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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

4.24 | 1998 ratings
MISPLACED CHILDHOOD
Marillion
4.23 | 1888 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.23 | 1109 ratings
THE ROAD OF BONES
IQ
4.15 | 1245 ratings
CLUTCHING AT STRAWS
Marillion
4.14 | 613 ratings
CONTAGION
Arena
4.15 | 447 ratings
POSTHUMOUS SILENCE
Sylvan
4.10 | 850 ratings
FREQUENCY
IQ
4.09 | 1028 ratings
MARBLES
Marillion
4.12 | 454 ratings
A TOWER OF SILENCE
Anubis
4.09 | 399 ratings
EMPIRES NEVER LAST
Galahad
4.04 | 869 ratings
DARK MATTER
IQ
4.04 | 606 ratings
EVER
IQ
4.04 | 651 ratings
THE VISITOR
Arena
4.09 | 312 ratings
SEVEN
Magenta
4.05 | 476 ratings
FANFARE & FANTASY
Comedy Of Errors
4.03 | 455 ratings
ALL RIGHTS REMOVED
Airbag
4.00 | 615 ratings
THE SEVENTH HOUSE
IQ
3.97 | 1265 ratings
FUGAZI
Marillion
4.13 | 166 ratings
SEAS OF CHANGE
Galahad
3.97 | 981 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

TRAVELLER
Magus / The Winter Tree
TALES FROM THE DAM
Healing Road, The
ARGOS
Argos
NEW LIFE
Solstice

Latest Neo-Prog Music Reviews


 Water Reincarnation by YUKA & CHRONOSHIP album cover Studio Album, 2011
3.15 | 23 ratings

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Water Reincarnation
Yuka & Chronoship Neo-Prog

Review by TenYearsAfter

3 stars Yuka Funakoshi studied music in Tokyo, then she delivered 3 albums as a singer-songwriter. In 2003 Yuka founded a band in order to join a record with different formations and six years later she presents Yuka & Chronoship. This was also her current band in the same line-up (featuring very experienced musicians) when she released her debut CD entitled Water Reincarnation in 2011. It contains ten tracks (eight instrumental), the running time is over fifty minutes. The first three compositions strongly evoke famous progrock names.

First Dawn In a Dew ' Chronoship in the vein of mid-Genesis (Wind & Wuthering era) with sparkling synthesizers and fluent electric guitar, along a buzzing Rickenbacker bass.

Then Pilgrim Ocean, after beautiful twanging 12-string acoustic guitars, we can enjoy an accellaration in which the guitar and keyboards reminds me of early Mike Oldfield.

And finally the compelling White Squall, Black Squall, the slide guitar sounds like the second coming of David Gilmour, goose bumps.

In the other seven tracks Yuka & Chronoship showcases more an own identity. And what a variety, from propulsive with fiery guitar runs to mellow with wonderful piano work and even swinging fusion delivering strong interplay between the instruments. Also interesting is the exciting final composition Kiribati that starts with handclapping and acoustic guitar and ends with a mighty guitar solo, loaded with biting leads and propulsive drumming.

To me this album sounds as pleasant progrock in which Yuka colours the music verytasteful with her work on the piano, synthesizers and organ.

My rating: 3,5 star.

 Lies And Butterflies by MYSTERY album cover Studio Album, 2018
4.07 | 120 ratings

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Lies And Butterflies
Mystery Neo-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars I enter the first listen of any new MYSTERY album with no expectations. I am always surprised by the rich and consistent sound the band has used over the course of its career. This is the first time that that sound may be feeling a little old, a little tapped out.

