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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 | 1946 ratings
MISPLACED CHILDHOOD
Marillion
4.25 | 1076 ratings
THE ROAD OF BONES
IQ
4.22 | 1844 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.14 | 1210 ratings
CLUTCHING AT STRAWS
Marillion
4.16 | 591 ratings
CONTAGION
Arena
4.16 | 433 ratings
POSTHUMOUS SILENCE
Sylvan
4.10 | 833 ratings
FREQUENCY
IQ
4.09 | 1002 ratings
MARBLES
Marillion
4.12 | 441 ratings
A TOWER OF SILENCE
Anubis
4.05 | 624 ratings
THE VISITOR
Arena
4.03 | 855 ratings
DARK MATTER
IQ
4.05 | 592 ratings
EVER
IQ
4.07 | 385 ratings
EMPIRES NEVER LAST
Galahad
4.09 | 305 ratings
SEVEN
Magenta
4.04 | 470 ratings
FANFARE & FANTASY
Comedy Of Errors
4.03 | 442 ratings
ALL RIGHTS REMOVED
Airbag
4.00 | 599 ratings
THE SEVENTH HOUSE
IQ
3.97 | 1235 ratings
FUGAZI
Marillion
3.97 | 953 ratings
BRAVE
Marillion
4.03 | 323 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

TRAVELLER
Magus / The Winter Tree
THE SPARROW
Metaphor
ARGOS
Argos
THE ART OF MADNESS
Psychedelic Ensemble, The

Latest Neo-Prog Music Reviews


 Seas of Change by GALAHAD album cover Studio Album, 2018
4.34 | 51 ratings

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Seas of Change
Galahad Neo-Prog

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars One long 42+ minute song--and what a song! This is a Neo Prog masterpiece in the IQ/Pendragon vein! But this is better. Way better, this is the best Neo Prog album I've heard since EDISON'S CHILDREN's The Final Breath Before November.

"Seas of Change" (42:43) The piece opens with ambient synth layers and treated flute setting up a spacey, latent energy atmosphere over which a "radio" voice speaks a few lines at a time. At 1:35 solo grand piano breaks the introductory spell, setting a kind of classical/symphonic scene, over which a cathedral-filling solo female voice sings some wordless vocalise. Beautiful, like the Alexandre Desplat pieces used in the last Harry Potter films. (10/10) At the three minute mark we shift into a kind of theatric, mediŠval section with pompous male vocal announcing the upcoming play from the "future." This is followed by harpsichord and harp and, then, piano sounds with Gregorian voice--all keyboard generated. Radio voice "play-by-play" seems to be covering the rising tension and decay of national government. At 6:23 Galahad lead singer Stu Nicholson enters for the first time to start singing his bard-like version of the eery tidings happening. "Bring it on," he says before wailing solo guitar seems to keen our plight. At 8:15 comes the first breakout of true rock fullness--a nice section with some excellent deep bass notes and matching organ and guitar chord progressions in an odd time signature. Great instrumental section! (10/10) At the ten minute mark there is another shift--into a slow, panning percussive synth bouncing around the background while winds and synths take turns filling the soundscape with incidentals and arpeggios. Drums introduce another section at 11:30 as "La-la-la-las" set up the next vocal section of the story. Great support for Stu's vocal. The part of this section is simple as the section follows the ABACAB structure of a pop song. (9/10) At 15:05 there is another break in which a radio play-by-play catches us up to speed. The music then amps back up into the full force of the previous section before suddenly breaking into a new section with acoustic guitar strumming providing the foundational fabric for Stu's next section--the "Smoke" section. Sounds quite a bit like a Peter Jones vocal on Colin Tench's albums: theatric. Nice drums as the music thickens with volume and intensity behind Nicholson's vocal. (8/10) At 18:10 we switch back to a familiar heavier riff, with low end dominating over the organ and excellent cymbal play. Another slight shift at 18:57 into an angrier section about consensus (or the lack thereof). (9/10) At 20:05 we again break for a staticky radio update. Great sequenced synth background support for Stu's higher octave vocal. Staccato choral vocals sing the next section over a hard-driving, heavier section. Another radio update is followed by an excellent synth solo over the heavy, choral section. (9.5/10) At the 24 minute mark there is a break for a long synth and organ interlude before the next radio update occurs. Nice. (5/5) Then, at 25:20, begins the intro to the "Dust" section with its strumming acoustic guitar and return of the soprano female vocalise. By 25:45 we are into the full sound of the song with its catchy throbbing beat and swirling soloing synth. Stu's vocal here is kind of laid back as he sings about the vengeance the planet is serving to the smug liars running our race into climate catastrophe. The section that begins at the 28 minute mark, the second part of "Dust," is the album's only truly weak link (both lyrically and in its IQ familiarity), though the lead guitar work is wonderful. (8/10) At 34:40 another "radio" interlude pre-empts another shift in the song thread, this one singing about "danger," "trust," and "faces." (8.5/10) At 39:18 a cymbal crashes denotes the shift into the final slowed-down, piano-based section. Ambience and atmosphere seem burgeoning with potential energy--as if ready to burst forth in another foray into hard-drive. But then Stu enters and calms and quells any thoughts of rebellion with his smooth voice and words. The true finisher is the female singer performing the vocalise to the end. (9.5/10)

