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NEO-PROG

A Progressive Rock Sub-genre


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Neo-Prog definition

Neo-Progressive rock (more commonly "Neo-Prog") is a subgenre of Progressive Rock that originally was used to describe artists strongly influenced by the classic symphonic prog bands that flourished during the 1970s. At the beginning of the neo-prog movement, the primary influence was early to mid-70's Genesis. Debate over when Neo-Prog actually came into being often takes place, with some asserting it began with Marillion's Script for a Jester's Tear in 1983. Others contend it began with Twelfth Night at the dawn of the 80s, while some even suggest the popular symphonic prog band Genesis gave rise to Neo-Prog with their 1976 album, A Trick of the Tail.

If one analyses the progressive movement just before 1980, then some albums which heavily influenced the Neo-Prog movement easily come to mind: Steve Hackett - Spectral Mornings, Genesis - Wind & Wuthering, Genesis - And Then There Were Three, Genesis - Seconds Out, Saga - Saga, all the Camel albums between Breathless and The Single Factor included, and some Eloy's albums, especially Silent Cries And Mighty Echoes.

This new form of progressive rock originated in the UK, and is most strongly associated with bands such as Marillion, Pendragon and IQ; and while theatrical stage antics were a part of the live performances of many artists exploring this subset of the progressive rock genre it's the musical elements that are key to the genre; typified by the use of atmospheric guitar and synth soloing with symphonic leanings, with a tendency towards floating synth layers and dreamy soloing. An additional trait is the use of modern synths rather than vintage analogue synths and keyboards. The main reasons for Neo-Progressive artists to be separated from the ones exploring Symphonic Prog in the first place are the above, as well as a heavier emphasis on song-form and melody than some of their earlier symphonic counterparts.

As time went by other artists appeared that also deviated from the norms created by the classic wave of progressive rock artists in the 70's. The late 70's had given the world punk music; the 80's gave the world new wave; and the 90's grunge. These, as well as other forms, had a tremendous amount of influence outside of the progressive rock realm. The advent of the modern synth also inspired artists like Tomita, Vangelis and Kitaro to explore dreamier musical works.

These and other forms of more or less newly made musical genres influenced artists exploring progressive rock as well. Although many artists did so within the framework of 70's progressive rock, more and more artists developed a sound and style so heavily influenced by these more recent musical developments that categorizing them within the existing subgenres of progressive rock became increasingly difficult.

While the Neo-Progressive genre initially consisted of artists exploring a modernized version of Symphonic Prog, these days artists coined as Neo-Progressive cover a multitude of musical expressions, where the common denominator is the inclusion - within a progressive rock framework - of musical elements developed just prior to and after 1980. The Neo-Progressive genre in it's refined form thus covers a vast musical territory, to some extent covering all existing subsets of progressive rock and also searching out towards genres as different as new age on one side and punk and metal on the other.

Opening paragraphs written by Stonebeard, Cygnus X-2, Greenback

Revised, edited and refined April 2009 by windhawk, The Doctor and E-Dub



Current Neo-Prog Team members
as at 18/10/2013

Apostolis (psarros) ... Team leader
Keishiro (DamoXt7942)
Matti

Neo-Prog Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Neo-Prog | More Top Prog lists and filters

4.49 | 362 ratings
THE ROAD OF BONES
IQ
4.24 | 1449 ratings
MISPLACED CHILDHOOD
Marillion
4.22 | 1390 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.20 | 444 ratings
CONTAGION
Arena
4.13 | 887 ratings
CLUTCHING AT STRAWS
Marillion
4.12 | 622 ratings
FREQUENCY
IQ
4.11 | 764 ratings
MARBLES
Marillion
4.14 | 337 ratings
POSTHUMOUS SILENCE
Sylvan
4.12 | 360 ratings
A TOWER OF SILENCE
Anubis
4.11 | 353 ratings
FANFARE & FANTASY
Comedy Of Errors
4.10 | 319 ratings
EMPIRES NEVER LAST
Galahad
4.05 | 487 ratings
THE VISITOR
Arena
4.04 | 424 ratings
EVER
IQ
4.01 | 651 ratings
DARK MATTER
IQ
4.09 | 238 ratings
SEVEN
Magenta
4.03 | 433 ratings
THE SEVENTH HOUSE
IQ
4.06 | 232 ratings
ACROSS THE RUBICON
Silhouette
4.26 | 83 ratings
IS THIS HUMAN BEHAVIOUR?
Shamall
4.11 | 157 ratings
THE FINAL BREATH BEFORE NOVEMBER
Edison's Children
4.33 | 67 ratings
AMBIGIOUS POINTS OF VIEW
Shamall

