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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 27/8/2014

Apostolis (apps79) ... Team leader
Matti
Tom (Roland113)

Neo-Prog Top Albums


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

4.35 | 716 ratings
THE ROAD OF BONES
IQ
4.25 | 1591 ratings
MISPLACED CHILDHOOD
Marillion
4.22 | 1522 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.20 | 481 ratings
CONTAGION
Arena
4.13 | 971 ratings
CLUTCHING AT STRAWS
Marillion
4.12 | 692 ratings
FREQUENCY
IQ
4.16 | 374 ratings
POSTHUMOUS SILENCE
Sylvan
4.10 | 824 ratings
MARBLES
Marillion
4.15 | 379 ratings
A TOWER OF SILENCE
Anubis
4.11 | 385 ratings
FANFARE & FANTASY
Comedy Of Errors
4.07 | 522 ratings
THE VISITOR
Arena
4.09 | 337 ratings
EMPIRES NEVER LAST
Galahad
4.02 | 720 ratings
DARK MATTER
IQ
4.04 | 472 ratings
EVER
IQ
4.03 | 486 ratings
THE SEVENTH HOUSE
IQ
4.08 | 248 ratings
SEVEN
Magenta
4.09 | 225 ratings
THE TALE OF THE GOLDEN KING
Psychedelic Ensemble, The
3.97 | 990 ratings
FUGAZI
Marillion
4.02 | 340 ratings
A FEAST OF CONSEQUENCES
Fish
3.97 | 774 ratings
BRAVE
Marillion

Neo-Prog overlooked and obscure gems albums new


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

VOICES
T
ARGOS
Argos
THE SPARROW
Metaphor
TIMANFAYA
Healing Road, The

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Latest Neo-Prog Music Reviews


 In The Last Waking Moments... by EDISON'S CHILDREN album cover Studio Album, 2011
4.03 | 229 ratings

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In The Last Waking Moments...
Edison's Children Neo-Prog

Review by jmeadow

4 stars The first Edison's Children album In The Last Waking Moments ranges from radio-friendly AOR to more experimental, extended proggy tracks and even some post-rock moments. Both musically and lyrically the album is emotionally charged - songs of regret, reflection and trepidation. The album is infused with a gentle melancholy. As you would expect, the musicianship is high quality - these guys know how to construct a rock song, but the album never feels forced or contrived. The stand-out track for me is the radio hit A Million Miles Away ("the sky was so brilliant blue/And I was lost in the sunshine of you"), with the title track and The Awakening being other highlights. Highly recommended.
 The Final Breath Before November by EDISON'S CHILDREN album cover Studio Album, 2013
3.99 | 190 ratings

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The Final Breath Before November
Edison's Children Neo-Prog

Review by jmeadow

3 stars The second Edison's Children album is an extended meditation on/exploration of a musical theme from their first album. Musically the theme takes off from the stand-out track from that first album, A Million Miles Away, taking the central musical motif and extending and reshaping it in different ways. Lyrically, the theme is the haunting presence of the past in our lives, the personal past of loves lost and the spectral past of other lives long gone, but somehow both still present at the edges of our consciousness. Great music for the small hours of the night, though in the bright light of day I do wonder if the ideas herein can really sustain 80 minutes of music? On that basis, I would say this is a good album, though not essential.
 The Unquiet Sky by ARENA album cover Studio Album, 2015
3.36 | 5 ratings

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The Unquiet Sky
Arena Neo-Prog

