NEO-PROG

— First review of this album —

Let me be the first to review this cd. I can't remain objective when I review an album from The Watch simply because when I hear them, they tickle hidden memories from my youth. I grownt with the music of Genesis since "Nursery Crime" era, The Watch play that way but not simply cloning that kind of music. For me The Watch reached the top with the Vacuum album, this one is almost at the same level.There's nothing new here but I can't get tired to listen the album again and again. I can only mention track 6, the shorter, with the contribution of John Hackett on flute that makes the song like "I talk to the wind" meets the Genesis. Bought this cd two days ago at a concert from the Watch, listened a dozen of times, everytime is like the first time. Recommended for all Genesis Gabriel era fans who feel young in their hearts.

I always have difficulties when speaking about Pendragon music. Possibly, they are just oriented to too different listener than me. But whenever I just trying to listen them time to time, I have my impressions on some their works as well.

First of all, this album surprised me being so bulky - there are few better melodic songs, with not-so-bad musicianship, and some songs which sound just terrible for me. I believe, that neo-prog is wrong place for searching on master musicianship or brave experimentalism. But even between these Genesis-influenced soft-pop-rock bands there are some professional ones. This Pendragon's album sounds for me as badly organized collection of some slow folk-influenced songs with half-spoken voice, few strange compositions with dated electronics on them and few more average typical Pendragon songs (Marillion songs shadows).

I am not regular neo-prog listener, possibly it is a reason, why I was almost shocked by level of musicianship on this album. Simple, almost pop-songs, worst then average arrangements. I don't want to speak about vocals -everyone who heard Pendragon music knows, that this is their weakest point. So - few standard mid-tempo melodic songs - is it enough for average prog album?

Sorry, I know that the band has many fans, so possible my point of view will sound not pleasant to some of them. I just tried to say what I felt when listened this album - with some arguments why I felt like that.

I believe band fans aren't too much interested in my review whenever it is point of view from outside world. But for not neo-prog maniacs I couldn't recommend this album at all, there are better works for sure.

— First review of this album —

When I saw this new new CD by former Collage and Satellite guitarrist legend Mirek Gil I was not sure if I should get it. After all his solo output was not really what we should expect from someone responsible for defining the sounds of two of the best polish bands ever. Mr Gil´s debut was nice but a little too bland. His other band Believe had its moments, but recently released the disapponting This Bread Is Mine, so I was not expecting much. However, when I noticed that all the titles in Skellig were in polish I immediatly sensed a kind of ´back to roots´ feeling on it. And, fortunatly, I was right. This new CD brings Mirek Gil doing what he does best, great prog guitar stuff.

So what does it sound like? Think of early Collage with a much better production and without the keyboards. Instead Gil makes a complete CD using only guitars as solo and harmonic instruments (usually the acoustic guitar as the basic guide and the electric guitar for soloing and harmonies). For the rhythm section he is accompanied by his old colleagues of original Collage and Satellite times: leader, songwriter and founder member Wojtek Szadkowski on drums and Przemas Zawadzki on bass. For the vocals he called Believe´s newest recruit Karol Wroblewski. You may feel (like me) that some keyboards lines could add a little color here and there. But, really, this a guitar genius solo album and he proves his point very well here. You won´t miss anything.

All songs are of very good quality, if not too varied. Wroblewski´s vocals are just great and he is sounding much better here than on This Bread Is Mine. He truly deserved another chance with a more progressive work and he is the best singer ever to appear on one of Gil´s projects thus far.

Forget all the grunge/alternative/pop experiments Mirek Gil was doing on his various solo projects before. This is the truly prog guitar album we all waited to hear for so long. His guitar is all over the place and full with his melodic, tasteful, trademark solos and licks. But there is room for others to do their part very well. Everything works here and there are no fillers.

If you like a good guitar driven prog album in the vein of Steve Hackett´s best stuff you should not miss this one.

Fans of Collage, Satellite and melodic prog in general, rejoyce!

I already said it in previous review (2003 album), I in general like Neo-Prog music. But except first track, there is almost nothing interesting, even below quality of "Homeland". This is the end, my only friend the end. Bunch of sounds added together in something. Just reading/watching Lord of the Rings films, so I was pleased by presence of song "Moria", but it also didn't do what it should - any kind of entertainment / cultural / intelligence / interesting impact. However, this song is probably the best what's here (except first one and even it has interesting just few seconds - this riff that's there, even it's soon boring again).

2(+), no no and simply no.