Neo-Prog overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Neo-Prog experts team

TRAVELLER
Magus (The Winter Tree)
VOICES
T
HUNTING THE FOX
Ines
CROWN OF CREATION
Emerald

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Latest Neo-Prog Music Reviews


 Recital Of The Script  by MARILLION album cover DVD/Video, 1983
4.35 | 135 ratings

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Recital Of The Script
Marillion Neo-Prog

Review by Guillermo
Prog Reviewer

4 stars Time passes. And this is very clear with this concert video which shows MARILLION playing a concert at the Hammersmith Odeon in London in April 1983, with the members of the band being in their early or mid twenties, playing to a mostly very young audience (to teenagers and to twenty- somethings). Their first album "Script for a Jester`s Tear" was just released in March 1983. Fish announces in the video that it was the last concert of their tour (a brief one, I think; maybe it was just the U.K. part of the tour, because they later carried on with an U.S tour and an European tour in 1983, before recording their second album in late 1983). This concert in London was also Mick Pointer`s last concert with the band, as it says in the final credits of this video. And while I did not like very much his drums playing and sound in their first album, in this concert video I could see that it was a bit unfair that he was fired at that time, because in this concert he played better and that his drums sounded better than in the album, and maybe with the passing of time he could have improved a lot, as his work with ARENA years later has proved. Anyway, that kind politics exist in every band, unfortunately. But fortunately, Pointer has found his right place in ARENA recording a lot of albums since 1995.

The influences from GENESIS with Peter Gabriel are very clear in this early concert video from MARILLION. Dramatic vocals, the use of costumes, make-ups and theatrical gestures by Fish are the main ingredients of these influences from GENESIS with Peter Gabriel. (This is more clear in the song "Grendel" which has some influences from GENESIS`s "Supper`s Ready" long song, as some of the members of MARILLION have recognized since then). Anyway, Fish had his own approach, and MARILLION musically also had their own style since the beginning. I think that MARILLION was a very good band since then even if in this concert video they still look and sound a bit nervous. But with the passing of time they obviously became a better band. And maybe this concert video was a bit premature to be released with only one album recorded then. But it is a very good document of their early years.

 ...Just Suggesting by SKEEM album cover Studio Album, 2013
3.67 | 24 ratings

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...Just Suggesting
Skeem Neo-Prog

Review by Aragon

3 stars After i listen the 1st album i was just curious about the 2nd one. Skeem released their 2nd effort after 12 years, and they release 2 album. So it worth to wait so much? Sometimes yes but even no. The debut album was a masterpiece to me, excellent composition catchy chorus, and intricate solos between keys and guitar with a light fusion feelings. In this album they repeat the old formula of the 1st album: long intro about 1 minute, usually driven by a guitar solo and after this one starts the song usually is in a slow tempo, but what miss in this album is the energy from the 1st album, the final solos between guitar and keys are still there but the emotions are fade away. So to conclude 3 stars
 Behind The Mirror by SEASONS OF TIME album cover Studio Album, 1997
3.00 | 3 ratings

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Behind The Mirror
Seasons Of Time Neo-Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Seasons Of Time came to life in Bremen during October 1993 with an original core of Willie C. Kimbrough (vocals), Thorsten Klein (guitar), Lars Ebsen (drums), Dirk Berger (bass) and Andreas Meyer (keyboards).1995 sees Klein abandoning the wagon and Stephan Dinter jumping in and the following year Ebsen was replaced by Erik Pilger.By 1997 only Berger remained from the original line-up with Kimbrough and Meyer both replaced by Malte Twarloh, who could sing and play the keyboards.The same year the band releases independently the debut ''Behind the mirror'', a concept work around a true story of a woman from United Stares, who killed her childern to live her life in luxury with a lover.

