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PROG RELATED

A Progressive Rock Sub-genre


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Prog Related definition



No musical genre exists in a vacuum. Not all of the bands that have been a part of the history and development of progressive rock are necessarily progressive rock bands themselves. This is why progarchives has included a genre called prog-related, so we could include all the bands that complete the history of progressive rock, whether or not they were considered full-fledged progressive rock bands themselves.

There are many criteria that the prog-related evaluation team considers when deciding which bands are considered prog-related. Very few bands will meet all of this criteria, but this list will give an idea as to some of the things that help evaluate whether an artists is prog-related or not.

1) Influence on progressive rock - The groundbreaking work of artists like Led Zepplin and David Bowie affected many genres of rock, including at times progressive rock. Although both of these artists created rock music in a dizzying array of genres, both contributed to the ongoing history of progressive rock several times within the span of their careers.

2) Location - Progressive rock did not develop at the same time all over the world. It may surprise some people that as late as the mid-70s the US had very few original progressive rock bands that did not sound like exact copies of British bands. Journey was one of the first US bands to present a uniquely American brand of prog-rock before they eventually became a mainstream rock band. We have collaborators from all over the world who tell us which bands helped the progressive rock scene develop in their corner of the globe, even if those bands were like Journey and were known more for being mainstream rock bands.

3) Members of important progressive rock bands - Although most of the recorded solo output of artists like Greg Lake and David Gilmour falls more in a mainstream rock style, their contributions to progressive rock in their respective bands insures them a place in our prog-related genre.

4) Timeliness - Like many genres, prog-rock has had its ups and downs. In the late 70s and early 80s prog-rock was barely a blip on the radar. During this time artists such as David Bowie and Metallica released albums that captured key elements of the spirit of prog rock and did so while contributing their own original modern elements to the mix.

5) Integral part of the prog-rock scene - Sometimes you just had to be a part of the scene during a certain time period to understand how some bands fit with the prog rock scene of their time. Although Led Zeppelin, Black Sabbath and Wishbone Ash may seem like mere hard rock bands, in their time they stood apart from other hard rockers with their more serious lyrical content and more developed compositions. Put simply, in the early 70s every prog-rock record collector usually had full collections of all three of these artists. These three bands were very much part of the prog-rock scene without being total prog-rock bands them selves.

6) Influenced by progressive rock - From the late 60s till about 1976 the progressive tendency was in full effect in almost all genres of music. Once again, as we enter the second decade of the 21st century a melting pot of prog-metal, math-rock, progressive electronics and post-rock influences have once again made a progressive tendency in rock music almost more a norm than a difference. Yet in other periods of musical history receiving influence from progressive rock could really set a band apart and make them worthy of our prog-related category.
Being influenced by progressive rock is hardly the only factor we look at, and in some periods of musical history it is almost meaningless, but still, it is almost a given that most of the artists listed in prog-related were influenced by the development of progressive rock.

7) Common sense - Nitpicking over the above listed criteria is not necessarily the correct way to evaluate a band for prog-related. Sometimes you just have to use some common sense and look at the big picture.
A very good way to describe prog-related would be to imagine an exhaustive book that covered the history of progressive rock. Would such a book include references to led Zeppelin's 'Stairway to Heaven', David Bowie's 'The Man Who Sold the World' or Queen's 'Bohemian Rhapsody'? Probably so.
- Easy Money