1. "Looking For Something Else" (16:54) opens with crowd cheering and clapping before a "door-shutting" noise and acoustic guitar harmonics section and acoustic piano section ensue. It sounds like diddling around on stage while the concert fans empty from the stadium. After about 90 seconds the little impromptu rift is taken over by the full electronic band. Impressive cohesion, however, after another two minutes of this single arpeggio riff being repeated and bashed about, I find myself looking (hoping) for something new, a shift or variation. The music does empty down but flute and piano and acoustic guitar perpetuate the riff while Jean Pageau enters to sing. Piano and acoustic guitar continue to carry "the riff" while the instrumental lineup and dynamics go through some shifts. Chorus. Electric guitar solo. Return to full band and vocal push of "the riff." In the seventh minute things lay back again, though the bass remains thick and there is still an occasional power chord, so that Michel can really sink his teeth into a long guitar solo. It's okay; nothing very new or super-exciting. And yet it continues. For four minutes. Synths take a laid back turn in the lead. When things finally settle down in the eleventh minute, church organ leads us in, but then piano and acoustic guitars take back the lead in a soft, delicate "Confusion Will Be My Epitaph" section over which Jean sings. The King Crimson inspiration continues with flute and Mellotron (making it even more blatant) until things explode into full "orchestral" mode at 13:25. Nice vocal, nice lead guitar solo follow (still following the "Epitaph" melody lines). It's different enough that I can let go of the blatant "lift" of the music. Plus, the players feel so emotionally connected to this section. It's pretty damned good even if it is borrowed. Great drum and bass play throughout. (9/10)

2. "Come To Me" (5:17) sounds too much like a WHITESNAKE song. Too filled with sonic and structural clichés; one or two catchy riffs or chord progressions do not make for a great song. (7/10)

3. "How Do You Feel?" (4:53) pretty chords gently played by multiple guitars and keys set up Jean Pageau for an emotional vocal--which he delivers in spades. Perfect power, perfect melodies, perfect lyrics. Great guitar work in the rhythm and solo departments throughout. A MYSTERY masterpiece. (9.5/10)

4. "Something To Believe In" (7:34) Oh, oh! A Colin Tench song! At least, that's what the opening suggested. The stripped down, country-rock verses bely something a little different but not far off my original impression. Man! Michel St-Pere can play guitar! Maybe even better than Colin could! Drums are a little too busy for my tastes, don't really work in this mix. Electric piano arpeggi segue into a new section with a bit of a classical feel--even guitars and flute maintain that feel. But then a power chord from the electric guitar serves notice of a return to rock 'n' roll. Joe Walsh-era EAGLES come to mind here. (7.5/10)

5. "Dare To Dream" (6:54) Synth-strings note and dated electric piano chords open this slow song before cymbol play and guitars join in to support the vocal. Again, the song stays in such conservative, formulaic territory that I find myself disappointed, even turned off. Great little guitar solo at the very end of the second minute. Both the verses and choruses are failing to bring me in. I'm so sad! Nice instrumental section in the fourth minute and usual great lead guitar solo in the fifth. Sensitive scaled back section in the sixth minute over which haunting synth solos. Vocals return in harmonized multiplicity but they aren't grabbing me! Such ambivalencies! (8.5/10)

6. "Where Dreams Come Alive" (7:26) electric guitar and electric piano arpeggi provide an opening background over which Michel's lead soars for a few seconds before we switch into second gear with chunky plucked bass line and syncopated drumming. The vocals enter over this. It's not working. Guitars and keys join in and still it's not quite clicking on all cylinders. Michel's occasional flourishes on lead guitar are magical but once again they cannot float or fly a poorly constructed ship. I would like to see more future compositions using more of Jean Pageau's flute. (8.5/10)

7. "Chrysalis" (15:08) opens softly before bursting into a long introduction of a theme that feels familiar from one of the previous songs. Things then quiet down in the second minute for some nice acoustic guitar work. A minute of this with support of synth washes and we're finally introduced to the vocal. There's a BLUE ÖYSTER CULT Spectres feel to this one (more specifically, "I Love the Night"). Song builds in the fifth minute and then breaks down for the delicate, heart-felt "Butterfly, spread your wings and fly" section. Then a sudden shift takes us into a heavier, metallic section of power chords, searing guitar, and almost growling vocal narration before Jean's more-projected vocal soars in the foreground. At 8:35 the dominant riff shifts to bridge us to another delicate, dreamy section (though a chunky bass continues at the bottom--as if to remind us that this is a scary story) with nice melodies from guitar and vocal. This is intermixed with alternating returns to the "Godzilla"-like guitar power chords. Even Michel's guitar solo over this heaviness has a Buck Dharma sound and feel to it! The twelfth and thirteen minutes maintain a nice albeit still heavy chord progression beneath which the drummer has some show-off time. Then we shift into a heavy yet full-orchestra feeling final section over which powerful Jean's vocal carries us to the delicate end. (8.5/10)

Four stars; a nice addition to any prog lover's collection (though not as good as some of Mystery's previous releases).