Review by Wasp

3 stars This review is based on 3 listens on receipt this week of the new album - and I'm sure my feelings may change with time and more familiarity, however, I have to say that this (to me) sounds just the same as Seventh Degree, very formulaic. Don't get me wrong, I enjoyed this album as I enjoyed the previous, it just is not quite up there for me. The guitar and drums are so similar to previous albums, and I'm still not convinced that Paul Manzi (great vocalist that he is) suits Arena's sound. And where oh where is Nolan's keyboards, which used to be one of the joys of great Arena albums, very memorable hooks and catchy noodlings...ha ha. Now, I search but cannot find. I will endeavour to find something in this album for me, but my initial instincts are, good, but not great and could've been brilliant. Is it time to say RIP Arena (along with Pallas & Pendragon), I sincerely hope not, but....... Sorry guys.
 Still Dream by EDHELS album cover Studio Album, 1988
3.17 | 19 ratings

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Still Dream
Edhels Neo-Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars In 1987 Edhels performed the track ''Heart door'' for the Musea compilation ''Enchantement'' with an expanded five-piece line-up, featuring second keyboardist Jean-Marc Bastianelli.Although Bastianelli later became a stable member of the band, he did not appear on Edhels' ''Still dream'' album, the first and only work by the band to get parallel vinyl and CD issues by Musea.It was recorded at the Studio Les Mouchettes and released in 1988 with the regular Marc Ceccotti/Suzzoni/Damon/Rosati core.

This was another attempt by Edhels to combine different influences in a period amalgam, they sound like if CAMEL and KING CRIMSON shared some common members, but imagine all these elements created under an 80's production.In fact there is a certain feeling of confusion listening to this album, because Ceccotti's and Suzzoni's plays seem somewhat torn between jazzy and more melodic sources of inspiration, while Jacky Rosati seems undetermined on whether to use his keyboards in an orchestral or more quirky, Fusion-flavored way.The result has its own charm and ''Still dream'' sounds like a collection of pieces by two different bands, there are certain cuts with impressive electric solos and some acoustic pinches with PINK FLOYD and GENESIS influences, while the rest are in a jazzier/Fusion vein with a bit of HAPPY THE MAN/ALLAN HOLDSWORTH vibes, featuring nice instrumental breaks and shifting moods with semi-Classical piano and tricky work on guitars and keys, although performed in a much lighter style.''Still dream'' still suffers from the acoustics of the time, especially the drumming sounds very sterile, while there are a couple of minimalistic textures to be found in here (I hear some evident New Age-like echoes during these pieces), but the music is fine and executed with accuracy.

Not an album to like if you get sick about everything related to the 80's.But these guys definitely deserve some praise for keeping the Prog flame alive, especially after delivering material so close to Camel and King Crimson.Recommended with the above noted restrictions.

 Broken Hopes by ALBION album cover Studio Album, 2007
3.51 | 45 ratings

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Broken Hopes
Albion Neo-Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars After the warm reception of their 2005 album Albion were a regular entry in radio broadcasts, while also getting interviewed numerous times for well-known magazines and stations.A good opportunity for them to republish their first couple of albums with a 2-CD offering, entitled ''Remake'' and released in 2006.By the end of the year they started working on new material, while they announced that the official line-up was now the trio of Katarzyna Sobkowicz-Malec on vocals/classical guitar, Jerzy Antczak on guitars and Krzysztof Malec on keys and the upcoming recordings would take place with guest musicians.These would be ex-member Rafal Paszcz on drums, Krzysztof Wyrwa on bass and Aretha Chmiel on sax.The album, titled ''Broken hopes'', was recorded during the summer of 2007 and shelved later in the year by Lynx.

They picked up from where they left things with ''Wabiac cienie'', at least musically speaking, offering the definition of Polish Prog, atmospheric, melodic and lyrical material, heavy on keyboards and featuring unique, slow guitar moves.But the band was apparently encouraged by the latter fame and decided to leave their native language for texts written exclusively in English for a worldwide exposure.This would take away some of Albion's charm, cause a signgificant part of those group's identity was to sing the lyrics in Polish.Anyway, the dissapointment was rather reduced by the fact that they kept playing and composing with passion and emotion, while we find Katarzyna Sobkowicz pretty comfortable with their new responsibilities on the English texts.Beautiful soundscapes with developing structures, starting from a laid-back PINK FLOYD-ian enviroment and ending up to thrilling CAMEL/MARILLION-esque solos with some nice layered synthesizers, the music follows generally a slow pace, but the album doesn't lack a few more bombastic moments with heavier guitar attempts and even some great organ work next to the modern keyboards.I fail to detect this one piece, that really stand out on this Albion effort, but the musicianship is really strong all the way through with injections of vocal and guitar distortions appearing every now and then in a normal delivery by new Polish bands.