Prog Related Top Albums


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

4.37 | 958 ratings
LED ZEPPELIN IV
Led Zeppelin
4.36 | 681 ratings
QUEEN II
Queen
4.28 | 809 ratings
PARANOID
Black Sabbath
4.50 | 180 ratings
BLACKSTAR
Bowie, David
4.27 | 788 ratings
A NIGHT AT THE OPERA
Queen
4.23 | 733 ratings
BLACK SABBATH
Black Sabbath
4.21 | 676 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.21 | 562 ratings
ARGUS
Wishbone Ash
4.20 | 521 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.19 | 382 ratings
HUNKY DORY
Bowie, David
4.17 | 431 ratings
RISING
Rainbow
4.13 | 634 ratings
POWERSLAVE
Iron Maiden
4.09 | 644 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.09 | 600 ratings
MASTER OF PUPPETS
Metallica
4.19 | 252 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David
4.05 | 719 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.04 | 629 ratings
MASTER OF REALITY
Black Sabbath
4.17 | 204 ratings
SECRET TREATIES
Blue ÷yster Cult
4.05 | 482 ratings
RIDE THE LIGHTNING
Metallica
4.00 | 785 ratings
LED ZEPPELIN
Led Zeppelin

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Latest Prog Related Music Reviews


 A Journey Into The Sun Within by TRAVELLERS album cover Studio Album, 2011
3.98 | 14 ratings

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A Journey Into The Sun Within
Travellers Prog Related

Review by poito

4 stars I've been listening to this album for some days now in my car and letting its essence to get deeper on me, and it grew, yes, a lot. Have to say that this album requires headphones, isolate yourself, it loses a lot otherwise. There are tons of flavors and elements you don't want to miss. The album begins with the high pitch of female singer Robin, a bit too sweet and folky that gives a false impression of what is coming, but it soon enters a strong rhythmic section with ethnic touch a la Gabriel in his solo era. Out of curiosity you go to the credits and Alas! Of course, it is Szadkowski!, the genius drummer and composer who led the band SATELLITE, a top act of the century. Who else, now we know why we like it that much. The first track gives nature to the album, Magic! That's what it is. Travellers build an easy-to-listen, smooth but energetic music (how was that, you better check it out), full of layers, great guitar in the back as well as during jam-like riffs (are they improvisation?) and beautiful subtle synths. Robin enters in the right number of passages not to clog the instrumental delights, she is perfect. The bass creates the energetic passages that alternate beautifully with sensitive piano interludes. Melodies are catchy an original, some to keep forever. A must. 4.5
 The Spirit Winds by BUCKETHEAD album cover Studio Album, 2013
2.10 | 2 ratings

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The Spirit Winds
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars PIKE 17 - THE SPIRIT WINDS is the 7th album released by BUCKETHEAD in 2013 and the 47th solo studio album overall. Once again BH handles all instruments on board and Dan Monti and Albert play producers. The album has 5 tracks with the title track engulfing 5/6 of the album and it clocks in at 30:51

"The Spirit Winds" (25:03) is the dominant track on this release. It begins slow with two different guitars with different tones weaving around each other to build up the melodic development. As expected because of its long length it's given permission to unfold at its leisure and that's exactly what it does. It only slowly deviates from its established pattern and holds onto the melody like a recalcitrant hen pecking any takers of her eggs. At ten minutes in, it's still the same riff and it's obvious by now that this is one loooooooooooong repetitive track that basically takes on tiny little riff and repeats to infinity. If this repetitive seduction is what you're into then look no further than a ridiculously simple riff with subtle guitar overlays that add a bit of subdued leading licks to the whole thing. This is BH easy listening to the max and the kind of stuff i find rather monotonous and well, boring. I mean let's face it. Any guitarist could learn how to play this all in like 5 minutes. Utterly unchallenging on the fingers as well as on the imagination. The drums are canned and the loop effect is not hypnotizing me at all but making me want to skip it. It's just too repetitive for its own good. It's too upbeat to be ambient and to slow to rock. Yeah there are subtle variations but too little to keep yours truly interested. Yawn

"Petal" (1:43) breaks the monotony with a mid-tempo almost folk track with clean guitar, bass and drums. Melody nice and for me much more interesting than track one. I wish this one was longer and the first was forgotten about period. This one has a more interesting melody IMHO

"Frog Charmer" (1:33) is a really cool Indian sounding track with tribal drumming and a nice acoustic guitar accompaniment with a totally exotic flair that makes this my favorite track of the PIKE. Another that should have had more space to breathe and evolve

"The Pier" (0:55) is a quicky in the form of an acoustic guitar and drum. It's rather slow-tempoed and has the same sort of melody as the title track. I'm not very fond of it

"Cab Window" (1:37) is yet another mellow track that has a mid-tempo riff, bass and drums. The melody is only ok. Exceeding the title track but not as cool as "Petal" and "Frog Charmer." It is the most rocking track as it actually has a break of electric guitar and slow lead guitar accompaniment.

