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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 20/05/2016

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

4.27 | 942 ratings
THE ROAD OF BONES
IQ
4.24 | 1769 ratings
MISPLACED CHILDHOOD
Marillion
4.22 | 1687 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.17 | 542 ratings
CONTAGION
Arena
4.13 | 1092 ratings
CLUTCHING AT STRAWS
Marillion
4.17 | 412 ratings
POSTHUMOUS SILENCE
Sylvan
4.11 | 777 ratings
FREQUENCY
IQ
4.09 | 902 ratings
MARBLES
Marillion
4.13 | 403 ratings
A TOWER OF SILENCE
Anubis
4.06 | 584 ratings
THE VISITOR
Arena
4.09 | 358 ratings
EMPIRES NEVER LAST
Galahad
4.05 | 541 ratings
EVER
IQ
4.03 | 796 ratings
DARK MATTER
IQ
4.05 | 434 ratings
FANFARE & FANTASY
Comedy Of Errors
4.08 | 282 ratings
SEVEN
Magenta
4.16 | 152 ratings
COFFEE IN NEUKÖLLN
Barock Project
3.98 | 1111 ratings
FUGAZI
Marillion
4.00 | 548 ratings
THE SEVENTH HOUSE
IQ
3.98 | 847 ratings
BRAVE
Marillion
4.06 | 239 ratings
THE TALE OF THE GOLDEN KING
Psychedelic Ensemble, The

Neo-Prog overlooked and obscure gems albums new


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

THE SPARROW
Metaphor
HUNTING THE FOX
Ines
NEW LIFE
Solstice
TALES FROM THE DAM
Healing Road, The

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Latest Neo-Prog Music Reviews


 Vigil In A Wilderness Of Mirrors by FISH album cover Studio Album, 1990
3.80 | 287 ratings

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Vigil In A Wilderness Of Mirrors
Fish Neo-Prog

Review by poito

3 stars This is how Fish begun after leaving Marillion. a colossal band that produced three of the best Prog albums ever, all in a row, but degraded as fast as they climbed to the top. After the 85's Misplaced Childhood, Marillion never found the same level of grandiosity and moved fast downhill the commercial line. Fish left only two albums later. Who's to blame I don't know. Marillion never wrote anything similar after 85, Fish has produced important themes, but only a bunch of them reached the inspiration of the early Marillion era. This Vigil has some reputation amongst fans and it is announced as a major opus. I'm not that optimistic. It may improve a bit what they were doing before leaving Marillion, but the great times had already gone for good. There isn't much Prog here, it is close to a melodic Pop in which Fish shows his mastery at songwriting, but definitely, inspiration is present in short bits. Three songs are worth to mention, the title's album, The Company and State of Mind.
 Disconnected by AIRBAG album cover Studio Album, 2016
3.89 | 96 ratings

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Disconnected
Airbag Neo-Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

3 stars Since 2009 AIRBAG from Norway are periodically arriving with a new album nearly every second year. Hereby their approach has not essentially changed over the course. They are providing highly melodic neo prog songs in a rather mellow outfit. This is garnered with psychedelic leanings, first and foremost Pink Floyd comes into mind here of course. Besides the keys I would say guitarist Bjřrn Riis, also known for his acclaimed solo album 'Lullabies In A Car Crash', is predominantly responsible for that, while radiating some gilmouresqe references over and over.

That said they don't define something blatantly new every time, no, but AIRBAG again are offering a skilled song-writing and production level with 'Disconnected', that's for sure. Also including the keyboard respectively synthesizer additions this is multi-layered, well-balanced, not overproduced. The excellent album title track proves this as no other. Who is keen on nice atmospheric songs in the vein of Believe, Satellite, the mid-70s Floyd, is in good hands here - 3.5 stars.

 Everything is Connected by DEAD HEROES CLUB album cover Studio Album, 2013
3.99 | 57 ratings

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Everything is Connected
Dead Heroes Club Neo-Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars The heroes are dead? Long live the heroes! Wait, eh ... they still have a club on hand at least, and what a comfortable one. Anyway, in the meanwhile even rumours are circulating, that a new (their fourth) album is in the pipeline already. I lately came across them, at the time when they were mentioned by somebody alongside with the band Red Bazar. And next I had to learn that they are Irish, hailing from that bigger part of the territory which is politically independent from the UK.

