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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 04/26/2015

Tom (Roland113)
Matti
Roger (Roj)

Neo-Prog Top Albums


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

4.29 | 799 ratings
THE ROAD OF BONES
IQ
4.24 | 1650 ratings
MISPLACED CHILDHOOD
Marillion
4.22 | 1573 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.18 | 506 ratings
CONTAGION
Arena
4.13 | 1004 ratings
CLUTCHING AT STRAWS
Marillion
4.12 | 716 ratings
FREQUENCY
IQ
4.15 | 378 ratings
A TOWER OF SILENCE
Anubis
4.15 | 380 ratings
POSTHUMOUS SILENCE
Sylvan
4.10 | 843 ratings
MARBLES
Marillion
4.09 | 388 ratings
FANFARE & FANTASY
Comedy Of Errors
4.06 | 547 ratings
THE VISITOR
Arena
4.09 | 342 ratings
EMPIRES NEVER LAST
Galahad
4.22 | 139 ratings
SKYLINE
Barock Project
4.04 | 496 ratings
EVER
IQ
4.23 | 114 ratings
COFFEE IN NEUKÖLLN
Barock Project
4.02 | 749 ratings
DARK MATTER
IQ
4.09 | 259 ratings
SEVEN
Magenta
4.10 | 223 ratings
THE TALE OF THE GOLDEN KING
Psychedelic Ensemble, The
4.00 | 508 ratings
THE SEVENTH HOUSE
IQ
3.97 | 1030 ratings
FUGAZI
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
SONGS FROM PENNSYLVANIA
Ezra
TALES FROM THE DAM
Healing Road, The
TIMANFAYA
Healing Road, The

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Latest Neo-Prog Music Reviews


 Aesthesis by DEAD LETTER CIRCUS album cover Studio Album, 2015
3.93 | 6 ratings

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Aesthesis
Dead Letter Circus Neo-Prog

Review by crashandridemusic

4 stars Dead Letter Circus' latest album "Aesthesis" is more worthy of a listen than any of their prior albums.

Simply put, aesthesis is a sensation or feeling, a perfect word to describe this album. Relying more than ever on the listener's emotion, Dead Letter Circus has created an album that will set them apart from other Australian prog. Instead of the more refined, technical sound that often appears in the genre, the album is much more melodic and softer. Often driven by an acoustic sound, songs like "In Plain Sight" and "Silence" steer the band in an entirely different direction. Included are beautiful moments of electronic undertones that add depth and character to nearly every song. I am impressed with the change from this album to their previous album "The Catalyst Fire." Even the different in album titles foreshadow the change, the previous relying on a passionate listener, the current on an emotional one.

Overall, "Aesthesis" is a much more radio-friendly album than anything they've released. Continuing to use darker lyrical themes (especially the ode to sexual abuse in "Silence"), Dead Letter Circus takes a safer, subdued approach. Enlisting the help of producers who've worked with bands like Muse, Paramore, and Deftones, what results is an unsurprising shift to a lighter sonic experience. The first two songs alone prove this change, utilizing more acoustic guitar than what I've heard from their entire discography. Many of the songs are poppier than typical progressive rock, including "While You Wait," "YANA," and "Show Me." It's in these songs that singer Kim Benzie shines, with his already lighter and higher register vocals that perfectly match the upbeat nature. One of my favorite songs on this album happens to be one of its lighter, atmospheric tracks. "The Burning Number" comprises of an atmospheric introduction, containing only vocals and sound manipulation. Later, the song introduces a closed-wah pedaled rhythm guitar which emits a very hollow and deep tone that isn't heard too often in the genre. It's a very cool sounding song, one that I would love to hear live if they ever make their way to the United States.

Despite the softness of this album, "Aesthesis" still has its moments of sheer rock. That signature reverb-heavy guitar, the bombastic snare, and falsetto wails are unleashed in at least half of the tracks. Reminiscent of the dual guitar work from the band Circa Survive, guitarists Clint Vincent and Tom Skerlj perfectly compliment each other's rhythms. "The Lie We Live" contains that echoed rhythm guitar taken straight from their prior releases, while "Change The Concept" allows the listener to head bang to technical drum beats. With that throwback to that classic Dead Letter Circus sound comes my only complaint: the album is too short. Not following the stereotypical requirement of longer albums and fewer songs, "Aesthesis" is the antithesis of a progressive rock album, but still uniquely falls into the definition. I feel sharing the traditional progressive sound with the modern radio-friendly sound will result in a wider audience, though, ultimately leading to national and international recognition. When all is said and done, this move was the right one.