This PIKE is quite boring. The last short tracks save it from being a total train wreck but because i totally hate the title track which swallows up all chronological real estate, i have to say this is a fairly uninspiring PIKE. 1.5 rounded up

 Pike 16 - The Boiling Pond by BUCKETHEAD album cover Studio Album, 2013
3.00 | 1 ratings

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Pike 16 - The Boiling Pond
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
3 stars PIKE 16 - THE BOILING POND is the 6th album released by BUCKETHEAD in 2013 and his 46th solo studio offering overall. Yet another that began as a limited CD-R with hand drawn album cover that got repackaged and officially released. The untitled tracks have all been given proper titles. On this one there are 10 and the overall time is 30:05 with BUCKETHEAD handling all instruments while Dan Monti and Albert help out on the production.

"The Boiling Pond" (4:37) starts out with slow jangly guitar and then breaks into alternative heavy metal riffing. Rather down tuned and grungy dirty metal guitar. Kinda monotonous as a single chord is repeated but some sliding variations and riffs add some variety. Kinda just repeats the crunchy metal riffs and alternate a few passages

"Conductor" (3:04) starts out with a cool clean guitar riff that becomes accompanied by a cool distorted guitar riff and heavy bass and drums. Alternates with clean guitar passage and then back to thrashy metal riffs. Has some nice off kilter time sigs thrown in

"Ancestors" (3:57) starts out like a grungy Soundgarden track with sliding distorted guitars, bass and drums. Turns into a riff. Changes riffs up a bit but is basically a heavily distorted alt metal track

"Piledriver Impact" (2:33) is a bit more mellow as it starts out slower with echoey semi-distorted guitars and a slowed down drum and bass, well until it turns into a heavy alt metal rocker with fast riffs and then staccato chordage. A nice melodic guitar solo erupts from the din.

"Subterranean" (4:04) sounds more like a funkified Hendrix song on steroids. Very distorted and heavy but bluesy ballsy metal rock with alt metal riffage. Kinda repetitive though

"Punmul" (1:07) starts out slow with distorted guitar arpeggio and then erupts into a fast and furious classic heavy metal assault. Very 80s with 90s alt metal touches. It's pretty much over before it even begins

"Flesh Tearing Cliffs" (3:07) is a down-tuned doom metal track with thrashy riffs. Nice guitar slides and arpeggiated passages. Starts slow but picks up speed especially with blastbeat drumming that pops in. Basically a mid-tempo down-tuned grungy dirty filthy metal track that alternates slower parts with faster ones

"Life of a Fly" (3:05) is a groove metal riff delight. At least at first until it becomes a staccato chord thang with off timings. It likes to change up the riffs every few measures but basically the same melodic flow. Reminds me of various aspects of Pantera

"Screaming Skull" (1:09) is a high register screaming riff as the title suggests. Fast and furious and totally cool. Wish it lasted longer. My favorite track

"Subterranean Part 2" (3:13) is like Part 1 a slow and distorted guitar track that has down-tuned chords and drum beat. The riffs alternate with non-guitar measures. Doesn't sound like any bass participates in this one. Simply a recurring guitar riff on mid-tempo with a steady drumbeat. This one is fairly satisfying but not ridiculously original or anything of the sort. Nice guitar tones, nice reinterpretations of alt metal riffs and all kinds of nice down-tuned guitar action. Satisfying but OMG so. 3.5 rounded down

