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NEO-PROG

A Progressive Rock Sub-genre


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Neo-Prog definition

Neo-Progressive rock (more commonly "Neo-Prog") is a subgenre of Progressive Rock that originally was used to describe artists strongly influenced by the classic symphonic prog bands that flourished during the 1970s. At the beginning of the neo-prog movement, the primary influence was early to mid-70's Genesis. Debate over when Neo-Prog actually came into being often takes place, with some asserting it began with Marillion's Script for a Jester's Tear in 1983. Others contend it began with Twelfth Night at the dawn of the 80s, while some even suggest the popular symphonic prog band Genesis gave rise to Neo-Prog with their 1976 album, A Trick of the Tail.

If one analyses the progressive movement just before 1980, then some albums which heavily influenced the Neo-Prog movement easily come to mind: Steve Hackett - Spectral Mornings, Genesis - Wind & Wuthering, Genesis - And Then There Were Three, Genesis - Seconds Out, Saga - Saga, all the Camel albums between Breathless and The Single Factor included, and some Eloy's albums, especially Silent Cries And Mighty Echoes.

This new form of progressive rock originated in the UK, and is most strongly associated with bands such as Marillion, Pendragon and IQ; and while theatrical stage antics were a part of the live performances of many artists exploring this subset of the progressive rock genre it's the musical elements that are key to the genre; typified by the use of atmospheric guitar and synth soloing with symphonic leanings, with a tendency towards floating synth layers and dreamy soloing. An additional trait is the use of modern synths rather than vintage analogue synths and keyboards. The main reasons for Neo-Progressive artists to be separated from the ones exploring Symphonic Prog in the first place are the above, as well as a heavier emphasis on song-form and melody than some of their earlier symphonic counterparts.

As time went by other artists appeared that also deviated from the norms created by the classic wave of progressive rock artists in the 70's. The late 70's had given the world punk music; the 80's gave the world new wave; and the 90's grunge. These, as well as other forms, had a tremendous amount of influence outside of the progressive rock realm. The advent of the modern synth also inspired artists like Tomita, Vangelis and Kitaro to explore dreamier musical works.

These and other forms of more or less newly made musical genres influenced artists exploring progressive rock as well. Although many artists did so within the framework of 70's progressive rock, more and more artists developed a sound and style so heavily influenced by these more recent musical developments that categorizing them within the existing subgenres of progressive rock became increasingly difficult.

While the Neo-Progressive genre initially consisted of artists exploring a modernized version of Symphonic Prog, these days artists coined as Neo-Progressive cover a multitude of musical expressions, where the common denominator is the inclusion - within a progressive rock framework - of musical elements developed just prior to and after 1980. The Neo-Progressive genre in it's refined form thus covers a vast musical territory, to some extent covering all existing subsets of progressive rock and also searching out towards genres as different as new age on one side and punk and metal on the other.

Opening paragraphs written by Stonebeard, Cygnus X-2, Greenback

Revised, edited and refined April 2009 by windhawk, The Doctor and E-Dub



The neo-prog team has also decided on 5 representative albums of neo-prog that encapsulate the essence of the genre. They are as follows:


Marillion-Script for a Jester's Tear
Collage-Moonshine
Satellite-A Street Between Sunrise and Sunset
Sylvan-Posthumous Silence
Frost-Milliontown


Current Neo-Prog Team members
as at 1/3/2020

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

Neo-Prog Top Albums


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

4.25 | 2232 ratings
MISPLACED CHILDHOOD
Marillion
4.24 | 2078 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.23 | 1313 ratings
THE ROAD OF BONES
IQ
4.17 | 1404 ratings
CLUTCHING AT STRAWS
Marillion
4.17 | 687 ratings
CONTAGION
Arena
4.16 | 501 ratings
POSTHUMOUS SILENCE
Sylvan
4.10 | 1134 ratings
MARBLES
Marillion
4.10 | 957 ratings
FREQUENCY
IQ
4.14 | 449 ratings
RESISTANCE
IQ
4.12 | 447 ratings
EMPIRES NEVER LAST
Galahad
4.09 | 486 ratings
A TOWER OF SILENCE
Anubis
4.06 | 702 ratings
EVER
IQ
4.06 | 712 ratings
THE VISITOR
Arena
4.05 | 711 ratings
THE MASQUERADE OVERTURE
Pendragon
4.04 | 964 ratings
DARK MATTER
IQ
4.16 | 191 ratings
NIGHT DREAMS & WISHES
Modern-Rock Ensemble
4.07 | 353 ratings
LOVE OVER FEAR
Pendragon
4.06 | 349 ratings
SEVEN
Magenta
4.11 | 221 ratings
THE CLOCKWORK FABLE
Gandalf's Fist
4.02 | 700 ratings
THE SEVENTH HOUSE
IQ

