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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



The neo-prog team has also decided on 5 representative albums of neo-prog that encapsulate the essence of the genre. They are as follows:


Marillion-Script for a Jester's Tear
Collage-Moonshine
Satellite-A Street Between Sunrise and Sunset
Sylvan-Posthumous Silence
Frost-Milliontown


Current Neo-Prog Team members
as at 10/07/2016

Roger (Roj)
Keishiro (DamoXt7942)
Cristi
Tony (Hercules)

Neo-Prog Top Albums


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

4.23 | 1926 ratings
MISPLACED CHILDHOOD
Marillion
4.25 | 1062 ratings
THE ROAD OF BONES
IQ
4.22 | 1828 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.14 | 1197 ratings
CLUTCHING AT STRAWS
Marillion
4.16 | 586 ratings
CONTAGION
Arena
4.15 | 430 ratings
POSTHUMOUS SILENCE
Sylvan
4.10 | 828 ratings
FREQUENCY
IQ
4.09 | 993 ratings
MARBLES
Marillion
4.12 | 437 ratings
A TOWER OF SILENCE
Anubis
4.05 | 620 ratings
THE VISITOR
Arena
4.03 | 847 ratings
DARK MATTER
IQ
4.05 | 584 ratings
EVER
IQ
4.08 | 379 ratings
EMPIRES NEVER LAST
Galahad
4.09 | 303 ratings
SEVEN
Magenta
4.04 | 468 ratings
FANFARE & FANTASY
Comedy Of Errors
4.04 | 439 ratings
ALL RIGHTS REMOVED
Airbag
4.00 | 594 ratings
THE SEVENTH HOUSE
IQ
3.97 | 1224 ratings
FUGAZI
Marillion
3.97 | 945 ratings
BRAVE
Marillion
4.03 | 321 ratings
MOONSHINE
Collage

Neo-Prog overlooked and obscure gems albums new


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

SONGS FROM PENNSYLVANIA
Ezra
TIMANFAYA
Healing Road, The
THE ART OF MADNESS
Psychedelic Ensemble, The
ARGOS
Argos

Latest Neo-Prog Music Reviews


 The Daemons Mock Me While I Sleep by MUTINY IN JONESTOWN album cover Studio Album, 2017
3.00 | 1 ratings

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The Daemons Mock Me While I Sleep
Mutiny In Jonestown Neo-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

— First review of this album —
3 stars This album is ' maybe ' 27th studio-recorded album by one of the most proactive artists and simultaneously one of delightful proggers (also in Progarchives!) Dennis MONTGOMERY also known as MUTINY IN JONESTOWN released in 2017, for a tribute to HP Lovecraft. Not known HP at all, but this creation tells me how he is active, aggressive, and acrobatic (!) versatile musician - all instruments are synchronized and matured for our ears. Pretty amazing. And one more, his material is a tad bluesy, cold-hearted, and sombre via the melody line filled with minor keys. Quite surprising, for his fine smile and lovely character. From the first strike 'Dagon' (this track is my pleasure really, also with the last one) he shows colourful sound variations ' the latter phase is clearly for my passion, as if I enjoyed a bottle of red wine with complex, beautiful black-fruit-like flavour created in Yakima Valley. Sadly his voices are not so good though. As a result, this stuff is fantastic for an album on his own. Fine for the audience to enjoy various essence e.g. pop, psychedelic, Neo-symphonic or something. Overall cannot stimulate our shoulder in rapid succession, but I love it, and love him. ;)
 Transition by INFRINGEMENT album cover Studio Album, 2017
3.72 | 9 ratings

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Transition
Infringement Neo-Prog

