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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 1/3/2020

Luca (octopus-4)
Keishiro (DamoXt7942)
Dan (earlyprog)

Neo-Prog Top Albums


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

4.25 | 2253 ratings
MISPLACED CHILDHOOD
Marillion
4.24 | 2096 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.23 | 1324 ratings
THE ROAD OF BONES
IQ
4.17 | 1418 ratings
CLUTCHING AT STRAWS
Marillion
4.16 | 690 ratings
CONTAGION
Arena
4.16 | 505 ratings
POSTHUMOUS SILENCE
Sylvan
4.10 | 1143 ratings
MARBLES
Marillion
4.14 | 456 ratings
RESISTANCE
IQ
4.10 | 963 ratings
FREQUENCY
IQ
4.13 | 449 ratings
EMPIRES NEVER LAST
Galahad
4.10 | 487 ratings
A TOWER OF SILENCE
Anubis
4.06 | 712 ratings
THE VISITOR
Arena
4.05 | 716 ratings
THE MASQUERADE OVERTURE
Pendragon
4.05 | 710 ratings
EVER
IQ
4.04 | 975 ratings
DARK MATTER
IQ
4.16 | 193 ratings
NIGHT DREAMS & WISHES
Modern-Rock Ensemble
4.11 | 235 ratings
SPEAK
I And Thou
4.06 | 358 ratings
LOVE OVER FEAR
Pendragon
4.06 | 351 ratings
SEVEN
Magenta
4.11 | 221 ratings
THE CLOCKWORK FABLE
Gandalf's Fist

Neo-Prog overlooked and obscure gems albums new


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

ARGOS
Argos
TIMANFAYA
Healing Road, The
THE SPARROW
Metaphor
THE ART OF MADNESS
Psychedelic Ensemble, The

Latest Neo-Prog Music Reviews


 The Art of Bleeding by WATCH, THE album cover Studio Album, 2021
3.00 | 4 ratings

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The Art of Bleeding
The Watch Neo-Prog

Review by TenYearsAfter

3 stars Twenty years ago I received The Watch first album Ghost as a CD-R to review, this week I received The Watch latest effort The Art Of Bleeding as a WeTransfer to review, the only original member is Simone Rossetti, a lot changed within 20 years, but The Watch still make wonderful 70-77 Genesis inspired music.

About The Art Of Bleeding the band wrote: "After a huge and three years long composing process, for the first time The Watch has ventured into the world of the concept album with five stories that revolve around the idea of cathartic violence. A musical theme developed in various ways to create different atmospheres. A disc to immerse yourself in and let yourself go."

On this new album The Watch presents 8 melodic, harmonic and varied tracks, featuring a wonderful colouring with guitar and keyboards and, last but not least, Simone his passionate vocals with that distinctive Peter Gabriel timbre. The Watch succeeds to blend the unsurpassed 70-77 Genesis sound with some fine own musical ideas, and to keep my attention during the entire album.

Like in the captivating song Red: the freaky synthesizer sound, slightly distorted vocals, powerful Hammond runs and a scary scream halfway create an ominous climate, the final part contains bombastic keyboards and a dynamic rhythm-section. In the dark Hatred Of Wisdom the blend of a raw and propulsive guitar riff and soaring Mellotron violins delivers a compelling musical contrast. And the final track Red Is Deep starts mellow with dreamy keyboards and vocals, then a catchy beat with rock guitar (Peter Gabriel solo evokes), halfway a break with helicopter sound, followed by an eruption with a mid-tempo and pleasant vocals, gradually joined by bombastic keyboards.

More obvious 70-77 Genesis inspired compositions are the dynamic Abendlicht (lush keyboards and a fiery guitar solo), The Fisherman (12-string acoustic guitars and intense Hackett-like volume pedal guitar play), Howl The Stars Down (swelling Hammond sound, beautiful classical guitar, melancholical vocals, and in the end a churchy Hammond) and Black Is Deep (moving guitar work, majestic Mellotron violins, and the distinctive ARP Pro Solist synthesizer sound, this is by far the most Genesis sounding track).

My rating: 3,5 star.

