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ECLECTIC PROG

A Progressive Rock Sub-genre


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Eclectic Prog definition

The term 'eclectic' in the context of progressive rock describes a summation of elements from various musical sources, and the influences and career paths of bands that take from a wide range of genres or styles. While progressive music can be, in a larger sense, eclectic, the 'Eclectic Prog' term is specially meant to reference bands that trespass the boundaries of established Progressive Rock genres or that blend many influences.

Eclectic Prog combines hybrids of style and diversity of theme, promoting many elements from different sources. The Eclectic category recognizes bands that evolved markedly over their career (in a progressive, evolutionary way), or have a plural style without a clear referential core.

The basic features lie within the music's variety, rich influences, art tendencies and classic prog rock elements. Among the representative bands are KING CRIMSON, VAN DER GRAAF GENERATOR, and GENTLE GIANT.

- written by Ricochet (Victor)

Current Team as at 12/31/2013

Rob (Epignosis)
Logan (thellama73)
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Eclectic Prog Top Albums


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

4.60 | 3143 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.53 | 2445 ratings
RED
King Crimson
4.49 | 1473 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 1573 ratings
PAWN HEARTS
Van Der Graaf Generator
4.40 | 2075 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.35 | 1212 ratings
IN A GLASS HOUSE
Gentle Giant
4.35 | 618 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.31 | 1200 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.29 | 1093 ratings
STILL LIFE
Van Der Graaf Generator
4.27 | 1370 ratings
OCTOPUS
Gentle Giant
4.27 | 1084 ratings
FREE HAND
Gentle Giant
4.26 | 1103 ratings
THE POWER AND THE GLORY
Gentle Giant
4.24 | 1078 ratings
ACQUIRING THE TASTE
Gentle Giant
4.22 | 984 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.26 | 363 ratings
ANABELAS
Bubu
4.25 | 338 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.20 | 563 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.26 | 298 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.16 | 607 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.34 | 149 ratings
1000 AUTUNNI
Ske

Eclectic Prog overlooked and obscure gems albums new


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

AEROLIT
Niemen, CzesŁaw
NOT OF SOUND MIND
Zapotec
CLOSE GRIP
Gourishankar, The
DIAGONAL
Diagonal

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Latest Eclectic Prog Music Reviews


 Pawn Hearts by VAN DER GRAAF GENERATOR album cover Studio Album, 1971
4.42 | 1573 ratings

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Pawn Hearts
Van Der Graaf Generator Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars In early 1971 Van der Graaf Generator toured for the promotion of ''H to He, who am the only one'' with fellow Charisma bands Genesis and Lindisfarne, receiving good feedback by the audience, that should have been a real show back in the day!During their live performances they started writing material for a fourth album and actually their intention was to come up with an ambitious double LP.However Charisma believed it was not a good idea, so the band had to make a selection of songs for the upcoming release, the tapes from the unreleased pieces are said to have been lost.Upon returning to the Trident Studios around July most of the album was ready and the band finished the recordings in just two months, inviting again Robert Fripp to contribute on guitars.''Pawn hearts'' was the title and the album was launched in October 1971.

Three very long cuts was Van der Graaf Generator's brand new delivery on this album and the opening ''Lemmings'', nowadays considered a classic of the band, sets the tone for the whole album.At this point they sounded a lot like KING CRIMSON, just a bit darker due to Hammill's unique, sensational voice with the theatrical extensions, making heavy use of sax and flute and exhibiting tons of jazzy elements in their arrangements next to the sinister sound of Hugh Banton's Hammond organ.This is mostly impressive jazzy Prog Rock with a few folky underlines and a strong psychedelic nature.The 10-min. ''Man-Erg'' sounds even better to my ears, it contains the beautiful poetic feel of PETER HAMMILL's solo albums along with the band's flawless inspiration from Psychedelia, Jazz and Classical Music, the soft opening theme with the slow organ and the insane lyrics about Good and Evil is followed by everchanging climates in a great contrast of dark and romantic offerings with symphonic and jazzy overtones, filled with powerful piano and organ and mellow sax soloing.The 23-min. ''A plague of lighthouse keepers'' is among the best compositions ever recorded and performed by the band, talking about a lighthouse keeper, who sees people dying offshore and can do nothing about it.His state of mind is masterfully reflected on the music and lyrics of the piece, which contains several movements.I can compared this one only to Italians OSANNA, it goes from mystical jazzy interventions to Theatrical Rock and back, the music is very complex with grandiose segments and lighter tunes and a very dark feeling overall, featuring some fantastic interactions and preludes, propelled by a lovely Classical background and an even more obvious love for abnormal musical constructions, based on constant breaks.