A five stars; a masterpiece of Neo Prog music!

 Contagium by ARENA album cover Singles/EPs/Fan Club/Promo, 2003
3.15 | 46 ratings

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Contagium
Arena Neo-Prog

Review by thwok

4 stars I agree with the general consensus regarding CONTAGIUM. This is the better of the two EPs consisting of songs that didn't quite fit onto CONTAGION. The songwriting and general memorability of these four songs is a bit stronger then CONTAGIOUS. It isn't better then the CONTAGION album, but it's still very good. I didn't have access to the bonus features for this review, so I am only reviewing the 4 songs.

Only "The March of Time" overstays its welcome. I suppose "On The Edge of Despair" and "Confrontation" take pride of place over the other two tracks. I was very happy when Arena became a more aggressive band and shortened their songs a bit, which they did during this period. Arena aren't a clone of any other band, but the general description of them as a more hard rock-sounding Marillion is apt. It was enough to get me to start listening to them. If that piques your interest in Arena, this EP is a very fine place to start.

 Looking For John Maddock by FLAMBOROUGH HEAD album cover Studio Album, 2009
3.87 | 84 ratings

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Looking For John Maddock
Flamborough Head Neo-Prog

Review by TenYearsAfter

4 stars Between 1997 and 2011 many progheads from a wide range of countries have attended the exciting Dutch Progfarm festival, Flamborough Head used to be the support act for the headliner because it was their home game in Friesland. The band got a lot of appreciation and that can also be traced in the many reviews and ratings about Dutch progrock pride Flamborough Head on Prog Archives.

Well, on their acclaimed album Looking For John Maddock (four years after their previous studio album Tales Of Imperfection) the combination of the flowing guitar work with beautiful flute sound and the lavish Hammond organ and frequent Minimoog-like synthesizer flights often brings Seventies Camel to my mind. And during the synthesizer solo halfway Don't Forget Us, prime mover Edo Spanninga even sounds as 'the second coming' of the late Peter Bardens!

But I don't mind because Flamborough Head plays wonderful, very melodic and harmonic symphonic rock: flowing shifting moods, pleasant accelerations and exciting work on vintage keyboards and guitar (from moving and howling runs to a delicate duel with a tin-whistle in Don't Forget Us).

The absolute highlight on Looking For John Maddock is the epic final composition that showcases Flamborough Head in its full splendour. It also features the most variety and musical ideas on this album: a bombastic climate with an up-tempo rhythm ... a Solaris-like part with flute and classical orchestrations ... beautiful electric guitar work ... lush vintage keyboards (including an eruption with a Moody Blues Mellotron sound) ... and finally a sensitive guitar solo with soaring Hammond organ. What an exciting conclusion of a very good album.

Another four years later Flamborough Head released their swansong entitled Lost In Time .. or isn't this their final effort? Well, read this info I took from their website.

"Between 2014 and 2016 Marcel and Gert decided it was time to move on; on bass we welcomed back our friend Eddie Mulder and on guitar Hans Spitzen joined the band. Hans was no stranger; on earlier occasions he had helped the band out. In the autumn of 2016 this new line up will work on a new album which we hope to release somewhere next year."

More news from their website:

"Twenty years after the first edition of ProgFarm (1997) OSKAR will release Flamborough Head - Live at ProgFarm 2006 (& Northern Prog Festival 2015) as a reminder of our fine festival. As a bonus disc our gig at The Northern Prog Festival 2015 is included. This double live cd will be available November 2017."