 Pike 15 by BUCKETHEAD album cover Studio Album, 2013
3.00 | 2 ratings

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Pike 15
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Originally PIKE 15 was only known as such with no secondary title attached amidst the rest of the PIKES that mostly carried a title but in the murky origins of the PIKE series this one got left out of the name game and was left to be known as PIKE 15 with only a hand drawn cover and untitled tracks. It was originally released on 8 June, 2013 but finally on 31 March, 2016 a new name was finally given and is now known as PIKE 15 - VIEW MASTER with a new dark cover of a barn door or something in a sea of brown and green and all 12 tracks have now been given proper song track titles. The album clocks in at 30:05 and while BH plays it all, Dan Monti and Albert produce this one

"Puzzle Box" (1:29) is a nice clean guitar arpeggiated number with no percussion but there is a second guitar. It's a mellow instrumental intro basically

"Ran" (2:16) builds on the same melody as "Puzzle Box" and amplifies the guitars and adds bass and drums but remains simmering with a slow tempo and then turns into a raging alternative metal riff cruncher with thrashy overtones that becomes more thrashy and then lets a majorly melodic sizzling guitar solo rip. Very classic 80s metal sounding at the end

"Pullout Drawer" (1:56) is another slow unaccompanied clean guitar instrumental with a slow tempo and an intermittent echoed percussive beat alongside a regular light percussive beat

"Early Coin" (2:08) is another acoustic guitar number with two guitars joining in together to create a rather folky feel. The percussion joins in and it's a very mellow track that's mellow enough to be on a Crosby Stills and Nash album

"View Master" (3:17) begins with an echoed clean guitar effect and somewhat dissonant chords and an ambient noise slowly building strength. The avant-ambience slowly gets a slight percussive beat in the form of a second guitar keeping a marching rhythm while the other starts making weird ethereal squeals. Intensity picks up a little but the whole thing still comes off as something that could have been on Pink Floyd's "Ummagumma" or some other 60s psychedelic freak folk bash

"First Day Of Autumn" (1:02) is yet another acoustic guitar number but this one is a happy uplifting melodic guitar track that becomes accompanied by a slow drum beat

"Find" (5:33) reverts back to the mellow space rock realms. It begins slowly but then a somewhat mid-tempo synth riff is accompanied by a slower tempo clean guitar lead. As it continues it has short bursts of silence, echoed guitar parts and electronic ambience to create a spaced out atmosphere. When it picks up again it has a bluesy Floydian guitar solo for a bit

"Dragon Shield" (2:23) is yet another acoustic guitar track with a stranger melody, stranger time sig delivery and feel. It picks up steam and tempo but remains an acoustic space rock track

"Big Little Book" (1:42) is another acoustic guitar with spacey ambient backings

"Stock" (1:41) is slightly more energetic and starts off with a strong drum beat and mid-tempo beat with clean guitar guitars and a laid back spacey melodic development

"Toys Of Jupiter" (1:03) is yet another mellow clean guitar track only this one is very dream pop in its approach and almost qualifies as a lullaby. It's basically simply a guitar and ambient background

"Learn Circle" (5:31) is yet another spacey mellow acoustic guitar track with more emphasis on the ambient spaciness. The percussion is echoed and the tempo is slow. The melody seems a bit dissonant but followable. It does build up a bit to become a mellow rocker but the melody remains the same and this is one of those "Colma" type tracks

Basically a non-metal chill album with the exception of "Ran" which has some metal. This one is decently performed and there's nothing bad on here but this PIKE doesn't blow me away either. It's simply a middle of the road type of BUCKETHEAD experience

 Welcome To My DNA by BLACKFIELD album cover Studio Album, 2011
3.37 | 194 ratings

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Welcome To My DNA
Blackfield Prog Related

Review by Prog Leviathan
Prog Reviewer

2 stars This third release by Blackfield, known here due to the involvement of Steven Wilson, continues the collaboration's between one of the most prolific musicians in art/prog music and Israeli singer/songwriter Aviv Geffen. I found Blackfield enjoyable for the most part, Blackfield II laborious, but not quite disappointing, and now with Welcome to My DNA unpleasant in exactly the ways I was expecting.