The album closes with a combination of the new and the old, an atmospheric yet heavy "Born (Part 2)." After moments of synthesizers and singing, clean guitar riffs engulf your ears until the song's chorus. It's here that the track becomes memorable, with its catchy lyrics, muted guitar rhythm and airy lead guitar. The final moments leave the listener satisfied and wanting more, a perfect excuse to hit the repeat button.

"Aesthesis" is definitely a hit, a softer addition to an ambitious discography. Not straying too far from who they are, fans of Dead Letter Circus will not be disappointed, and new listeners will be delighted when discovering this album.

Taken from Crash And Ride Music

 Fragmentropy by T album cover Studio Album, 2015
4.32 | 40 ratings

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Fragmentropy
T Neo-Prog

Review by robbob

4 stars Another good work by T.

If the last one was quite Camelised ..this one is very much.

Yes....I really loved very much Nod and a Wink and Rajaz from Camel....and this album is like the natural continuing to those works. So a combination between Thomas Thielen and Andy Lattimer may resurrect the best Camel

Of course not the only inspiration ....there is original modern prog rock here ...some touches of The Psychedelic Ensemble too...and other modern symphonic rock bands...(US ,Karfagen....maybe too)

The stories are quite interesting....so a good combination of good lyrics and good music.

My rating between 4 and 4,5 stars.

4 very well deserved stars. Congratulations

 Fragmentropy by T album cover Studio Album, 2015
4.32 | 40 ratings

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Fragmentropy
T Neo-Prog

Review by rdtprog
Special Collaborator Heavy Prog Team

5 stars Originally a piano player, Thomas Thielen learn to play many instruments, but also the craft of engineering, recording and programming. I don't know how much programming we have on this new CD, but i can only testified that it's sound like a real band. The vocals here are playing a major role in the music that has a atmospheric ambiance with post-rock tones, but also some symphonic Retro Prog. However, this album sounds modern and remind me a lot of Carptree and sometimes the late Marillion. The vocals, the piano and the keyboards are taking the place to the guitars, who have their space to shine in specific passages, especially when things get heavier. There is a moody, melancholic feel with some quiet atmospheric soundscape, intense vocal harmonies and instrumentation throughout this album that could seems disturbing, but the vocals pick things up to carry the melody to something highly satisfying. There is a lot of subtle arrangements, and a lot of ideas that we have to absorb, but with many listening, everything is shaping up. This CD is divided in three chapters, but i listened to it like a continuous piece of music that covers a wide range of style from post-rock, ambient, minimalistic and symphonic. And the only reason it could be categorize as Neo-Prog, is because of the modern and heavy parts. This CD is the illustration that Thomas Thielen music has reach his peak. If he can only change the name "T" to something more appealing, it would serve him better in the future.
 Tales From The Lush Attic by IQ album cover Studio Album, 1983
3.86 | 360 ratings

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Tales From The Lush Attic
IQ Neo-Prog

Review by Magnum Vaeltaja

5 stars In the midst of the 1980's, when the prog giants turned to pop and AOR, IQ stood true to the genre's fundamentals as one of the most talented, competent and creative of neo-prog groups. "Tales From The Lush Attic" spans 5 tracks, ranging from short interludes to grandiose epics and each song is crafted wonderfully and with care and emotion, even the "filler" tracks.

The album's first epic, "The Last Human Gateway", is an achievement of neo- progressive rock; with emotionally-charged vocals from Peter Nicholls and unparalleled instrumental technical proficiency, this musical journey changes often enough that it sounds exciting the whole way through but expands on musical themes enough that it doesn't sound erratic. The composition is excellently balanced, which one will find to be true of the rest of the album as well, and the lyrics tell a coherent narrative without the story seeming blatant or forced.

The rest of the album's 4 songs carry this same high standard of songwriting and composition, especially the epic finale "The Enemy Smacks". Even "My Baby Treats Me Right 'Cos I'm A Hard Lovin' Man All Night Long", an ironically-named piano solo that was written just to fill 2 minutes on the record, still drives the album along with a deep, atmospheric quality that seems reminiscent of St. Saen's "Aquarium" from the "Carnival of Animals".