A true classic of Van der Graaf Generator's discography.An excellent display of sinister and softer climates with a tremendous instrumental background.Beware, this not an easy one to handle, but once you find yourself understanding the evolution of the group, spins will become endless.Highly recommended.

 The Time It Takes by NICE BEAVER album cover Studio Album, 2015
4.04 | 19 ratings

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The Time It Takes
Nice Beaver Eclectic Prog

Review by Lear'sFool

5 stars The time it takes for Nice Beaver to put out a new album seems to have grown exponentially, but so has the quality of the final product. The whole thing just sounds so wonderfully pleasant, a smooth treat for a proghead's ears. I have to say that the bass from Stel is just sublime, every note, every time. The vocals are sweet, and the guitar riffs and wails along, sometimes unleashing power, sometimes beauty. Can't get enough of "The Path To My House" and "Rainbow's End", the pinnacles of the beautiful half of the record's sound. Power prog done right is a good summation of this excellent album. 4.5 rounded up.
 Le Sacre Du Travail by TANGENT, THE album cover Studio Album, 2013
3.99 | 266 ratings

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Le Sacre Du Travail
The Tangent Eclectic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars For their seventh album, English collective The Tangent, led by one of modern prog's most talented keyboard players Andy Tillison, deliver their most varied, complex and ambitious work to date with 2013's `Le Sacre du Travail', translating to `The Rite of Work'. Anyone familiar with the group will know to expect an eclectic mix of keyboard dominated prog, with plenty of Canterbury Scene jazzy fusion flavours and symphonic themes, and this time around there's plenty of orchestral flourishes to bring just a little sweeping cinematic drama as well. In addition to all the expected colourful instrumental passages, as always Tillison delivers a biting social commentary lyric with his expected weary yet affecting lead vocal, wrapped up together with plenty of strong melodies and surprisingly effective and smooth group harmonies as well.

The dazzling and diverse keyboard player Tillison is joined this time around by a variety of musical guests from several other notable bands, many of them already sharing an involvement with Tangent albums past. The inclusion of regular contributor Jonas Reingold of Swedish symphonic champions The Flower Kings makes this a must-buy instant purchase, and as always the skilled musician delivers a fluid, emotional and subtle performance. Modern Canterbury sound legend Theo Travis offers his always dignified and sprightly sax, flute and clarinet, and both Jakko Jakkszyk of 21st Century Schizoid Band and Guy Manning provide some extra some vocals and guitars. Rikard Sjöblom of Beardfish recites the opening narrated passage, returning the favour that Andy himself delivered on their `The Void' album a few years back. David Longdon of Big Big Train, who have been enjoying a raised status in the modern prog community since their `Underfall Yard' album a few years back, has a memorable extended vocal passage during one of the epics, and Gavin Harrison of the last several Porcupine Tree albums will also likely be a big drawcard here, and he has never sounded so varied, complex and freed.

The album is broken into five movements, mostly of longer, wonderfully self-indulgent blown-out prog epics, but with some shorter interludes and lots of classical elements in between. The main concept deals with the day to day monotonous grind of the lowly worker, and as usual, Tillison's lyrics divert in all different directions and are peppered with witty (and frequently cutting!) observations, poignant reflections and dark deadpan humour, all woven to a low-key science-fiction narrative. Even more admirable is that he places just as much importance on these strong lyrics to go with all the flashy instrumental showing-off, something many more prog bands should keep in mind.