 Keep Sending Signals by 25 YARD SCREAMER album cover Studio Album, 2016
3.24 | 14 ratings

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Keep Sending Signals
25 Yard Screamer Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars I was more than a little surprised to discover that this is the sixth studio album from 25YS, a Welsh progressive rock outfit who formed in 2002 after Donal Owen (drums) and Matt Clarke (bass) augmented Nick James (guitar, vocals) at a showcase gig in Bracknell, for his then solo project. This 2016 album features four brand new pieces of music and four reworking's of very early material, again featuring the collaboration of Tom Bennett (keyboards, orchestrations) who had assisted with the recording of 2013's 'Something That Serves To Warn Or Remind' (the band is still a trio when playing live).

Apparently the band have been quite heavy in the past, but here they are showing of a more restrained side to the music, having very much a classic neo-prog sound to what they are doing. The guitars are doing some interesting things, but there is no doubt that there is troubles with the mix. The drums are too far to the front, and don't sound nearly powerful enough (which is a real shame, as Donal is putting his heart and soul into this), while Nick doesn't really have the Steve Hogarth vocal quality that he is going for, so possibly they should also have been pulled back a little. As it stands there is the impression that the band do have some things doing for them, and I am sure that in the live environment they would be well worth watching. But, six albums down the road the recording quality should be better than this.

 Sand by MONARCH TRAIL album cover Studio Album, 2017
4.05 | 134 ratings

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Sand
Monarch Trail Neo-Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

5 stars A delightful symphonic journey!

I would like to thank the amazing Ken Baird for introducing me to his music, first with solo albums and then with Monarch Trail, I have enjoyed both projects and this new album is not the exception, the 'power trio' here provide once again a blast of lush symphonic keyboards reminiscent of some 70s prog acts but with a bran new fresh sound that both the old school fans and the avid for new sounds would surely enjoy. In this album, Monarch Trail offers 7 compositions and a total time of 55 minutes. 6 out of them are the short ones, while the last one is a wonderful 24-minute epic.

Since the first moments of 'Station Theme' we notice that keyboards take the leadership, which is wonderfully supported by Verginella's bass and Lamont's drums, the three of them are great musicians and make a balance importance. However, to our ears the first we will notice are those lush symphonic keyboards that also have some spacey nuances and a clear reminiscence of the 70s. The piano parts are also sweet here. 'First Thoughts' starts with vocals (the opener was purely instrumental) and the sound here is much softer, even with a ballad-like feeling, but it is actually an introspective theme, with a soft acoustic guitar after half the track.

'Back to the Start' has that spacey feeling made by keys and bass but then it totally takes us to a journey to the 70s, it is impossible (at least to me) not to think of some Genesis and Camel resemblances here; but it is also a wonderful new element here: the guitar, provided by a guest musician who adds a soft but deep atmosphere at the same time. The song flows wonderfully, giving the prog rock fan a feast of the music we truly love. 'Missing' has a beautiful start, classical piano and a flute sound made by keys, creating a bright atmosphere that later changes a little bit when vocals enter. Although there are some kind of neo-proggy passages, the bombastic keyboards let us know that Monarch Trail clearly belong to the symphonic side of prog.

'Charlie's Kitchen' continues with that symphonic sound but it also adds a jazzy feeling here and there. In moments, it even reminds me a bit of some Wakeman passages. After a couple of minutes the mellotron appears for a while, creating some goosebumps by the way. There are so many textures created by keyboards, however, the bass notes and the rhythm made by drums produces together a true solid and bright prog sound. 'Another Silent World' is the shortest track here but it is beautiful, symphonic but spacey keyboard driven, something like Bowie's Crystal Japan, to mention an example, but it could work also as a short Tangerine Dream track.

The last song is the longest, quite long, by the way. 'Sand' with 24 minutes of lush symphonic prog with so many changes and a wonderful blend of atmospheres. It starts with a pastoral sound, soft and delicate, but later it turns a bit darker but still soft until minute five when keyboards make a bombastic appearance. Guitar is also present here with a nice solo, while bass and drums maintain that symphonic structure in which keyboards are in charge of the countless atmospheres the song blasts. What I love here is that there are not repetitive moments; the minutes pass and the musicians dare to share a nice diversity of sounds that tear away any chance of feeling bored. So once you are immersing, you will not escape from this amazing journey. After 14 minutes there is a passage where things become calmer, with acoustic guitar and with new lyrics, so a new structure is being built up here so in this second part of the song we will find different nuances and passages. Wonderful!

A solid, amazing album by Monarch Trail that I would like to suggest to any prog fan since I believe it has arguments to be considered as one of the best 2017 releases.

Enjoy it!

