation, it's a shame many other talented vocalists didn't dared to be different as this girls and guys.

"Inferno" is the central piece of the album, the tension MIRANDA SEX GARDEN creates from the start with that constant violin is just breathtaking, the keyboards add more drama to the scene while the sound effects create moments of horror, what a perfect infernal atmosphere has been achieved here.

And when the moment comes the drums blow with desperation and strength to allow the guitar in an unusual style to join the feast, but again they change and the violin takes the lead with a spooky melody which again leads to another explosive passage where all the instruments jump inside in a complex cacophony more common in Avant bands than in folk one, superb song.

After the previous tension, some change is required and "Willie Biddle And His Waltzing Maggot" provides a it, first with a strange collection of sounds that could be described as a magical traveling fair that changes into an angelical chorus to come back to the chaotic sound, still I'm trying to understand this.

The album is closed with "My Funny Valentine", some sort of Cabaret Jazz music that gives the relief necessary after the festival of sounds and effects that the band has provided for almost an hour. The vocals are amazing, not the most complex track, but has it purpose and fulfills it, special mention to the accurate drumming that helps to create the scenario.

Even when I love this album and would love to give a perfect rating, I believe has a few weaker moments that don't allow to call it a flawless masterpiece, but is very close to that status, 4 solid stars that should be 4.5.

Only for those Prog listeners who are ready to take risks.

 Carnival of Souls by MIRANDA SEX GARDEN album cover Studio Album, 2000
3.52 | 6 ratings

Carnival of Souls
Miranda Sex Garden Prog Folk

Review by Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist

4 stars About two years ago added MIRANDA SEX GARDEN to our database, despite the addition of was approved by administrators and collaborators, I wasn't sure if I had done the best thing, because even when I was sure they are a Prog band, the sound broke all the schemes I had of this sub-genre.

The time passed and having seen how Prog has grown, I don't have the slightest doubt, this strange band leaded by "Katherine Blake" presents us a delicate mixture of Gothic (Medieval, not Gothic revival of the 1800's), Alternative, Celtic Folk and even some hints of Industrial and Vaudeville, to create music that attack the senses, unlike most Folk based bands that handle with care delicate sounds, MIRANDA SEX GARDEN throws the music in our faces, and lets thank God for that, because they are forced to take risks, and only the one who takes risks will rise over mediocrity.

In 1996 after the release of "Fairytales About Slavery", the band splits and Katherine focus in her other project called "MEDIÆVAL BÆBES", but despite the success of this project, the band joins again, this time with the excellent bassist and vocalist "Teresa Cassella", Mike Servent on the keyboards and Barney Hollington playing violin and Hammond organ, who join the crew that had split two years before.

On Friday the 13th of August, 1999 in the Norwich graveyard, MIRANDA SEX GARDEN starts the recording sessions of "Carnival of Souls" there are many mysterious tales about this sessions but haven't passed the status of urban myths, the only fact is that in 12 days the album is ready and they start the tour session which sadly lead to the definitive split of the band with the new millennium.

The album starts with "Are you the One?" a mysterious song that begins in the alternative vein, even when much more dynamic, but almost instantly is evident by the selection of instruments that this guys are in something different, they jump from peaceful and bucolic to loud and explosive without leaving behind that strong atmosphere which surrounds the band as a dense mist.

"Sleeping Beauty" is one of the most beautiful songs I ever heard, performed in a clear Celtic Medieval mood with delicate instrumentation and arrangements that cover even the most insignificant detail, but as usual they keep some sort of tense calm that always lead to some strong guitar performance of Industrial side, the perfect blend between sweet and acid, of course the Purcell Music School trained voice of Katherine is the cherry on the top of the pie.

"Tonight" as "Havana Lied" in their previous album, takes us to a cabaret, but this time the mood is much more jazzy and sentimental, like taken from a 40's detective movie, and that's the biggest achievement, despite they blend horn with modern synths the atmosphere sounds perfectly credible. "All there Is" sounds like Post Rock meets Industrial, the members of the band manage to play with the timing, being that while the vocals are soft and mellow, the instruments are absolutely frantic, to a point where they produce an effect of claustrophobia, excellent material.

"Escape from Kilburn" is another frenetic song where the percussion is simply wild, again we can feel that horror to silent spaces the band usually presents, not a single second of rest, they bomb us from all the fronts, reminds me a bit of FANTOMAS.

"Token" is a short percussion based interlude that leads directly to the extremely dramatic "Without Trace", where the violins enhance the drama, the vocals almost take the listener to tears, but strangely the percussion remains without alteration from start to end, surely this guys know how to play with times.