P.s.: The 'Deluxe Edition' contains a Special Edition CD with 7 songs from the The Watch discography, in different versions, chosen by The Watch themselves (A.T.L.A.S, Goddes, Something Wrong, The Border, Sound Of Sirens / Another Life, Scene Of The Crime and Tourist Trap).

 Back from the Brink by NOVA CASCADE album cover Studio Album, 2021
4.00 | 1 ratings

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Back from the Brink
Nova Cascade Neo-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

— First review of this album —
4 stars Dramatically colourful appearance in this album.

A UK act NOVA CASCADE have come back with their latest opus entitled "Back From The Brink" in September 2021, that is full of magical comfortable ambience seasoned with catchy, melodic movements by a variety of instruments as well. Synthesizer-oriented electronic pop signatures accentuate their imaginative sound structure. And some ethnic vibes sometimes slided all around theácreation would sound quite exotic for the audience. Such elements can be heard in the very beginning of the departure "Rectify", slowtempo electro-ambience in a soft and smooth manner. In the first part of the following track "The Minutes After" we can enjoy slightly dissonant but delightful synthesizer plays by Hilborne. Such a glamorous texture makes us happy. The combination of acoustic guitar talks and calm, solemn flute whispers should be our pleasure too. The last percussive run encourages us. "There Is Always A Way" and "Phantom" (guess we could consider the two songs aáseries of events) consists of magnificent, enthusiastic keyboard theatre. Clearly artistic neo-symphonic touches are here.

"Classroom Keys" reminds us of the similarity to some Japanese Symphonic projects featuring keyboards and wind instruments. The shortestáone has a pretty long fruity attack and flavour. It sounds like "The Hill" is one of the most complicated tracks in this album. A bit depressive, tragic atmosphere is around it. Crying guitar is also impressive. The titled longest track involves repetitive but kaleidoscopic ready-steady-go phrases featuring delicate acoustic guitar plays, modest flute vibes, based upon the sincere keyboard background. A mixture of Orientality and vivacity on the last run is pretty gorgeous. We would get immersed in the very last sad but beautiful finish. The last "Long Winter" gives us a cool, cheerful aftertaste, despite the fact the tough, challenging winter under the pandemic situation might be long and chilling.

Cannot recommend this album foráambient-musicáhaters but let me say it sounds just like we are breathing in the fresháair,áfor Neo-Prog (or Crossover) fans, yes.

 God Has Failed by RPWL album cover Studio Album, 2000
3.38 | 158 ratings

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God Has Failed
RPWL Neo-Prog

Review by prog_traveller!!

4 stars Many fragments put together form a single puzzle. Thus, at times, the positive and negative experiences in life, as well as moods, inspire the creation of an artist. In this case four young German guys (after some lineup changes), start making music playing some covers of the first Pink Floyd, and other prog bands. As time went by, the band felt the desire to compose their own music, and so, in 1999 they decided to record their first unreleased album "God Has Failed".

The album is inspired by the death of the father of keyboardist Yogi Lang, and has a good international success. "God Has Failed" is a record that recalls a lot the Floydian sound, but at the same time the band also puts in their own, trying to express their personality in the best possible way. The album opens with "Holy in the Sky", a song that touched me a lot for the beautiful sensations it transmits. Many remember that famous live, which Pink Floyd held behind closed doors in the amphitheater of ancient Pompeii in 1971, on that occasion Pink Floyd also played "Echoes". Those same echoes seem to be present in this RPWL song as well. The melodies become simpler with the following "Who do you think we are" and "Wait Five Years", which turn out to be much more direct and catchy than the previous song (but not unexciting). "In your dreams" and "It's all right" take us back to a bit more complex musical structures, underlining the good technical skills of RPWL. "In your dreams" reminds me very vaguely of "Sorrow" by Pink Floyd, and even Yogi Lang's voice seems to resemble a little bit like David Gilmour's (personal feelings).

There is no shortage of more romantic and solemn pieces such as the splendid "Crazy Laine", a very touching and sweet ballad. The following "Fool" and the majestic "Springs of Fredoom" are also not bad. The album ends with the song of the same name, another melancholy and exciting piece, for a carefree and wonderful album.