 Alive Beyond Recognition by TASSLER, STEVE album cover Studio Album, 2002
3.00 | 2 ratings

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Alive Beyond Recognition
Steve Tassler Neo-Prog

Review by b_olariu
Prog Reviewer

3 stars Maybe Steve Tassler doesn't ring any bells when someone hear the name, but for sure he was and is one of the important musicians in prog field from USA in the '70s. Being part of famous Starcastle in their glory days from the '70s as a drummer and ocasionaly vocals.

After playing with Starcastle on first 4 albums, he left the band in 1980 and disappeared from musical scene until late'90s when decided to make a solo album. Well, his first and only one album under his name was released in 2002 named Alive beyond recognition. Steve compose and performed everything is on the album, the result being a good one from start to finish, a kind of melodic prog with hints to neo prog and nods to Starcastle aswell.

Pieces like Firebirght or Interregnum are brilliant and show Tassler in great form, his druming is more then ok most of the time and intresting aswell. The vocals and keyboards are also ok. This type of pieces can easely be compared with IQ style of neo prog.

So, all in all a fairly decent album, old style prog, I like it, even the album is widely unknown in prog circles I think desearves attention.

Solid 3 stars, in places 3.5 stars, a nice one.

 Unidentified Dying Objects by ARGOS album cover Studio Album, 2018
4.01 | 38 ratings

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Unidentified Dying Objects
Argos Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars When I first typed in the album title I wrote 'Unidentified Frying Objects' by accident, but thought it didn't really look right which is a shame, as that additional element of humour would have fitted in really well with an album that in many ways is quintessentially English. The band was originally conceived as a solo project by Thomas Klarmann, whose passion for progressive music was reignited on discovering the new progressive movement in the 1990s spearheaded by acts such Spock's Beard and The Flower Kings. In partnership with vocalist and keyboards player Robert Gozon, Superdrama was formed, with drummer Ulf Jacobs offering his services after hearing the duo's work on Myspace. The new trio, now called Argos, signed to Musea in 2008, releasing their eponymous debut album the following years

Their second album 'Circles' (2010) added guitarist and producer Rico Florczak to expand their sound, followed by 'Cruel Symmetry' in 2012, and the highly-acclaimed 'A Seasonal Affair' (2015) featuring guest talents Andy Tillison and Marek Arnold. The band also began performing live, including making a much-lauded appearance at the Summer's End festival in 2014. Both Andy and Marek are back on this album as guests, along with Linus K'se (alto saxophone) and Johannes Steinbronn (trumpet). The guests bring in additional textures and styles into an album which in many ways is a quite unique blend of Canterbury scene influences and contemporary progressive rock. In some ways it is as of classic Caravan is mixing it up with 'Trespass'- era Genesis, but then bringing in Spock's Beard and IQ. Although I felt that their last album was somewhat disjointed and forced, this has a far easier flow to it, almost as if with their fifth studio album they have decided to relax into what they are doing, and the album is all the better for it. Modern, with a very retro twist indeed, this album is mixing together elements and styles from the prog scene decades apart, and shows just what can be achieved when it is done with care.

 Ship by YUKA & CHRONOSHIP album cover Studio Album, 2018
4.03 | 32 ratings

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Ship
Yuka & Chronoship Neo-Prog

Review by Warthur
Prog Reviewer

4 stars Keyboard captain Yuka Funakoshi and her crew of prog sailors embark on another voyage on Ship, yet another concept album. This time, their various mostly-instrumental prog excursions revolve around various types of ship, as the title implies; the major attraction here is the multi-part epic Argo, named for the ship which carried Jason and the Argonauts on their quest for the Golden Fleece - and which was ultimately the death of him, after he'd been ruined by his own hubris.

