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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

4.25 | 1849 ratings
MISPLACED CHILDHOOD
Marillion
4.26 | 1001 ratings
THE ROAD OF BONES
IQ
4.22 | 1756 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.14 | 1146 ratings
CLUTCHING AT STRAWS
Marillion
4.17 | 559 ratings
CONTAGION
Arena
4.17 | 421 ratings
POSTHUMOUS SILENCE
Sylvan
4.10 | 797 ratings
FREQUENCY
IQ
4.09 | 956 ratings
MARBLES
Marillion
4.13 | 420 ratings
A TOWER OF SILENCE
Anubis
4.06 | 598 ratings
THE VISITOR
Arena
4.09 | 366 ratings
EMPIRES NEVER LAST
Galahad
4.05 | 561 ratings
EVER
IQ
4.03 | 818 ratings
DARK MATTER
IQ
4.06 | 447 ratings
FANFARE & FANTASY
Comedy Of Errors
4.08 | 288 ratings
SEVEN
Magenta
4.03 | 416 ratings
ALL RIGHTS REMOVED
Airbag
3.98 | 1170 ratings
FUGAZI
Marillion
4.00 | 565 ratings
THE SEVENTH HOUSE
IQ
3.97 | 900 ratings
BRAVE
Marillion
4.03 | 306 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

THE SPARROW
Metaphor
ARGOS
Argos
VOICES
T
CROWN OF CREATION
Emerald

Latest Neo-Prog Music Reviews


 A Vision Of Angels by GEE, PETER album cover Studio Album, 1997
3.55 | 26 ratings

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A Vision Of Angels
Peter Gee Neo-Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars This has been a long-time friend, 20 years on now, that keeps me sporadic company and I have never graced it with a review. Surely not a masterpiece in the conventional 'fan' sense but we all have some pet favorites that do not necessarily hit the spotlight and get any astrological awards. Peter Gee is not an unknown entity, having manned the bass guitar for celebrated neo-prog stalwarts Pendragon since nearly the beginning, and still loyal to Nick Barrett and Clive Nolan to this day. Safe to say his day gig is cement solid. In 1997, he released this second solo album to little or no fanfare and that is a shocking injustice as this album is quite a joy to listen to, offering homogeneity and diversity , albeit in a mellower, folkier vein than the parent group. It is not a religious album even though with titles such as "Faith", "Orphans" and "Jordan", one might be tempted to classify this as a Christian recording. Actually, it is full of interpretations of specific scripture passages. But upon closer inspection, the brute reality is that it's an album about that weird thingy called love. Not exactly Tolkien-esque prog material but what the hell! What draws me regularly back to this lovely jewel are the masterful melodies that are just simply world- class and not just here and there, it's the spirit behind the opus.

The 10 minute extravaganza "Always" ushers in a jazzy style, almost Stealy Dan in approach that immediately gets the positive buzz going, a slinky affair full of breezy bravado and great playing. Elegant piano kicks the main melody into gear, a ravishing display of simplicity and emotion, introducing the the more upbeat tempo that is solidly maintained by Gee's bass guitar and Jadis regular Steve Christy's fluffy drumming. Guitarist Ian Salmon lays down some slick riffs that keep the mood 'always' exciting, vocalist Simon Clew agonizing about the 'darkness of the night' choir in tow, followed up by a mid-section that first gives keyboardist Clive Nolan a thrilling synth foray to execute and then, Nick Barret the platform to show off his mighty lead guitar skills, one of the very best solos in his illustrious career. Fascinating and eternal.

The quasi-bucolic "Heart's Desire" is all about fragility, the hushed Clew vocals curled around a lovely acoustic guitar accompaniment, piano in contrast, weaving slowly a main melody that is breathlessly beautiful 'safe in your arms' and 'an angel of mercy'. The emotional lyrics are simple but poignant, the music matching the delicacy of the intent, serving up a highly honest, undisguised and under-produced piece of genius. Nolan's keyboard work is understated yet brilliant. Very British and very pleasant, indeed. "Lost and Found" is a surely too syrupy for some of the harder- edged boys out there but it's a grand melodic song, full of that sincerity so lacking in modern music at times. Think song-oriented Anthony Phillips material circa "Sides" or "Wise After the Event", an underwhelming, bucolic, symphonic very Arthurian style that is addictive for those with zero expectations.