In summary, the music of Rpwl, tries to arouse the images that we have stored in the drawers of our mind through music.

 The Complete BBC Sessions by FISH album cover Live, 1999
3.18 | 20 ratings

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The Complete BBC Sessions
Fish Neo-Prog

Review by Warthur
Prog Reviewer

4 stars This is a collection of two concert recordings from Fish recorded by the BBC, both hailing from early in his solo career: a November 1989 engagement at the London Town and Country Club, and a November 1991 gig in Nottingham.

The first show represented here covers the first disc and the first three tracks of the second - that's why Heart of Lothian pops up twice, and why in the first version you can hear him saying farewell to the London Town and Country Club. At this point in time Fish's first solo album, Vigil In a Wilderness of Mirrors, had been in the can for a bit, having been recorded around the same time as Marillion recorded Seasons End. EMI, not wanting to put the two acts up against each other, had decided to delay the album until the new year, so this would be the first opportunity for fans to hear a good chunk of the new material, as well as one of Fish's earliest solo backing groups tacking Marillion material.

In fact, there's more than that besides: the set starts off with a thunderous cover of Faith Healer by the Sensational Alex Harvey Band; it wouldn't be until Raingods With Zippos that Fish would put out a studio rendition of the track, but the take on it here is pretty damn solid and finds both Fish and band on fine form.

Setting this exception aside, the remaining 13 songs consist of 5 songs from Vigil, 8 from the Marillion back catalogue. A good dose of Marillion was probably inevitable - Fish's solo career had barely begun, and it was his Marillion work which brought most of his fans to the gig.

Still, with over half the tracks on Vigil represented, fans were getting a good sampler of what solo Fish sounded like - and the dual lead guitar lineup allows for a good injection of energy into material old and new. This makes Punch and Judy - one of the more energetic, rock-oriented numbers from Fish's Marillion years - a good pick for the first of the older songs to be included here, forming the end of a thunderous opening salvo of Faith Healer/The Voyeur/Punch and Judy.

There's also an outright funky little breakdown partway through the song, a clever move which allows the band to put their own fun little twist on the song - one which simultaneously doesn't feel very Marillion-ish, but nonetheless feels appropriate to the song. Thus, even when he's dipping into his past here, Fish is not content to just go through the motions but is happy to keep developing his material, something which has remained true over his solo career.

The rest of the set is delivered with similar skill, and setting these Marillion classics in with songs from Vigil really gets across the idea that Fish's first solo album was as natural a development of the sound of Clutching At Straws in its own was as Marillion's Seasons End was - both factions taking things in a somewhat different direction, and as fans we are lucky to live in a timeline where both directions ended up coming about. As of late 1989, there must have been every reason to expect that Fish's solo career would be a storming success.

The second show - consisting of the remainder of the second disc - was widely bootlegged as "There's A Guy Works Down The Chip Shop Swears He's Fish", but it's nice to get an official release for it that actually supports the artist. This comes from nearly two years later, and captures Fish on the Internal Exile tour. Here, the proportion of solo to material to Marillion songs has flipped - there's 3 Marillion songs and 6 Fish solo pieces, Fish being able to draw from the cream of Vigil In a Wilderness of Mirrors and Internal Exile in order to put together a setlist which covers the full span of his career.

The musicianship is more focused here, and the sound feels a bit more cohesive than on Internal Exile itself - an album which, though I have warmed to it over time, was a bit disjointed. Here, Fish seems to be settling into a prog- pop trajectory not too far away from the one which Genesis themselves were exploring at the time, and his band prove adept at setting a diverse range of songs into this mode.

This isn't the only source for live shows from the Vigil and Internal Exile tours, mind - when Fish was striking out in the independent sphere he put out a slew of "official bootleg" albums from these two tours for the sake of getting some cheap product. The first show here is different enough from the one captured on the "Pigpens Birthday" gig - which came from substantially later in the Vigil tour - that it doesn't feel redundant next to it. The second show is more evidently a truncated version of the sort of setlist captured on official bootlegs such as "Uncle Fish and the Crypt Keepers", "Derek Dick and His Amazing Electric Bear", and "For Whom the Bell Tolls" - but it's a nice bonus here. And if you just a one-and-done overview of Fish's live act in his early solo career, this is a pretty good summation of his first two years or so.