The songs are short, warm, melancholic, and filled with lush instrumental sounds. They have the stellar production values we've come to expect with anything bearing Wilson's name, and the combination of background sounds - strings, keyboards, guitar textures - is the overwhelming highlight of this album. The writing is serviceable for the album's goals, and is actually sometimes quite interesting, such as in the jaunty and drifting "Waving," or the intensity and time changes in "Zigota." Mostly, though, the songs are just nice.

But this is a "pop" album, so there's bound to be plenty of singing for "normal" people to "enjoy." (OK, no more "excessive" finger quotes).

Wilson's vocals are smooth as always, though noticeably more bland then in his principle works. He sits comfortably in his middle register and doesn't give the listener much to walk away or help connect with. Remember the soaring passion heard in Hand.Cannot.Erase? Or maybe the skillful inflection on In Absentia's "Trains"? There isn't an ounce of that here. Ironic, given that Blackfield albums are meant to be emotional pop records. Geffen's vocals are not as good. In fact... they're actually quite unpleasant. In timbre and inflection he comes across as sniveling. Suffice to say that it's distracting and draws the ear away from the fine tones and chords of the music in the background. However, the real strike against Welcome to My DNA is the puerile lyrics, which sort of grumble their angst-filled way from song to song. Some of them are genuinely bad, others are offensive, some noticeably poetic, but mostly they're just boring.

If this were an instrumental album, then I'd be on-board and enjoying the experience much more. The vocals, and therefore the album simply don't work for me, and unless you're a 100% die-hard Steven Wilson fan-boy, it probably won't for you either (as it turns out, I'm only a 99.9% fan-boy).

Songwriting: 3 - Instrumental Performances: 2 - Lyrics/Vocals: 1 - Style/Emotion/Replay: 2

 Pike 14 by BUCKETHEAD album cover Studio Album, 2013
3.90 | 2 ratings

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Pike 14
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars BUCKETHEAD - Pike 14 - The Mark Of Davis

2013 - 4

4 stars

PIKE 14 - THE MARK OF DAVIS is the 4th album released by BUCKETHEAD in 2013 and the 44th solo album overall. The title is a possible reference to Marc Davis who was an animator for Walt Disney Studios and it's no secret that BH is a total diehard for Disneyland where he even dragged Axel Rose to in order to sign the legalities for joining Guns 'N' Roses, so i would vehemently have to agree that his love for the world of Disney is finding weaseling its way into his music. And when all the rules are thrown out the window and anything goes'.. why not? This PIKE clocks in at 31:49 and has EIGHT tracks that are

"Ricochet" (4:42) is a heavy metal track with weird time sigs. Well at least at first. Then is mellows out and then it becomes an alternative metal track. It then has a funky bass, energetic solo guitar contribution and steady drumbeat. Very cool track. This offering is BH mixing traditional and eclectic all in one

"Nebula" (2:13) is a staccato metal track with strange keyboard contributions. Along comes lead guitar and weirdness ensues.

"The Canals" (3:45) is thrash metal for a little bit then weird alternative metal for a bit then a little guitar solo weirdness for a bit then OMG, weirdness

"Chickephant" (10:28) is a more energetic solo guitar effort. Basicaly guitar practice set down to digital reality. This long track goes all over the place but is basically a guitar solo gone wild. Crazy all over-the-place-ism in full practice

"Dry Ice Screeches" (1:42) is weird and cool. Very UN metal

"Death Star Surface" (3:10) is weird and cool! Very metal and all kinds of weird changes up

"Tree of Lanterns" '(4:58) is an even more crazy metal change0it0up'.. very thrashy in the most extreme but punctuated by softer passages. You really just have to experience it to get it

"Elephicken" (0:51) isafreakinfunkandrockfreakinextravaganzasogetusedtoitandfreakinadapapttoanewwrldthatishereandnow!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Yes i like this. It makes me wanna impregnate Thanksgiving turkeys. It is OmG coOL, sO u wANNa heAR soMETHing cOOL then heAr

Me likey

So VERY free kin MUCH!