There has been a lot of struggle in and around this island in the past, with a bunch of 'heroes' on all sides as the result ... this could have lead to the band's name, probably. Anyhow, with 'Exit The Queen' they are placing a provoking track title, inbetween Liam Campbell sings 'if you don't play the game our way, there'll be fire on the streets' and 'stand up against the call of nation'. Though this is not explicitly addressed otherwise, more generalized it seems. So possibly much more relevant and topical are those heroes which are pictured on their debut album cover sleeve.

With the first attempt concerning this album I found Michael Gallagher's appointed drum playing somewhat conspicious, a tad more mixed into the fore as usually methinks. Okay okay, stay cool, it's only striking, not that I would have a problem here. In consequence that means, the songs are showing a really proper drive, so much the more some will develop to earworms, sooner or later. 'Attention, might be addictive!' - the album cover should be provided with such a banner or so, in the style of a cigarette pack maybe.

My favourite song is the extended Machine In The Garden, getting out of line a bit due to some overdubbed guitar work added by Gerry McGerigle, partially howling and squeaking, so that you are relatively close to being worried about the instrument's condition afterwards (joke!). Fantastic! And not really genre typical. Yeah, this album leads an Irish band into the all-time Neo Prog ranks. If you are keen on compact melodic songs, not overwhelmingly provided with instrumental passages and solos, this will be a worthwhile attempt in the end.

 Seven by MAGENTA album cover Studio Album, 2004
4.08 | 282 ratings

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Seven
Magenta Neo-Prog

Review by CapnBearbossa

3 stars I must confess, I do not understand what compels this group of obviously talented individuals (not least Christina Booth, who is possessed of one of the loveliest singing voices in all of modern pop music) to want to call themselves a "Prog" band. Ok, Rob Reed is a talented multi-instrumentalist, as he has proven with his solo albums Sanctuary I and II, and he can do a mean imitation of a Tony Banks keyboard solo or one-man orchestrated work ŕ la Mike Oldfield, but - really? - is it possible to go from seemingly rote imitation to being the real article? And if so, do they succeed?

Let us assume that by calling Magenta "Prog" (and yes, I've heard him describe his band using this word) Reed means not that they belong to that original British vanguard that serenaded us throughout the 1970s with one eargasm right after another, but rather that - as indicated by Magenta's "Neo-Prog" classification in this website - he is following the pattern set by early 1980's stalwarts such as Marillion who sought to revive the flagging banner of progressive rock in a slightly more commercial, if still extremely virtuosic, idiom.

If that is true, then I believe Magenta hits a shade skew of the mark with 'Seven' -- supposedly a concept album dealing with the seven deadly sins. The music is certainly polished and listenable, in an Asia-meets-Genesis kind of way, from the Howe-esque guitar solos to the Downes/Banks hybrid keyboard lines ... but, with few exceptions, that music does not help rekindle old fires or rejuvenate (if that was the hope) what in this sense of "progressive" is by now a long lost musical form - for better or worse.

Add to this that certain Steve Reed (brother to Rob? don't know) has written the lyrics for these songs, words that admittedly provide lead singer Christina with something to use those amazing pipes on (again, that's not a bad thing); but other than that they don't really have a purpose and, by themselves, don't much impress. More than that, a look through this rather vapid libretto shows not the slightest connection between the ostensible concept of this album -- as embodied in song titles such as "Gluttony," "Greed," etc -- and the lyrics to the corresponding songs. Make of that what you will; but, as usual with a group and album that purports to be - Proggy, for lack of better words - the music itself is actually going to be the thrust and the essence of the thing.

And on those terms, Magenta do pretty well, and the playing here is at least competent.

Group spokesperson Stephen Lambe admits in his liner notes (written for the special 2-disc remixed/remastered version of 'Seven' that came out in 2009) that Reed's purpose in presenting the Magenta debut album 'Revolutions' in 2001 was to make music in the spirit of Yes and Genesis, but goes on to quote Reed in his affirmation that he intended this, their sophomore effort, to "develop an authentic Magenta sound." I don't honestly know if I should take that as a good sign, given that the album stakes its claim on some pretty blatant imitations (among them, the almost exact same organ sound you hear in Genesis' "Mad Man Moon"). Now, quite obviously, the band is adored by a select few, and in deference to those I'll grant this 78-minute excursion into, erm, proggish territory three stars instead of the two I think it merits.

So, as for me then, this CD/DVD combo makes its way back to the shelf, and I may change my opinion in years to come. But for now, Magenta strikes me as a group clinging too much to glories of a bygone time, and always looking over their shoulder at past heroes.