I rarely agree with previous reviewer/reviewers completely, but this time, I agree almost completely with tszirmay. However, I even I agree with facts, I don't like it this way. Moods, yeah, they're here, atmosphere too, unfortunately not working for me. Even I've tried to enjoy it more, but still, it seems like average record to me. Which makes me somehow sad, as Neo-Prog is of these genres that are almost always direct hit in my liking. And as few times before, also now this 13 minutes epic passed by, almost unnoticed, not giving much, while not being burden, not doing any harm. Aw, I hate this. This band seems nice, interesting, but this album has no appeal for me, nothing extremely interesting, it's just average. And so

3(-) for something that is, nothing more..

— First review of this album —

A few years ago Rory Ridley-Duff started posting in several prog and music forums about his band Protos re-releasing its 1982 album One Day A New Horizon. Later came the announcement that a new album will be released called The Noble Pauper''s Grave. As I''ve only heard a few samples from their previous album, One Day A New Horizon and liked the little I heard, I was intrigued to hear this new release. I am not sure how this compares to that album but I hope that the previous album is better than this one.

This album (like several other prog bands) takes its sound from both the old and new. There are vintage sounding keyboards along with more powerful, modern sounding guitars (and overall production), making it a hybrid of past and present. This is instrumental, with several narrative parts giving a background to the idea behind the music and all of it is a part of the bigger concept this album deals with. Here is what the press release says about the album: "The Noble Pauper''s Grave (released 18th October 2007) tells the story of a man born to privilege who rejects his upbringing. Drawn to the plight of the poor, he helps to organise and rally support for their cause whilst finding love amongst them. A tale of humility, tragedy, courage and affection conveyed through ambient narratives and rock music"

The first track is dynamic and exciting, but then I find it weakens somewhat to duller, less inspired (or rather less inspiring to me) tracks. It has this slow, ponderous and even romantic feel in some of the tracks, but I''m not taken away by those and they mostly pass me by. Even a track like "Rally", an 11 minute long composition which is more energetic than the previous ones, just strikes me a superficial, trying to make impression with bombastic arrangements than actual melody writing and composition. It has a nice shell to it, but there''s no content. It sounds like a superficial and bland rendering of Mike Oldfield and ELP at times (especially the musical chorus). The keyboard solo part is lost on me, but the guitar does manage to bring this track back to life while it plays and then it all recedes back to the quite boring and pompous aspect of the track (again to me, I am sure others will like, especially after reading glaring reviews of the album).

While it is a well done and melodic album, one that is nice to listen to, there are no hooks or any special memorable pieces or parts to it that make me think about it afterward and say "ah, yes that was a memorable experience, one that I want to come back to later". Plus, there are too many places in the album I just lose interest. It''s not a bad experience; but it isn''t one that particularly strikes me as being special or worthy of any special attention in the plethora of progressive rock albums coming out in these times. However, I think that many listeners will find many good qualities in this album to make it worth their time, so the above mentioned criticism is obviously my own view and should not deter any symphonic prog fans and any sophisticated, mostly instrumental rock listeners. It is a melodic, mostly melancholic and beautiful record. Only that to me, as one who loves all styles of music, I find nothing too special and I will not give this future listens probably (maybe one or two more times at most). I am not in the business of trashing musicians efforts and composition, so I don''t want to give the impression this is bad music; quite the contrary. It is well written and executed. This is a matter of taste, and this doesn''t appeal to me that much. There isn''t much in terms of excitement in the music, no ear candy, no musical click. As I like this sort of prog rock among the many other styles I like, I prefer to give my attention to other records which I find to be much better, more attractive and more exciting.

I honestly can''t recommend this to others, but to make up your own mind about it, you can listen to samples on the band's myspace and website and you can read more views there as well.

— First review of this album —

Kinetic Element was originally formed to perform keyboardist and vocalist Mike Visaggio's music form his solo album Starship Universe, released in 2006. Things, however, took a turn and they liked the idea of playing together as a band and along with playing covers of classic rock and prog-rock songs, they have been playing their own original material. Some of it already released as a promo ep, The Powered By Light Suite in 2008. In 2009, the band self-released Powered By Light

In 2008 I got to hear Kinetic Element's demo ep, The Powered By Light Suite, and though production-wise, there was a lot left to be desired, the music on it was enough to make me anticipate their future release. It came in the form of Powered By Light, self-released in 2009. As was the case for the ep, here too ELP serves as a major point of reference, as are Yes, Genesis and Procol Harum to a smaller extent. The tunes are very accessible and melodic. All the songs are written and composed by Mike Visaggio except for one, the instrumental Meditation, composed by guitarist Todd Russell.