Neo-Prog overlooked and obscure gems albums new


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

TALES FROM THE DAM
Healing Road, The
TIMANFAYA
Healing Road, The
HUNTING THE FOX
Ines
ARGOS
Argos

Latest Neo-Prog Music Reviews


 Milliontown by FROST* album cover Studio Album, 2006
3.83 | 436 ratings

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Milliontown
Frost* Neo-Prog

Review by Wicket
Prog Reviewer

4 stars Frost has been a very important band for me, because it was one of the first few bands I discovered once I was baptized in the world of modern prog thanks to Dream Theater's "Octivarium". This album, along with Mars Volta's "De-Loused in the Comatorium" I considered to be original holy trinity, three albums that not only didn't sound like pop or classic rock or anything you'd hear on the radio, but three albums that didn't even sound like each other, in any aspect.

Even now, Frost* (apparently that asterisk is part of the name) is one of the freshest outfits out there and one of the next big things in the ever influential world of British rock and progressive music. Even their debut here "Milliontown" sounds fresh and new even 15 years after its release. One of my biggest plus points is prog bands that manage to stay the course while incorporating a catchy pop aesthetic to draw any listener in and keep them coming back again and again, and this has been one of Frost's biggest accomplishments. Composer and bandleader Jem Godfrey does a good job incorporating instrumental sections and riffs with significant lyrics and catchy choruses.

The album begins with a lovely piano-led instrumental "Hyperventilate" followed by the gripping and driving "No Me No You". The machine gun verse that bookends the song are almost hypnotic as they lead into the big bombastic chorus before the piano fades out. I understand why Godfrey refers to himself as a composer, these songs to seem to be classically structured, yet there's also a good attention to detail in songwriting, lyricism and attractiveness to casual listeners.

"Snowman" is a classic example. It's a soft and beautiful ballad that find a perfect home as a backing track to an emotional scene in a drama or action movie. The depth of the electronics, the softness of the guitars and keys and the soothing presence of the backing vocals on the back end of the track just send chills up my spine every time. It's as almost if someone asked Mason Bates to write a pop song arrangement of a Depeche Mode song but in the style of an old school music box. One of my absolute favorites.

From the sublime to the hardcore comes "The Other Me", which sounds like the beginning of an older Fast and Furious movie. This song has a hard rock, "punch you in the face" kind of mentality, unique from the rest of the songs on the album, and yet there are softer interludes and Nine Inch Nails-esque electronic freakouts that pepper the song with depth and life before the bombastic chorus fills the room before it all fades out to the buzzing of bugs in your ears. Even a simple catchy 5 minute song like this has enough depth to be more interesting than some bands whole albums.

But then, Godfrey decides to go big or go home by ending the album with two epics. The first of which, "Black Light Machine", immediately catches the ear with a nice happy and perky synth line with a happy chorus to boot. After a few minutes it fades out to bring in a nice David Gilmour-esque solo spot by the guitars before that fades into another atmospheric verse before the band kicks it into overdrive and finished on a technical high note.

"Milliontown" is the big epic. It has everything, soft atmospheric interludes, catchy choruses, fast technical sections, big bombastic finishes and intelligent songwriting and lyricisim. It may not be as memorable as, say "Octivarium", but it's still an impressive piece of music to digest if you have the time to sit down and listen to all 26-and-a-half minutes of it, but if you don't, that's fine, because even though I'm a sucker for long songs, Frost's biggest weapon is it's shorter, catchier (and still proggy) songs which are much harder to pull off.