Yet another goodie by an overlooked band.Strong Neo Prog in the vein of Collage, just less symphonic and with a female singer leading the way, characterized by soundscapes of sheer beauty, melancholy and passion.Warmly recommended...3.5 stars.

 Epsilon 2 by MAJESTIC album cover Studio Album, 2014
3.80 | 22 ratings

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Epsilon 2
Majestic Neo-Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars The golden "Epsilon 2" is the natural follow-up to the blueish "Epsilon 1", perhaps intended originally as a double album but any sane artist understands that releasing two double albums one behind the other can be artistic suicide. In 2012, Jeff Hamel released "V.O.Z.", a stunning 2 disc set of volcanic proportions, a sensational heavy neo-prog recording that garnered rave reviews and a whole lot of adulation from Progland and even beyond. The first Epsilon chapter was a delightful package, a hefty mix of cosmic power prog a la Ayreon, some ambient splendor blended with outright heavy metal rifferama, wah-wah pyrotechnics and a cameo by terrific Brit singer Marc Atkinson (Riversea, Nine Stones Close). In fact the vocal display was quite extraordinary. Well this chapter keeps the coals burning bright, as guitarist/keyboardist Hamel and mega- drummer Mike Kosacek continue their rocket-fueled journey through the cosmos, with a flight crew of talented vocalists, namely helium-lunged Chris Hodges, the equally adept David Cagle and recurrent female vocalist Jessica Rasche.

"Generations" is a plodding opener which serves only to warm up the speakers, nothing overtly special or memorable. Soft, hard, soft structured instrumental that gets the juices flowing. The mood really takes off on the bruising "The River", a 10 minute ride into outer space, shuffling guitars clang along unbridled, Chris Hodges crooning passionately, with a Hamel guitar riff that will make you flex your muscles. Subtle little shift then swerves this in an another direction, a sweet tone and liquid guitar leading the way, entirely riveting as Hodges looks beyond the stars , looking for answers. Lush choir synths maintain the splendiferous urgency as the fluid pace gets progressively heftier and more penetrating. Hamel manhandles his fret board, doing unthinkable thinks along its neck, strangling wild notes as they expel from the smoking amplifiers. Things get rabid, angry and insane rather rapidly, we are in space truckin' after all.

The vibrant "Incandescence" is where things really heat up, the lava spurts becoming sulfurous and yet shrouded in eloquent cosmic beauty. Jaunty shreds of guitar slashes, pooling electric piano and slithering synths introduce Cagle's higher pitched rant, a phenomenal voice not too far from Foreigner's Lou Gramm. Hamel flings a monster guitar solo that hisses like some cosmic cat gone AWOL, with tons of effects, whirls and twirls amid the softer dream sections, celestial splendour with Cagle seizing the microphone and hitting all the high notes. Swirling sequencer-led electronics shove this craft into the twilight zone. Very nice indeed.

"Ancient Echoes" is introduced with an unexpected synthesized orchestra, deeply resonating like some Richard Strauss outtake, with Hodges pleading heavily amid more electric piano shimmers and clanging guitar squeals. The mood is definitely cosmic space rock, a modern rock adventure that reaches for the distant stars and serves as perfect escapist music but with balls. Great tune. Things get technical and hectic on the warp-speed propulsed "The Journey Back", a chance for Kosacek to show off some serious bashing while Hamel unleashes a barrage of gritty sound that has a slight Deep Purple feel. This is an instrumental platform that permits the two musicians to show off their rather considerable chops as well as scouting out new sounds (the grunting guitar is quite impressive, Jeff), with layered flying synth carpets gliding the rhythm along, spiriting forward, boldly.