 Travelog by KINETIC ELEMENT album cover Studio Album, 2015
3.97 | 87 ratings

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Travelog
Kinetic Element Neo-Prog

Review by Mastyrx1979

4 stars When Mike Visaggio of Kinetic Element set me up with the album Travelog I was in a state a anticipation I had not been in quite some time. After my review of Anuryzm's All Is Not For All off Melodic Revolution Records I spotted the making of a great progressive rock/metal label. Now with Kinetic Element's Travelog it has only served to reinforce and confirm that Melodic Revolution Records is postioning itself to contend as a great prog label. First of all, if you are a progressive rock purist this album will be a sonic paradise for your listening pleasure. The band lists Yes, Genesis, ELP, King Crimson, Kansas, IQ, Transatlantic, Renaissance as some of their influences. When I listen to Travelog I hear those and so much more. Throughout this review I will point those out. War Song is the 'perfect' progressive rock track to open Travelog as it clocks in at 20:29. The intro beckons the epics of the past such as Yes' Close To The Edge and Revealing Science Of God - Dance Of The Dawn from Tales Of Topographic Oceans crossed with Genesis' Suppers Ready and Emerson Lake And Palmers Tarkus. There is some great atmospheric keyboards tuned to mellotron and hammond organ standards, with rich rhythm sections between bass and drums. The vocals are like a cross of Jon Anderson of Yes meets Donald Faegen of Steely Dan. Between the 12:50 to 13:00 marks there is a great yet subtle fuzzy distorted guitar to match the keys in perfect harmony. The vocals really explode at the 14:00 mark and work with the atmospheric background the keyboards continue to carry in this track. Travelog opens up with a plush 16th century style acoustic renaissance vibe. It has shades of the prog band Renaissance meets Al Di Meola . Then a plush harmonic vocal of the opening to the USA's National Anthem. It reminds me of how Yes would use items like Roundabout's from their homeland or Genesis' Selling England By The Pound, as classy patriotic inuendoe's. Into The Lair is a defining track. It seems as if the band have taken their influences along with their own arsenal and formed their own sound out of thise fires. With the female vocal on it I am often reminded of Annie Halsam of Renaissance and Renate Knaupf of Amon Duul ii , the 2 first ladies of progressive rock for sure. Into The Lair completely reminds me of Renaissance's track like Mother Russia crossed with epic power of Amon Duul ii Phallaus Dei . It also presents a wide cross section of time signatures where every instrument stands out as a collective thus tightening Travelog even more. Her begins with a lush gorgeous orchestral piano style passage. This is followed with a very deep rhythm section. The intro most definitely reminds me of the jazz style employed on Steely Dan's Aja album with some Alan Holdsworth sprinkled over it for flavour. Her is a prog version of a Steely Dan's Kid Charlemagne meets Yes' Heart Of The Sunrise both lyrically and instrumentally. Vision Of A New Dawn definitely opens up like more a jazz symphonic progressive rock assembly. Heavy in keyboards building a tapestry for the deeper colours of shade with the rhythm section between drums and bass. The keyboards at times have flute effects reminding me of Ian Anderson at some points throughout the track. At 18:26, Vision Of A New Dawn is perfectly arranged on the album. Much like War Song was a great epic to open the album, Vision Of A New Dawn eloquently and properly closes the album. After a few listens Travelog grew on me and I understood where the band was taking the listener. If you are a prog rock purist that loves a few 20 minute tracks and a journey in your mind Travelog is that album for you. Nick Katona and Melodic Revolution Records have found a great live band and festival band. Kinetic Element are one of those bands that can be a label staple anywhere in the industry. I give Travelog a 5/5 for grace and purity of the heritage of symphonic prog's past, present and future.
 Milliontown by FROST* album cover Studio Album, 2006
3.79 | 364 ratings