It's not the best album I've ever heard, the epics (especially" Milliontown") can be a bit convoluted at times, but the rest of the album is superb. It's a different take than Porcupine Tree did when the emerged from the 80's New Wave craze as a psychedellic Pink Floyd-ian Beatles-esque band in the early 90's before evolving into a streamlined, heavier, grungier form (a la Tool) but still focused on songwriting and lyrics. It's a modern take on popular music and progressive rock, as well as a sign of the times. Jem Grodfrey has established himself as a brilliant songwriter, musician and composer with this album and each album this band puts out is always on my radar.

 Anoraknophobia by MARILLION album cover Studio Album, 2001
3.37 | 578 ratings

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Anoraknophobia
Marillion Neo-Prog

Review by lukretio

3 stars This is (Marillion in) the 21st century: poppy and modern, without losing sight of sophistication and depth. Anoraknophobia continues the musical discourse the band had started on the previous couple of records, where Marillion had almost completely abandoned the neoprog sound of their origins, in favour of a more compact and accessible alternative pop/rock with progressive leanings. Anoraknophobia pushes further in this direction, with the band experimenting with drum loops and sound effects within eight songs that, despite their average length of about 8 minutes, rely on pretty simple and standard structures and never venture too far into progressive wizardry.

Although prog aficionados (particularly those nostalgic of the Fish-era's Marillion) may not find much to enthuse over this record, Anoraknophobia is an enjoyable album that flows away easily and pleasantly throughout its 64 minutes. The songs contain plenty of melodic hooks, majestically delivered by an inspired Steve Hogarth, while the rest of the band build elaborate atmospheric soundscapes, where Mark Kelly's keyboards and Steve Rothery's ever so tasteful guitar licks are particularly noteworthy. In a few places, Marillion appear eager to experiment with modern sounds, like in the semi-rapped mid-section of "Quartz", in the sampled extravaganza of the rockier "Separated Out", or in "This Is the 21st Century", which is built around an insistent electronic drum loop that relegates drummer Ian Mosley to the background for most of the song. But, for the most part, the band stick to the type of lush, expansive melodic pop-rock that has often characterized the Hogarth-era's Marillion.

In a few places, the album reaches high quality levels. "When I Meet God" is a beautiful, dark and emotional ballad characterized by a sublime verse and a poignant chorus. "This Is the 21st Century" is another high point, also in terms of lyrics as Hogarth muses about the loss of mystery in a modernized, technological world. "If My Heart Were a Ball?" closes the album is style with a monumental crescendo that perhaps arrives a tad too late, as I wish the track were a couple of minutes shorter. The other tracks are pleasant, but do not reach the level of these three songs. And, in truth, there are a couple of songs that I tend to skip when I put on this album, like the poppy "Map of the World", which is plagued by a rather insipid chorus melody, or the long and repetitive "The Fruit of the Wild Rose", which builds and builds without ever reaching a satisfying climax.

Overall, Anoraknophobia does not reach the quality levels of other Marillion's masterpiece albums, like the follow-up releases Marbles, but it is certainly better than some of the band's weaker efforts, like the predecessor "Marillion.com". "When I Meet God" and "This Is the 21st Century" are classic Marillion tracks that are highlights of the band's discography, and the album is worth a spin only for those tracks alone. The rest flows away somewhat inconspicuously, but pleasantly enough to keep the listener interested and entertained for the most part.

 5.20 by NINE SKIES album cover Studio Album, 2021
3.93 | 12 ratings

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5.20
Nine Skies Neo-Prog

Review by alainPP

4 stars NINE SKIES is this recent band known in a small room at the end of a road from which you never come back. NINE SKIES is the French progressive rock group inspired by rock, pop, progressive, jazz, maybe neo-prog on the MARILLION, some titles of GENESIS. Inviting some big names from the prog world, they come to surprise by the singular musical orientation peculiar to themselves; this latest baby is a nod to their often late bassist (that's it). 5.20 is an unplugged record, or almost, with string quartet and composed from A to Z by Anne- Claire. An unclassifiable album where we are going to dive, sink.