Still, there's no sign of Yuka and her team succumbing to such faults here - far from resting on their laurels, they continue to produce fresh-sounding instrumental prog which bridge classic prog and modern compositional approaches and performance styles. Curved Air's Sonja Kristina steps in to do guest vocals as the voice of none other than the Argo's figurehead at the start of the album, a welcome sign that the Chronoship crew have won the respect of the prog trailblazers whose wake they sail in.

 Welcome To The Unknown by SEASONS OF TIME album cover Studio Album, 2018
3.00 | 1 ratings

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Welcome To The Unknown
Seasons Of Time Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
3 stars I was a little surprised to be sent this album, as I wasn't exactly wonderfully kind about their 2014 release 'Closed Doors To Open Plains', but I can see that there have been some changes in the band since the last one. Guitarist Florian Wenzel and sole remaining founder member Dirk Berger (bass, keyboards, vocals) have dispensed with the services of drummer Marco Grühn and Malte Twarloh (vocals, guitars, keyboards), and have brought in drummer Julian Hielscher so are now a trio as opposed to a quartet. One of the major issues I had with the last album was the quality of the vocals, and I still believe that to be an area of weakness, but not nearly as much of a problem as it was last time around.

Musically the band are a solid neo prog outfit, with quite a concentration on guitars, and it is when they are playing more straight forward rock that they shine. "Plans To Make Plans" is a good example of this, with the backing vocals of Christina Mielke adding a touch of lightness to the overall sound. I definitely prefer this to the last album, and generally the production is good, with some particularly strong bass, but I believe that if they invested in a quality singer then we may be talking about them in a different light. Neo prog fans would do well to seek this out, but it is one to listen to first.

 Zjednoczone Siły Natury Mech by ZJEDNOCZONE SIłY NATURY MECH album cover Boxset/Compilation, 2016
4.00 | 1 ratings

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Zjednoczone Siły Natury Mech
Zjednoczone Siły Natury Mech Neo-Prog

Review by Hrychu

— First review of this album —
4 stars "And the sun fell down into a dark abyss"

Don't you just love those lost one album wonders? Actually this one isn't exactly that. It's more like a band that changed its direction into non prog before releasing their debut record. This lineup here only managed to recorded some demos back in the early 80s before deciding to shift into a different format (progg-ish hard rock) that's present on their proper studio albums. What you hear on this compilation is a good slice of that classic early neo sound. It is what their debut album could've been had it been released in around 1980-1981. It prefectly captures that zeitgeist in my opinion. There's a lot of of synth swirls, guitar solos and Vermona washes. The melodies are well written and they are hummable, which is good. It's all very symphonic in the approach. However, I'm afraid the odd time signature lovers might be a little disappointed. The only problem I have with the songs is that they very rarely venture beyond that top line that makes good music great music. Just a tad too blandish from time to time. Still... very solid stuff. The vocals are good, considering they were recorded in only two sessions (according to an interview with Robert Millord). The highlight of this album for me is the epic Atlantis Suite with its clearly defined multi-part structure that adds some really sweet mood changes to the mix. I'm gonna recommend this. Good album.

 Fanatic by JADIS album cover Studio Album, 2003
3.28 | 100 ratings

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Fanatic
Jadis Neo-Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars 3,5 stars, really. I think sometimes the wrong choice of the tracks running order has the power to spoil the overall coherence of a good work, This is at least the best explanation of why I really don´t fancy this CD too much, for it has very strong cuts and no tune is really bad. Coming 3 years after the excellent Understand, Fanatic kept the ball rolling with Jadis: The Great Outside is a powerful opener, small wonder it is the first song they played on their View From above live DVD. It´s one of their best and it segues with the equally convincing Into Temptation, where once again it´s hard to believe how good those four musicians are when they get together. Gary Chandler is also at his best both as songwriter and guitarist. He developed his very own, inimitable, style. But things get to a sudden halt with Each & Everyday: although not a bad song per se, far from it, it is nevertheless quite different, too slow and drags a bit in its 6 minutes. It really spoils the CD dynamics.