 Pike 13 by BUCKETHEAD album cover Studio Album, 2013
4.00 | 3 ratings

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Pike 13
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars PIKE 13 is the 3rd album released by BUCKETHEAD in 2013 and the 43rd overall solo offering. The album cover is unique in the whole BUCKETHEAD catalogue in that it is the ONLY album to host a photo of the unmasked chicken lover as a teenager hugging his father and was a tribute to his then ill father and pretty much the only evidence that BH is actually a real human but i guess a well-disguised alien or robot could have posed here as well :) This is a total ambient album with 9NINE tracks that are all untitled. This one clocks in at 33:08 and features BH performing all instrumental duties with Dan Monti and Albert helping out on production.

Although there are separate track listings this is one of those where we get a continuous flow of ambient music without any real distinction between the tracks. As far as the sound goes, this is one of the most ethereal BH releases much in the vein of "Electric Sea" but more spacey. It has many of the same elements such as an acoustic guitar delivering the melody, very slight accompanying percussion and all laid out in the slow to mid-tempo range with ambient background atmospheric intensifying synth effects.

The music certainly conveys the mood of BUCKETHEAD during the trying times of his father's illness and is probably some kind of therapy that channels all of the anger, sadness and confusion into a musical healing session. Although the music is ambient, mellow, ethereal and slow, there are many different parts to it. The guitar is the lead instrument and it does follow BH's tendency to alternate different types of passages in certain patterns albeit totally in an ambient manner. Constructionwise however, the tracks are much like a majority of BH's output whether they be thrash or alternative metal or the mellowness heard here.

While i'm not usually a fan of the slower BH releases because they can be a bit repetitive and failing to inspire the whole imagination and all, this one is actually quite outstanding in its delivery of poking and prodding your emotional complex and eking out the desired response. This one exudes a very lugubrious feel to it and it's almost as if we are being pulled in by the musical gravitational pull to experience the agony of the musician himself. I am feeling impending uncertainty and dread upon listening to this one. This is excellently constructed ambient music and not one bit of it is boring. In fact, it seems like this was just a warm up to the Halloween countdown series in 2015. I rather fancy this one i do say. Splendid indeed. One of his best ambient releases. Original. Heartfelt. Personal. Sorrowful

 Rattle That Lock by GILMOUR, DAVID album cover Studio Album, 2015
3.28 | 133 ratings

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Rattle That Lock
David Gilmour Prog Related

Review by The Grand Vizier

3 stars RATTLE THAT LOCK, the latest album from David Gilmour, demonstrates that the ex-Floyd guitar player has firmly established himself apart from his former band, and feels free to do what he pleases. He doesn't seem to be bothered whether he sounds 'floydian' enough or not, though he works very hard to sound as David Gilmour is expected to. He, therefore, seems to care about his songwriting much more than about overall concept, and is focused on bringing each tune to blossom, rather than on attempts to take its development as far as possible in order to extract and exhaust its potential. The loose idea behind the album is that these songs bring about a pack of thoughts and feelings someone would live through in one day.