The opening scene-setting narration quickly gives way to a quirky and playful classical overture punctuated with fleeting moments of bombastic ELP/`Pictures at an Exhibition'-like synth pomp, as wistful flute, carefully announcing drumming and restrained electric guitar strains begin to emerge. Memories of the Moody Blues' `Days of Future Pass' ring throughout the early AM start of the workday in the first of two lengthy epics, `Morning Journey and Arrival'. A stark sombre piano gloomily tiptoes behind a weary lamenting vocal from Andy. Gentle tortured electric guitar burns slowly as tense orchestration swells, leading to an aggressive synth outbreak over scornful vocal barking, moving through flighty drumming and delicate sax for a gentle Canterbury Sound trip. Hammond organ purrs and melancholic group vocal sighs over weeping Mellotron defeated by breezy slinking grooves and smoothly pleasing vocal harmonies with cheeky flute - phew! A livelier foot-tapping finale even calls to mind `Grey and Pink'-era Caravan!

After an uneasy almost chamber prog introduction to `Afternoon Malaise', the band heads right back into Canterbury territory with boisterous sax, trilling flute and rip-roaring murmuring bass over jazzy patterings. A dash of early-prog Hammond fire, mellow chilled grooves, more silken harmonies and a dashing Moog solo race to the finish, and a grand synth finale would sound victorious if not for the very bleak lyric! `A Voyage Through Rush-Hour' is a fleeting stirring orchestral break highlighted by dramatic piano that builds in sneaky urgency and jumps up with quick manic bursts like taunting little mental breakdowns! With the dreaded work-day done, `Evening TV' is a little more relaxed and almost joyous, with break-neck synth fanfares, insistent drum rolls and splintering chunky bass grumbles all sounding a little like Yes. Dark introspection and the reality of banality soon creeps in, but it still closes the album in a much more upbeat and excited fashion than expected.

So perhaps Andy still sometimes over-reaches vocally here and there (pretty much a bit of a Tangent trademark by this point!), and `Le Sacre du Travail' is not initially as instantly pleasing on the surface as previous Tangent works, but on repeated listens so much appreciation and admiration starts to grow immensely to deliver a wholly satisfying and intelligent work. This is a sophisticated, thought-provoking and very confident suite of music that will take some time to truly grasp all its many facets, but it's further proof of a group of musicians playing at the top of their game, and an artist in Tillison who only keeps reaching higher with each new work and climbing above every single time.

Four and a half stars.

 Sketches of Satie by HACKETT, STEVE album cover Studio Album, 2000
3.46 | 108 ratings

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Sketches of Satie
Steve Hackett Eclectic Prog

Review by Losimba

4 stars As a person who also loves classical music it is close to obligatory that I at least try and listen into any remakes of classical stuff by prog or other rock artists. Some are close to horrible, even making the composers turn in their graves, others can easily compete with recordings by the most famous classical performers in quality.

Sketches Of Satie by the Hackett brothers is a prime example of the second category. While it is one of the few works where I don't have any other recordings, I wouldn't hesitate to put this CD on when I have guests who only like classical music. The pieces themselves are rather easy to listen to, while both Steve Hackett on the guitar and John on the flute show the proper skill with their instruments. One could criticize that the arrangement is close to the way Erik Satie suggested, making it not very original compared to albums like Pictures At An Exhibition by Emerson, Lake & Palmer, but I don't think that this is too important with classical music. Hey, if you listen to "normal" classical recordings or concerts, you will find the odd accent different between two conductors, but everything else is close to identical.

The reason why I don't award Sketches Of Satie 5 stars is that it is not the best classical album by Steve Hackett. This honour falls to A Midsummer Night's Dream, but Sketches Of Satie is still worth strong 4 stars.

 Reflections from the Firepool by DJAM KARET album cover Studio Album, 1989
3.72 | 52 ratings

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Reflections from the Firepool
Djam Karet Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Material from ''The ritual continues'' sessions still surfaced in 1988, when Djam Karet released yet another cassette, ''Kafka's breakfast'', which included the 24-min. jam ''Walkabout'' along with tracks from the pre-Djam Kater band Happy Cancer, including the performance of drummer/keyboardist Andy Frankel.In 1989 the Americans return with the album ''Reflections from the firepool'', released in every possible format, vinyl issue came out on Gerg Walker's Synphonic label, both CD and cassette issues were printed by the band's own HC Productions.