The definitive version of this album that you should seek out is the Giant Electric Pea 30th Anniversary re-release. The production is fantastic and it includes several bonus tracks such as the shorter ballad "Wintertell", the dramatic and well-orchestrated "Dans Le Parc Du Chateau Noir" and "Just Changing Hands", a jam-like instrumental that shows off the band's soloing capabilities.

In terms of who this album will appeal to, it sounds very much like Genesis at times (though the sound is still unique and its own) and will also appeal to anyone who is looking for some high caliber neo-prog. "Tales From The Lush Attic" is definitely a highlight of the genre and makes me very excited to delve deeper into IQ's discography.

 Market Square Heroes by MARILLION album cover Singles/EPs/Fan Club/Promo, 1982
3.88 | 94 ratings

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Market Square Heroes
Marillion Neo-Prog

Review by VianaProghead

4 stars Review Nş 11

This is my first review on Progarchives of a Marillion's work. I chose this EP, to begin my reviews about this group, because it has a very important meaning for me. I bought this EP in 1982 soon it was released in my country, Portugal. A great school friend of mine, who is no longer among us because unfortunately passed away some years ago, showed me this musical work made by a new and obscure band, at the time, a new British group called Marillion.

We were both great Genesis' fans, and we became completely astonished when we listen for the first time this EP. We were sincerely convinced that certainly would have to be someone from Genesis behind this new musical work. The similarity between the music performed by Marillion and the Genesis' sound was so big, that for us there might be something hidden that could explain that. However, the time would come to prove us, that this wasn't really true.

Marillion was formed in England in 1979 and was one of the first neo-progressive bands to emerge in the 80's. They became associated to the neo-prog style, with other compatriot groups, formed at the same time, such as Pendragon, IQ, Pallas, Galahad, Twelfth Night and Abel Ganz, among others. However, they are known as the most successful band to emerge from U.K., in the 80's, in the progressive rock scene. With this EP, they created the neo-prog sub genre, although some consider that 'A Trick Of The Tail' of Genesis, was the first neo- progressive album in the history. Anyway, Marillion was the group that developed and solidified this new progressive sub genre.

The emergence of Marillion and their peers was very important to the progressive music. The punk rock movement, developed between 1974 and 1976, reached its peak in 1976 with groups like Ramones, in New York, and Sex Pistols and The Clash, in London. This musical movement was against the progressive rock, considering that it was elitist and unpopular. Some progressive bands began to simplify his music making a more commercial approach to the pop style, while others pure and simply disappeared. For many prog fans, it was a big betrayal. It was in this new and complex context that Marillion and the other mentioned groups, arrived, formed and developed the neo-progressive sub-genre.

The line up on the EP is Fish (vocals), Steve Rothery (guitars), Mark Kelly (keyboards), Pete Trewavas (bass) and Mick Pointer (drums).

The cover art of this mini-album was designed by Mark Wilkinson who created all the Marillion artwork until 1988. He also created almost of the Fish solo artwork, after he left Marillion to pursue his solo musical career.

'Market Square Heroes' has three tracks. The first track is the title track 'Market Square Heroes'. It's a very pleasant and simple rock song with a great melody. Despite being a little bit commercial and be not a very progressive song, it's a compelling track that immediately shows their superior songwritting skills. This is an excellent song and a great start for a long and important musical career from a great group. The second track 'Three Boats Down From The Candy' is the B side of the single and clearly shows the band's progressive lines. Lyrically, it deals with a broken misinterpreted and desperate love. Musically, it's a more intricate song than the previous one, where the band members display their technical skills, in contrast with the more accessible previous song. It's the most melodic song on the EP and remains as a very good track. The third track 'Grendel' is the lengthiest track on the album. It's an epic and complex song inspired by the John Gardner's book 'Grendel'. This is an adaptation of the Anglo-Saxon poem 'Beowulf' by Marillion. This track is, in my humble opinion, one of the best from the band, and it's also one of their most progressive too. This composition is frequently compared (mostly unfavourably), with 'Supper's Ready' of Genesis. Curiously, this EP was produced by David Hitchcock, who also had produced the Genesis studio album 'Foxtrot', with 'Supper's Ready' on it. So, this happy or unhappy coincidence, forced a big comparison between both pieces of music.