The short "Faith" is a sparse little ditty, delivered by acoustic guitar and vocals that espouse the circumstances of 'living in the shadows', a song about trust, that one very rare ingredient in today's world. Flimsy and pretty. More melancholy in a sad and breezy way with the candid "Never Could Say Goodbye", fueled by a jazz-blues disposition that could easily be heard in some pub /lounge that has a more eclectic style. Romantic, cool, suave and well-played.

The big winner here is the 8 minute instrumental blow out "Orphans" which could effortlessly pass as an Andy Latimer classic, a slow burgeoning masterpiece that leaves Nick Barrett the opportunity to build up quite a thundery arrangement, the fabulous choir work is pure heaven (Tina Riley), winking at past glories such as PF's "The Great Gig in the Sky" or KC's "Sailors Tale" and then the apotheosis, a scorching, stunning and whopping solo that will shriek the neighbors. Again, one of Barrett's finest!

The more overtly symphonic "Jordan" is another highlight track, a leading piano galvanizing the composition to aim towards a higher plane, crafting another mammoth melody that stays etched in the mind. This is what one would call an anthem, as the vocals inspire a nearly gospel feel, with the piano, the simple beat and the bass scouring the soul. The chorus is massive and impetuous, the fragility still present in spades. My favorite track is the last one, the ultra-corny, overtly romantic, shiveringly sappy, and yet memorable love song "I Believe in Love", armed with the most puerile lyrics ever. I care not, sucker for shedding a tear or two at the loves that have gone into my shell full of pearled memories. Gorgeous simplicity

For most, a maudlin 3.5 but like I said, I have a VERY soft spot for this comfortable pillow. 4.5 Apparitions of Cherubs

 The Clockwork Fable by GANDALF'S FIST album cover Studio Album, 2016
4.09 | 124 ratings

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The Clockwork Fable
Gandalf's Fist Neo-Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars As a rule, I am not a big fan of epic albums with narration, which is why I have failed to add applause to such celebrated albums as Rick Wakeman's "Voyage to the Center of the Earth" (the original and the more recent remake). I just prefer musical arrangements before anything. Ayreon's magnificent "The Electric Castle" was one of the very successful epics that had both narrators and singers that blended well with the punchy music. It's no surprise that Arjen Lucassen is a guest vocalist here and he may also have been a source of inspiration as well. A live setting may be a different feeling but on recordings, just give me the tunes, please. Gandalf's Fist has provided a stunning 2016 opus with the massive "The Clockwork Fable", a 3 CD affair chock full of memorable slices of sonic genius, though it must be said that their sound is much sharper and harder than ever before. Way less overtly Floydian than their previous releases such as the masterful trio of "Road to Darkness" (2011), "A Day in the Life" (2013) and "Forest of Fey" (2014), the core of singer Luke Severn and multi-instrumentalist Dean Marsh have decided to widen their sound by solidifying the rhythmic tandem by adding a full-time bassist in Christopher Ewen as well as solid thumper Stefan Hepe, giving Marsh all the space needed for his keyboard and guitar ornamentations. 194 minutes is a daunting task to wolf down in one helping, so I helped myself to reorganize a playlist of songs only, which may take away from the narrative but does focus cuttingly on the music. If you mostly want to follow the storyline just buy the album for the entire experience. Throw in former Gryphon vocalist/percussionist David Oberlé who supplies the folkier side , ex-Iron Maiden lung Blaze Bayley the helium yell and guitar maestro Matt Stevens adding his ambient skills and you get the complete picture. The core section of the work is found in the multi-part suite "The Lamplighter" that is liberally strewn among the three CDs , each over an hour long.