"Caravan" is an amazing cover of the same title classic by Duke Ellington, words just can't describe what they gave done with the track combining the soft melody with the frenetic rhythms and the dissonant instrumentation, this song alone could pay for the album.

"Thrusty Bob's Hardcore Lounge (Incidental)" is another short but really strange interlude that leads to the acoustic "Close to the Sky" in which they return to the Medieval Celtic sound giving Katherine Blake another chance to show her wonderful vocal range, but around the middle a dramatic change takes us to a totally different scenario, full of dissonant instruments and haunting echoes, strange but good.

The album is closed with "Ever and Ever", a soft song with that allows us to enjoy the sweet voice of Katharine and as usual ends breaking all the schemes we may have.

At the end, another outstanding album in the MIRANDA SEX GARDEN discography, not in the level of the predecessor but worth no less than 4 solid stars.

 Suspiria by MIRANDA SEX GARDEN album cover Studio Album, 1993
3.53 | 12 ratings

Miranda Sex Garden Prog Folk

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

3 stars No one was more surprised than me when Miranda Sex Garden began to be referred to in the same sentence as the term progressive rock. Not my recollection for sure, but looking back now after more than fifteen years I guess it sort of makes sense.

Back in the early nineties there seemed to be an awful lot of these lipstick goth bands coming out of the woodwork. Miranda Sex Garden were one of the more unusual ones simply because they actually had some talent and seemed to be interested in evolving that talent and their image on a regular basis, at least for the first few years. This was their second studio album, and the one that really started them down the road of musical experimentation after a rather dull a cappella debut release.

My vague memories of the band are mostly around the sultry and rotating wave of females who made up most of the group’s membership. Also, the strings were a bit unusual at a time when most females in bands either stuck to fronting on vocals or played pedestrian keyboard riffs. These girls actually had some skills on their violins, violas and keyboards.

The themes and titles of most of these tracks are centered on that weird yet seductive world of cinematic horror that was also present in most of their live performances and occasional videos. The persistent feedback drones and malevolent chanting became a trademark that would pretty much mark the band throughout their existence. It was a role they played quite well, and the music had a tendency to get you into a trance at clubs or at home on dark weekend evenings.

The one track on this album that I could do without is “Open Eyes” simply because it seems to go on forever and has annoyingly repetitive lyrics that remind me of the stereotypical loud American who thinks he can make any non-English speaker understand him by simply repeating the same phrase over and over in an increasingly louder tone. We get the message already ladies – it just isn’t a very interesting one.

Otherwise this is a good album, not great and not really memorable but good enough at the time in which it was released. Better than two stars because I think there are people who will still find the band interesting even outside the context of nostalgia. But not more than three stars simply because the sound doesn’t age all that well, and I don’t find myself playing their music all that often and you probably won’t either. Recommended for goth types who don’t take themselves too seriously and prefer stick-on tattoos to real ones.


 Carnival of Souls by MIRANDA SEX GARDEN album cover Studio Album, 2000
3.52 | 6 ratings

Carnival of Souls
Miranda Sex Garden Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

3 stars 3.5 stars really!!!

After six years of silence (most likely founding their respective families), MSG came back for one album, which took the scene by surprise, but strangely enough kept it to just that album. I suppose this comeback was just a poke to see if their career could resume in parallel with their family lives. Apparently not, because this album is just as strong as their previous two. MSG was not about to make a carbon copy of their previous works, though. And again, they decided to intrigue the public with a catchy sexy artwork.

This album may surprise by its Alternative Rock feel, still mixed with Bjork-influenced vocals and the slight folk-influences as highlighted with the odd flute and strings lightly peppering the album as is on Sleeping Beauty. As they had tried before with My Funny Valentyne, but this time with more success, MSG returns with a heavy jazz instrumentation in Tonight, sounding like a cross between Bjork and Paatos. All There Is is reminiscent of dEUS, while Broken Glass is very average. As the first part of the album is not really off to a sizzling start, content on cruising a bit lazily, the album suddenly takes on an feverished climax with two instrumentals in a row, the first, Kilburn, strongly influenced by dEUS, while the second being a short percussive interlude, prefacing the calm and reflective Without Trace, which is maybe my fave on the album. With Caravan (a Duke Ellington reprise) and its ambient outro, the album is now definitely on track, and will cruise nicely through the last two songs with some post-rock characteristics mixing with some trip hop.

In retrospect, it is now clear that Paatos took their main influences on MSG, but since I was not aware of the group, I will now make amends. More of an art rock group than a folk prog group, MSG is for modern prog lovers.