While the influences from the music of MARILLION, PENDRAGON and other Neo Prog groups is clearly evident, the Germans could produce some beautiful melodies and intense atmospheres, propably helped by the concept story, which is based on deep keyboard sounds and electrified guitar moments, as many bands did at the time.The main theme is developed through 15 short pieces, which can be laid-back, atmospheric, aggressive or bombastic, depending on each part of the story, but the bulk of the album follows a rhythmic style with diverse keyboard moments, including organ, piano and synthesizers, and soft to melodic guitar lines, sometimes with a slight PINK FLOYD aura, especially during the lyrical passages.Close to the trend of the time their tracks contained dreamy keyboard textures, calm piano lines and more flashy synth solos over a palette of guitar-driven ideas with the overall style flirting with compatriots ZIFF and ZENOBIA.A few pieces ended up to be a bit disjointed/uninspired with rockin' leads or slight psychedelic vibes, the same occurs though for a couple of folky tunes, led by a charming flute performance and being among the highlights of the album.

Were Seasons Of Time ready to kick some asses with their debut?I doubt so.But their music was up there with the better-known bands of the style, featuring nervous symphonic moments, good melodies and pompous deliveries.Decent and recommended stuff.

 Automatic Day by LITTLE ATLAS album cover Studio Album, 2013
3.79 | 84 ratings

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Automatic Day
Little Atlas Neo-Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars Having voraciously devoured the surprising Roy Strattman debut solo album, the cleverly titled "The Lie of the Beholder " and given it a spirited and enthusiastic review, I now have been given the opportunity to see what the issuing band Little Atlas had to offer on their most recent 2013 release "Automatic Day". I am elated to report that there are familiar strengths that both enjoy, namely stellar bass playing from Rik Bigai and Roy Strattman's effusive guitar stylings being foremost, as well as some obvious differences. Keyboardist Steve Katsikas is more front and center here, not only with his arsenal of ivories but he also handles most of the lead vocals. While very proficient, I actually prefer Strattman's voice on his solo venture, but that is just my taste. The other major difference, with all due respect to excellent Little Atlas drummer Mark Whobrey, is having the now legendary Nick D'Virgilio blow the lid off the tracks with his booming style. That is just not fair! All of this being said, the music should be taken for what it is and it has only a passing resemblance to the Strattman work. Its way more diverse and offers up a wide palette of unexpected traits that will undoubtedly catch more than a few off guard.

"Oort" has an asymmetrical acoustic/electric guitar intro, with Bigai's slippery bass slithering nicely through the sonic openings but the true revelation is Katsikas' swirling mellotron blasts that color the symphonics, a sudden e-piano cameo and a lead vocal that hints at Echolyn. This is the proper way to get into the material that will flow onward.

For a second I thought I was listening to a lost Landberk piece, "Apathy" is a highlight track that scours the horizon with winds of contrast, the vocals highly reminiscent of Patrick Helje of the Swedish legends, whist the chorus and arrangement provide a density that is hugely appealing. Fab track!

Little Atlas can be a different kettle of fish, Roy preferring a more angular approach to his rhythm guitar riffing, a trait that has a strong Robert Fripp flavoring, utterly obvious on the mathematically precise "Twin of Ares" . Now I am not a fan of this KC period (Three of a Perfect Pair), nor do I really enjoy Echolyn's style. It's all a little too Cartesian for me but I do enjoy Bigai's furrowing method, nevertheless.

Another successful track, "Emily True" is a quirky affair with a wall of brooding synths egging the passionate but slightly deranged lead vocals. The mood starts out contemplative and then just explodes into a mellotron ?hard guitar bulldozer, insistent, manic and tortured. Rick Bigai shows of some scintillating runs and the whole thing just hammers away, relentlessly.

Fabulous track number two is named "At the End of the Day", a prog-rock ballad that owns a melody that is immediate and ravishing, traits that seriously tend to seduce me rather easily, armed with a glorious lead vocal full of bravado and passion. Expertly crafted, well expressed lyrically and sophisticated in its instrumental delivery (that darn Fender Rhodes!), this can be listened to repeatedly without any ennui. Roy tortures his guitar with conviction, propelling the pleasure into a paroxysm of delight.