On the first CD "The Day the Great Cog Failed" , there are some delectable pieces to highlight such as the drop dead dazzling ballad "Eve's Song", a stirring and symphonic composition featuring a melody both haunting and reflective, a truly winning epic tremendously sung by Melissa Hollick. The delicate finale is precious metal incarnate. Things are fine-tuned from the start with the scorching "Shadowborn", chugging metallic guitar wrangling with a wicked synthesizer gone haywire, the rhythmic locomotive spewing smoke as the magical flute twirls in Tullian fashion. Listen to the thrilling "The Great Cog" with its echo-affected drum beats, reptilian bass attack and Luke's patented "pillow" vocals, flickered with endless sparks of slippery synth warbles, and you should come to the conclusion that this is going to be quite the entertainment package. Maintaining the urgency, the highly cinematographic "The Capture" is prog ?opera at its finest, bombastic orchestrations, pummelled by cannonading drums, garlanded by some whirling dervish synths salvos and some colossal Wagnerian choirs, slain by some snarly vocals.

Second CD "Of Men & Worms" is the showstopper section as it blends on "Victims of the Light" some outright folk of the vivid British kind with some breathless melodies affirmed by both starting lead vocals as well as massive choir work, an extensive acoustic guitar foray that is spellbinding from the get go. Another memorable air is to be found on "Ditchwater Daisies", a suave ballad that resonates with imagery, the art of combining a good story with a simple melody and wrap that in a pared-down arrangement and letting it all fall into place. Tragically beautiful. Luke's patented hushed voice is a pure delight and incredibly effective in creating celestial sentiments that seduces the musical soul. The pastoral sensation returns early on "the Bewildering", a shimmering fluffy cloud of atmospherics that gets accosted by a stubborn guitar riff from Mr. Marsh, interspaced with ambient flicks of the wrist (Matt Stevens), taking the whole thing into a complex universe of staccato rhythms, carpeted mellotron for Luke to swoon over, the fluttering flute (not credited anywhere) and a whole lot of adventure. But it's on the beguiling "A Solemn Toast for the Steam Ranger Reborn" that the magic really hits hard, brilliant vocals, sputtering synth bubbles, Spanish guitar fingerings, tinkling piano and marshal drums uniting in the cause. This is a tremendous piece that sweeps you into the clouds of fantasy, reminding me of their classic song "Stowaway to the Mushroom Planet". Delirious music.

The third act, "From Burrows we Came", here the overall texture definitely hardens, perhaps due to the Iron Maiden influences that are bursting through the speakers' seams, leaping into a harsher climate as on the dizzying "The Climb", maintain a highly melodic and dramatic urgency, upgraded by marvelous operatic vocals from Melissa Hollick, who really shines throughout. The improbable bass guitar/synth duet is a total stunner. The screeching electric finale is fast, furious and heavy. The rambling "Fight for the Light" is a shadow box of various explosive chords, tempered by those divine hushed vocals that instill a sense of yearning that gets me every time. Then Blaze grasps the mike with brazen authority and with the correct guitar barrage, the mood is clearly in jet propulsion mode. The slipstream synths warble madly, chasing the challenging melody. This greasier rock bravura is pushed along further on the next track, the colossal "At the Sign of Aperture", a towering and bold musical statement that swerves in various summersaults sung by "the chosen one", slashing mightily with passion and awareness. The 'sparks are flying' guitar solo is a classic Van Halen-like affair, unparalleled technique and emotional frenzy. The shimmering title track welds piano and acoustic guitar together, Luke swooning engagingly amid the clicking timepieces and ticking mechanisms, buoyed by lush symphonics in the use of various synthesizers. Truly terrific piece. "Through the Lens" gives licence to the piano pursue its magical journey, as Melissa adds a stirring and convincing farewell.

I have edited the playlist, as suggested by others, in order to lean exclusively on the songs and the result is quite an entertaining ride. Whichever way you want to approach this massive opus, either in whole or in part, Gandalf's Fist has dared to conquer and has vanquished. I cannot fathom how they can possibly top this crowning achievement.