Things start to pick up the pace again with I Never Notice, although this one is less inspired than the albums two first cuts. On the other hand the nice title track puts everything on track again: a nice instrumental, atmospheric piece, this tune is very unusual for Jadis, but it works extremely well. It also serves as an intro to one of Jadis best songs ever, the reflexive Yourself Alone (also featured on their live DVD). The more mundane Take This Words is saved (as most of the tracks here) by the creative arrangements, excellent musicianship of all involved and, especially, by Chandlers unique, tasteful guitar breaks and solo. The delicate and poignant What Kind Of Reason proves that a slow, simple song can be worked up to an epic when played by four talented guys who know very well what team work is all about. it is over 8 minutes long, but you´ll think it´s too short. Brilliant!

The original CD finishes with another song that seems a little out of place here. Again Who Can We Be Sure Of is not a bad song, but really it´s not up to the remaining tracks of Fanatic, even if the arrangements and Chandler´s great guitar are well done. The extra track on some editions (like mine) The Flame is Burnt out has a fitting title!, since it seems to be just like that, a bonus track: a hard rock ditty that adds nothing to the album. Not the best way to finish an otherwise very fine CD.

Maybe I´m being too harsh and Fanatic deserved a for star rating, since it has so many fine songs on it. However, it is also clear that this time the tracklist is a bit uneven (by Jadis standards, that is). A change of a couple of songs would make this one as good as their previous one. At least that´s my opinion. So my final rating would be something between 3,5 and 4 stars. Compared to many other acts it is an excellent effort, but compared to Jadis own best works Fanatic is "just" very good.

 Through The Looking Glass by SHADOWLAND album cover Studio Album, 1994
3.19 | 51 ratings

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Through The Looking Glass
Shadowland Neo-Prog

Review by PureViewer

5 stars Well, it seems my tastes are different. I listened to mostly-praised albums from Marillion and IQ (Script For A Jester's Tear, Fugazi, Brave, Dark Matter, Frequency) and the only album I generally liked was IQ's "Frequency". As I'm a die-hard fan of Pendragon and Arena, I decided to give Clive Nolan's other collaborations a try. So here we go.

My first impressions with this album were positive, but it was after reading the lyrics while listening for the second time that I really liked it. It grew on me very quickly and I can now ignore its shortcomings and listen to every song without skipping. The album starts with the acoustic-guitar-driven "A Matter Of Perspective". Clive Nolan's voice is very interesting and as others said, while his vocal range is not wide and he sings safely, he sings with a passion that you can't ignore. The song has just the right length with a chilling closing which drags you into the album, where "The Hunger" attacks. An energetic song for sure. The chorus is full of confidence as opposed to the next song, "Dreams Of The Ferryman" which is in my opinion one of the best songs of the album. I simply love that sense of prostration, "Mercy! Please don't do this to me!". Then comes the "Half Moon Street", with a dark intro. The drums are overt and strong, which enhances the mood of the song. "When The World Turns To White" is a promising song with a very, very beautiful violin solo at the first minutes, performed by Clive Nolan himself. The violin and harpsichord-like keyboards give the first part of the song an old feeling. After some hopeful moments, we have "The Waking Hour" which is one of those dark, yet happy songs with a sense of numbness. The album's title track, "Through The Looking Glass" is where Clive Nolan really shines in his singing. Very emotional! And a very emotional song indeed, with powerful guitar solos and drumming. Definitely another highlight of the album. "Mind Games" resumes the first track and closes the album like it started. There's a bonus track called "So The Music Stops" as well, a piano ballad which is nice.

I really enjoyed this album. But I give it 4.5 stars actually, because I think it could have been darker and more melodic with more engaging songs and more solos.

