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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

4.24 | 2052 ratings
MISPLACED CHILDHOOD
Marillion
4.25 | 1161 ratings
THE ROAD OF BONES
IQ
4.23 | 1932 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.16 | 1273 ratings
CLUTCHING AT STRAWS
Marillion
4.14 | 629 ratings
CONTAGION
Arena
4.15 | 464 ratings
POSTHUMOUS SILENCE
Sylvan
4.10 | 875 ratings
FREQUENCY
IQ
4.09 | 1044 ratings
MARBLES
Marillion
4.12 | 462 ratings
A TOWER OF SILENCE
Anubis
4.10 | 408 ratings
EMPIRES NEVER LAST
Galahad
4.04 | 889 ratings
DARK MATTER
IQ
4.05 | 631 ratings
EVER
IQ
4.04 | 664 ratings
THE VISITOR
Arena
4.05 | 489 ratings
FANFARE & FANTASY
Comedy Of Errors
4.08 | 320 ratings
SEVEN
Magenta
4.03 | 473 ratings
ALL RIGHTS REMOVED
Airbag
4.01 | 636 ratings
THE SEVENTH HOUSE
IQ
4.00 | 619 ratings
THE MASQUERADE OVERTURE
Pendragon
3.97 | 1289 ratings
FUGAZI
Marillion
3.98 | 1005 ratings
BRAVE
Marillion

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
THE SPARROW
Metaphor
CROWN OF CREATION
Emerald

Latest Neo-Prog Music Reviews


 Kowtow by PENDRAGON album cover Studio Album, 1988
2.53 | 223 ratings

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Kowtow
Pendragon Neo-Prog

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

1 stars While PENDRAGON's debut album may have landed without crashing, it didn't exactly land on two feet as it was a mix of AOR dross cross-pollinated with high class Marillion inspired 80s neo-prog. The sophomore effort which came out three years later in 1988 found the band completely wiping out altogether. Despite the band starting to gain some momentum with the neo-prog sounds that would emerge in the 90s on the debut, on KOWTOW the band made a complete retrograde and in the process dumped its weakest albums of its career much less the neo-prog universe in general. This was the first album to see the debut of keyboardist Clive Nolan who had only worked with a band called The Cast at this point and while Nolan has been one of the bigwigs in the world of symphonic prog ever since, on this debut one could hardly guess that fact in any way, shape or form.

Not only did Nolan replace keyboardist Rik Carter but Nigel Harris was also replaced by percussionist Fudge Smith who would also stick around for the next eighteen years up until 2006. Pretty much considered PENDRAGON's absolute worst effort, KOWTOW went off the rails and created the ultimately bad AOR infused album with only a few progressive moments. While everyone knows neo- prog is in the pop oriented sector of the prog supermarket, KOWTOW takes things to the ultimate extreme and dishes out a bunch of sappy overweening tracks that fail to take into account that good AOR music requires two vital elements. Number one: catchy well crafted pop hooks which are woefully missing from every track included here and number two: a competent vocalist that can focus the attention on the lyrical content. Neither are present here and while Nick Barrett would improve his vocal talents, here he falls woefully flat.

While the album is primarily a batch of irritating crappy pop tracks that are rich in tinny keyboard sounds and lifeless drum programming, the album's saving grace is the decent but yet unremarkable "The Haunting" which hints at the more sophisticated epic themes that would emerge on the next album "The World." There are also the occasional jazzy touches (by session musicians) with on "I Walk The Rope" and "2 AM" that unfortunately remind me more of Kenny G than Miles Davis. Barrett's vocals have a very strange quality of sounding like a mix between a less talented Geddy Lee mixed with the Clash's Joe Strummer at times and at other times hint at achieving some sort of deliverable goods but doesn't quite cut the mustard leaving behind an unfulfilled promise where all the proper fluffing was delivered but no climactic resolution.

There are only so many ways to express how bad an album is. While i can understand why neo-proggers would want to craft some commercial success after once great legendary prog bands like Yes and Genesis were tearing up the pop charts and supergroups like Asia were raking in the bucks off their popification of prog, someone forgot to explain to PENDRAGON at this point that the songs would have to be irresistibly infectious and in the case of KOWTOW it is exactly the opposite. This is a difficult listen and i'm a very tolerant music lover to be fair. While i try to find any redeeming value in any given album i experience, KOWTOW is truly one of those absolute worst of the worst and a true burden to sit through for this review. Soulless and as plastic as Barbie's bosom, KOWTOW is as bottom of the barrel as any album with the prog tag could possibly sink. To be avoided at all cost and a useful torture device for your enemies. Their heads will explode like the aliens on the movie "Mars Attacks!"