5 Device stories

 Given The Impossible by FAR MEADOW, THE album cover Studio Album, 2016
3.81 | 13 ratings

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Given The Impossible
The Far Meadow Neo-Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Moving forward to a new meadow, far or near doesn't play a role. Released at the end of the year 2016, their sophomore album 'Given The Impossible' is dominated by a new remarkable female singer. Named Marguerita Alexandrou and equipped with a rather exclusive and clear voice, which accurately fits the music, or better leaves an important imprint on it. As a sidenote, while always searching for something special, for me she's looking like Barbra Streisand a bit. Sorry, if ever, in that case a younger incarnation of course. Furthermore, another attraction, this band hailing from London is responsible for song writing, melodies, arrangements and production as a unity.

Works quite well! Hereby they are dealing with dinosaurs, warriors and sirens amongst other issues. Every track has its own characteristics. For example when they are adopting the traditional 'Scarborough Fair', probably bestknown due to the Simon & Garfunkel implementation. Not difficult to recognize, but this is artfully wrapped up by the contrasting Seamless Shirt anyhow. Hence it will not take long until the band's potential is fully evident. The album's centerpiece is made of four intriguing tracks. Starting with the tricky symphonic Industry which incorporates some classical and Flamenco impressions. 'And she loves her country ...' - in between they are sending us A Gentle Warrior - somewhat smart and charming.

Some Dinosaurs dare to feature a rather jazzy interlude and the extended Himalaya Flashmob comes in two stages. In the meanwhile I really adore the second instrumental section, playfully presented, including those Himalayan Sirens. Lobate Scarp, District 97, Touchstone, Big Big Train are bands similar in sound, at least partially. Sending a bravo to the far meadow now. I'm still detecting new facets. All the instruments are played with proper variety, no exception. Thus consequently 'Given The Impossible' has reached for a place on my 2016 Top Twenty List. I strongly recommend to have more than one or two listening sessions.

 The Clockwork Fable by GANDALF'S FIST album cover Studio Album, 2016
4.09 | 124 ratings

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The Clockwork Fable
Gandalf's Fist Neo-Prog

Review by chiang

5 stars This is a great album!!! Never heard of "Gandalf's Fist" before and, being a Tolkien's fan, I have to say that I came here cause the name. But I found a great band (or a great musician, cause most of the music is Marsh's work). Three C.D.s, three hours, lot of good songs, a nice story (better than most on lots of concept albums). The idea of the interspersed radio play bits is nice but I don´t like to listen to them more than twice; fortunately I can skip them. "The Lamplighter" is a great epic. "The capture", "Victims of the light" and "Fight for the light" are very good also. In fact I like all the songs, and the musicians are very well chosen. Every moment of the story has a correct musical feelling. The album cover (the whole pack in fact) is a very good work, dark but beautiful. I don't miss the old 12in paperboard anymore. One of the best albums from 2016.
 Hawaii by AISLES album cover Studio Album, 2016
3.89 | 33 ratings

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Hawaii
Aisles Neo-Prog

Review by Angelo
Special Collaborator Honorary Collaborator / Retired Admin

5 stars First time I heard Aisles was on their dark concept album 4:45AM. With Hawaii, they deliver another 80 minute concept album, about a group of human colonies surviving after the earth is destroyed. Musically it's a very interesting mix of melodic symphonic rock, transferring the sound of the 70s and 80s to a 21st century sound. There is no lack of musicianship in this band, and Angel is one of the best vocalists I know. Highlights for me: jazz rock infused The Poet, and the wonderful, very melodic, symphonic rock pieces CH-7 and Pale Blue Dot. Progressive Rock lives in Chile.
 Disconnected by AIRBAG album cover Studio Album, 2016
3.71 | 161 ratings

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Disconnected
Airbag Neo-Prog

Review by Rune2000
Special Collaborator Prog Metal Team

3 stars I've been hearing a lot of great things about Airbag over the last few years and I've even given All Rights Removed and The Greatest Show On Earth a couple of spins. Unfortunately, their music hasn't really worked for me so far due to it's lack of originality and it still feels like the band are trying to find their own sound within the vast ocean of influences that make up the bulk of their music.