Conclusion: For all what I wrote before, 'Market Square Heroes' is an excellent debut work from a band that appeared in such difficult circumstances for the progressive rock music. Not many bands in the history of progressive rock music can claim to have started their musical career with a work with this degree of quality. By the other hand, Marillion never was an ordinary group. 'Market Square Heroes' peaked number 53 in the English singles chart, which might be not too much for a more directed oriented commercial band, but for Marillion, I'm absolutely sure, that this was more than they had hoped for. And so, 'Market Square Heroes' soon became an important landmark to the progressive rock music. It managed to be a kind of a breath of fresh air in the progressive music scene. And we all know very well, how it was so desperately needed in those troubled and difficult times for the progressive rock genre.

Prog is my Ferrari. Jem Godfrey (Frost*)

 The Ghosts of Pripyat by ROTHERY, STEVE album cover Studio Album, 2014
3.92 | 112 ratings

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The Ghosts of Pripyat
Steve Rothery Neo-Prog

Review by lazland
Prog Reviewer

4 stars Pripyat, an abandoned city in The Ukraine, abandoned because of the shocking Chernobyl disaster. Given that this shell of a place lends its name to the album, or, rather, the ghosts who haunt it, you would not really expect to have that much a of a laugh fest, really.

Actually, though, there are some wonderfully uplifting moments here, in addition to the evocative, and downright haunting.

This is the debut Steve Rothery solo album, which is something of a surprise given that he has delighted us with Marillion for more than 30 years now. Yes, there have been the two exceptional Wishing Tree collaborations with the lovely Hannah Stobart, and other guest appearances, most notably recently with Steve Hackett, who returns the favour by guesting on the rather understated opener, Morpheus, and then returns on the third track, Old Man Of The Sea, alongside the colossus of modern prog, Mr Wilson, and the result is every bit as good as one would expect with three virtuoso musicians working together. The closing riffs are wonderfully thunderous, with a genuine wall of sound being lovingly created.

Actually, the comment regarding the three "stars" on that track is a tad unfair, because, in reality, this is, really, The Steve Rothery Band, such is the fine support he receives from Dave Foster on guitar, Riccardo Romano's exceptional soundscapes on keyboards, Yatim Halimi on bass, who has been wonderful on the recent Panic Room albums, and Leon Parr on drums. This feels and sounds like a band who have been together far longer than they actually have - tight and knowing.

Rothery, it is fair to say, gets to stretch his riffs, including some very heavy passages, far more than he has in recent Marillion releases, although, of course, his day job is part of a collective writing machine. Here, he gets to express himself free from those constraints. The riffs on the wonderfully Gothic White Pass are a very good example of this freedom of expression, quite unlike anything the parent band have ever produced.

There are no lyrics here, just music. Sometimes, as in the title track which closes proceedings, this delivers an incredibly sad mood, but, elsewhere, you genuinely feel as if you are getting to know the characters Rothery evokes, without having to read about them. The music delivers all.

I have admired, very passionately, Steve's work with Marillion since the very early days, so this album was, for me, a no-brainier to purchase. I would, though, make the very important point that this should not be confined merely to Marillion fans. Far from it, this album is an exercise in quality musicianship, and all lovers of this, especially virtuoso guitar playing, will be interested.

Four stars. Quite excellent, and I cannot wait for the follow-up.

 Fragmentropy by T album cover Studio Album, 2015
4.32 | 40 ratings

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Fragmentropy
T Neo-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars German project T is the creative vehicle of composer and musician Thomas Thielen, formerly of the German band Scythe, but now with a solo career that has been ongoing ever since he released his first album using the 't' moniker in 2002. "Fragmentropy" is his fifth full-length production, released in 2015 by Progressive Promotion Records.

"Fragmentropy" comes across as a fairly eclectic and demanding production, arguably with a foundation inside modern day neo-progressive rock and post-rock, but made with an approach that makes it hard to categorize inside any of those stylistic contexts easily. But it will be those who enjoy bands of that kind, I suspect, who will be the main audience for this album, alongside those who enjoy bands like Marillion, Radiohead and other artists that have been or are still creating progressive rock founded on contemporary music to a much greater degree than the classic progressive rock from yesteryear.