"Colourblind" begins with a duet of voices, acoustic guitar, tambourine, jazzy gypsy atmosphere, Lilian's cello, distant voice of Achraf well placed which declines a most pleasant imaginary life, appearance of the spleen sax of Laurent accompanying this digression of strings , a nice appetizer for a pleasant and inventive unplugged sound. "Wilderness" on an "A Trick of The Tail" variation, soft tempo, Aliénor using her voice well and responding with measure on acoustic folk; break with the appearance of Steve HACKETT (and his guitar) with a sound to melt, between melancholy and intimate air, a star that remains anchored in our ears. "Beauty of Decay" continues with an instrumental acoustic guitar interlude where simplicity and purity prevail, leading to introspection. "Golden Drops" arrives, reminds me of an arid break from GAZPACHO, impressing emotion and collection; the drum sets the rhythm; Arabizing air, Ashraf's voice that really adds something to this group; the notes seem to unravel, it sets off on a diabolical, intoxicating, mysterious and austere battle of stringed instruments; one more. "Above the Tide" for the most majestic track, there is MOODY BLUES in it, bombastic and intimate, yet another musical oxymoron; existence of a progressive creative latency, the choir voices bring goosebumps, the symphonic strings in a magical crescendo fly away and join this crow quoted in the text; another great moment. "Dear Mind" for another instrumental where two guitars and a piano come to take the la in this musical café, invitation to a melancholic bucolic journey of all beauty, to meditate without doubting this turning point in life.

"The Old Man in the Snow" for the departure towards an orchestral universe; Breton folk rhyme in the tradition of a GENESIS bell, the contribution of the raw acoustic guitar is surprising, the voice is just sublime, narrating, taunting the instruments; John HACKETT's flute plunges the C into a nostalgic musical space. "Godless Land" for a primary LAZULI aria, archaic, full of emotion, but what Ashraf sings divinely; a little waltz of "Love is All" in touch and then it goes up with a duet of guitar and voice, fortunately because the lyrics are very dark, a reflection of a pandemic, of a disease and of saving words, a cathartic sign surely. "Porcelain Hill" for the album slap; Damian WILSON pushes strings on a composition while crescendo, releasing an atmosphere serene, melancholic, nostalgic, filled with hope; well he's taken by ARENA but hearing him here is a must, his voice taking all the usable air to vibrate even more. "Achristas" and the last instrumental, dark, chilling piano, ideal for contemplation, to come on an intimate film soundtrack like "Delicatessen". "Smiling Stars" for the final clap, piano and voice, drawing on that of Steve HOGARTH; the basic rhyme goes up, the sax coming slowly to graft itself to the intimate melody directing you towards the end just towards SUPERTRAMP; it's sweet and addicting, it's confusing and latent.

NINE SKIES is releasing this romantic spleen album to make us think about this pandemic, a record to take on yourself and listen to alone, far from everything to recharge your batteries; I don't know what little-big Alexandre did about it, but I can feel his vibes that he exudes in his personal albums. An unplugged, underground acoustic opus far from musical dictates, throwing dark, nostalgic atmospheres leading to meditation and hope. In a few notes, you have in front of you a fresh and dark record, elaborate and complex, ideal in fact.

 Theatre Of The Mind by MYSTERY album cover Studio Album, 1996
3.24 | 76 ratings

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Theatre Of The Mind
Mystery Neo-Prog

Review by The Crow
Prog Reviewer

3 stars Debut of Mystery, which more than a band is the personal project of Michel St. P're, who on this album is mainly in charge of the guitars, apart from composing most of the songs.

In terms of style, Theater of the Mind presents us with a group quite anchored in the AOR sound of the 80s, some scraps of metal from the 90s in the Savatage style, but that also leaves us some influences from the 70s such as The Inner Journey, which It sounds a lot like Deep Purple, and Black Roses, with some snippets of Jethro Tull.

The pity is that because of its retrograde style, old-fashioned keyboards, and a production that's not very brilliant either, this full-length debut from Mystery sounds a bit dated nowadays.

However, if you are fond of 80s AOR bands or 90s Neo-Prog bands in the vein of Arena's Songs from the Lion's Cage or the early Everon records, you will probably enjoy Theater of the Mind.

Although it is better that you do not expect anything too spectacular!