The sweet "Welcome Home" is too damn short, I really admire Jessica's vocals but each second is precious enough. Acoustic guitar, piano, drum beat and Rasche's voice are all just sublime. I would have loved to see this one a bit more extended with denser arrangements and a longer solo.

The longest piece is "Convergence", a nearly 12 minute affair, built like a solar-fueled ballad that goes in all kinds of nebulous quadrants, then slings past whooshing asteroids, skirting the odd space debris , getting metalloid when approaching a moon and scouring the dark space ahead. The cataclysmic mid-section is growl heavy and guitar raging, almost psychotic (sci-fi-cotic?) and proves to be the most developed piece here. Hodges again shows off some angry lungs , to say the least.

"Rise" is a guitar-centric musical erection, nasty and loud, brash and bullying. The stuff Hamel and Kosacek do verge on sheer , weightless acrobatics, this will certainly appeal to the metal heads out there, as there is some serious head banging rage going on, with a mid-section that features a bizarre bubbly synth spot, a sadistic bass rumble, akimbo drums and a measured return to the original lunacy, axes grinding hard and fast. Think Deep Purple again but heavier. Chris Hodges is not a happy camper, which is good.

The disc ends with the more symphonic "Fade", led by a slurring organ and aurora borealis-like orchestrations that include walls of electric guitars and tectonic drumming. The superb lead solo will cause quite a few eyebrows to raise in unison, a strong lyrical sizzle that will appeal to all six-string fanatics. Intense, fiery and yet very original. Love this one!

The two Epsilon discs are truly excellent, worthy successors of the VOZ marvel. I will have issues with the neo moniker, as this seems more space or heavy prog to me. Labelling notwithstanding, this is great music to gaze at the stars.

4.5 celestial Nebulas

 The Ghosts of Pripyat by ROTHERY, STEVE album cover Studio Album, 2014
3.97 | 89 ratings

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The Ghosts of Pripyat
Steve Rothery Neo-Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars In another of prog's ongoing mysteries, celebrated guitarist Steve Rothery of Marillion fame waited almost 30 years to finally record an outright solo album (The Willow Tree was more of a project than anything solo). So it goes without saying that his long awaited instrumental debut "The Ghost of Pripyat" was met with great trepidation and required patience until it finally got distributed properly. True treasures are worth waiting for and this splendid release falls certainly in that category. When I read that Yatem Halimi was the bass player, I got even more excited as his clever playing on Panic Room's two latest masterpieces really grabbed my attention. Having the prolific Steve Hackett and the genial Steve Wilson join in only heightens the quality, as the two have obviously many technical traits in common with Mr. Rothery. Throw in second guitarist and co- composer Dave Foster of Mr. So & So, as well as the recent Legend line-up only increases the drama. Keyboardist Riccardo Romano of Italian band Ranestrane discreetly colors the scenes with some atmospheric renderings while drummer Leon Parr holds the rhythmic fort. In the old glory days of prog, there were the three Steves (Howe, Hackett and Hillage), now we have another trio with one returning member (Rothery, Hackett and Wilson). For those who do not follow history, a massive nuclear catastrophe befell the town of Pripyat in the Ukraine, back when it was part of the crumbling USSR in April 1986. The nuclear power plant at Chernobyl malfunctioned due to a variety of human and systematic errors that caused a massive meltdown of the reactor core. The town once boasted a population of 49,400 and today is entirely abandoned, a ghost town of epic and tragic proportions, a monument to human stupidity. This is a soundtrack for the ages, a remembrance of human frailty and arrogance in trying to harness powers that are perhaps too slippery to control. The entire disc is a pure delight to listen to, even though the material is influenced by the gravest of tragedies, the players demonstrate an incommensurable aptitude to express sorrow, desolation and fear. The stupendous interplay between the two axemen, the delicate keyboard tapestry, as well as the pulse are of the very highest order. Each of the 7 tracks, though all unique in sound and texture, seem to blend into an overall impression of intense inspiration, generally in the more mellow, atmospheric mode I happen to adore , with occasional bursts of cosmic energy (no not nuclear!). As befitting Rothery's style, his solos are deeply poignant affairs, never overtly complicated or extended beyond need, giving the other players enough room to dribble, pass and even volley when prompted.