 The Unquiet Sky by ARENA album cover Studio Album, 2015
3.83 | 157 ratings

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The Unquiet Sky
Arena Neo-Prog

Review by friso
Prog Reviewer

4 stars Arena - The unquiet sky (2015)

After the mediocre ´Pepper´s ghost´ and the somewhat flat progressive metal album ´The seventh degree of seperation´ (with new vocalist Paul Manzi), Arena returns with a classic neoprogressive record that can live up to the 'Visitor', 'Immortal?' and 'Contagion' era of their career.

Most songs are either dark progressive tracks or emotional ballads. All songs have a part that really sticks and some instrumental passages remind me of the best of what my all-time favorite Contagion had to offer. Moreover, vocalist Paul Manzi now seems to add to the Arena-style, instead of diminishing it like on their previous effort 'Seventh degree of seperation' - though I would still prefer Rob Sowden any day.

The opener 'The demon strikes' sets the atmosphere that is actually quite dark. 'How did it come to this?' and 'Unexpected dawn' are both good examples of how a symphonic ballad can work really fine. On the last track 'Traveller beware' Arena gives an almost eight minute long treat of their extended progressive rock songwriting, perhaps a bit like 'The butterfly man'. My favorite part of the album is the string of songs that starts with the atmospheric 'Markings on a parchment' (with a nice bass lead), continues with the exciting dark piano parts of 'What happened before' and the classic Arena 'Time runs out'.

The production of the album is fine, with especially the bass guitar well in the mix and impressive symphonic sounds. I am always amazed by the guitar-playing of John Mitchell and his leads sound really well on this album, though I must admit I sometimes get the feeling 'I got to know his list of tricks'. The vocals are a often dubbed and a more natural vocal sound would not have hurt, though I know it is a part of the genre.

Conclusion. A much appriciated return to form from my first progressive rock love. Had it been a bit more inventive I could have given it five stars, but it will have to do with four. Recommended to listeners of the neo-prog and symphonic prog genres, and perhaps to those who like their prog with a dark atmosphere.

Perhaps this record deserves a bit more anticipation around here?

 Fetish by SEVEN STEPS TO THE GREEN DOOR album cover Studio Album, 2015
4.96 | 4 ratings

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Fetish
Seven Steps To The Green Door Neo-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

5 stars German band SEVEN STEPS TO THE GREEN DOOR first appeared as recording artists in 2006, earning themselves some accolades and awards in their local music scene for their initial production. Since then they have released new albums a few years apart, often made with an eclectic and inclusive take on progressive rock. "Fetish" is their fourth studio recording, released by Progressive Promotion Records in 2015.

Seven Steps To The Green Door has crafted a magnificent album with "Fetish", it's as easy as that. The sheer diversity of this album will perhaps alienate some, but the generally easy-flowing compositions are easier on the ears than you would imagine from a band incorporating such a great diversity into their material. And a top quality mix and production also ensure that these fairly challenging compositions are easy to enjoy. An eclectic recording well worth inspecting, and on my personal shortlist as a strong contender for album of the year for 2015.

 Timeless by WATCH, THE album cover Studio Album, 2011
3.53 | 141 ratings

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Timeless
The Watch Neo-Prog

Review by ZowieZiggy
Prog Reviewer

3 stars The line up has stabilized and there is a notable guest invited to play some fine flute: John Hackett himself ! (he will also join for some live concerts and I could witness this in Mons).

There is a definite ''Trespass'' feel all along this album. The opener and short ''The Watch''(and its closing counterpart ''Exit'') are the best example of this feeling together with the sweet ''One Day''. "Soaring On" is also such a delicate and sweet piece of music that will bring you back in these ancient times. What a good journey!

Still, there will be a couple of more personal songs (but of course in the style of their masters) like ''Thunder Was Spoken'' but also some weaker ones (''End O f the Road'').

Another important fact to add is that the members of this band are extremely accessible and very friendly. I have seen them many times on stage and after their set, most of the band is not reluctant to meet the fans, chat and share a beer.

The most dramatic song of this album (and also the more personal) is the beautiful "Scene Of The Crime"). It is a slow paced song which can be compared to "Afterglow" in the conception. It is a very moving song indeed.

Their passion for "Genesis" pushed them to give a tribute to this great band on one of their official album. In their early days, they regularly covered them on stage through two songs: "Hogweed" and "Can-Utility". For this occasion they have decided to play VERY old songs.