Three instrumentals aside, there is only one song on this album that feels like a Pink Floyd number: 'In Any Tongue'. This song is the longest track of the album and has a rather complex structure with an understated intro (whistling), and a reverse of the tune on choruses similar to 'Comfortably Numb'; it alters several times between forte and piano with each shift carefully prepared and executed. The final guitar solo resembles that of 'Comfortably Numb' and 'On The Turning Away', but does not repeat either of them; it fades out soon after its climax. Fade out is typical for this album and there is no crossfading or connecting sound effects, as if Gilmour wanted to highlight this is not Pink Floyd. These fadeouts, nevertheless, all seem to be timely and could hardly leave a listener unsatisfied, as it often happened to me when I was listening to A MOMENTARY LAPSE OF REASON. Overall, this blues-based power ballad is blessed by the kind of personal touch that makes Gilmour's late output so appealing.

Although it embodies the grace of Pink Floyd sound, 'In Any Tongue' is not the only song in the album that rocks. Starting as a lullaby, 'Today' suddenly turns into a heavy pop number, based on soulful blues harmonies. The tune celebrates a day that has not been wasted; a day that had gained its meaning; a day that brought change and thus deserves our cheers. Such a mix of rocking pop and soul was first attempted on ABOUT FACE ('All Lovers Are Deranged'), but it seems Gilmour has finally found the correct formula, and the tune shines against all odds.

The mood of other tracks is much lighter; each of them, nonetheless, possesses a distinct character. The title track is a catchy pop tune, equipped with lyrics full of unexpectedly dark and foreboding allusions. It opens with a railway station jingle but grows to sound insistent and almost menacing during the brief choir section, before returning back to the bitten track. All this can make one's dream about a journey across the hell of a big city plagued with stress and depression - let's get through it.

While the aforementioned songs differ in mood, they somehow belong to Gilmour's usual range of songwriting. 'Faces of Stone', 'Dancing Right In Front of Me' and 'The Girl In the Yellow Dress', come, on the contrary, as a surprise. The first two could have been performed by Leonard Cohen or Joe Cocker, while the third is pure jazz. All of them are crafted with care and contribute to the diversity of the album; Gilmour himself has written words for the first two, leaving the rest of the lyricist duties on the album to Polly Samson. These three songs share a nostalgic mood; their tone - deeply personal - contrasts that of 'Today', 'In Any Tongue' and the title track, each making a powerful statement.

The four remaining songs are Gilmour's signature 'watercolours' with transparent keys and heavenly guitars. The opener, the closer and two 'spacers' fill the album with light and air, ease strong emotions and let the whole thing drift with the flow. The day begins in the quiet harmony at '5am'; the closing tune 'And Then...' is a more reassuring variation on the same theme. Beauty contains an easily recognisable quote from 'A Boat Lies Waiting'; the voice of Richard Wright, heard half way into the latter, in turn, invokes the ghost of THE ENDLESS RIVER.

One can notice that while the 'concept' of the album is pretty loose, its structure is clearly tight. Six conventional songs, grouped in three pairs (each containing a statement of a more universal nature and a personal reflection), are enveloped with four 'meditations', bookending the album like twilight of dawn and dusk 'bookends' a day.

This structure is not just a whimsy; it helps to keep a diverse album focused on its main theme - the power of nostalgia. It seems, nostalgia has been a driving force behind Gilmour's creativity since long ago (WISH YOU WERE HERE or, maybe, 'Fat Old Sun' and 'Childhood's End') - something he himself stated in 'High Hopes'. Whenever he looks for substance that makes our presence real and vest one's life with its own value, he tends to borrow it from the past. Exploring this trail, he has to keep it very personal, even when he makes a statement on broader matters.

To conclude, Rattle That Lock is not a style-defining prog rock opus. If you feel that observations of the lone man with a guitar travelling on his flying Island around Solaris are important for you, go for it. If you simply don't mind some tuneful blues fun, you probably won't regret killing an hour in the company of David Gilmour. If, nonetheless, you are not in the mood for compromise, and won't take anything but a slightly amended version of The Wall (which is not necessary a bad thing)... than I would suggest waiting for the next Roger Waters album :)

 H.A.A.R.P by MUSE album cover Live, 2008
4.44 | 77 ratings

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H.A.A.R.P
Muse Prog Related

Review by CassandraLeo

5 stars Muse's studio releases have generally struck me as being merely good. They're certainly far better than a lot of other mainstream rock music out there, but they also come across as being a bit by-the-numbers and predictable, and the energy level isn't what the material demands. I'll listen to them occasionally, but they're generally lacking the fire that's necessary to keep a recording in regular rotation for me.