I was initially hesitant on giving Disconnected a try, based on my previous encounters with Airbag, but after seeing the album on quite a few best of 2016 lists I've finally given it a try. Turns out this album did manage to pull me in with it's charming opening track Killer. The composition has a very a atmospheric approach to it and I especially enjoy the percussion work throughout the track which feels hypnotic to my ears. The rest of the material is also pretty descent but never reaches the heights that were set by Killer. I feel like Airbag is trying to hard to mimic Pink Floyd while still sounding modern and incorporation a Steven Wilson-like sound to their compositions. The most vivid example of this is the 13 minute title track that reminds me a lot of Porcupine Tree's Anesthetize but ultimately lacks a punch to it in order to make the material stand out on it's own merits.

Disconnected is an enjoyable album that gives the listener just the right dose of prog in order to make things interesting but it's not the most daring or challenging album to dig into. Give it a spin if your in the mood for atmospheric prog music with just enough memorable moments in order to make it an enjoyable overall experience.

***** star songs: Killer (9:18)

**** star songs: Slave (8:39) Disconnected (13:09)

*** star songs: Broken (7:07) Sleepwalker (7:05) Returned (5:10)

 Touch The Mystery by MODERN-ROCK ENSEMBLE album cover Studio Album, 2016
4.10 | 102 ratings

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Touch The Mystery
Modern-Rock Ensemble Neo-Prog

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

3 stars Another day, another prog project out of Ukraine.

Modern-Rock ensemble is essentially the solo project of band leader, singer, guitarist, synth player, and producer Vladimir Gorashchenko. A longtime member of Ukraine's prog scene, Gorashchenko drives much of "Touch The Mystery" along, though he is joined by a whole slew of musical collaborators, including Karfagen veteran Antony Kalugin. Genre-wise, Modern-Rock Ensemble sits comfortably in the symphonic and neo-prog style, but doesn't get too complacent; there are occasional nods to jazz and ethnic music, and a certain new age vibe weaves its way in and out of the whole affair.

Although these atypical flairs make themselves apparent at various points in the album, I find that "Touch The Mystery" still falls well within the realm of predictability that enshrouds most symphonic prog. The album's two extended compositions, the opener "Meditations" and the 20 minute title track, are each par-for-the-course symphonic/neo fare. Each one contains extended instrumental passages that allow the band to explore, blend, and contrast different timbres. While very tastefully constructed, I can't help but feel that they never develop into any substantial. Each one just seems to be a showcase of sounds, without any underlying tension, conflict, or narrative. Pleasant listening, but not the kind of thing that really captures you and draws you in, or creates new worlds in your head.

In a similar vein, the music, while brimming with competency, often lacks in energy. And that isn't necessarily the fault of any of the musicians' performances. It's just that the production, crystal clear as it is, seems to have overshot the fine line that keeps it from sterility. The softness and clarity of the production actually works to heighten the album's two ballads, the piano instrumentals "What Will Happen To My Country?" and "My Angels". Melancholy and contemplative, these two pieces are actually quite suited to the subdued sound of the album. During the two epics, though, and the more unorthodox live recording, "Swamp", a lot of the dynamic power that should be there is flattened out and lost. It also doesn't help that Gorashchenko has what may be the most offensively mellow voice in the world. Imagine the guy from the local DMV reading out a book on tax code. And then imagine that getting played back at half speed. Or remember that one teacher you had back in school whose class you simply couldn't not sleep through? Those sorts of memories were really coming back to me whenever Gorashchenko started to chime in between instrumental passages. I digress. There is one welcome respite to come from the vocals, though; when they start to sing out "Touch it! Touch it!" at the end of the title track, its comes across as excellent comic relief. Indeed, that line may be one of the most awkward, least tasteful things to hit prog since the cover of "Love Beach". Truly a laugh-out-loud moment in the middle of an increasingly lacklustre song.