Review by The Jester

4 stars For those who don't know them, I should inform you that Infringement is a quartet from Oslo, Norway. The band has been active for a couple of years now, and a few months ago, they released their debut album, Transition. The line-up is a typical Rock one, with Bass, Guitars, Drums and Vocals. For the needs of the recordings 6 more musicians were used, in keyboards, sax, percussion and vocals. From these 'extra' musicians the name of Clive Nolan (in keyboards) is the one that 'shines' the most. Their sound is a 'typical' Neo Prog' sound in my opinion, including many mellow moments, mixed with guitar riffs and interesting turns. Also, the presence of keyboards in making their sound richer, and for that reason they should maybe consider having a keyboard player as their 5th member. Their overall style and sound is bringing to my mind bands like Arena, Pendragon and Marillion mostly, but every now and then you can discover influences from other Prog band as well. Transition includes 9 tracks and has a total time of almost 50 minutes. There isn't any real epic included, and the longest track is the almost-10-minutes-long Patina, with Clive Nolan on keyboards. The second longest track is Adolescence, which, further than Clive Nolan on keyboards (again), it also includes some very nice guitar work. The guitar player's performance is very good, and you will find many interesting and enjoyable riffs and solos throughout the album. If this was a vinyl album, I would say that I really like the A-side far more than the B-side; because the first 4-5 songs are all very good ones. This is a good and very promising debut album without a doubt. Especially the fans of Neo Prog will appreciate it. Give it a try! Favourite songs: Conception, Infancy, Childhood, Adolescence, Passage. Since this is their first effort, let's spread the word around, and boost their confidence a little bit. My rating would be 4.0 stars

 Light and Sound by MR. GIL album cover Studio Album, 2011
3.03 | 11 ratings

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Light and Sound
Mr. Gil Neo-Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars For reasons unbeknownst to me, this 2010 release by Mirek Gil passed by unnoticed. The music herein is so gentle, and the running time so short, that it too might escape unappreciated were it not for the striking intimacy of its production and the sense of being privy to a house concert in one's pyjamas. While not entirely in contrast with "I Want to get you back home" from 2012, this recording thrives more on simplicity and dwells more in the folk realm, like an "unplugged" disk, except of hitherto unreleased material. Suffice to say it shares kinship with earlier BELIEVE albums, particularly "Yesterday is a Friend" but is much mellower and only peripherally progressive. Again, Gil has chosen to use his solo format to express passions not fulfilled by BELIEVE.

Gil enlists trusted vocalist Karol Wroblewski as well as several other BELIEVE members in the service of this aesthetically pleasing production. While he plays acoustic guitar almost entirely, as much space is devoted to the delicate piano, cello, and vocal accompaniment. Several instrumentals include fretted instruments that might be oddly tuned guitars or mandolin, and elsewhere a few winds are suggested. The album brings to mind the masterful "Secrets of the Beehive" by DAVID SYLVIAN in timbre and congeniality, but not nearly as transcendent to be sure. I am also reminded of a Canadian folk singer/songwriter from bygone days, STEPHEN FEARING, one of those "most likely to" artists who never quite completed the sentence.

"Easily" offers flutes (synthesized or not it's unclear) and caressing emotive vocals over strummed guitar; "Annah" is given over to piano and sedately whirring cello, with touching vocal harmonies. "King of Gold" was released as the video and would have been an automatic hit for a bigger artist. Here Wroblewski and the piano accompaniments are more emphatic, and the melody is even harder to shake. Later, the title cut seems to invoke a more whispered "Forbidden Colours" by the aforementioned Sylvian.

While I much prefer this to "I want to get you back home", I suspect once again that the average prog listener might be underwhelmed. If, however, the synopsis suits, then by all means shine "Light and Sound" on your spirit. 3.5 stars rounded down.

 Dark Matter by IQ album cover Studio Album, 2004
4.03 | 847 ratings

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Dark Matter
IQ Neo-Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

4 stars IQ's "Dark Matter" is a 2004 release of Neo Prog infamy. There are only 5 tracks but the last is a 24 minute epic with 6 sections in the best traditional sense of finishing an album with a complex multi movement suite. After hearing IQ masterpieces "Ever", "Frequency" and "The Road of Bones" I knew I would return to IQ's back catalogue eventually. The revolving door of keyboardist personnel would occur following this release as it is Martin Orford's final time with the band. So here we go with perhaps the darkest IQ album.