"Morpheus" easily sets the vaporous tone that will permeate the entire work, leaving Master Hackett himself to bewitch the unsuspecting fans with his exemplary restraint and musical mind, his thrilling solo a burning glow of utter beauty, class and mastery at its finest. Reflective, diaphanous and highly panoramic, the electric flow is one of meticulous bravery.

The excellence of the compositional skills are beyond the norm, exuding mature and insightful arrangements, emotionally drenched soloing from the master himself on tracks like "Kendris" that have a slight East European flavor, outright blow outs such as on the raunchy "Old Man and the Sea" (solo by SW) and the colossal "White Pass", where Rothery's enchanted guitar dances into the mountainous twilight. This last one in particular is a very powerful cut, mindful of Dutch instrumental band Odyssice (that Bastiaan Peeters is a killer guitarist), chock full of minute bejeweled details that will make your head spin, from crystalline licks, volume pedal trickery to searing , scouring axe majesty.

On a whirlwind track like "Yesterday's Hero", the core (pun intended) sentiments are expressed with a kaleidoscopic pirouette, urgent and desperate. Though beginning with oozing delicacy, shifting into mellow inner drive as it's steered by a moody guitar streak, there is an immediate sense of gentle persuasion in the glittering technique. The slow build-up then evolves into a more buzzing affair, a solo that defines Rothery, a spiraling, passionate and exploratory guitar rant that is utterly brilliant, almost Floydian in delivery.

The high point is attained on the shimmering "Summer's End", a suave, silk and velvet composition that starts out as a hot and humid little affair and then gradually morphs into this tectonic conflagration of sound that inspires trembling delirium, egged on by a roiling Hammond organ rant, propulsed by Parr's solid bashing, while Halim keeps things grounded and level. The at times raging and exuberant solos are simply extraordinary.

The lush title track is perhaps the most intriguing as it relates directly to the topic, a delicate and intricate duet of acoustic guitars that paint a rather bucolic atmosphere, with Foster coughing up a slick and complex riff, with that slight Eastern feel once again, interwoven with the churning organ. The groove settles in and Steve is ready to glide over the mid-section with his insistent licks, I was almost momentarily reminded of an instrumental Allman bros Band. There is a sense of unforgivable sadness and melancholy that behooves an abandoned and atomized city, with disfigured stray dogs yelping their solitude for no one to hear. The despair and the finality of it all come through clearly with Steve 's guitar weeping tragically.

Fans of old and new Marillion are obvious targets but any instrumental guitar fan needs to check this delicious effort out and linger in its perfect musical glory.

5 radioactive phantoms

 Seasons End by MARILLION album cover Studio Album, 1989
3.75 | 652 ratings

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Seasons End
Marillion Neo-Prog

Review by steelyhead

3 stars I remember that I rushed to purchase this CD the moment It went out. And I clearly remember that after a good five - six spinnings on my CD player I hated the guts of It.

I haven't listened to this in a long time but I found the CD and I have played a couple of times and I was very surprised. This is half nice. Easter is a good song and I'll keep It on rotation on my iPod.

This is not a masterpiece (see Brave for that) but Hogarth and company were good at this point of life. If You can get It don't hesitate to listen to It.