Best songs: Black Roses (the most complex and progressive composition on the album), In My Dreams (I'm not very fond of ballads, but this one is very good) and The Inner Journey (Part II) (I love the Pendragon charm it gives off, and the bass melodies during the verses)

My Rating: ***

 One to Zero by SYLVAN album cover Studio Album, 2021
4.17 | 55 ratings

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One to Zero
Sylvan Neo-Prog

Review by FredStock

3 stars Firstly I'd not listened to Sylvan before trying this album. I'd not even heard a song. I had just seen the name mentioned across the usually prog rock forums and websites and thought I should give it a go.

I have to admit I often struggle with modern progressive rock and tend to lean more towards the classic prog of the 70s so I am making a concerted effort to give these current acts a chance and have them change my mind. This album being the first of a few I am going to review. I am pretty useless at reviewing but I needed to find something to do and I'm always critiquing/discussing music with family and friends and thought I'd give it a go. I must add that I will listen to an album a minimum of 5 times to give a fair review (A must for progressive music in my view).

So Sylvan are a German progressive rock band that supposedly show influences of Pink Floyd, Marillion and Genesis according to Wikipedia. Sounded right up my street from the outset.

The bands German roots come across strong with the accent on the vocals. A nice voice, although I have to say personally I struggle with most of these European bands and the accents. But that is just me and I can appreciate this will not be an issue for most.

The album has a running time of around 65 minutes and is a concept album. Apparently not their first concept album. I shall have to explore. I have read that this album is "an autobiography of an artificial intelligence born into the problems facing contemporary society." I can't say I picked that up from listening but I'm am definitely a sucker more for the music than the lyrics, so no surprises there.

The first track "Bit by bit" is great. I'm hearing a touch of early Riverside here and each member of the band is given a chance to show what they can do. About 5mins in there is a cool, dark metal riff which I love. I nice tune and sets the tone for the album nicely.

A beautiful slow piano part starts the second track with the track building all the way to the end. The highlight of the track being when the guitar guitar solo kicks in around the 5min mark. The vocal choirlike chants are very catchy here, especially after a couple of listens.

On to track 3, "Start of Your Life". I can't say I love this track. It has a more pop like vibe. The intro guitar riff doesn't quite do it for me although the riff itself is ok, I think the production may be the problem here in that its taken the raw guitar driven sound away from the riff and I have to say I'm not as big a fan of this particular track.

So onto track 4 "Unleashed Power". The start of the track certainly doesn't appear to match the title of the track from the outset. The title gives the impression of a more heavy technical number, but here we have a very mellow piano driven song and it remains that way throughout the whole 7 and a half minutes. Nothing wrong with it though. Some lovely clean guitar soloing tones and licks in there. A solid track.

Trust in Yourself. More of a heavy edge to parts of this track. This track has a beautiful break down later in the song with a lovely violin part. There's great wacky and interesting sounding guitar solo towards the end of the track which is probably the first time I found anything different/unique about Sylvan's sound. I just wish they had made the solo a little longer and maybe had seen the track out with it.

On My Odyssee. Some super cool guitar playing on this track. Probably my favourite on the album. I love the way the guitar soloing sees out this track. Again, very early Riverside. Its a shame this style of guitar playing isn't used more throughout the album, although I must say it probably makes you enjoy it more when it actually comes in.

Part Of Me. Another slow starter. Very nice orchestration here and probably the best guitar solo on the album. Great guitar tone and the atmosphere is spot on.

'Go Viral' is a much appreciated change from the usual piano intro. About 3mins in we get to a nice heavy metal-like guitar riff/instrumental section which I enjoy very much every time I listen to the album. Here you get a cool synth solo again, similar to that in the opening track. I like this track very much.

'Not a Goodbye', another slow starter, this time not piano, but some delicate guitar picking. Pleasant enough. But the highlight of this track again has got to be the guitar soloing toward the end of the track. The album ending as it begins with an unearthly like space sound.