Pre- Trespass for two of them: "In The Wilderness" that can be found on "From Genesis To Revelation". The new version has more appeal to my ears and sounds much more modern than the original version. The second one is the rare "Let's Make Love" which dates from the same period. There is a version of this song on the Box set "Volume 1". But it wasn't my cup of tea.

The best cover, but like said accordingly Warthur, it is almost an exact reproduction of the original (like they do on stage when they play almost a full Genesis repertoire) is the wonderful ''Stagnation''. Nowadays they tour mostly as a Genesis cover band. And they do it quite right I must say. Last time I saw them, it was for the ''The Lamb'' story and ''Supper's Ready'' as an encore!

I rate this album with three stars. It lacks I personality but is still enjoyable for old freaks like I am.

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Neo-Prog bands/artists list

Bands/Artists Country
25 YARD SCREAMER United Kingdom
ABACAB France
ABEL GANZ United Kingdom
ABRAXAS Poland
ACCEPT Japan
AD INFINITUM United States
ADN France
AELIAN Italy
AETHELLIS United States
AFTERGLOW France
AGENESS Finland
AGENTS OF MERCY Sweden
AHMSHERE Netherlands
AIRBAG Norway
AIRBRIDGE United Kingdom
AISLES Chile
ALBION Poland
ALKOZAUR France
ALMA SIDERIS Italy
ALSO EDEN United Kingdom
ALTAVIA Italy
AMANDA Belgium
AMON RA Germany
ANAMOR Poland
ANANKE Poland
ANDROID Hungary
ANIMATOR United States
ANNALIST Poland
ANUBIS Australia
APPLE PIE Russia
ARAGON Australia
ARCANSIEL Italy
ARCHANGEL Italy
ARENA United Kingdom
ARENAL Chile
ARGOS Germany
FINN ARILD Norway
ARK United Kingdom
ARKUS Netherlands
ARLEKIN Ukraine
ARLON Poland
ARRAKEEN France
ARVE Germany
ASGARD Italy
ASSAL Poland
ASTRALIS Chile
ASTURIAS Japan
ATEMPO Argentina
ATRIA France
ATRIUM Portugal
AUDITE Germany
AUFKLARUNG Italy
AVALON USA United States
SIMON AYRES United Kingdom
BACKYARDS France
BALLOON ASTRONOMY United States
BAROCK PROJECT Italy
NICK BARRETT & CLIVE NOLAN United Kingdom
KEVIN BARTLETT United States
SAULO BATTESINI Brazil
BEING & TIME Japan
BEL AIR Germany
BELIEVE Poland
STEWART BELL United Kingdom
BELLAPHON Japan
BIG PICTURE United States
BIJOU Spain
BLACK PAGE Japan
BLIND EGO Germany
BLIND OWL United States
BLUE MAMMOTH Brazil
BOLUS Canada
FABRICE BONY France
XAVIER BOSCHER France
BRASSÉ Netherlands
DEC BURKE United Kingdom
TIM BURNESS United Kingdom
CAAMORA United Kingdom
CARPTREE Sweden
ALAN CASE Netherlands
RICH CASEY United States
CASINO United Kingdom
CASTANARC United Kingdom
CATAFALCHI DEL CYBER Italy
CATHEDRAL United States
CATWEAZLE Sweden
MARC CECCOTTI France
CENTAUR RODEO United States
CHANDELIER Germany
CHANETON Argentina
CHEST ROCKWELL United States
CHILDREN OF NOVA United States
CHRIS Netherlands
CINDERELLA SEARCH Japan
CIRKEL Netherlands
CIRRUS BAY United States
CLEPSYDRA Switzerland
CLIFFHANGER Netherlands
COALITION United Kingdom
COLD FAIRYLAND China
COLLAGE Poland
COMBINATION HEAD United Kingdom
COMEDY OF ERRORS United Kingdom
CONTEMPORARY DEAD FINNISH MUSIC ENSEMBLE Finland
COSMIC DANGER United States
COSMOGRAF United Kingdom
COSMOS Switzerland
CRAYON PHASE Germany
CREDO United Kingdom
CRIMSON SKY United Kingdom
CRISÁLIDA Chile
CROMWELL Germany
CRUZ DE HIERRO Mexico
CRYSTAL MAZE Germany
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
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