 Sia by SOLSTICE album cover Studio Album, 2020
3.95 | 11 ratings

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Sia
Solstice Neo-Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Surely here is a band who need no introduction whatsoever, as when it came to prog in the Eighties these were one of THE bands. I was really late to the party, not hearing 1984's 'Silent Dance' until it was reissued by Progressive Records in 1991, and immediately fell in love with both that and the next album, 'New Life'. Solstice built up a huge following in the live scene in the UK, but they never really had the stability and release schedule for them to establish themselves on a wider basis, and I am sure there are many of us who wish the breaks had gone their way as they always deserved to be much bigger. Their last album prior to this one was 2013's 'Prophecy', and apart from new singer Jess Holland, this features the same line-up of Andy Glass (guitar, vocals), Jenny Newman (violin), Pete Hemsley (drums), Robin Phillips (bass) and Steven McDaniel (keyboards, vocals). Solstice have always been a band who have used female lead vocals and violin, something which has always made them stand out from others in the scene, and on this album, they have moved at times into a folkier side.

Songs such as "Long Gone" are simply beautiful, with the concentration on Jess's beautiful vocals and Andy's acoustic guitar, with some delicate accordion-style keyboards. When Jenny's violin comes in over the top of the harmonies, it adds a touch of beauty which takes this to a whole new level. The album starts with one of its most overtly progressive tracks in "Shout", where the layered keyboards and violin fool us as we jump into something which is quite funky in some respects, allowing a groove to build right from the beginning. This has always been Andy's band, but he acts more as an arranger than a diva, only bringing himself forward when it is right for the music, yet he can more often be found in the background. This is the longest song on the album, at more than 10 minutes, yet it passes by incredibly quickly as the listener is drawn into some wonderfully melodic music.

Jess's vocals are pure and clear, Jenny has the wonderfully folky style one expects from someone who has developed her style in that sphere, adapting it to prog but never moving too far away from the roots, then Andy adds in his pieces when the time is right and together the trio provide the melody, with keyboards often in a support role, as are the rhythm section. However, one needs to pay close attention to Pete, Robert, and Steven, as they are often laying down complex lines and rhythms which the listener may not always pick up on.

The whole album is a delight, and it is something of a surprise to find they have revisited a track from their debut all those years ago. Back then Andy was accompanied by Sandy Leigh, Marc Elton, Mark Hawkins and Martin Wright, and while I must admit I am not always a fan of bands going back to music they had previously released, this has been given a totally fresh lease of life some 36 years on from when it was originally recorded. It fits in perfectly with the rest of the album and brought a smile to the face of old proggers like me. I see Solstice are touring heavily in the UK, and as I don't think they will ever make it down to Aotearoa, let's hope we get another album from them soon.

 A Trace of Memory by SANGUINE HUM album cover Studio Album, 2020
4.07 | 76 ratings

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A Trace of Memory
Sanguine Hum Neo-Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars The core trio of Joff Winks (guitar, vocals, piano, string arrangements), Matt Baber (keyboards, synths, drums, field recordings) and Brad Waissman (bass, Chapman Stick, upright electric bass) are back with their fifth studio album, alongside drummers Paul Mallyon and Andrew Booker, who have both previously been involved as well. I was impressed with their last release, 2018's 'Now We Have Power', and was looking forward to hearing this one and I was not going to be disappointed. What makes this album work so very well indeed is the quality of the arrangements, with the guys somehow making their instruments seem much more than they are, with the bass tone, in particular, being incredibly wide and permeating through the songs. This gives the guys a wonderful framework to build on, so the drums hang off the side doing their thing while Joff and Matt twist through multiple styles and phases.