So, I suppose that Modern-Rock Ensemble falls prey to the typical symphonic quandaries. Tasteful ("Touch it" aside), but not overly creative. Competent, but not overly exciting. On the whole, I'd consider this to be very middle of the road prog. It's a very safe listen, so if you're not necessarily looking for anything too risky, "Touch The Mystery" should be a thoroughly enjoyable choice of music. With all things considered, I'd consider this to be a good album. No more, no less; 3 safe stars.

 Nemezis by NEMEZIS album cover Studio Album, 2008
3.84 | 25 ratings

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Nemezis
Nemezis Neo-Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars Nemezis came together in 1996, and although they did have some local success, they never completed their debut album and broke up. After recording an album with Mindfields, guitarist Marcin Kruczek felt that it was time that the songs written by Nemezis finally saw the light of day, so he put together a brand-new band to do just that, none of whom had played in the original line-up. Krzysztof Lepiarczyk (Loonypark) provided keyboards, and the music is credited to him, Marcin and original bassist Grzegorz Wojtasiński, who wasn't involved this time around. The line-up was completed with Karolina Strużycka (vocals, who also provided all the English lyrics), Piotr Lipka (bass), Waldek Kowalski (drums, percussion) while Metus provided guest male vocals on one song.

This certainly doesn't sound like a project, but rather a well-rounded band who have been playing together for years. Karolina is a beautiful singer, with just a faint hint of accent that provides an edge to her voice, enhancing and not detracting. However, in many ways this is a vehicle for Marcin more than anybody else, with everyone else playing a backing role. On some songs, he does provide chords, but for the most part he is providing some plaintive soloing that is either the main focal point of the passage, or as a direct counterpoint to the vocals. Krzysztof is well-known as a keyboard player, yet here his role is to provide a melodic backdrop for Marcin to play against. The result is a neo-prog album that may have hints of Camel, Jadis and Pendragon among others, but is quite different to most of what was in the scene.

This 2008 album was sadly the only release from Nemezis, although Marcin and Krzysztof did play together on the solo album by Milennium singer Lukasz Gall. Produced by Milennium keyboard player Ryszard Kramarski, Nemezis released an album that is a highly regarded part of Poland's impressive progressive rock scene.

 Bold Travels by SETI album cover Studio Album, 2016
3.36 | 26 ratings

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Bold Travels
Seti Neo-Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

3 stars This is the project of Claudio Momberg who has been in the Neo-Prog band Subterra and was the keyboardist in the project of Clive Nolan "Caamora". And Clive Nolan is a guest musician here with Damian Wilson and Steve Rothery. It's no surprise that the music has Marillion and IQ influences, especially on the track "The Hidden Messenger" and "The Great Conflict". The music is a modern Prog Rock that is basically symphonic Prog that can get to both extreme of Prog Metal and ambient music. They can get heavy with the guitars, but also quieter with some electronic soundscapes. The keyboards of Momberg plays a major role with beautiful melodies reminiscent of Genesis, check the track "Cascade of Changes". There are many vocalists, some good and some ordinary, the good; Damian Wilson who's performance on the track "Divine Decision" is impressive. This is a nice little album in the category of the new wave of Neo-Prog bands who instead of taking their influences only from the 70's are also inspired by modern music.
 And Now Everybody To The Stage  by PENDRAGON album cover DVD/Video, 2006
3.94 | 59 ratings

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And Now Everybody To The Stage
Pendragon Neo-Prog

Review by berkaal

2 stars You call it neo-prog? I call it pop. The only thing in common with prog is songs length. But prog has: 1) roots in classical music 2) instrumental prowess 3) tempo changes 4) odd measure/beat 5) cultural aura 6) deep-meaning lyrics 7) charm. Pendragon have nothing of the preceding. As prog, it's zero stars. As pop, as long as this music doesn't disturb my ears, it's listenable. But, as someone already wrote, nothing remains in my head. No real listening pleasure. Well, let's take a look at Barrett: he's a good chap, let's have a pint with him, but: his singing is....ehm, average, his playing is average, his lyrics are awful, his songwriting skills are mediocre, and his trousers are HORRIBLE!!!
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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
BIG PICTURE United States
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