Sacred Sound opens with melancholy atmospheres, with gentle keyboards and the crystal tones of Peter Nicholl's vocals. It builds with a strong rhythm section and moves into some great instrumental passages. Red Dust Shadow is a very tranquil song with some ethereal keyboards and a heartfelt vocal about the loneliness we feel inside and how to cope in this broken state. Again it builds into a rhythmic tempo and the organic sound has some beautiful atmospheres with an emotional resonance.

This segues into a ticking clock to signal the emergence of the next track, You Never Will. This is driven by a Hammond sound and Nicholl's powerhouse vocals "as the shadows fall on All Hallows Eve", and we "spin the tangled web" on those we deceive, and the hope that "you will come but you never will". The themes of emptiness and despair over unrequited love is recurring on the album. This song has a more accessible feel with an infectious melody and is more akin to a ballad.

Born Brilliant transitions fluidly to a darker atmosphere, with choral keys like an angel chorus, and Nicholls has a phased out vocal about nothing turning out the way he planned, including New Years Resolutions. He sings of cataloguing all his failures, and pure intentions are discarded and he feels abandoned, inarticulate and lost. Mike Holmes shines with a lead guitar break that has some soaring string bends and gives the track a melancholy edge.

Harvest of Souls (24:29) is a massive epic opening with i. First Of The Last, acoustically driven with Nicholls emotional delivery. This segues to ii. The Wrong Host, where the tempo gets stronger, then iii. Nocturne, iv. Frame And Form, v. Mortal Procession and finally vi. Ghosts Of Days. Within this epic there are many time sig changes and mood shifts including, marching drums of Paul Cook, so also plays some blast beats in one section. John Jowitt's bass lines are always present powering the music along. The themes of coping and gaining the will to carry on, forging ahead despite the lonely despair one may feel are prevalent in the lyrics. The protagonist has been betrayed and is hoping to restore the relationship but she is gone. The music reflects this emotional framework, with some very dark keyboard swells and walls crashing down.

Overall this is a solid Neo Prog album with a few moments that are innovative and masterfully executed. The darker lyrics do not resonate with me as much as the material on subsequent releases but this is nevertheless a strong album with some excellent musicianship.

 Seven Widows by BELIEVE album cover Studio Album, 2017
4.58 | 24 ratings

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Seven Widows
Believe Neo-Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

5 stars It's been a turbulent 5 years for premier Polish neo prog group BELIEVE. A return to the fold of original vocalist Tomek Rozycki was announced to replace Karol Wr�³blewski, while the precursor group COLLAGE was reformed, though they have yet to issue anything more than a few videos. As events unfolded, Tomek was superseded by Lukasz Ociepa, who sounds like a more tortured version of Rozycki, at times recalling his performances on the band's debut. The first fruit's of the new lineup's efforts are now unveiled in the form of "Seven Widows", an anguished antonym to Rick Wakeman's "Six Wives". As a successor to the very disappointing "The Warmest Sun in Winter", which saw the band lapse into formulaic neo prog and largely eschew the delicate counterpoint of Satomi's violin, this fresh release would be an achievement if it merely retrenched the formulas of prior incarnations. While aspects of COLLAGE, early BELIEVE and even SATELLITE are all in evidence, "Seven Widows" is Mirek Gil's most coherent opus to date.

With the vocals often shrouded, we are asked to experience this work on an emotional level, and it's clear that the suffering and misery to which the protagonists are subject were not initiated at the time of widowhood, but began much earlier. Cultural mores, customs and expectations, rigid arrangements, dashed dreams, altercations, infidelities, and despair all yielding to brutal rituals, stigma, and yes, profound grief and disappointment as the widowed life unfolds. As such, musical moods alternate between cathartic wails from deep within, conveyed by voice and Gil's Gilmour and Fripp influenced leads, and abject despondency, usually imparted by the strings of Satomi. Her inventive spirit is more prominent here than ever before, including several superb keyboard workouts.

All 7 tracks exceed 8 minutes in length, in several movements, affording ample opportunities to convey the wide range of occasionally brutal shifts in disposition. Widow III is my personal favorite, with several false finishes and a miraculous faux-circus interlude by Satomi on synth, before a repeat chorus and a fade out solo by Gil. In V, Lukasz leads off in a gentle tone and cedes to Gil's sole shredding solo like a wayward offspring of guitar and helicopter. IV and VI are both owned by the morose strings that seem to offer the only thread of peace and resolution.