Nowhere is this truer than on the epic "The Yellow Ship", which is more than 13 minutes long. In this we have some wonderful staccato moments, others where it is way more relaxed and drawn out, with the melodic lead switching throughout. There is a delicacy within their music, a restraint which seems almost fragile on the surface, and it is only as the songs progress that one can hear the strength within. "Pyramids" is a precious thing which sounds almost as if it is going to disappear with the acoustic guitar and keyboards providing just the right amount of support for the vocals, and it is only when the bass and drums come in that the listener starts to realise the power. This is one of the highlights of the album, really bringing us deep inside and allowing us to understand what is going on.

Someone asked me yesterday if people undertook active listening anymore, and although I replied in the affirmative, I do know there are many who no longer do so. This is an album which really benefits from the listener paying close attention, as otherwise much of what they are doing will wash right over, so when you have the time to really listen, sit and play this while concentrating on what is going on and you will be surprised just how much there is in there for you to discover. There is a beauty within this which is an absolute delight, and while not the most in your face progressive rock you will come across, it is certainly worth investigating.

 CBF10 by MULTI-STORY album cover Studio Album, 2020
3.06 | 16 ratings

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CBF10
Multi-Story Neo-Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars With a history stretching back nearly 40 years, albeit with a rather extensive break in the middle, most fans of British neo prog will be aware of Multi Story. Original singer Paul Ford and keyboard player Rob Wilsher both played on their 1985 album, something I heard when it was reissued by Kinesis some 10 years later, and then a few years back they decided to form a new version of the band. There may have been nearly thirty years between 'Through Your Eyes' and 'Crimson Stone', and only Rob played on both, but many fans were intrigued when they returned. A far more respectable four-year gap has now seen them back with 'CBF10'. Bassist Kyle Jones has now been replaced by Arnie Edwards, but both Aedan Neal (electric & acoustic guitars) and drummer Jordan Neale both played on the last one.

The result is a solid right down the middle neo prog album, which apart from a clean and produced sound could well have been recorded more than 30 years previously. It has the na´ve prog approach favoured by some bands in the earlier days of the neo scene, but whereas bands who kept playing tended to change their approach and move into different sub genres, Multi Story have not been able to progress as they did not exist for such a long period. This is an album of those pre-internet days, when bands were swapping music on tapes, and the only way to find out what was going on was either sending letters to bands or paying out for the A5 photocopied newsletters run by fans. Some of those lifelines are still going today in one form or another (Feedback is now called Amplified, Background is now a website, Acid Dragon is still Acid Dragon!), while others just disappeared as life got in the way. This is music from that period, not essential, yet while some have always denigrated the genre as "not being real prog", it makes me think of being in a car with Mark Colton of Credo, playing "The Student Prince" by Comedy of Errors, or the latest tape by Mentaur, while discussing what was in the most recent issue of Blindsight. If you also remember and miss those days, then this is worth hearing for nostalgia's sake, but otherwise just walk on by.

 Life in Two Dimensions by BURKE, DEC album cover Studio Album, 2021
4.00 | 1 ratings

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Life in Two Dimensions
Dec Burke Neo-Prog

Review by alainPP

— First review of this album —
4 stars DEC (lan) BURKE, British guitarist and member of the well-known group FROST *, is also a founding member of the British group DARWIN'S RADIO and DILEMMA; good, powerful, almost greasy prog metal narrating themes of loss, hope, and today's race to materialism; complex, powerful, progressive rock, melodic rock ballads for his 4th album composed during confinement again. We note in fact his style prone to guitar drift on a strong and warm voice. Note members of PENDRAGON, PAIN OF SALVATION, DILEMMA and COSMOGRAF as luxury companions.

"Life in Two Dimensions" on the prog rock track of the stadiums, nervous enough to stay upright, soft enough to dance arm in arm! Chorus in chorus which ogles pop-rock, memory on BON JOVI. "Emergency" much more nervous to the point that it can recall the devastating riffs of PRETTY MAIDS, fast and incisive rhythm as indicated by the title which is eyeing on the CHEAP TRICK. "Sister X" follows at the same tempo, frantic riff bordering on hard 80's; a prog break appears at the end to justify belonging to this very open current. "This Time" and a cool ballad that plunges into the JOURNEY and others FOREIGNER, the charmeuse repetitive rhythmic acoustic guitar; a strong solo reminds us that it is often on the ballads that we find the most beautiful; the warmly melancholy cello finale gives it a pleasant touch. "Sunlight" and return to a prog rock metal sound with a playful air playing on the thundering bass bringing the title to tunes known in our subconscious.