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Milliontown
Frost* Neo-Prog

Review by poito

2 stars This band will probably leave their name on you. Normally I would have made a short-and-easy review for this album, but the high ratings and lengthy comments deserve a counterpoint and analysis. It seems a sort of for-the-task project, but the formula apparently worked rather well spite of the overall lack of novelty and spotty inspiration. The tracks are highly varied, different styles, different design... different muses. This makes one to stay alert while listening, you may be listening peacefully and be shocked quite a few times with "what's this doing here?". After a good opener, Hyperventilate, an orthodox instrumental with a revival air and a few modern elements, it follows a series of three fillers that can be skipped: first a strange track mixing styles good at none; then Snow, a slow two-notes piano song that proposes less than little, followed by an insipid Michael Jackson style tech-Pop song called The Other Me (is this neo-prog?). Then we get to the core of this artificial album. The first is a 10 min track called Black Light Machine that bores to death till about a guitar riff begins at about 3 min from start, nothing serious anyway, and then you go to sleep again wandering who's that awful singer spoiling your nap, till three mins later when the track tries to do something and doesn`t get anywere. Was this terrible track really voted in the top 10 of the year in a Ducth prog page? Indeed, Netherlander Proggers are in utter need of affection! The closing 26 min Milliontown track is worth no more than 10 mins. A few passages scattered over a never-ending track. Sorry for the meddling, I can't share the views of five-stars-throwers in this: there is an impressive amount of great music out there as to confound the prog fans that have little money and time to waste. We all know that some music bagatelles are designed in the factory for the gullible consumers and should not be disclosed as all-time masterpieces. Let's be serious, one track and a few moments in other, that's all. There is talent but also planning. And with talent they could have planned a masterpiece, but this isn't one. Stay with the opener and mins 18-23 of the closing track. 3 stars, one down for the shake of balance.
 Precious Empires by ROADS TO DAMASCUS album cover Studio Album, 2015
4.05 | 3 ratings

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Precious Empires
Roads To Damascus Neo-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Scottish band ROADS TO DAMASCUS was launched as a studio based project back in 2008 and released their debut album the following year. Three years later they released their second album through US label Melodic Revolution Records, and following a further three year creation cycle the band have appeared with their third CD "Precious Empires", this time as a self released production from what I understand.

As this album kicks off, the general style explored early on is one achingly familiar sounding, with 1980's neo progressive rock in general and Fish-era Marillion in particular coming to mind. A tad more beefed up at times, but the use of plucked guitar motifs, relatively soft keyboard arrangements and even some phrasing details in the vocals department gives that impression. As the album unfolds we're taken slightly away from this course, with what I'd describe as synth pop elements brought into the mix on a few songs, prior to transporting us back into more familiar landscapes again. The sparse instrumentation on Halo is another exception, an intriguing one at that with a delicate guitar motif and some at times exotic soft sounds accompanying the lead vocals, and on second to last track Get Up we're treated to more of a US sounding construction with a foundation that brings southern rock as a genre to mind, alternating with more typical classic progressive rock vibes. Title track Precious Empires then concludes the experience in a slow paced manner, alternating between ballad oriented sequences and more majestic passages with more of a symphonic tinge.

Personally I generally found this album to be a pleasant affair, and occasionally rather engaging too I might add. Tracks like Halo and Get Up are among my personal highlights, even if not quite representative of the album as such, with the rather Marillion-esque piece Stonewall the compositions I'd select as the creation best representing this production as a whole in a good way.

When that is said, there are some weaknesses to this production as well. Mix and production will leave a bit to be desired for the audiophiles, and the percussion in particular comes across as a bit too harsh and dramatixc, at least for my taste. The layered vocals doesn't always function as well as probably intended, and the lead vocals aren't always the greatest either. These are minor aspects here though, and again mainly due to the aforementioned mix and balancing issues I'd suspect, although the vocalist does come across as straining at the borders of his capacity on occasion.

All in all this is a charming addition to the roster of neo-progressive bands out there in my opinion, and especially those yearning for a band that has a go at classic neo-progressive rock as it appeared back in the early 1980's might want to have a go at this one. In particular those fond of Fish-era Marillion.

 All Our Yesterdays by PARMENTER, MATTHEW album cover Studio Album, 2016
3.83 | 44 ratings

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All Our Yesterdays
Matthew Parmenter Neo-Prog

Review by The Jester

4 stars For those who aren't familiar with his name, I should inform you that Matthew Parmenter was the mastermind behind the American Progressive Rock band 'Discipline'. After the band broke up, he followed a solo career, and he released 3 studio albums so far, with 'All Our Yesterdays' being his latest effort. (Some time ago, I had Matthew as special guest in my radio show Prog & Roll, so I had to listen to this album lots of times in order to prepare a small presentation). The album includes 10 songs and has a total running time of almost 40 minutes. Almost all the songs have a rather dark & melodic style, with the piano being the dominant instrument. As for Matthew's influences, they surely do have a name: Peter Hammill! In 'All Our Yesterdays' Matthew is playing all the instruments, with the drums being the only exception. As I wrote above, I listened to the album lots of times, and I have to say that it really grows on you. I wasn't so much impressed at start, but after a few listenings (at a proper hour), I really loved it! Matthew's voice is colorful and passionate, and as the music's slowly revealing its strength accompanies his voice perfectly. I remember that I was trying to pick 3 songs - (at first) - to play at the show, and I couldn't choose. I really loved all the songs, each one for different reasons. And I still can't decide which my favorite songs are; depends on the time of the day and my mood I guess. But if I had to pick some, then my choice would be: Sceherazade, I Am a Shadow, All for Nothing, All Our Yesterdays and Hey for the Dance. I have all 3 albums of Matthew Parmenter in my collection, and I have to say that this is maybe the more "mature" album he ever recorded. Maybe his devoted fans will be kind of disappointed, but I really believe that this is a brilliant album! Highly Recommended, especially to the fans of Peter Hammil and Van Der Graaf Generator!