 Unidentified Dying Objects by ARGOS album cover Studio Album, 2018
4.01 | 38 ratings

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Unidentified Dying Objects
Argos Neo-Prog

Review by Warthur
Prog Reviewer

4 stars The last Argos album I experienced was Circles, a solid listen on which the band demonstrated a mastery of a diverse range of progressive sounds. On Unidentified Dying Objects, however, they have completed an evolution in a particular direction. On the one hand, it's a highly Genesis-imitating direction which we've heard before - but on the plus side they're really, really good at it, showing a knack for the particular theatrical style of Genesis which few imitators have been able to muster. Drawing on a wide range of subject matter, the band take us on a journey which finds Thomas Klarmann's contributions on vocals and flute and his synth playing (along with fellow keyboardist Thilo Brauss) to be especially important.
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Neo-Prog bands/artists list

Bands/Artists Country
25 YARD SCREAMER United Kingdom
ABACAB France
ABEL GANZ United Kingdom
ABRAXAS Poland
ACCEPT Japan
AD INFINITUM United States
ADN France
AELIAN Italy
AETHELLIS United States
AFTERGLOW France
AGENESS Finland
AGENTS OF MERCY Sweden
AHMSHERE Netherlands
AIRBAG Norway
AIRBRIDGE United Kingdom
AISLES Chile
ALBION Poland
ALKOZAUR France
ALMA SIDERIS Italy
ALSO EDEN United Kingdom
ALTAVIA Italy
AMANDA Belgium
AMON RA Germany
ANAMOR Poland
ANANKE Poland
ANDROID Hungary
ANIMATOR United States
ANNALIST Poland
ANUBIS Australia
APPLE PIE Russia
ARAGON Australia
THE ARC LIGHT SESSIONS Canada
ARCADELT Italy
ARCANSIEL Italy
ARCHANGEL Italy
ARENA United Kingdom
ARENAL Chile
ARGOS Germany
FINN ARILD Norway
ARK United Kingdom
ARKUS Netherlands
ARLEKIN Ukraine
ARLON Poland
ARRAKEEN France
ARVE Germany
ASGARD Italy
ASSAL Poland
ASTRALIS Chile
ASTURIAS Japan
ATEMPO Argentina
ATRIA France
ATRIUM Portugal
AUDITE Germany
AUFKLARUNG Italy
AVALON USA United States
SIMON AYRES United Kingdom
BACKYARDS France
BALLOON ASTRONOMY United States
BAROCK PROJECT Italy
NICK BARRETT & CLIVE NOLAN United Kingdom
KEVIN BARTLETT United States
SAULO BATTESINI Brazil
BEING & TIME Japan
BEL AIR Germany
BELIEVE Poland
STEWART BELL United Kingdom
BELLAPHON Japan
BEYOND THE BLUE Germany
BIG PICTURE United States
BIJOU Spain
BLACK PAGE Japan
BLIND EGO Germany
BLIND OWL United States
BLUE MAMMOTH Brazil
BOLUS Canada
FABRICE BONY France
XAVIER BOSCHER France
BRAIN CONNECT Poland
BRASSÉ Netherlands
BREEZE Germany
DEC BURKE United Kingdom
TIM BURNESS United Kingdom
CAAMORA United Kingdom
CARPTREE Sweden
ALAN CASE Netherlands
RICH CASEY United States
CASINO United Kingdom
CASTANARC United Kingdom
CATAFALCHI DEL CYBER Italy
CATHEDRAL United States
CATWEAZLE Sweden
MARC CECCOTTI France
CENTAUR RODEO United States
CHANDELIER Germany
CHANETON Argentina
CHEST ROCKWELL United States
CHILDREN OF NOVA United States
CHRIS Netherlands
CINDERELLA SEARCH Japan
CIRKEL Netherlands
CIRRUS BAY United States
CLEPSYDRA Switzerland
CLIFFHANGER Netherlands
COALITION United Kingdom
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
THE DAME Netherlands
DARIUS Germany
DARWIN'S RADIO United Kingdom
DATURA France
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
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
ELEMENTS Netherlands
ELEPHANT & CASTLE France
ELEPHANTS OF SCOTLAND United States
ELIXIR France
ELLEVEN Germany
EMERALD Netherlands
THE EMERALD DAWN United Kingdom
ENDLICH ALLEIN Italy
EPILOGUE United Kingdom
EQUINOX Panama
ERASMUS United Kingdom
ESKAPE Germany
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