"Seven Widows" manages to merit masterpiece status not by uncovering new musical territories but by expanding the resume of BELIEVE to accommodate instinct over intellect, bridged to the archetype of human suffering in one of its rawest forms. This is an album to return to time and again, in grief and, indeed, in celebration.

 The World Is Flat And Other Alternative Facts by SILHOUETTE album cover Studio Album, 2017
4.22 | 46 ratings

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The World Is Flat And Other Alternative Facts
Silhouette Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars

For me, I will always associate Progress Records with Hansi Cross, who sadly passed away earlier this year. But, although Hansi is no longer with us, the label he left behind continues to release albums of incredible stature and worth. That is definitely the case with Dutch band Silhouette's fifth studio album. 'The World Is Flat and Other Alternative Facts'. Somehow, I missed their last studio album, although I did manage to hear their live album which was released earlier this year. I gave a 4 * review to their third album 'Across The Rubicon' which came out in 2012, and there is no doubt in my mind this is superior.

This has everything I want from a prog album, great melodies, wonderful musicianship, soaring vocals, layered arrangements that can appear almost simple at times, and never forgetting that the music always must come first. They may all have wonderful virtuoso skills, but how does that fit in with what is needed? Brian de Graeve (lead & backing vocals, 12-string guitar), Daniel van der Weijde (electric & acoustic guitars), Erik Laan (keyboards, bass pedals, lead & backing vocals), Jurjen Bergsma (bass, acoustic guitar, backing vocals) and Rob van Nieuwenhuijzen (drums, percussion) have created something that contains elements of Yes and Neal Morse alongside more melodic rock elements, as well as plenty if prog. The vocals are superb, and everything somehow gels together seamlessly. One can't imagine another instrument or note needed anywhere, yet there is nothing superfluous in what they are doing. This is majestic, soaring prog that makes me smile each time I play it. And I have been playing it a great deal indeed.

When discerning progheads compile their top albums of the year list soon, there is no doubt that this will be one to reckon with. From acoustic 12-string to heavily layered arrangements to rock guitar, this has it all and so very much more. I love it. This is simply essential to anyone who dares call themselves a progger.

 The Seventh House by IQ album cover Studio Album, 2000
4.00 | 594 ratings

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The Seventh House
IQ Neo-Prog

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars After the critical success and arguable artistic peak of their 1997 album "Subterranea" which saw the band step it up in many ways in compositional quality, the band IQ took their usual multi-year time off before releasing a new album with the bonus of a rerelease of their demo "Seven Stories Into Eight" finding its way onto the CD format for the new ages. Living up to its numerical title THE SEVENTH HOUSE is indeed the 7th studio album of Mike Holmes' and Martin Orford's successful neo-prog band that was one of the major players of the great prog revival that swept the 90s after the botched attempt to go commercial at the tail end of the 80s with their combo effect and oft-loathed "Nomzamo" and "Are You Sitting Comfortable" debacle. Not only did the band overcome the train wreck with the strong comeback "Ever," but outdid themselves and the entire neo-prog scene with their amazing masterpiece double album "Subterranea." Having enjoyed a stable lineup, THE SEVENTH HOUSE sees a return of the exact same members including the amazing vocal skills of Peter Nicholls.

IQ once again dish out a concept based album where the sound of the musicians are designed to support the lyrical content and while lyrics are rarely the goal of my musical experience, the neo-prog branch of progressive rock certainly demands an intense attention span of lyrical content due to it being the main focus of the musical delivery. THE SEVENTH HOUSE is no exception to this general rule and meanders through a fairly nebulous tale of a person who returns to a location where he was part of some unknown battle that purportedly would make the world a better place and ultimately ended up as the only survival of the group but is redeemed at the end when he meets his guardian angel who helped him survive the ordeal. While it all sounds syrupy soap opera-ish on paper (or screen rather!), somehow IQ can take a Hallmark channel type of tear jerking story and turn it into a musical bonanza that cranks out the subtle and sensual melodic developments that ratchet up the tension that can reach the intensity of crescendoing metal guitar domination.