My rating would be between 3.5 ? 4.0 out of 5.0 stars.

 Leaves by NINE STONES CLOSE album cover Studio Album, 2016
4.10 | 49 ratings

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Leaves
Nine Stones Close Neo-Prog

Review by rstaylor

5 stars 'Leaves' is the most recent offering from English/Dutch (and now Irish!) band Nine Stones Close, and if you're reading this review, you are probably already aware of their previous offerings ('St. Lo', 'Traces', 'One Eye on the Sunrise'). If you are a fan of any or all of these albums, let me say this simply: you owe it to yourself to listen to their newest album. It is a brilliant piece of work from start to finish.

One thing NSC have never been accused of is sitting on their laurels, and 'Leaves' is no exception. Most notable is the change in vocalist: Marc Atkinson is out, and Irishman Adrian O'Shaughnessy is the new man on vocals. NSC have also recruited a new keyboard player (Christiaan Bruin) as well as a new bass player (Peter Groen), so it should come as no surprise to anyone that we have some changes in sound here. Rest assured, however, that mastermind of the group Adrian Jones (guitar) is still on board, as is the incredible drummer Pieter van Hoorn. Adrian O'Shaughnessy is a much more muscular vocalist that Marc Atkinson, with a vocal style and range more oriented towards heavier music, and that vocal power is required on 'Leaves': this is a darker, heavier album than anything NSC have released previously. That's not to say that this album doesn't sound like a NSC album: the songwriting is, to these ears, a very logical progression from OEotS, but the arrangements here are often considerably more guitar-oriented and distorted than on their previous albums. And they make it work, believe me. Your first listen to this album may be a bit disconcerting, but by the end of your second listen, this album will definitely make sense as a Nine Stones Close album. This is a progressive album, in the truest sense of the word, by a band that does not believe in doing things the easy way.

This remarkable album clocks in at just under an hour, with only five songs present: opener 'Complicated' is the runt of the litter at only five minutes in length; this is followed by 'Goldfish' (12:47), 'Lie' (9:59), 'Spoils' (16:35) and the title track 'Leaves' (13:45). Rest assured that there is no dead weight in any of these longer songs: they develop, evolve, progress and move ever-forward, never outstaying their welcome. I won't review each song individually, as there are other reviews online which do this in great detail, and probably better written than I could manage! I will say, though, that the wide range of influences on show throughout this album - King Crimson, Pink Floyd, Alice in Chains, Soundgarden, Porcupine Tree, Marillion - are combined to produce an album that manages to never sound like anyone other than Nine Stones Close. Perhaps an more aggressive NSC than we've heard before, but with a lot of fascinating things to say, both musically and lyrically. Do yourself a favour and listen.

 Falling Satellites by FROST* album cover Studio Album, 2016
3.84 | 80 ratings

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Falling Satellites
Frost* Neo-Prog

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

4 stars A dramatic and catchy theater between First Day and Last Day. In the spring of 2016, FROST* have given their first bark titled "Falling Satellites", where are full of highly qualified pop essence tinged mainly with a tad complex Neo-symphonic sauce. Grabbing minds of young progressive rock fan and dealing carefully with old proggers ... each might be different from another and simultaneously both should give extreme energy or power to all of progressive freaks without any doubt. This album notifies us of such a certification.

And let me say they've discharged various elements here and there. Their sound strategy might look toward pop melody line with hard-edged eccentric rhythm basis for the sake of digging a cool novelty out and be constructed elaborately with massive influence by not only plenty of progressive rock pioneers but also pop / rock legends. Electric confusion like Discipline-Era Crimson, speedy rock chasing into comfort, technical complicated plays (killer ones), sound effects often used nowadays, fantastic sincere chorus, explosive sound virtuality under rockin spiritual clear sky ... lots of musical expression methods are around them indeed.

Kinda tough call to find a novelty or an innovative attention via such a soundscape / subgenre like theirs actually but the "pop / rock" composition quality and their brilliant play and technique can be felt awesome. No suspicion. And personally "Hypoventilate", flooded with drastically deep mental deflation, is my love. ;)

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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
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
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
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