''Reflections from the firepool'' contains the style, which would actually define what Djam Karet was all about for a period of years.The material here seems less loose and more properly constructed, thus more pleasant to the ears, long improvisations are good activities for musicians, but not headed for commercial consumption.On the contrary ''Reflections from the firepool'' eventually suggests some cool musical structures, which still hold this jamming feel linked to Djam Karet, giving a major role to keyboards and benefiting from the serious talent of guitarists Gayle Ellett and Mike Henderson.I would describe this as guitar-driven Acid Psych/Prog with some references to PINK FLOYD, OZRIC TENTACLES, KING CRIMSON and similar bands, but in fact this quartet starts to make its own distinctive music with stretched guitar solos, acid guitar lines, spacious keyboards and consistent bass/drumming, containing some complex, jazzy plays and a Fusion aura.Six long instrumental tracks come with the vinyl, while the CD (also reissued by Cuneiform Records) contains another pair of a similar taste.The use of some light organ sounds comes as a welcome surprise as well as the addition of some melodic guitar solos.Still the guiding light are the long, dark guitar acoustics and the keyboard experiments with the cinematic, psych-tinged and spacious overtones.

For me the most interesting work of Djam Karet in the 80's.It's still fairly experimental, even containing some Industrial-like percussion and guitar vibes in a few cuts, but comes as more convincing, consistent and efficient as a whole.Recommended.

 Necroplex by NECROMONKEY album cover Studio Album, 2013
4.08 | 10 ratings

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Necroplex
Necromonkey Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. This one sort of snuck up on me after many listens which wasn't too surprising considering it's quite experimental with plenty of electronics and effects. NECROMONKEY are the duo of Mattias Olsson(ANGLAGARD) and David Lundberg(GOSTA BERLINGS SAGA). They have a dozen guests helping out with a variety of instruments, vocals and sounds including another GOSTA BERLINGS SAGA member Einer Baldersson who plays a variety of guitars along with electric sitar and mandolin. It's tough describing the music with so many effects and electronics but i'll try to tell you what I think I hear.

"Pea" features piano and mellotron sounds that build and we get some electronics late. "Asshole Vote" has these pulsating mellotron sounds as electronics, drums and bass are added. A change 1 1/2 minutes in as we get what sounds like organ. This moves me for some reason. Drums and trumpets join in then we get a fuller sound before 3 minutes. So good. It sounds like sirens before strummed guitar and a female voice arrives and they go on for some time. Drums and electronics end it. "Element" is a bright and feel-good piece. Electronics to the fore then it settles briefly before kicking back in. Some effects late. "Tuba Melt" does have tuba in it of course along with a bass trumpet as they feed off one another and sound like they are both cut up. "Small Rome" features piano melodies while the mellotron late is gorgeous. "Every Dead Indian" is such a great track and for some reason(mellotron) it reminds me MORTE MACABRE. Some cello early on slices away with keys then samples and drums are added as it builds some. It kicks into a higher gear around 3 minutes. This is catchy with plenty of mellotron. A change 4 1/2 minutes in as it calms right down with a beat only to start then it builds. Picked guitar 5 1/2 minutes in then bass clarinet followed by mellotron. Beautiful stuff.

"Empty Traps And Nightfall" opens with rain and thunder along with bass. E-bow I believe is what I hear next in this very laid back tune. "Spoken" is a humorous spoken word piece with experimental sounds in the background. "The Utopian And The Teaspoon" sounds amazing and we get electric sitar and deep pulsating sounds. Lots of effects as well including voices. The drumming is prominant then it starts to slow down before 3 minutes before becoming quite experimental as the pulsating rhythm stops. "Winds Over Iceland" features baritone guitar and other sounds. I like it. "Knock Knock Hornets Nest" is another highlight that reminds me somewhat of latter day RADIOHEAD. Check out the electric 12 string early on as drums and more help out. Lots of electronics before 2 minutes as a Lap Steel helps out. A calm after 4 minutes. "Notebook" is a short mournful piece that drones. "Last Entry" reminds me of MORTE MACABRE as well with those female vocal melodies and atmosphere. Picked mandolin helps out and it turns fuller after 1 1/2 minutes. It settles back after 3 minutes as it continues to wind down to the end.