There is a sense of hope prevailing in the songs, which I feel in both the tone of the music itself and is also evident from the lyrics. They speak of trying to overcome obstacles, believing in oneself and not fearing them. I for one am not thrilled with these type of lyrics, but then again, they are not that much "in the way" of enjoying the music for me. I do appreciate the way Mike Visaggio sings them and adapts them to the rhythm (take for instance The Ascent). However, at times I wish a more rasp and crude voice would take the lead or join in to add another element to the sound. Mike also serves us some beautiful and hooking keyboards work. The keyboards are at the forefront the majority of the time and set the tone of the music as well as the pace at times. However, the rest of the band are more than able at backing (and even leading or soloing ? check the guitar solo in Now And Forever) and accompanying, giving the songs the volume and breadth they require to sound properly (although at times I'd appreciate less use of cymbals). Peace Of Mind, Peace Of Heart showcases a beautiful interplay of guitar and keyboards and a well done development of a theme and side theme. I'd recommend this to fans of "symphonic-prog" and the above mentioned bands. This is not an essential album, but it contains some good and appealing songs .

4.5 stars actually!

Nowadays known simply as THE WATCH,this incredible band was formed in 1993 in Milan under the influence of main man/singer/flutist Simone Rossetti.They had often problems regarding their line-up,but finally the band managed to release their first album ''Twilight'' in 1997,after which line-up and rehearsals problems continued,leading Rossetti to a total line-up lifting and to the renaming of THE NIGHT WATCH to the simpler THE WATCH.

Rossetti and his friends tried to catch the old'n'good GENESIS spirit of the Gabriel-era and transform it to the 90's without many changes...and they did it so well! Propably this band is as closest as it ever gets to 70's GENESIS,with Rossetti having a similar to PETER GABRIEL voice and the band performing this delicate symphonic rock of the 70's masters.What can anyone say about tracks like ''Ivory soul'',''The fisherman'' or the ''The Black cage''?...or you can pick any of the rest...you will be astonished!Top notch compoisitions with plenty of mellotron sounds, symphonic organs, crying guitars (just when MARILLION also come at mind) and a series of dramatic performances by Rossetti, making me think of PETER GABRIEL at his best.The stunning melodies are there, the lost-in-time GENESIS symphonic approach is there, the guitar/keyboard smooth interplays are also there, the soft mellotron sound just thrill me, one of the best singers/performers nowadays is present as well.As I'm in love with old GENESIS,I couldn't ask for more!The only negative point: total lack of originality of course... but I think those for whom old GENESIS are just a pleasant memory, won't have a problem with that

... and I bet Simone Rossetti was born to do this... recapturing the vintage spirit of PETER GABRIEL and his company.One of my top 10 releases of 1997!

I picked up Frost*'s "Experiments..." on reading recommends on ProgArchives, and glad I did. So naturally, when Frost*Fest came out, I had to give it a whirl -- Would they be any good as a live act? Whoa! And then some. The musicianship, vocals, and production are just as tight, but with even more vibrancy/energy than the studio cuts, if that's possible. Most times when I hear a live album, the applause serves as white-space filler. Not so here -- Instead I feel myself caught up and applauding right along with the audience. While the cuts represented from "Experiments" are pretty much verbatim, the Milliontown offerings feel lifted and fresher. This is a band to watch. I felt 2009 was a tough year for decent prog (decent music at all, for that matter), but Frost*Fest leaves me with hope of things to come. Easily my favorite new release of the year. Cheers!

Solis is a brazilian progressive rock band with one album under their wings released in 1999. A good friend of mine and a prog connoisseur, Virgil, was kind enough and give a copy of this album. I was very pleased what I heared, symphonic prog with a touch of folk in places, and definetly, at least for my ears this is not neo prog as is stated in their page. What stroke me was the voice of Ricardo Figueiredo, for quite some time I never heared such emotional voice, such sadness in his tone, excellent. If the instrumental passages are from symphonic prog , like the first track or the last the longest one, the middle of the album, here are only 4 pieces, tracks 2 and 3 are almost pure acustical pieces with with a folk touch , superb arrangements and amazing vocal parts. Even it may sound strange for some reviewers but my fav piece are not the more up tempo ones, or the most longer and sophisticaded ones, but the third piece, L'essence, sung in french with a funny accent, but man what a piece , such sadness in a man voice I quite never heared for many years on prog band, It put a tear in my eyes, superb. The second choice is the first track, the most intristing one and the most symphonic prog from all 4. Great musicianship, even is not a spectacular piece, it containing some very good moments, both on vocal arrangements and instrumental passages. One of the most enjoyble album I heared lately from Brazil, similar with Temp Fugit, infact a musician from that band, the bass player , helped Solis on track 4. 4 stars easy, quite unnoticed band, but worth every second, belive me, the accustical parts, the more up tempo ones, the voice , all is well done, sincere band. Recommended.