The lengthiest piece is "Illusion of Control", a title that evokes a theme I particularly enjoy discussing in my social life when waxing philosophy (I do own a degree, after all). A subject matter that deals with illusions of freedom and yet underlines the total dependence the human imposes on himself masochistically to govern himself according to some "power to be". Don't get me started, so let's talk music. A 10 minute + ride through dark and sunny, up and down the roller coaster of modern living, pleasure and pain, sadness and elation, misery and ecstasy. A frozen Beatles-like middle section of acoustic guitar and voice instills a sense of foreboding and dreamy disinterest that really hits the mark, swerving synth/mellotron patterns in collusion with a rambunctious bass and a breezy disdain for any form of regulation. Slowly the mood reverts to a bolder reality, a sensational piece of modern prog.

Boy, did I ever get a giggle out of "Darvocet Eyes", a drug anthem that would have pleased Waters or Wilson, directly into abject addiction. A now FDA banned drug from the 50s (how quaint is that?) that had more side effects that Sid Barrett had personalities (ouch!), a pain killer that kills the patient in order to kill the pain, talk about Illusion of Control! Needless to state the obvious, the arrangement is bathing in opiate symphonics, cottony pools of piano droplets, oozing and seeping vocals and a true sense of Pink Floydian dysfunction (this song could have been on "the Wall" album) with carousel-like dizziness and a sudden marmalade death. Total winner again.

After all this woozy head, upset stomach and bitter taste in the mouth triumvirate, how about a nice little pop song, eh? It will get us listeners to the end without any withdrawal symptoms! "We All Remember Truth" sounds almost like a long Lost Todd Rundgren tune, short, sweet and airwave friendly.

The title track is another oddball, slightly dissonant rocker, featuring a pungent bass and raw guitars, tied with a surly attitude that keeps the blood boiling and the feet tapping. Once again, Roy's acoustic picking enters the fray, with Bigai moving in with authority from the right and chiseling together a booming and explosive slow-burner that takes no prisoners. There is a slight Blue Oyster Cult tinge that is quite apparent to the studious listener.

"Escape Velocity" is a perfect send-off, another up-beat, organ fueled progressive song that barely reaches 3 minutes, a cool, funky electric piano-led enjoyable ditty that has closer ties to the Cars than anything epic, and certainly far from Floydian. Major barrage of clapping androids.

In all honesty, I enjoyed this album quite a bit, surprised by the quality of the playing and the maturity of the material. But Strattman's aggressive and perhaps more linear style on "the Lie of the Beholder" just blew me sideways, one of the finest US releases in a long time.

4 robotic times

 Clutching At Straws by MARILLION album cover Studio Album, 1987
4.13 | 887 ratings

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Clutching At Straws
Marillion Neo-Prog

Review by siLLy puPPy

5 stars After the huge success of their previous album "Misplaced Childhood" the band MARILLION decided to have another go at a concept album in the form of CLUTCHING AT STRAWS. This is a tale of an unemployed loser by the name of Torch who has the unfortunate luck to be bad at everything he attempts including being a good husband, father and singer in a band. His downward spiral only continues as he drowns his sorrows in alcohol. MARILLION had a way of keeping the progressive side of music firmly embedded within the human experience which is a breath of fresh air in a genre that relishes in alienation and mental escape into the realms of fantasy, the extraterrestrial and interdimensional.

The theme and concepts that revolve around the human story of a working class bloke who fails to keep his life from becoming shambles is a successful formula which in my opinion opened up the possibilities of progressive music to a wider audience who eschewed the strange and freaked-out musical world that had its reign the previous decade. Sadly the touring schedule burned out the band which proved too much for lead singer Fish who would depart after this album in order to pursue a solo career. The album is also different than the last in the fact that unlike "Misplaced Childhood" where the tracks smoothly blended into one another, on CLUTCHING the songs are distinct and take the listener on a roller coaster ride of hooks, riffs and tempos.

For me it's a clean sweep of 5 star albums for Fish-era MARILLION. These four albums represent a cornerstone in the history of progressive rock. Although I would hardly count them as the most progressive and complex that the genre has to offer or even the most original since the Genesis influence is so obvious, that doesn't seem to be the point. They are simply put, a renaissance of melodic and dramatic representations of the human condition and the new bearers of a torch that had been abandoned by money hungry bands tempted by the pop side. Although the neo-prog sound would carry on as would the band itself, I am hard pressed to find anything that equals the melancholic beauty and emotional depth that these first four albums present.