 Cyclothymia by NUMEN album cover Studio Album, 2019
3.91 | 31 ratings

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Cyclothymia
Numen Neo-Prog

Review by Peter Angus

5 stars Another Spanish prog rock band discovered no longe ago. It's surprising in my opinion that a current band practices a kind of a style, perhaps, more appropriate in other times. Undoubtedly they have a good taste and really good references, because you can notice them in every bend of their last opus. The album entitled Cyclothymia traps my soul and provokes emotional responses that I had forgotten a long time ago. The whole album is skilled and well composed. The force of its message is intense and moving. The suite Cyclothymia is a sample of it that overwhelms me during almost 15 minutes. All the musical elements live together and create a colorful fabric. This band usually offer quite a honest songs and that's how I feel whenever I can listen to then. 4.5 stars
 The View From Olympus by GREAT WIDE NOTHING album cover Studio Album, 2019
3.66 | 7 ratings

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The View From Olympus
Great Wide Nothing Neo-Prog

Review by Second Endeavour

5 stars Every once in a while, I am really amazing by how mature the debut release from newcomer can be. For this time around, we have a superb team GREAT WIDE NOTHING whose visiting card 'The View From Olympus' saw the daylight in early April 2019. So let's open the doorway and get sheer musical luxury... The Atlanta-based ensemble consists of mastermind Daniel Graham (lead vocals, Rickenbacker bass, electric and acoustic guitars), Dylan Porper (Moog, Korg M-3, Roland D-50) and Jeff Matthews (drums / percussion). They take the source of inspiration from the Glorious Past to make it into contemporary mould that recalls the best of classic symphonic rock alongside melodious neoprog. Whilst the fundamental influences are pronounced, they don't prevent GWN from expressing themselves. And I think, ardent lovers of multifaceted subject matter will find a lot to enjoy on the first CD from talented group standing head and shoulders above the ordinary crowd. The exposition opens with a three-piece track 'Lethal Neon' ('A Sinister Glow', 'No Answers' and 'The Spider's Web') to paint a refined picture that shimmers with sundry colors of ELP, Iluvatar, Marillion and Yes. Then append a Vangelis smear and you get clear idea. Modified for the palette of Great Wide Nothing, the outro of this composition unexpectedly resembles Pink Floyd (without being derivative). Each segment sounds intimately familiar and yet unique. The atmosphere is larded with stunning keyboards, prominent synths, elegant piano inserts, flawless guitar playing, ably delivered rhythmic backdrop and haunting vocals. The high-pitched voice of Daniel Graham sounds like a cross between Fish and Glenn McLaughlin. Worthy of note is a very effective use of rich melodic textures and constantly changing tempos. The next example of the band's ability to start in one place and ending up in another is 'Monument' which holds two sections: 'Hostages' and 'The Full Six Under'. It's leaning on pomposity combined with sentimentality. Comparisons to Manfred Mann's Earth Band and old Pallas can be valid here. The peculiar ending suddenly switches to a build of power that I might describe as the lost fragment from the 70's Deep Purple record (just think of John Lord / Ian Paice / Roger Glover combination in their heyday). What's round the bend? Producing a huge contrast with the rich instrumentation of two predecessors, short 'Evening' (02:47) possesses only acoustic guitar paired with the pensive singing. Arguably though, this type of 'non-prog' song operates well to serve like a resting point. The whole album culminates in the 17 minute plus 'The View From Olympus', a gorgeous epic with four sections - respectively: 'Prelude', 'Midnight Sun', 'The Gift of Time', 'Out of the Flood'. And again, plenty of amazing ingredients have been utilized in a very special, exciting, manner. The band follows in the footsteps of highly acclaimed progressive rock artists such as Genesis, Saga, Rush, Kansas, Iluvatar, IQ, Marillion. But oddly enough, towards the final, one can hear a distant echo of Sir Paul McCartney (if you know 'Wunderlast', of course). In a nutshell, this opus is a remarkable completion for the band's presentation. Indeed: when structured wisely, progressive rock music can be a very, very effective medium. Bravo guys!

. I do advise anybody to check it out.