All in all this album is a good album. Not one that has changed my mind on modern prog though. Its an album I will for sure listen to again but I cannot rate higher than a 3 stars. This album cannot be put in with the classic albums such as "Selling England by the Pound" or "Thick as a Brick", so not a masterpiece at all. And for me I wouldn't quite put it in the 'excellent additions' either. So 'Good' but not essential seems a fitting place for this album. Possibly a down side to the album is the way most of the songs can be very similar in how they are constructed. Slow piano intros, mostly mellow with a build up the end. I also find modern progressive rock, can often sound like it wouldn't be out of place on the Eurovision song contest. Now, that could just be down the the European accents maybe. And in parts this album has that sound for me.

I have to say I hear nothing that really resembles Pink Floyd or Genesis here. But I can may be hear a bit of Marillion in there, particularly in the guitar soloing. The highlight of this album is clearly the guitar work for me. Like I said earlier, I really am a music over vocals kind of guy and I appreciate I haven't mentioned vocals on this album very much. I want to add, the vocals do their job without ever standing out. This meaning they also don't stand out in a bad way either which is a positive as prog vocalists can often fall short for me.

A decent effort. I shall listen through their back catalogue for sure.

 One to Zero by SYLVAN album cover Studio Album, 2021
4.17 | 55 ratings

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One to Zero
Sylvan Neo-Prog

Review by Michael919

4 stars An enigma for me

I really struggled with this one. Honestly, if it wasn't sitting atop the 2021 board since its release, I probably wouldn't have given it as many listens to let it grow. Why didn't it click initially? Because there are too many little parts (see second track) that turned me off and kept me from really enjoying the REALLY good parts.

I am new to Sylvan. I gave Home a few spins a while back, but I couldn't get past the theme of the concept album. It's too disturbing for me to enjoy, having a teen daughter and a friend who is having challenges with his.

One to Zero starts off with a 5* track with Bit by Bit. What a great opener! It has so much of what I enjoy in my preferred prog bands of the past 30 years.

My aversion and attraction to this album rears its head in the second track, Encoded at Heart. Marco's voice is beautiful, and that is my problem: It can be too pretty. Too adult rock or new country sounding. At times. These times make me want to move on to something else, it's just not my thing. On this track, I am loosing interest, and then the chorus with Porcupine Tress sounding harmony kicks in. Bang, got my attention again and the ending is very nice.

Unleashed Power is also a roller coaster, rotating between very brief 3 star moments and great, longer, 5 start segments, like around 4:40

Trust in Yourself also has that adult pop rock sound intermixed quickly with great stuff and fantastic atmospherics with keys and guitar and violin at 3:20 or so, with faint, Porcupine Tree vibe. Very good tune in the end.

On my Odyssee starts with nice orchestration and interesting folk-like vocals, then, darn, more adult pop for a moment, but then coolness with harmonies and mellotron just before the 1 minute mark, then more cheesiness (to me). Get me off this roller coaster. Then at 1:45 the quite cool chorus kicks in, more orchestration and a cool interlude with guitars and keys and violins'ok, I'll stay on the ride a little longer. Very nice finishing jam

Part of Me starts with very beautiful, melancholic piano. Very nice. Nice, fitting vocals here. Guitars with Chorus and Delay and keys take over and more Porcupine Tree like awesomeness follows, from the harmonies to the atmospherics. The magic start at 3:23. Wow! Repetitive, pedal tone guitar riff with gentle ride symbol and a mirage of other instruments create a progressive and wonderful soundscape. This is worth the price of admission. It kicks into a cool, heavier section with delay laden vocals before fading and moving back to earlier themes and a nice closing guitar solo.

Worlds Apart opens with a nice, melancholic chord progression and layers of coolness before breaking into a chorus that once again flirts with something a little too pretty for my taste before returning to a darker vibe again. Creative and nice sounding vocal layers at the end.

Go Viral starts with a very cool, retro, video game sounding, synth section that is dark and brooding. You just feel that it could explode at any point, and it does, into a lovely guitar and key driven riff before switching into the first verse. The cool riff that following the into returns to be a nice backdrop to the pre-chorus. There's a nice, short piano and atmospheric interlude at 2:53 and then'..WHAM! A heavy metal jam launches, reminiscent of Tool, with a synth drone tone in the background, once again like a Steven Wilson recording, following by a guitar and keys solo and then just guitar. Very tasteful. Back to the heavy jam and then a seamless shift back to a verse, pre-chorus and chorus. Well done. Bravo!