 Brave by MARILLION album cover Studio Album, 1994
3.97 | 774 ratings

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Brave
Marillion Neo-Prog

Review by jmeadow

2 stars I am/was a huge fan of Fish-era Marillion and Brave was the first post-Fish Marillian purchase I made shortly after its release. Although I quite enjoy a lot of Hogarth-era Marillion, despite some twenty years of trying I've never managed to get into this album. For me 'Runaway' is the stand-out track, with the brooding Rothery guitar motif capturing the melancholy desperation of the album's central character coupled with the best Hogarth vocal/lyric of the album. Other songs have their moments, but on the whole this is an album that fails to grip. The album has a kind of 'play for today' feel as cliches about troubled kids are trotted out one by one. Check out Bowie's 'Because You're Young' for how these themes can be tackled with real depth and nuance.
 The Seventh Degree Of Separation by ARENA album cover Studio Album, 2011
3.46 | 213 ratings

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The Seventh Degree Of Separation
Arena Neo-Prog

Review by aapatsos
Special Collaborator Prog Metal and Heavy Prog Teams

3 stars After a long break of six years, Arena return with no Rob Snowden on vocals and a concept album yet again (Clive Nolan is responsible for all the lyrics), this time on what they call the 7th degree of separation (or rather connection?): that to the dead. This abstract theme is recurring in the album but don't expect continuous storytelling.

There is a significant change of structure compared to Pepper's Ghost with only one composition exceeding the 5-minute mark. Paul Manzi does a good job on vocals, albeit his range sounds narrower than that of his predecessor, but that fits the overall build of the album: verse-chorus-verse compositions with a strong rock character, very good melodies and solid rhythm section but little grandiose and theatrical twists and turns. AOR does come into play and does fit nicely to the new path Arena have decided on this album, with a rather strong commercial feel and without necessarily eroding the characteristic sound of Nolan/Mitchell, at least when compared to the band's post-2000 heavier releases.

''Trebuchet'' and (the long-ish) ''Catching the Bullet'' are perhaps the only tracks with a direct reference to the material on Pepper's Ghost and constitute, along with ''Burning Down'' and the very Marillion-esque closing ''The Tinder Box'', the more interesting compositions in the last part of the album. Furthermore, there are excellent vocal sections in ''Bed of Nails'' and ''Rapture''. The Threshold-prog-metal-type sound is quite dominant and even in songs where the commercial approach might go a bit too far (''One Last Au Revoir''), Arena manage to pull the ideas and melodies to maintain consistence, with no stand-out weak tracks.

A good album that flows freely; certainly not essential, but the potential is there for a return to their excellent moments. 3.5 stars.