 Dwarves & Penguins by CREA album cover Studio Album, 2019
3.92 | 4 ratings

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Dwarves & Penguins
Crea Neo-Prog

Review by Second Endeavour

4 stars CREA is a four-piece act hailed from Linkoping, Sweden. The line-up includes: Peter Gren (guitars, E-bow & lead singing), Nicke Bjerke (bass), Sonny Johansson (drums / percussion), Anders Karlsson (keyboards & b/ vocals). In early 2019 these collaborators present a debut CD 'Dwarves & Penguins' to demonstrate their own assimilation of various musical strains and show song-writing skills. Now I am just going to describe as many as I can. The set begins with adventurous track 'The Marsch Of Penguins' full of instrumental meanderings. In some respects, this spectacular jam is reminiscent of Gamalon (to my ears, at least). After such an attention- grabbing opener, the things switch into mellow 'Some Of Us' featuring characteristic neoprog atmosphere. Whilst the vocal delivery might be comparable with Martin Wilson (Grey Lady Down), the guitar passages share a kinship with elegance of Steve Rothery (Marillion). Besides, the keyboard courtesy, convincing bass and precise drums are prominent in the mix. (Noteworthy is a fact that this song was dedicated to late Hansi Cross, a respectful person on the Scandinavian prog-rock scene. His label became a launch pad for his own music, as well as for many other groups, including: Grand Stand, Brother Ape, Magic Pie, Adventure, Soniq Circus, Violent Silence, and the ilk). Oddly enough, the next cut 'Shattered Vision' has a musical structure evoking memories of the British new wave. The similarities to Duran Duran and OMD are detectable, but the common approach isn't a real carbon copy. The follower 'Second Thoughts' hangs close to Simple Minds territory. The diversity fest continues with 'Millenium' which segues into a ballad-like palette. Next up, stunning 'The Marsch Of The Dwarves' that displays the band's orchestral wealth. The gorgeous chapter 'Walk Into Bright Lights' sounds like it would be a lost GLD jewel. It perfectly combines the powerful aspects and the fragile elements. The entire album reaches its ending with 'Barbarossa', fluctuating from hypnotic echoes of Ontofield to soft melodicism a'la Tears For Fears. This composition twins and turns, staying intriguing all the way through. Yet again (as always before), delectable guitar performance is heard at the right places. To sum, I'd say that 'Dwarves & Penguins' is a good debut CD with plenty of interesting moments. Once you unpack and then actively listen for each component woven into the fabric of this offer, additional details appear and overall appreciation grows. So folks' Just take some time to discover another Swedish newcomer and appreciate their debut release. It may not be the most innovating work. But who cares, indeed?
 Foreign Land by FAR MEADOW, THE album cover Studio Album, 2019
4.22 | 52 ratings

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Foreign Land
The Far Meadow Neo-Prog

Review by Warthur
Prog Reviewer

4 stars The Far Meadow's Foreign Land offers a style of sunny, optimistic neo-prog which puts me in mind of the best work by the likes of Jadis or Magenta - but with the complexity level dialled up just a tad, taking the music to the periphery of symphonic territory. Marguerita Alexandrou's vocals are a major asset, offering a welcome combination of technical chops and a characterful approach, and the compositions are well judged such that vocals and instrumentals support one another rather than getting in each others' way. With a running time of 50 minutes, nobody should feel shortchanged but equally the band don't outlast their welcome either, with a running order which is largely all-killer, no-filler.
 Albion by ALBION album cover Studio Album, 1995
3.72 | 48 ratings

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Albion
Albion Neo-Prog

Review by Tarcisio Moura
Prog Reviewer

4 stars Although listed on PA as their second album, Albion (1995) is really their first "real" one: Survival Games (1994) is more a collection of demos, hence the almost identical track list, albeit in different running order. I had this record for a long time and I must confess that I did not give it the proper time to listen more carefully at the time. Well, this is no Wabiac Cienie nor Broken Hopes, and the fact that I never liked the opener Scarecrow did not help matters. Which is really a pity, for the band showed that they were very good and unique from the very start. Ok, the first three tracks of the CD are not particularly convincing for anyone who is familiar with their latter output: nice stuff, good melodies for sure, but not quite outstanding. However, by then things go uphill and the second half reveals that this polish band was already working their songwriting skills, arrangements and performances to another level entirely.

Songs like Sarajevo, Jeszcze śmierć chowam w kieszeń and Golgotha show that Albion had their personal sound well developed, specially on the hands of guitarist Jerzy Antczak, who is clearly the star here, along with Anna Batko emotional vocal deliverance. The keyboards parts of Krzysztof Malec are not as greatly explored as he later would, but they are just as elegant and tasteful. the rhythm section is tight and the production is quite good for the time. It´s interesting to realise they would take a whole decade to come up with a follow up, but , as it happened, it would be worth the wait.

I am really happy that I gave this CD a second chance after all these years. It is far better than I initially thought and I´m glad to know that this band was special from the get go. And Jerzy Antczak is one of the most underrated guitarists of prog: his fluid, powerful and beautiful licks and solos are a joy to hear: personal and creative but clearly coming from the school of masters like Gilmour, Akkermann and Latimer. If you like that kind of sound you should check this record. A nice find!