 The Depths Of Winter by TIGER MOTH TALES album cover Studio Album, 2017
4.05 | 54 ratings

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The Depths Of Winter
Tiger Moth Tales Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars Multi-instrumentalist (and Camel live keyboard player) Pete Jones is back with his third album under the name Tiger Moth Tales, and this time he has brought in some friends to assist him on a couple of songs, but for the vast majority of time it just Pete. Mind you, a very special mention must be made of Luke Machin's incredibly fluid solo on "Winter Maker", one of three songs that break the ten- minute barrier. The album isn't a concept album per se, more a thematic collection of wintery concepts, and stories that take place in the winter season. There are a number of different themes explored, including winter folk tales and characters such as the Ojibwe wind spirit, Biboon, the Viking legends of Baldr, Loki and Frigga, and the death of English folklore hero, Robin Hood. As with previous Tiger Moth Tales albums, this new collection of works includes a broad range of musical feelings and emotions, from dark themes such as a grim fight for survival in "Winter Maker", and the terrible scenes described in "Exposure", based on the Wilfred Owen poem of the same name, to the warmer feel good tracks such as the joyous and exuberant "Sleigh Ride" and the closing track "Hygge".

Unlike many multi-instrumentalists Pete has a strong voice, and writes to his strengths, so that the songs always feel emotional. There are definite nods to Hackett, both solo and in his time with Genesis, and there were times when I found myself wondering if a particular song might actually fit on 'Wind & Wuthering', such is the quality. There is really only one downside to me with this release, and that is the "drums". Pete really needs to invest in a live drummer as opposed to a machine, as it definitely drags the music down, and with a quality person behind the kit it would assist in taking this to the next level. As it stands, it is still an essential release, and I am very much looking forward to the next one.

 The Man Who Never Was by THIS WINTER MACHINE album cover Studio Album, 2017
3.82 | 99 ratings

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The Man Who Never Was
This Winter Machine Neo-Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars "The Man who Never was" would be a significant release even if it came from one of the classic symphonic or neo prog bands, but as a debut from a Yorkshire, UK band that had only formed mere months before, it's simply stunning. While enjoyable from the first listen, it stands up to repeat explorations of its plenteous sound and introspective lyrical themes. The arrangements are an archetypal blend of soaring or arpeggio'd guitars and effusive keyboards with healthy reverence for piano. The frequent vocals from Al Wynter (perhaps a clue to the band name) are a pivotal aspect to the band's lucid sound. While the tracks are long, they generally fit without stretching. Indeed, while the usual references to neo prog giants are valid enough, I would compare this release more directly with the first couple of albums by Polish group SATELLITE, with parallel musical and lyrical themes, cinematic grandeur, and a frosty veneer that belies the underlying compassion Just listen to the buildup of "Lullabye" for an example. The opening suite is truly exceptional, and everything that follows is good or better, with plenty of twists and superb playing all around. A splendid entrance that freezes out a lot of the tired old competition!
 Sand by MONARCH TRAIL album cover Studio Album, 2017
4.05 | 134 ratings

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Sand
Monarch Trail Neo-Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

4 stars Monarch Trail have followed up their 2014 debut release 'Skye' with a strong, dynamic Neo Prog Symphonic journey for 2017, 'Sand'. Ken Baird is the visionary keyboardist augmenting his solo career with this collaboration. Ken has been a prolific artist in his solo career; 'August' (1996), 'Fields' (1998), 'Orion' (2000),' 'Martin Road' (2003) and 'Further Out' (2009). 'He is played keyboardist for Jacob Moon and Art Griffin. He is joined by guitarist John Mamone, previously from Dragonfly and Volume Water. He and Kelly Kereliuk have formed Prismind and both play guitar on 'Sand'. Steve Cochrane is another guitarist that features on the title track and the rhythm is down to drummer Chris Lamont and bassist Dino Verginella, who has worked with artists such as Chantal Kreviazuk, Holly MacNarland and Jim Witter. They are a formidable group of musicians that have a chemistry that pays off on this latest release.

The masterful cover art by Annette Roche again depicts a wistful girl with a haunted gaze but this time she is on a Derelict spaceship. She may be Cassandra who is mentioned on the album. On the cover she stares out the window at the stars but on the beautiful inside cover we see her relaxing contentedly gazing at an Earth encapsulated in a globe. Is it a hologram or has she captured our planet? Her isolation is mirrored by the ethereal music that glistens and glows with every track. Mellotron sounds merge with Blade Runner style strings and those floating bass lines. The vocals are dreamily executed with lucid flow by Ken Baird. The sound is like IQ, Yes or Neal Morse.