 The Bursting by EDHELS album cover Studio Album, 1981
2.14 | 3 ratings

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The Bursting
Edhels Neo-Prog

Review by apps79
Special Collaborator Neo Prog Team

2 stars The only known Prog band from Monaco was found in 1981 by its leader Marc Ceccotti.Ceccotti was previously involved in several local bands, after having studied at the Monaco Academy of Music.He set up the band along with classmate Jean-Louis Suzzoni on guitars and Noel Damon on keyboards and percussion.The same year the Monegasques recorded the demo ''The bursting'' along with guest musicians Jacky Rosati, Philippe Peratonnere (both on keyboards) and Sandrine Brisson on violin.It became commercially available several years later, when the band kept solding it as a CD-R via its website.

Being original is a good thing, but it can also lead to stylistical confusions and that was the case with Edhels' early recordings.The band produced six pieces of synth-drenched soundscapes with a deep guitar background, which shifted between acoustic and electric parts, but inexperience and lack of professional equipment led to below average material.Extremely poor programmed drums (propably coming out of some sort of Casio technology) and thin electronic movements resulted a flat, cold sound with limited emotional content and total lack of coherence between one piece's variations.Propably they attempted to go for a combination of Electronic Music with symphonic overtones and guitar-based Instrumental Rock with occasional dark perceptions, created through the sinister, muddy and laid-back guitar solos and a dramatic approach on keyboards, but the weak sound quality left much to be desired.The short ''L'Etrange quete'' sounds a bit more consistent with Fusion-like guitar solos over eerie synthesizers and developing sound effects, quite similar to TIEMKO, while the following ''Edhels (symphonie no.1)'' and ''Maleak (symphonie no.2)'' contain hints of old GENESIS and intense keyboards ala ALPHA III, even flirting with Neo Prog but with a more sterile approach and pronounced electronic sounds and effects, the quality of the recordings though is below the acceptable levels.

Propably Edhels were too young to offer such serious musical experiments.Dark yet smooth Electronic-Fusion with some decent moves, but overall very incosistent and pale.For fans of the band or maybe TIEMKO and similar groups.

 The Road Of Bones by IQ album cover Studio Album, 2014
4.49 | 362 ratings

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The Road Of Bones
IQ Neo-Prog

Review by JCDenton

5 stars I'm surprised. This is a tremendous album. IQ never show off too much technicality and are not a flashy group by any means, but the band do well with what they have. They wrote a great, melancholy album here. It has many great atmospheric textures and a well-polished sound. It's still jamming at many times and hard-hitting, but very full of emotion and heart. That's where this album majorly succeeds. There's nothing complicated about it (if not "Ocean" having just a bit of an unusual, but good beat for a cheery tune). I don't find a moment of music I don't enjoy here. Each tune is lengthy but doesn't cover more ground than it can handle. Each idea is present to satisfactory extents and always keeps me interested. It's great! Been listening to it non-stop for weeks! What didn't click at first only clicked more and more with time! There's very little wrong with this album!
 The Road Of Bones by IQ album cover Studio Album, 2014
4.49 | 362 ratings

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The Road Of Bones
IQ Neo-Prog

Review by BrufordFreak

4 stars I own the special edition double CD release of this album, so my review is somewhat slighted by the "overall" impression that this collection of songs has left me. The Road of Bones contains a lot of very polished neoprog. None of it is very sophisticated. Most of it is fairly straightforward and repetitive with the occasional pleasing twist or turn. Peter Nichols' vocals are very clear and easy on the ears yet they lack whatever it takes to get the listener really engaged and excited. I find myself most drawn to the keyboard work--which is most often fairly simple though very lush and fully-filling of the aural landscapes. Mostly, I guess I just like the sounds and tones used by Neil Durant. The album does have a few gems--and, IMHO, they have improved their delivery from Frequency--though many of the "hooks" used effectively on that 2009 album are again used here. From Disc 1, "The Road of Bones" (8:32) (9/10) is great, beautiful, mature. The epic/show piece "Without Walls" (19:16) (8/10) and the Wind and Wuthering-like "Ocean" (5:55) (8/10) are both nice songs but neither leaves me with adrenaline pumping, neither lures me back for the "replay" button push. From Disc 2, "Knucklehead" (8:11) (9/10) is the best--offering the most complex and exciting music of the entire collection. Both "Hardcore" (the first half) (10:53) and "Until the End" (12:00) reminds me too much of Frequency's best song, "Ryker Skies." The rest of Disc 2's songs are a step below the offerings on Disc 1. The instrumental, "1312 Overture" (4:18), is engaging but it makes me feel as if the band is going through a rhythmic warmup exercise. The acoustic guitar play on Disc 2 and use of programmed drums gives the music a cheesy lounge New Age music sound. "Ten Million Demons" (6:10) leads the best of the rest. "Constellations" (12:25) sounds like it came right out of Genesis' And Then There Were Three/Duke era--I mean, straight out, sometimes note and sound-for note and sound.