 Fairytales of Slavery by MIRANDA SEX GARDEN album cover Studio Album, 1994
3.90 | 12 ratings

Fairytales of Slavery
Miranda Sex Garden Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

3 stars 3.5 stars really!!

Down to a quartet, from the five-piece combo of the preceding Suspiria, Fairytales Of Slavery is a relatively provocative and ambiguous album, not just by its artwork and title , suggesting female submission, but also sex role interchangeability as the booklet picture might indicate with two female members portraying as butch and the male suspiciously effeminate-looking. Well sex does sell in music also; check out the women-catering music such as boys-band and teen stars like Britney. So MSG's third album is another building stone and probably their best album ever.

Compared to the previous Suspiria, this album is very synthetic, more electronic but not any less gothic/ from the previous rather acoustic, we now jump to influences ranging from Post Rock/Trip Hop soundscapes (get load of The Wooden Boat) or at times (mostly in the vocals) Bjork mixed with Kate Bush. This FoS album is a more difficult-to-grasp affair than its Suspiria predecessor. Les "folky" or acoustic-driven and much less classically influenced, it is a bit darker too.

Strangely enough, while MSG appears to be on top of their game (but who knows, they probably would've bettered some more), this was to be the last album for six years. Not really familiar with the band's history, I would suppose they had a big "baby break" and started families. But it is always a little sad to see artistes having to stop their career while they are at their peak. Well at least MSG did not overstay their welcome either as generally seems the rule. I would advise most progheads un-familiar with Gothic-influenced muysic to start with this album as it might just a revealming of your Goth aptitudes.

 Suspiria by MIRANDA SEX GARDEN album cover Studio Album, 1993
3.53 | 12 ratings

Miranda Sex Garden Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

4 stars From the 90's alternative rock scene comes one of the stranger outfit called Miranda Sex Gardens with a majority of female members and being anything but a girls group (Banarama or Bangles) or even a basic-RnR group (ala Runaways or Four Non Blondes). These musicians developed a very potent music rather indefinable, but with incredible powers of fantasy inducing. Their music is anything but ordinary and although not progressive in the strict sense, it is certainly so by association. Back in those days (early 90's), few of these groups could be considered adventurous so Miranda Sex Garden was sticking out like a sore thumb in the musical landscape. But around that time happened the start of the second prog boom where the US label Magna Carta was creating a lot of hope and ther famous Swedish trilogy of Anglalandberkdoten arrived, so I must say that I ignored MSG (not to be confused with the awful Michael Schenker Group), much to my dismay more than a decade later.

Enough "Mea Culpa", and let's get on with this quintet of which at least three female members (depending on the album - none babelicious but all rather cute and cuddly) are choosing the sober presentation and vastly talented by introverted music rather than flaunting or strutting their bodies to cameras. Yes, MSG is all about climates and ambiances and rather unusual instrumentation for the times (this was the Grunge years). Picture a sort of alternative rock hovering between Kate Bush (voices and music development), All About Eve (that early Gothic Rock feel), early Radiohead (just starting around the time), and the awesome Dead Can Dance (for the pre-classical music influences) and you might just start to understand how this band was actually fairly original back then. And if I speak of Goth rock and pre-classical music, it is necessary for me to make a precision: we are not talking of gothic classical period influences here, but more of the wave of an acoustically-driven Goth Rock (this was just the start of the movement) with strong classical instrumentation/arrangements. A real strange thing progheads did not pick up this group and widely include it in their fave groups. Because if MSG is still not thought as a progressive group, I can assure you that it is scandalous that progheads still have not picked on them: they are progressive as hell. The extended use of strings is just one of the many hints. But calling this group gothic period classical is an unwanted and misleading shortcut: somehow their classical music influence are much closer to an elitist folk music, not really medieval either, sometimes reaching String Driven Thing or early ELO.

If this album does not reveal MSG at the top of their game, one can already get a glimpse of things to come with Bring Down The Sky and the amazing 8-min+ Inferno. The album ends strangely and unexpectedly enough on a cover of the jazz standard My Funny Valentine, which is certainly not helping the average quality of the album: completely off base and easily the worse track on the album.

While hardly a masterpiece of prog, this little baby could be a very treasured little gem providing you with many thrills. I would consider MSG more as a chief or reference group of the close relative Gothic Rock (in the sense that the Heavy Metal scene is also in the same family as Prog Rock is) and is likely to please the vast majority of progheads. And clearly MSG and DCD are responsible of many of the newer gothic prog bands' major inspiration as Devil Doll is.

Thanks to ivan_2068 for the artist addition.

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