"Love Steel" ROGUE MALE, MOTORHEAD in the distance; it smells like the 80's with a clear and fast tune, metallic, it's basic; you would expect a 'stadium' title and then a prog variation suddenly comes without realizing it! Attention more complex than it seems, the final guitar solo holds up well. "Energy" passes like a letter to the note with a river tune and a guitar solo that flows naturally. "Fly with Broken Wings" on a mid- tempo, jerky air, ballad again Ó la FOREIGNER; I give this as an example to try to indicate to you where you are going to start, the current sound, fast, more rhythmic, fruity, heavy metronomic length. "Paper Fortress" with its piano intro, go a little souvenir from the "Images" of SAGA; the track then goes off to a melodic rock ballad almost in frenzied slow, the DEF LEPPARDs come to mind on their emotional ballads; halfway through, the break a little messy, complex with hard riff, heavy bass and twirling synths all giving way to a deluge of notes for his guitar; a little nod to the rhythmic drums of "The Knife" by GENESIS or DEEP PURPLE, you will quickly understand. "Trap Door" for THE title, 10 intense minutes that go by quickly, a bit of the madness of DEVIN TOWNSEND, psyche synths, rising notes, which have difficulty getting out of the speakers because it is so compacted; we then go on a ballad posed for a while before setting out again on the frenzied final.

DEC BURKE didn't invent anything I can tell you, but he wrote a bitch ... good melodic prog rock album. Recent fresh sounds that eye the 80's without falling into it, we are in the reminiscences exclusively. A rock album which gets better towards the end with more progressive drifts and which suggests that a little more long tracks would have made a major album; I prefer the second dimension of the second side with a little more of everything, the last 3 being just perfect.

 Out of the Gate by CORVAGLIA, ALESSANDRO album cover Studio Album, 2021
4.07 | 5 ratings

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Out of the Gate
Alessandro Corvaglia Neo-Prog

Review by TenYearsAfter

4 stars This is the first solo album by singer Alessandro Corvaglia (known from Delirium, La Maschera di Cera and Hostsonaten to Mr. Punch). He has used the music to let off steam on some current issues, such as the tragedies of migrants who died at sea (Promised land), the absurd conflicts affecting humanitarian institutions by destroying hospitals or other building structures (White Ghosts) and cultural and social barbarism fed by 'bloggers' (Preaching Online). Alessandro Corvaglia has invited a wide range of guest musicians, including Gordon Giltrap (on the unreleased A Deed Within A Dream and 12 Towers) and members from Delirium, Finisterre, Hostsonaten, La Coscienza di Zeno.

The 10 compositions delivers a pleasant variety, it sounds very melodic and harmonic, tastefully coloured with guitars and keyboards, and topped with strong English vocals (Les Dougan from Aragon comes to my mind). From a mid- tempo with sparkling Minimoog and mellow saxophone in Promised Land to rock with powerful vocals and fiery guitar in Preaching Online. From dreamy with Mellotron choirs splashes, warm vocals and a second part swith swinging piano in Vision to folky with twanging acoustic guitar, piano and flute in Towers.

The instrumental A Deed Within A Dream starts with an acoustic guitar intro, then cheerful Minimoog flights, again acoustic guitar runs, the second part is Vintage Keyboard Heaven featuring Hammond waves, Mellotron choir eruptions, and Minimoog runs, in a bombastic atmosphere.

My absolute highlight is the epic final composition (close to 12 minutes) Out Of The Gate. First soaring strings, then a slow rhythm, turning into a bombastic climate with synthesizer flights, with powerful vocals, fiery guitar solo and Minimoog solo, in a mid-tempo. Halfway the music shifts to dreamy, then a strong build-up with emotional vocals and soaring keyboards, gradually the sound turns into more lush and bombastic. A long and moving guitar solo joins, culminating in howling runs, supported by a majestic Mellotron sound, goose bumps!