Overall, The Road of Bones is a pleasant listen even if it doesn't excite me enough to extoll its masterpiece status. Still, I do recommend prog lovers give it a listen.

 Land Of Dreams by SHADOWHAWK, P.J. album cover Studio Album, 2010
3.14 | 7 ratings

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Land Of Dreams
P.J. Shadowhawk Neo-Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars American drummer, who was part of the last Gabriel Bondage line-up, participating in a third album by the band, which was never released.P.J. Shadowhawk went on to perform as a session musician in several show bands and composed music for theaters and TV shows over a span of two decades, before passing the Atlantic and become a member of Quasar in 2006.Three years later and suffering from Lupus he parted ways with the British group, unable to keep an update with the live performances due to his illness.Upon returning to California he did not give up and he even recorded and released his debut album ''Land of dreams'' in 2010 with the help of Evan Raymond on guitars.

Being a late member of Quasar and a 70's prog enthusiast, P.J. Shadowhawk couldn't do else than record an album with strong retro vibes and hints from the British symphonic sound of the past, performed under a melodic and more secure manner that the monsters of the movement, keeping though an interest through his lush, elaborate arrangements, mostly based on electric guitars, piano and soft keyboards.His vocals are not particularly exciting, but again this is pretty reasonable for a man perfoming almost all instruments and singing.I can detect influences from GENESIS, CAMEL and more recent acts like IQ and mostly GALAHAD in his music, while some cheesy vocal moments and pompous deliveries contain a slight SUPERTRAMP feel.The man is not afraid of creating long, old-fashioned compositions and his arrangements, while not extraordinary, contain plenty of interesting moments like the dramatic guitar solos, the rising sound of layered synthesizers and the peaceful but always convinving piano lines.Some sort of organ echoes and a few powerful electric explosions keep a good balance throughout.Do not expect very rich and extremely intricate musicianship, ''Land of dreams'' focuses on the more laid-back side of Progressive Rock with Shadowhawk's composing and execution being more than efficient.

Essential album for fans of melodic, mainly British-styled Neo/Symphonic Prog.Good melodies, lovely piano themes and attactive guitar/keyboard deliveries.Recommended.

 Woolli Secundus by AYRES, SIMON album cover Studio Album, 2012
2.00 | 1 ratings

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Woolli Secundus
Simon Ayres Neo-Prog

Review by apps79
Special Collaborator Neo Prog Team

— First review of this album —
2 stars Apparently Ayres has much more written material than the tracks included in his ''Dreamoid'' debut.And that's because the following month he put his second work ''Woolli secundus'' on the bandcamp streaming and download lines.He stated that most of this stuff was composed around summer 2012.

I am afraid though that at least the first few pieces are horrible homestudio productions with the programmed sounds covering the natural ones, while Ayres was heading for some straighter rock parts during these cuts, mostly coming as an amalgam of THIN LIZZY, DIRE STRAITS and organ-washed Psych Rock, but the result has nothing to do with the lovely sound of these classic bands.Synthetic keyboards, sampled strings, awful drum programming and lack of deep, personal inspiration overpower any attempt on decent melodies by the British multi-instrumentalist.As the album unfolds things can only get better, albeit far from essential.The longer tracks show a return by Ayres to his progressive roots and display influences from CAMEL (smooth, melodic guitar plays and melodious textures) and PENDRAGON (semi-symphonic work on organ and synthesizer), while there are plenty of nice keyboard lines and dramatic overtones in his mainly instrumental pieces.There are even a couple of tracks with some sampled Mellotron and church organ for a more vintage listening experience, man, these pieces could have been really cool with a more professional production.The dull drumming parts remain steady, but the ideas have become more tight and intricate with plenty of grandiose moments.