There are many beautiful lyrics to savour but as a sample these from the epic Sand are thought provoking and resonate with me; 'Calmly waiting locked in place I check again before I say goodbye, Bright and clear there's every reason, Soon to be so many miles away, And all that I've learned could be forgotten, In a moment I'd still act and honour is intact, A picture appears in my mind it fears, All of this may come to dust, A flame to break all bonds, The hope of everyone, And soaring above, And suddenly, Staring up through floors of wires and glass, Metal constructs and the questions last, Variations, firing sequence set, In my pocket everyone I've met'. The epic track is over 24 minutes of Symphonic prog bliss. In a similar vein to the 20 minute epic in 'Skye', this is definitely worth the price of admission alone. It features glorious guitar solos and a soundscape of layered keyboards that have an ethereal quality. More on this later.

This is a spacey album with sheer beauty emanating from its heart. It opens with the synth soaked Station Theme, and then the majestic First Thoughts shines through. Back to the Start is a catchy tune but my favourite is Missing that opens with sparkling keyboards and builds to harmonies like The Byrds on Eight Miles High. There is a Rick Wakeman feel in the classical keyboard solos but the star of this for me are the sporadically timed drums, one of the key elements. Baird absolutely blazes on synth but it has to be said the ivory tinkling in this enhances the spacey atmosphere.

Charlie's Kitchen is a piano driven piece with some swirling synths and a classical baroque feel, similar to Wakeman's style. It is a meandering instrumental with some sweeping passages of keyboards and a driving rhythmic meter.

Another Silent World is a Ken Baird solo with a buzzing drone and retro synth that rises to a crescendo.

This short piece prepares the listener for the epic Sand. The lyrics as mentioned are provocative and they are accompanied by haunting musicianship. This is Monarch Trail at their best in full flight with guitar guests and a myriad of time switches and mood swings that capture my imagination. It is great to hear some electric guitar solos that soar along with the staccato synths. There are some fast fingering solos with a Dream Theater feel and the way this builds into a lengthy instrumental break is absolutely wonderful. The music swoops and dives like a bird in flight, then it builds into a wall of synths. At the 13 minute mark the sound transforms into acoustic vibrations and a flugelhorn sound with waves crashing. This atmosphere is penetrated with the introduction of a new time sig and a verse about the wind that almost throws the protagonist off side, 'Air fresh and burning sun, Waves to each other confide, Skirting across we run, Take the wheel, And pull around on my mark we're stopping here, And down we go, I wish I wish I were old enough to take a dive alone and give you all I'd find'.

The music breaks at 20 minutes with cathedral like keys and spacey textures of synths. The drums and bass join for one last verse with reverberated vocals echoing with good effect. The finale is a blast of lead guitar and synth over key pad strings and a steady rhythm. Sand is definitely a treasure on this album.

Overall this latest album is a stirring journey driven by layers of synth and exceptional guitar and rhythms. It is an innovative album that is well worth a listen. I look forward to more Monarch Trail in the near future.

 Detachment by BAROCK PROJECT album cover Studio Album, 2017
4.05 | 246 ratings

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Detachment
Barock Project Neo-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Italian band BAROCK PROJECT was formed back in 2003, and have been on a climbing trajectory ever since then, their name and reputation steadily surging upwards with their third album "Coffee In Neukolln" something of a breakthrough one for them. "Detachment" is their fifth studio production, and was released through Italian label Artalia in 2017.

Those who are fond of high quality, modern progressive rock will have taken note of Barock Project already I surmise. If by chance anyone haven't done so, this album showcase just why this is a band that merits and inspection in an excellent manner. If you like your progressive rock to be open, inviting and with a keen focus on melodies and harmonies, without loosing track of being sophisticated on a structural level, "Detachment" is an album with your name written on it.

 Vivo by BAROCK PROJECT album cover Live, 2016
4.53 | 37 ratings

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Vivo
Barock Project Neo-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Italian band BAROCK PROJECT was formed back in 2003, and ever since they started to release their own music in 2005 they have grown in popularity and stature, to the point of being on the verge of becoming a household name in the genre these days. The have half a dozen albums to their name at this stage, of which five are studio albums. "Vivo: Live in Concert" is their sole live album so far, and was released through Italian label Artalia in 2016.

Live albums can often be a hit or a miss, depending on a number of factors. This one will be more likely to be a hit than many other I have listened to, as it documents the skills of a high quality modern day symphonic progressive rock band that are as good on stage as they are in the studio. And with a long studio track tucked in as a bonus feature, existing fans get a nice little boon for buying this album as well. A live production well worth investigating if well made, symphonic progressive rock is a style of music you tend to enjoy.

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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
BRASS╔ 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
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