Rating: something between 3,5 and four stars. Maybe not up to the next two follow ups but nearly as good.

 Contagious by ARENA album cover Singles/EPs/Fan Club/Promo, 2003
2.88 | 51 ratings

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Contagious
Arena Neo-Prog

Review by thwok

3 stars I listen to a lot of EPs. I think they're a good way to get a general introduction to an unfamiliar band. I had read a lot about Arena, and knew that they're often compared to Marillion with more metal influences. I hear the similarities mostly in John Mitchell's guitar playing and Rob Sowden's singing. That was enough to pique my interest, so I checked out this CONTAGIOUS EP along with the related CONTAGIUM EP. Both EPs contain songs that didn't quite fit on the full CONTAGION album.

The best songs on CONTAGIOUS are "I Spy" and "The Hour Glass". I find the remaining material a little repetitive. "Witch Hunt" is a terrific song, but the original version is far better than this unnecessary remix. I realize that testing out an unfamiliar band would not be the rating standard for many of this sight's visitors, who may listen to more neo-prog than me. This EP does give a general impression of what Arena is about, but CONTAGIUM and the original CONTAGION album are stronger. Definitely explore them first.

 Cyclothymia by NUMEN album cover Studio Album, 2019
3.91 | 31 ratings

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Cyclothymia
Numen Neo-Prog

Review by Bernardo de Toledo

5 stars It's been a long time since I've heard this Spanish band from Alicante, a city next to the Mediterranean Sea. At that time they called my attention due to the treatment of their musical ideas. After several years, I've come across them again. After listening to their first two albums, I must say that Numen, in my opinion, was a very promising band in a mainly marillionesque style. But why this? Mainly because they focus on melodic and thematic ideas above other considerations. It seems obvious that each song of theirs is an picture painted with delicate brush strokes. The set of each drawing creates a whole in a holistic way that is itself unique and personal. They do not need more or less. In other words, the music of Numen seems to be thought from head to toe. Focusing on this latest work called Cyclothymia (wow, the title is an invitation to get involved in an emotional journey), the details are there, some in sight and others waiting to be discovered. Cyclothymia is an album that will require several listenings and, surely, will never cease to surprise us with some hidden details. Without going any further, the drums accomplish its function in the service of the songs; at no time it is imposed to show unnecessary filigrees. However, their arrangements are refined and colorful, just like Ian Mosley does in Marillion (nobody at this point will doubt the quality of this drummer). The bass performs a work that fits into each of the needs of the tracks and the most appropriate groove. Its color is thick and beautiful; it is in its place supporting all the superior musical framework. Many of its lines create a well thought counterpoint with the melodies created by the voices. The guitar and keyboards display a palette of colors that remind me of other bands like Camel, Pink Floyd or Arena. The range of frequencies they occupy, along with the voices, is very delicate and can easily become saturated; in general, this does not happen, what makes the different parts of the songs has enough room for the silence. Finally, the voice culminates the proposal that we find in this album: six very lyrical tracks of an obvious emotional charge. Making melodic music seems like an easy task, but it is not at all. There is nothing more difficult than doing something simple and honest that reaches the heart for its beauty, and Numen achieves it. Simply for this, you can forgive any fault (all of them are small, by the way) that may be in the production of the album, but, particularly for me, they do not displease me.
 The Jewel by PENDRAGON album cover Studio Album, 1985
3.28 | 291 ratings

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The Jewel
Pendragon Neo-Prog

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

3 stars Amongst the bands that kept progressive rock on life support in the 80s, only Marillion gained superstardom and achieved arena live setting status but there were quite a few other bands that came and went without much fanfare. Included on a different list is the band PENDRAGON who came but never went away and in the process found relative success in the 80s neo-prog boom along with other bands such as Pallas, Solstice and Twelfth Night. The band actually was formed all the way back in 1978 by vocalist and guitarist Nick Barrett but soon joined by bassist Peter Gee. The two have been the only constant members since the band's inception when it was called Zeus Pendragon. The Zeus part was quickly dropped.

The band went through several lineup changes and released a few EPs before crafting the debut album THE JEWEL which is the only album not to feature long time keyboardist Clive Nolan. At this early stage that task was performed by Rik Carter who was actually the second keyboardist after John Barnfield. The band was completed with drummer Nigel Harris who himself would soon be replaced after this album. While many neo-prog artists in the mid-80s were starting to differentiate, PENDRAGON followed the playbook of imitating Fish-era Marillion, the symphonic prog of 70s Genesis as well as the space rock of 70s Pink Floyd although like many contemporaries traded in the Moogs and mellotrons for digital 80s synthesizers that gave many of these bands a clear connection to the era.