Not a Goodbye begins with an interesting beat and building up of keys and guitars right into wonderful chorus guitar arpeggio section and the first verse. The repetitive guitar arpeggios through parts of this track are reminiscent of something from KC's Red or Steven Wilson's Ancestral. Wonderful jams ensue. Album ends with similar sounds as it begins. Full circle.

So there we have it. I think the very positive parts are enough to make me think very highly of this album. My aversion to some parts is my own problem and one that may fade with more listens. Nevertheless, I can't give this a 5- star rating until I get past that. But that's just me. It really is a good album, almost great.

 Crush the Seed by RED SAND album cover Studio Album, 2020
3.86 | 67 ratings

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Crush the Seed
Red Sand Neo-Prog

Review by Smurfreviews

4 stars Review #10

Today I would like to introduce the Canadian Neo-Prog band "Red Sand", who present with their meanwhile ninth album "Crush The Seed" an exciting work, which made me think. But more about that later...

Die-hard Marillion fans of the Fish era will possibly know the band, since the basic character of the music of Red Sand was strongly influenced by this phase for a long time, as for example on their first album "Mirror Of Insanity" from 2004. On "Crush The Seed'', however, you can hear something of this only to a limited extent - rather, this time the band moves in an authentic way in the musical field of "Pink Floyd''.

Three musicians are significantly involved in this sound: First, the singer Steff Dorval, who brings a lot of melancholy into the pieces with his fragile emotional and at the same time intense voice and thus also transfers the content of the lyrics to the listener.Secondly, the drummer Perry Angelillo, who as a founding member again sets the pace and is characterized by a solid and filigree drumming. And third, Simon Caron, who plays the keyboards, basses and guitars, composed the music and even designed the beautiful cover art.

All three musicians together create a dense atmosphere with three particularly beautiful highlights, the songs "Crush The Seed Pt.1", "Human Claim" and the Mellotron accented long track "Woman". It should be emphasized that the band takes a lot of time for their music and still maintains the tension before the album ends after an hour. I found myself getting used to the tempo in places, but the band manages to remind me that we don't define prog just by the number of notes or the high tempo, but by how much we get carried away emotionally and instrumentally. A good example of this is the album's second song, which is carried by a passionate Gilmour guitar and leaves notes even beyond the twentieth fret. And after ten minutes you're ready to ask yourself why the song is already over.

The time with Red Sands new album I enjoy very much and can only recommend it to everyone Marillion and Pink Floyd, but especially to music listeners who can enjoy the "moment" in the music.

 No Air by PERFECT STORM album cover Studio Album, 2021
4.05 | 10 ratings

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No Air
Perfect Storm Neo-Prog

Review by Smurfreviews

4 stars Review #9 2021 has already given us many albums, some of them extraordinary, and "No Air" by the Dutch band "Perfect Storm" also fits seamlessly into this series of successes. I am absolutely thrilled - and will now justify why. "Perfect Storm" consists of six great musicians, who on their first album create a very pleasant synthesis of prog, rock and jazzy harmony changes, which on the one hand can please in its heterogeneity and on the other hand also provides many goosebump moments.

Characteristic for the music of "Perfect Storm" is the high variety, which is offered to the listener. This ranges from delicate piano sounds to powerful guitar riffs, so that the album always sounds dynamic and always builds in the right places increases, which then develop sometimes predictable, sometimes unpredictable in a certain musical direction. This is progressive rock! For me personally, however, the highlight of the album is called Adel Saflou. He has this voice that carries you away, that touches you and in which there is so much energy that you could even enjoy it acapella. Saflou's vocals are the hallmark of the album, which are complemented and accompanied by beautiful vocals from singer Hiske Ossterwijk. Together they create breathtaking harmony vocals in places that the keyboardist has to think carefully about which chords he can put underneath. Keyword keyboard: Ard Offer's keyboard playing is another highlight, as he can skillfully switch between roaring B3 hammond sounds and neo-progressive sweetish pads.

In the end I feel positively invigorated, as within the songs many musical sections end on major tones and you never get the feeling that you are listening to a gloomy or even gray album. Top! For me one of the strongest debut albums of the year so far. Clear recommendation for all melodic prog listeners. I'm already looking forward to the second album of this fantastic band. 4,5 Stars!!!