Upon first listen THE SEVENTH HOUSE is definitely a step down from "Subterranea" in about every way, mostly in the fact that the band seems that they have settled into their respective sound quite comfortably. Also gone is the wow factor of ratcheting up the progressiveness and complexity as well as the creativity. THE SEVENTH HOUSE certainly sounds like IQ has been there, done that before with a strong connection to the "Ever" period as well as the albums that followed. However, neo-prog isn't a type of prog that demands an incessant flow of zowie wowie ideas and gimmicks. What it all boils down for me are strong catchy melodic hooks that are suavely decked out with the appropriate instrumentation all the while fortified with a strong vocal delivery and on all counts, THE SEVENTH HOUSE delivers all the goods in every checked off department. At this stage, the band had perfected their sound and despite running on autopilot, they nevertheless created a satisfying romp through the symphonic and heavy rock universe with some jazzy touches led by Nicholls' stellar ability to connect the listener to the story.

While THE SEVENTH HOUSE won't go down as my all time favorite IQ listening experience, i can only concur that it is a consistent and satisfying one at least and a continuation of the strong albums that they would continue to unleash well into the 21st century. So overall, not a perfect album in that it continues down the path that they laid down however IQ deliver an excellent mix of symphonic mellow rock that includes piano driven segments as well as the more bombastic heavy rock episodes complete with sizzling guitar solos provided by Mike Holmes. THE SEVENTH HOUSE may not win over anyone who hasn't already joined the club but it certainly continues to keep the members who have already been admitted properly satisfied and for a neo-prog band of this calibre, that's good enough for me.

 A Day in the Life of a Universal Wanderer (Special Edition) by GANDALF'S FIST album cover Studio Album, 2017
4.31 | 22 ratings

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A Day in the Life of a Universal Wanderer (Special Edition)
Gandalf's Fist Neo-Prog

Review by CeeJayGee

2 stars I enjoyed the 2013 release of Gandalf's Fist's A Day In The Life Of A Universal Wanderer and I checked back to see how it is rated in its year of release ? it is currently 67th. I was a little surprised to see the Deluxe Edition newly released appear high up in the 2017 album chart. I was expecting a longer / dramatically developed album. The 2013 release has 11 tracks and the 2017 release 15 tracks. The weakest track on the 2013 release, Maze of Corridors has been dispensed with and is replaced by The Stowaway and the Endless Night, a fine addition. Otherwise the extra tracks are short narrative fillers. I rated the original album a four star in its year of release but for me this album should not be riding high in the 2017 chart and I have rated it two stars for that reason alone. However I accept that it is difficult for any annual ratings chart to distinguish re-releases, which this effectively is, from original studio albums (ironically the album currently No 2 in the 2013 chart is the re-release of Camel's The Snowgoose!).
 The Depths of Winter by TIGER MOTH TALES album cover Studio Album, 2017
4.17 | 15 ratings

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The Depths of Winter
Tiger Moth Tales Neo-Prog

Review by javajeff

4 stars Pete Jones is super talented, and everything he touches turns to gold. This is another solid album that will take some time to digest, but the first few listens have placed it in very familiar territory. His voice is perfect, and he takes command on any song with huge impact. As a Multi-instrumentalist, it is hard not to be impressed. The Depths of Winter is a theme that should provoke feelings of this time of the year, and there is an excellent collection of vocals and instrumentation to keep any music fan interested. With 3 tracks over ten minutes and 3 more with some nice length, The Depths of Winter has some progressive roots as well. Cocoon is such a stellar album, Story Tellers - Part One is a ton of fun, and The Depths of Winter fits in perfectly to the Tiger Moth Tales catalog. Notable tracks are Hygge, Winter Maker, and The Ballad of Longshanks John. This is another high quality release.
 Candlelight and Empire by LOOKING-GLASS LANTERN album cover Studio Album, 2017
4.40 | 11 ratings

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Candlelight and Empire
Looking-Glass Lantern Neo-Prog