The same can't be said, however, for the band's live performances. From start to finish, on both the CD and the DVD here, the band's performance is absolutely incendiary. Indeed, I'm having a difficult time thinking of many other modern rock acts who have this much energy live. Essentially every other song on here is vastly superior to its studio counterpart, and on many of them the band stretches out and improvises at length, making the CD and DVD far from retreads of the same material.

My only complaint is, as is the case with many modern rock recordings, with the sound quality; it suffers from the same "loudness war" issues that most modern rock recordings do, although fortunately it's not a Death Magnetic or Raw Power-level disaster. Regardless, it does keep the set from being as purely enjoyable as it ought to be.

It's not enough to keep me from recommending this set, though. If you acquire only one Muse recording, you should unquestionably make it this one. Indeed, I'd say this set is so good as to make the studio versions effectively superfluous. Now if only they'd release a set collecting the highlights of their later work...

 Propellar by BUCKETHEAD album cover Studio Album, 2014
3.00 | 2 ratings

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Propellar
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars PIKE 12 - PROPELLAR is the 2nd album released by BUCKETHEAD in 2013. Like the earlier PIKEs, this one had two releases. The first was digitally with the normal PIKE artwork and the second was as a CD-R with hand drawn artwork by BH himself. This is yet another all instrumental release where BH performs the entirety of sounds on board and has SIX tracks that clock in at 30:17

"Propellar" (6:17) starts out with a mellow clean guitar riff but becomes a thrashy metal riff and picks up on the energy level. It abruptly changes into an echoey guitar chord sequence with heavy drumming. It then changes into a folky acoustic guitar sequence with a mellow guitar lead for a short while and then a heavy metal sequence again with a solo. The gist of the track is that it keeps changing things up and these sequences alternate frequently whilst keeping the overall melodic development in tact

"Room Of Shells" (2:04) is a funky Hendrix-esque type of track that starts out fast and then slows down sounding like a Hendrix ballad. Actually sounds like Hendrix archival material as it's more authentic than his usual inspired take on the master's works.

"Meeting Of The Mummy" (3:35) continues the Hendrix sound with a "Hey Joe" type of riff. Mellow clean guitar chord melody with lead guitar providing a nice extra layer

Yes, it's time for??. "The Poultry Show" (4:18) which begins with a heavily echoed and distorted alternative metal riff and then becomes joined in by bass and drums. Nice rhythmic developments of the common melodic theme. Basically a dirty ballsy bluesy metallic rocker

"Launched" (11:50) is a third of the album and starts of with a strange funky vibe with weirdly distorted guitars with lead slides. Rather avant-garde but clearly funk / blues / metal. When all those elements drop out though and the main focus is on the weird little lick that accompanies them, it is very weird actually. The tone of the guitars is unique. I'm loving this one. It's totally accessible and unorthodox at the same time. Since it's so long it has a way of using the guitar riff as the percussive rhythmic flow and experimenting off of that with build ups and layering techniques that build up the intensity. This is a way cool track and my favorite on the album

"Dome" (2:13) changes it up in a 180. This is a heavenly trance type of track that sounds like a meditation retreat mind clearing chakra cleansing escapist's dream come true. Percussionless but rhythmically regular. Ambient in a tribal spiritual manner. Acoustically challenged but only so much. Decent

This is another decent but not outstanding release from BUCKETHEAD. While the last third of the album is outstanding, the beginning parts are only decent. They rely too much on Hendrix worship and although some of the best Hendrix worship there is to be had is still Hendrix worship.

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