 Beyond Man and Time by RPWL album cover Studio Album, 2012
3.89 | 440 ratings

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Beyond Man and Time
RPWL Neo-Prog

Review by ElChanclas

4 stars Beyond Man and Time, 5th studio effort by German Neo proggers RPWL. I'm not very familiar with the band or their catalog, but I do confess I was a little cautious before digging at first when I read they started as a Pink Floyd cover band? I wanted something new not investing time in copycats or soulless bands, fair enough it was not the case with RPWL. I think its fair to say that Yogi Lang's vocal do resemble Gilmour's tone and if we add to the mix Wallner's immediate reference (influence) to his guitar playing it is inevitable to have that same "look and feel" of the later PF's catalog, but that's jut a mirage, this guys have their own sound and identity, and have a lot of wonderful ingredients that are smartly added to the mix? and that statement is evident on the opener, Transformed, an atmospheric instrumental intro that slowly fades and blends with We are what we are, definitely one of the highlights of the album.

According to Lang himself, "The basic idea in this album is a so-called "revaluation of values" in terms of a new way of thinking. In this world there already are creatures of higher knowledge that the protagonist meets allegorically along his way: the keeper of the cave, the willingly blind, the scientist, the ugliest human, the creator, the shadow, the wise man in the desert and the fisherman", and I try to imagine that this 2nd tune marks the beginning of such journey, just guessing? 9mins of powerful display of instruments and hypnotic singing? The title track is a mellower one, kind of bluesy in spots and very melodic, epic and memorable, a place where Wallner feels comfortable and his talent is noted. One of those ear worm melodies, a chorus you will hum hours and hours after the first listen. Unchain the earth is another highlight and one of my favorites, maybe the more PF sounding off the whole record but beautiful and unique in its own merit, I love the tempo and rhythmic section of this tune, so catchy! "Unchain the earth, we don't need the sun anymore". The Ugliest Man in the World, to my ears the best song in the album, with the best team work by the band, with a lot of changes, not complex at all but very dynamic, impossible to get bored. Neo-prog DNA, pure, melancholic and angry at the same time, obscure but beautiful, flawlessly executed? BTW, Markus's keyboards textures are spectacular!

There's always the rocker, The Road to Creation is that rocker, with added depth to the vocals and balanced but distorted riffs that are the faithful conductors for the rest of the band, progressive metal nuances decor the 6min plus song with the delicacy only available with Neo prog structures, memorable again. Unfortunately, at least for me, the weak moment of this album starts with the cool but a little bit short Somewhere in between, Lang's voice is so celestial here that I would have really like more minutes of his singing? The Shadow brings us back to the same musical feel we experienced in the first quarter of the record with straight pop rock vocalizing and instrumentation because these guys can do just that, transform complexity into mainstream sound, both vocals and guitars are the solid bridges that the rest of the band cross to become more or less melodic, more or less heavy, more or less prog, more or less complex, truly amazing. The Wise in the Desert is may least favorite, not that I not a good song, I just simply don't see the fit to the rest of the album, like it belongs to another era of the band, another concept, hard to describe how I feel about it, but it simply doesn't cut it for me? maybe it just need more listens, I guess it sounds too flavorless for me.

The Fisherman starts with the same feel as the previous tune, however it does evolve into a more symphonic groove, maybe a little bit odd but it does work and helps the 16minutes plus be fore enjoyable? I love epics, the longest the better, however I think that The Fisherman could be shorter and still tell the same story and have the same impact? just a thought? but it has to be solid that the guitar work here is really pristine and memorable. Last but not least, The Noon? beautiful vocals and lyrics by Lang who wisely manages the harmonies to sound like something important is coming to an inevitable end, a very strong song to close a very solid album. A must listen for sure!

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25 YARD SCREAMER United Kingdom
ABACAB France
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ABRAXAS Poland
ACCEPT Japan
AD INFINITUM United States
THE ADEKAEM Poland
ADN France
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ANIMATOR United States
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ARK United Kingdom
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ART Italy
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ATOMIC TIME Brazil
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IT United Kingdom
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