Man this is nothing like any of the bands these two guys have been a part of which is actually pretty cool. This is innovative and at times challenging and an album i'll get a lot out of for years to come.

 The Time It Takes by NICE BEAVER album cover Studio Album, 2015
4.04 | 19 ratings

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The Time It Takes
Nice Beaver Eclectic Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Spread the word around ...

... because here we have something special to consider. I was really impressed with their two albums 'On Dry Land' and 'Oregon' years ago. Thus the announcement of a new outcome forced a somewhat gleeful anticipation. What is to expect from a band which offers a new sign of life after more than ten years in hibernation and such a reference? Something between 'okay' and 'setting the world on fire' most likely, as we know it to happen. In this case they really surprise me due to a rather delicious new production, equipped with a well selected title, as those dutch beavers obviously took their time. Going back for some years again .. first and foremost I still would count the debut starter Culley On Bleecker Street among my top favourite songs. Erik Groeneweg's singing voice always deeply touched me, and this does not change here.

Well worth the wait ... if ever ... what convinces me in the first instance is the fact, that 'The Time It Takes' is able to entertain from the start right on to the last minute. Something you have to search for in these days with prog oriented albums produced in really vast numbers. Drummer Corne van Disseldorp acts flawlessly, like a founding member, although he represents the one and only change when it comes to the line up. Stylistically the band offer art rock with symphonic and neo prog touches, as well as some excursions into popular fields, like Rainbow's End for example, while showing them more in the vein of Love And Money or Cutting Crew. Nonetheless I would say this is a benefit, even though some die hard prog fans may disagree.

This simply is applicable for the global flow, for the approach to establish a highly accessible experience. Besides the technical skills taken for granted, everything stands or falls with the song writing abilities - you know - as for that The Path To My House belongs to my favourite album excerpts - absolutely perfect! Whatever, this credit applies to every song more or less which makes it to a rounded affair. Who won't have a clue what's goin' on with this band music-wise ... their output is akin to bands like Syzygy, Lobate Scarp and similiar. By all means you can't do wrong if your preference is on real melodic progressive rock songs. Anyway, happy to know that ...

... the band is back in town!

 Giant Steps...The First Five Years 1970-1975 by GENTLE GIANT album cover Boxset/Compilation, 1975
3.45 | 18 ratings

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Giant Steps...The First Five Years 1970-1975
Gentle Giant Eclectic Prog

Review by Matti
Collaborator Neo-Prog Team

2 stars I was in my late teens, maybe 18, when I borrowed this 2-LP from my local library. I had been diving into the vintage British prog for some time, and the household names of the genre were my biggest favourites. I was anxious to find more and more classic prog bands, with a help of the great Finnish library services. I had even borrowed the Renaissance debut (1969) and liked it despite the confusion of the Annie Haslam-less line-up. But my first acquaintance with GENTLE GIANT was very ambivalent: I disliked the lead singer and there was something very hard-to-digest on many tracks on this compilation, while I certainly sensed the innovative and highly original cleverness too. I decided I wasn't ready for them yet.

When in 1997 (ie. circa 9 years later) I borrowed the 2-CD compilation Edge of Twilight, all changed radically and I begun to adore GG. Well, that's one way to see it, that my own maturing as a prog listener was the key factor. Another way is simply to say that this particular selection was not succesful to meet my taste - probably still wouldn't be as an introduction to GG - , and that The Edge of Twilight was, in its near-completeness. Now, seen from the perspective, as the source albums (from the eponymous debut of 1970 to The Power and the Glory, 1974) have long ago become familiar to me, I actually prefer the latter explanation.