An inconsistent release as a whole.Skip the first three pieces and focus on the later parts of this effort, which are likely to please fans of melodic, symphonic-oriented Progressive Rock...2.5 stars.

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Neo-Prog bands/artists list

Bands/Artists Country
25 YARD SCREAMER United Kingdom
ABACAB France
ABEL GANZ United Kingdom
ABRAXAS Poland
ACCEPT Japan
AD INFINITUM United States
ADN France
AELIAN Italy
AETHELLIS United States
AFTERGLOW France
AGENESS Finland
AGENTS OF MERCY Sweden
AHMSHERE Netherlands
AIRBAG Norway
AIRBRIDGE United Kingdom
AISLES Chile
ALBION Poland
ALKOZAUR France
ALMA SIDERIS Italy
ALSO EDEN United Kingdom
ALTAVIA Italy
AMANDA Belgium
AMON RA Germany
ANAMOR Poland
ANANKE Poland
ANDROID Hungary
ANIMATOR United States
ANNALIST Poland
ANUBIS Australia
APPLE PIE Russia
ARAGON Australia
ARCANSIEL Italy
ARCHANGEL Italy
ARENA United Kingdom
ARENAL Chile
ARGOS Germany
FINN ARILD Norway
ARK United Kingdom
ARKUS Netherlands
ARLON Poland
ARRAKEEN France
ASGARD Italy
ASTRALIS Chile
ASTURIAS Japan
ATEMPO Argentina
ATRIA France
ATRIUM Portugal
AUFKLARUNG Italy
AVALON USA United States
SIMON AYRES United Kingdom
BACKYARDS France
BALLOON ASTRONOMY United States
BAROCK PROJECT Italy
NICK BARRETT & CLIVE NOLAN United Kingdom
KEVIN BARTLETT United States
SAULO BATTESINI Brazil
BEING & TIME Japan
BEL AIR Germany
BELIEVE Poland
BELLAPHON Japan
BIG PICTURE United States
BIJOU Spain
BLACK PAGE Japan
BLIND EGO Germany
BLIND OWL United States
BLUE MAMMOTH Brazil
BOLUS Canada
FABRICE BONY France
XAVIER BOSCHER France
BRASSÉ Netherlands
DEC BURKE United Kingdom
TIM BURNESS United Kingdom
CAAMORA United Kingdom
CARPTREE Sweden
ALAN CASE Netherlands
RICH CASEY United States
CASINO United Kingdom
CASTANARC United Kingdom
CATAFALCHI DEL CYBER Italy
CATHEDRAL United States
CATWEAZLE Sweden
MARC CECCOTTI France
CENTAUR RODEO United States
CHANDELIER Germany
CHANETON Argentina
CHEST ROCKWELL United States
CHILDREN OF NOVA United States
CHRIS Netherlands
CINDERELLA SEARCH Japan
CIRKEL Netherlands
CIRRUS BAY United States
CLEPSYDRA Switzerland
CLIFFHANGER Netherlands
COALITION United Kingdom
COLD FAIRYLAND China
COLLAGE Poland
COMBINATION HEAD United Kingdom
COMEDY OF ERRORS United Kingdom
CONTEMPORARY DEAD FINNISH MUSIC ENSEMBLE Finland
COSMIC DANGER United States
COSMOGRAF United Kingdom
COSMOS Switzerland
CRAYON PHASE Germany
CREDO United Kingdom
CRIMSON SKY United Kingdom
CRISÁLIDA Chile
CROMWELL Germany
CRUZ DE HIERRO Mexico
CRYSTAL MAZE Germany
CRYSTAL PALACE Germany
CYAN United Kingdom
THE D PROJECT Canada
DARIUS Germany
DARWIN'S RADIO United Kingdom
DAYS BEFORE TOMORROW United States
DEAD HEROES CLUB Ireland
DEAD LETTER CIRCUS Australia
DEEP THOUGHT Switzerland
DELTA CYPHEI PROJECT Germany
DEYSS Switzerland
DIAL Netherlands
DIFFERENCES Netherlands
DIFFERENT STRINGS Malta
DIRECTION Canada
DISPERSE Poland
DISTANT DREAM United States
DOCKER'S GUILD Italy
TROY DONOCKLEY United Kingdom
DR. NO Spain
DRACMA Spain
DRAMA Uruguay
DREAM ARIA Canada
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