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Neo-Prog bands/artists list

Bands/Artists Country
25 YARD SCREAMER United Kingdom
ABACAB France
ABEL GANZ United Kingdom
ABRAXAS Poland
ACCEPT Japan
AD INFINITUM United States
ADN France
AELIAN Italy
AETHELLIS United States
AFTERGLOW France
AGENESS Finland
AGENTS OF MERCY Sweden
AHMSHERE Netherlands
AIRBAG Norway
AIRBRIDGE United Kingdom
AISLES Chile
ALBION Poland
ALKOZAUR France
ALMA SIDERIS Italy
ALSO EDEN United Kingdom
ALTAVIA Italy
AMANDA Belgium
AMON RA Germany
ANAMOR Poland
ANANKE Poland
ANDROID Hungary
ANIMATOR United States
ANNALIST Poland
ANUBIS Australia
APPLE PIE Russia
ARAGON Australia
ARCANSIEL Italy
ARCHANGEL Italy
ARENA United Kingdom
ARENAL Chile
ARGOS Germany
FINN ARILD Norway
ARK United Kingdom
ARKUS Netherlands
ARLEKIN Ukraine
ARLON Poland
ARRAKEEN France
ASGARD Italy
ASTRALIS Chile
ASTURIAS Japan
ATEMPO Argentina
ATRIA France
ATRIUM Portugal
AUDITE Germany
AUFKLARUNG Italy
AVALON USA United States
SIMON AYRES United Kingdom
BACKYARDS France
BALLOON ASTRONOMY United States
BAROCK PROJECT Italy
NICK BARRETT & CLIVE NOLAN United Kingdom
KEVIN BARTLETT United States
SAULO BATTESINI Brazil
BEING & TIME Japan
BEL AIR Germany
BELIEVE Poland
STEWART BELL United Kingdom
BELLAPHON Japan
BIG PICTURE United States
BIJOU Spain
BLACK PAGE Japan
BLIND EGO Germany
BLIND OWL United States
BLUE MAMMOTH Brazil
BOLUS Canada
FABRICE BONY France
XAVIER BOSCHER France
BRASSÉ Netherlands
DEC BURKE United Kingdom
TIM BURNESS United Kingdom
CAAMORA United Kingdom
CARPTREE Sweden
ALAN CASE Netherlands
RICH CASEY United States
CASINO United Kingdom
CASTANARC United Kingdom
CATAFALCHI DEL CYBER Italy
CATHEDRAL United States
CATWEAZLE Sweden
MARC CECCOTTI France
CENTAUR RODEO United States
CHANDELIER Germany
CHANETON Argentina
CHEST ROCKWELL United States
CHILDREN OF NOVA United States
CHRIS Netherlands
CINDERELLA SEARCH Japan
CIRKEL Netherlands
CIRRUS BAY United States
CLEPSYDRA Switzerland
CLIFFHANGER Netherlands
COALITION United Kingdom
COLD FAIRYLAND China
COLLAGE Poland
COMBINATION HEAD United Kingdom
COMEDY OF ERRORS United Kingdom
CONTEMPORARY DEAD FINNISH MUSIC ENSEMBLE Finland
COSMIC DANGER United States
COSMOGRAF United Kingdom
COSMOS Switzerland
CRAYON PHASE Germany
CREDO United Kingdom
CRIMSON SKY United Kingdom
CRISÁLIDA Chile
CROMWELL Germany
CRUZ DE HIERRO Mexico
CRYSTAL MAZE Germany
CRYSTAL PALACE Germany
CYAN United Kingdom
THE D PROJECT Canada
DARIUS Germany
DARWIN'S RADIO United Kingdom
DAYS BEFORE TOMORROW United States
DEAD HEROES CLUB Ireland
DEAD LETTER CIRCUS Australia
DEEP THOUGHT Switzerland
DELTA CYPHEI PROJECT Germany
DEYSS Switzerland
DIAL Netherlands
DIFFERENCES Netherlands
DIFFERENT STRINGS Malta
DIRECTION Canada
DISPERSE Poland
DISTANT DREAM United States
DOCKER'S GUILD Italy
TROY DONOCKLEY United Kingdom
DR. NO Spain
DRACMA Spain
DRAMA Uruguay
DREAM ARIA Canada
DRIFTING SUN Multi-National
DUSTER United States
EARTHSTONE United Kingdom
EAST Hungary
ECHO US United States
EDEN SHADOW United Kingdom
EDHELS Monaco
EDISON'S CHILDREN Multi-National
EDITH Italy
EGDON HEATH Netherlands
EGOBAND Italy
ELEGANT SIMPLICITY United Kingdom
ELEPHANT & CASTLE France
ELEPHANTS OF SCOTLAND United States
ELIXIR France
EMERALD Netherlands
THE EMERALD DAWN United Kingdom
ENDLICH ALLEIN Italy
EPILOGUE United Kingdom
EQUINOX Panama
ERASMUS United Kingdom
ESKAPE Germany
ESTHETIC PALE Germany
ETERNAL WANDERERS Russia
EUREKA Germany
EURHYBIA France
EVERY WAKING HOUR United States
EVOLUTION United Kingdom
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