THE JEWEL is the typical neo-prog album of the 80s that implemented the dramatic emotional lyrical outpouring with heavy keyboard-laden arrangements that ran the gamut from the cheesy AOR pop opener 'Higher Circles' to the more fully gestated multi-suite prog gem 'Alaska.' Despite a fairly consistent set of tracks that display the bands talents and showcase a somewhat gentler approach than the bombastic theatrical nature of Marillion, THE JEWEL unfortunately suffers from an extra weak production and if you ask me, nothing sounds worse than the one two punch of cheesy synth sounds of the 80s with a lackluster production job, however not all is lost as the compositions keep an even keel pace that allows the emotional connection to remain despite the flaws on board.

While not exactly excelling as they would with their 90s works, PENDRAGON became one of the more active bands which led them into the next chapter of the progressive rock revival that began in the 90s and in many ways the most familiar neo-prog sounds of that era resemble what PENDRAGON was doing at this moment rather than the idiosyncratic style of Marillion. While a pleasant experience of early neo-prog, i wouldn't call THE JEWEL an absolutely essential piece of its history at least for a top dog in the quality department. While historically important for its role in defining the sub-genre as it evolved, THE JEWEL basically comes off as a typical example of 80s synth-laden progressive rock with a firm connection to the AOR melodic rock scene that was all the rage at the time.

Nothing is particularly bad here. Barrett's vocals are in top form. The melodic guitar solos the same and the compositions are well done as well however neo-prog is a style of music that requires a decent production job and in the case of THE JEWEL even the 2005 remastered versions can't quite make it sound complete, however definitely not a bad beginning and one that should be explored if you have any interest in PENDRAGON's early origins that allowed them to garner enough clout to continue on as one of neo-prog's most successful artists. The album was originally recorded at Soundmill Studios and Cloud Nine Studios in 1984-85 and then remastered at Thin Ice Studios in 2005 but in this case everyone failed in that department. So a crown JEWEL? Not really but one that was dug up and needs a little TLC to make it shine.

 Solipsystemology by T album cover Studio Album, 2019
4.27 | 60 ratings

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Solipsystemology
T Neo-Prog

Review by kev rowland
Special Collaborator Crossover Team

5 stars So, Thomas Thielen is back with his seventh solo album, and as usual wrote, played and sang everything, just handing the mastering over to Ian Shepherd. When I heard that T had signed to GEP I was impressed, and pleased for both sides, as he is a perfect edition to their small but incredibly important collection of artists. According to Thomas this is the third layer of a holograph that started with 'Fragmentropy' and 'Epistrophobia' and given my differing views on those two albums I did wonder what this was going to be like. I just didn't 'get' his fifth release, and only awarded it 3/5, which was the lowest I had ever awarded one of his releases (and I am only missing the debut from my collection). But the last album was given the highest score ever, so what would happen with this one?

I knew it was going to be interesting when Thomas and I were talking one night, and he said 'Take your time. This is difficult to get into'. Now, 'difficult' is my middle name (and if you don't believe me ask my wife), so instead of scaring me it just made me even more intrigued. I have noticed already that this appears to be a Marmite album, in that people either love it or hate it, and I know which camp I am firmly in, as I love it. Names such as Geoff Mann, David Bowie, Roy Harper, Steven Wilson, Todd Rundgren, IQ, Twelfth Night and early Pendragon all come to mind, often just for a few bars here and there and sometimes all mixed up together. This is a draining album to play as it demands to be listened to from start to finish, and there is just so much going on that the intensity is almost overwhelming. One must allow the album to take control: let the music take you where it wishes and follow willingly. If you fight it, then you won't either understand or enjoy it, go with the flow as opposed to fighting against the current.

Complex, complicated, simple, acoustic, rocky, truly progressive, manic, all this and so much more. It is hard to describe just how this album makes me feel, and I am sure that at the end of the year when I am pestered by various people this will be firmly inside my Top Ten. He even put a band together to tour the album, and that must have been a wonderful sight to see and hear. New Zealand next maybe? This needs to be in everyone's playlist.

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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
THE ANCESTRY PROGRAM Germany
ANDROID Hungary
ANEMA Italy
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
CLOUDS CAN Germany
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
CREA Sweden
CREDO United Kingdom
CRIMSON SKY United Kingdom
CRISÁLIDA Chile
CROCODILE United States
CROMWELL Germany
CRUZ DE HIERRO Mexico
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