 Secrets of the Rising Sun by VIENNA CIRCLE album cover Studio Album, 2021
4.04 | 28 ratings

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Secrets of the Rising Sun
Vienna Circle Neo-Prog

Review by mental_hygiene

3 stars Secrets of the Rising Sun is an album I've discovered while trying to listen to the good lot of 2021 prog. I've given it one listen, but it was enough for me to determine how I feel about this record. It's a real mixed bag, with some songs having both really good highs and really shallow lows. I want to be fair, especially with an album that has only a few reviews (eg, regardless of the actual score of this review, I don't want to persuade anyone to not check this album out).

Let's get the bad stuff out of the way: what the heck were they thinking with the vocal production? On the vocals on the first song, I thought it was a stylistic choice because of how clear it was. I'm not sure what kind of auto-tune/pitch correction they used, but it completely destroyed the timbre of all the voices on this record. It sounds vocoded because of how heavy it is, but it's clearly just an effect that was stacked on (with also a boatload of compression and really grossly pristine reverb). On one hand, this wasn't even a musical choice but a production choice (I say choice because there's no way they weren't conscious of how it sounds), but it demolished the delivery of the album for me. I know Vienna Circle knows how to produce an album because the guitar and even the drums sound not just fine, but actually really good. The worst of the bunch is That Night. If it's a stylistic choice, it just doesn't sound good. It's a shame, because I think without it there are some awesome songs that could've shined (fly lady fly, title track, golden sunset roulette). In fact, I could see myself giving this album a higher rating if it was purely instrumental.

The worst songwriting flub is on the song Rivers, just the clap track towards the end. It took away from any sense of development and frankly sounds out of place where it is. Some of the synth tones on this album are very typical of neo-prog: questionable, but not really huge offenders.

The guitars on this album, however, sound awesome! There are some prime moments scattered throughout this record. The best is definitely the peak of the song Fly Lady Fly. Carnival is a killer track! It's a really sick buildup, although I feel like it gets cut up somewhat. Sunset Revolver is my pick for the highlight of Secrets of the Rising Sun. It hits the right spot with the combination of prog metal/heavy neo prog riffage, and it's also instrumental, so no robot vocals. Canyons is also awesome, with some atmospheric soloing that evokes Pink Floyd. The closest the vocals come to working is on the title track, which is actually really catchy! It blows the other vocal songs out of the water.

This is definitely not an essential album, and I feel like it would turn off people who aren't used to the pitfalls of a lot of neo-prog albums. That said, there are legitimate highs to this record that make this a difficult album for me to put a rating on. I can't see myself going back to it other than for the title track or maybe to re-evaluate my listening later down the line.

 A Singles Collection - Six of One, Half a Dozen of the Other  by MARILLION album cover Boxset/Compilation, 1992
2.94 | 80 ratings

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A Singles Collection - Six of One, Half a Dozen of the Other
Marillion Neo-Prog

Review by Prog123

3 stars If it were up to me every Marillion album would be judged a masterpiece. Instead it is not like that. There really is nothing more disturbing than believing this to be real. I still have a certain clarity that allows me to understand that there are situations that I cannot find positive. But, subsequently, do I see, perhaps, a negative or klucrative logic in compilations like this one? "A Singles Collection - Six of One, Half a Dozen of the Other" should it be read as EMI's attempt to create the definitive Marillion album or an attempt to steal money from those looking for the never-released LP version of some good song? On the internet I read a nice description of some compilations. And that is the definition of "bastard compilations". They are those compilations with live, rare or remixed versions that force you to buy that compilation. I don't criticize that this means easy money for a record company but, in the end, what do they make of it? Oh ... Fascinating dilemma, actually and honestly. Musically I do not argue... But I remain, however, to think about what a compilation of this kind means. Single versions... Studio versions... Remixed versions... The only good thing is listening while you drive and want to stay relaxed. And so I wonder more and more if I'm reviewing the definitive marillion album (at that point in their history) or something useless (or something like that). In retrospect, I can't understand it. It is certain, however, that there is always good music to make everything enjoyable.
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