Review by Second Endeavour

5 stars Following up two prior, quite ambitious albums ('A Tapestry Of Tales' - 2013 & 'The Hound Of The Baskervilles' - 2014), LOOKING GLASS LANTERN return with a new offering 'Candlelight and Empire' which is another testament of classic progressive rock in a modern execution. To put my review into the right context, I wanna say that some closest musical cognates for LGL are such pillars of the genre as Genesis, Alan Parsons Project and Barclay James Harvest. There're many other reasons to be enthralled. This 'one person group' always offers their listeners lots of Sympho-tinged splendour, and the brand new CD is no exception. Four years back now, Graham Dunnington created the solo project to accomplish his own goals. Having the ability to play in a variety of different roles as the keyboardist, guitarist, drummer and bassist, Graham gives LGL a special depth - which majority of contemporary bands often lack. Sure, mister Dunnington is an incredibly gifted instrumentalist. He also possesses a heartfelt and recognizable voice, another trademark that helps to provide Looking Glass Lantern an extra stamp of quality. Well-written, composed, arranged, fully performed and produced by Graham Dunnington, CD 'Candlelight and Empire' is saturated with authentic progressive rock sound featuring the elegant compositions, melodical gusto, majestic soundscapes, divine keyboard textures, synth signatures, the polished guitar performance and dense rhythmic backbone. Certainly, the ethereal mode still prevails in material, yet this time around - together with a gorgeous suite 'An Evening Soirée' (30+ min. long) which stands out. There's a lot of detail and nuances to the songs that should reward repeat listens. Alongside the great music, you can hear the relevant lyrics with a special scenario. It's quite obvious, Graham Dunnington remains loyal to his source of historical inspiration, that seems really interesing. The new LGL record presents (once again) the storyline to contemplate a late XIX century's time to-the-point. Creating a slightly mysterious atmosphere of Victorian England is the important factor here. As far as the concept is concerned, descriptive lyrics are telling about one day in the life of typical middle-class family. There's a genuine feel of theatrics, a life-mirroring with emotional experiences. Involved songs are strived to maintain the general thread that should connect all pieces of this 'conceptual work'. The album grabs you from the initial theme 'The Maid', setting the scene. Overture-like chapter develops into a magnificent track 'The Girl Nobody Knows', which brings dazzling splashes of colour. The subtlety in build-up and plethora of hypnotising components are demonstrated on 'The Cook'. Afterwards, superlative 'The Governess and the Children' follows. (The utilized complementary instruments are Mellotron and accordion). It moves to the next song 'The Angel of the Home', drawing from the melodic and tying to the gentle piano. Supremely memorable piece with Hammond organ, 'The Husband' is much affected by classic Genesis style. Expanding the musical spectrum, the multi-layered epic 'An Evening Soirée' has embraced six parts ( 'A Shrine to Consumption', 'The March of Progress', 'A Civilised Nation', 'The Benefits of Empire', 'In Honour of St Cecilia', 'An Englishman's Home is his Empire', respectively). Being essential for the full story, 'The Maid' (reprise) sounds like a farewell to personages. Ultimately, when the last track finishes, you feel like you've listened to something wonderful, in the traditions of old-school progressive rock. In short, this release is delightful and if you have now a grave interest in Looking Glass Lantern, then you need to get it... RECOMMENDED!
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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
THE ARC LIGHT SESSIONS Canada
ARCADELT Italy
ARCANSIEL Italy
ARCHANGEL Italy
ARENA United Kingdom
ARENAL Chile
ARGOS Germany
FINN ARILD Norway
ARK United Kingdom
ARKUS Netherlands
ARLEKIN Ukraine
ARLON Poland
ARRAKEEN France
ARVE Germany
ASGARD Italy
ASSAL Poland
ASTRALIS Chile
ASTURIAS Japan
ATEMPO Argentina
ATRIA France
ATRIUM Portugal
AUDITE Germany
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
STEWART BELL United Kingdom
BELLAPHON Japan
BEYOND THE BLUE Germany
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
BRAIN CONNECT Poland
BRASSÉ Netherlands
BREEZE Germany
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
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