This compliation emphasizes on the rougher and rockier side of GG and almost totally excludes the softer and the more Art Music oriented side of their extraordinary eclectism. Kerry Minnear's ethereal vocals appear only in very minor roles while Derek Schulman - was it Derek? - shouts with his rough voice that I associate with ugly, hairy moustaches. Sure, there are some quite interesting tracks such as 'Alucard', 'Nothing At All', 'Why Not?', 'Peel the Paint' and 'The Runaway'. But I could name over a dozen of much better GG tracks from this period that aren't here. And several that are here are some of my LEAST enjoyed GG songs.

I don't remember if there were any band history or even album information. Cover design with bodiless legs off the ground, wearing red & white striped socks and tennis shoes, is in my opinion plain silly and more or less unsuitable to the musical contents. Hence only two very subjective stars, even though I know many others would rate it much higher.

 Free Hand  by GENTLE GIANT album cover Studio Album, 1975
4.27 | 1084 ratings

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Free Hand
Gentle Giant Eclectic Prog

Review by TCat
Prog Reviewer

5 stars This was Gentle Giant's first release on the Chrysalis label and it was also an attempt to make their sound a little more accessible. I say a little more accessible, because it was just a very slight compromise and they really didn't lose much of their sophisticated yet very progressive sound. Eclectic prog is the perfect genre for this band because eclectic definitely defines their music. Very odd meters and time signature changes pop up constantly. Yet their sound is very renaissance sounding, folkish, yet complicated with plenty of jazz mixed in. This slight adjustment to their sound ended up being the thing that would bring them to the attention of the American audience they were trying to attract. And they did it without much of a compromise to their sound, other than maybe cutting out much of their classical/modernistic sound, becoming a little less avant garde, yet still keeping things technically difficult. Even hardcore prog fans seem to have a hard time penetrating the accessibility of their sound, but this album did become the most accepted.

This album is excellent, even more complex than the prog folk masters Jethro Tull. It is not easy to appreciate on the first listen because it is so complex and, yes, eclectic. Their folk leanings shine through but never overbearing. Composition and formation of the songs is anything but conventional. The vocals are a little strange, and I find them the hardest thing to get used to, but keep with it and you will come to accept it. As far as the instrumental passages here, you will find yourself wanting to dance a jig at times, but the music never remains with a constant enough beat that you just can't quite seem to get the right beat, and that is how it should be with this music. The only way you can dance to this is in a madman style.

I will not try to break down these complicated songs, they are there for you to listen to and plenty of other reviewers have already done that for you if you are interested. The sad thing is that Gentle Giant, even though they have a huge cult following, never really caught on and received the high regard and awe-struck status that other progressive bands like Yes, Genesis, Jethro Tull, Pink Floyd, King Crimson and many other received, but they are very deserving of that status. Their music is definitely complex, the most complex folk-oriented music you will ever hear. They can't be considered folk prog though because it is too complex and also incorporates jazz, electric music, and modernistic styles. Hence, with the many genres incorporated, even with the overall medieval rock sound, there is just so much more than that. I mean, what other band would be able to take the vocal acapella harmonies in "On Reflection" and perform it outside of the studio without a conductor? I doubt there are many that could do that. Sure there are many that could play the difficult passages and odd time signature changes that exist in songs like the popular title song "Free Hand" but they would only be those who were the most talented, and I doubt they would be able to do it without a lot of preparation. Have you ever heard anyone cover a Gentle Giant song off the cuff in concert? I don't think so.

Yes this is great stuff and should be considered a masterpiece of prog and nothing less. Even if you don't like it, you should still own it and try to let it work it's way into your mind. Simply amazing. Essential music for all prog fans.

 ...Und Uberhaut... by PLAMP album cover Studio Album, 1978
3.07 | 5 ratings

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...Und Uberhaut...
Plamp Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Plamp, a Swiss band only named after the first names of the musicians involved, came from the city of Chur and were around since the mid-70's as a quintet, Mario Giovanoli played flute and saxophone, Peter Toenz was on electric guitar, Peter Streiff on Hammond organ and piano, Louis Streiff on drums and Andrea Thoeny on bass, while all members contributed on the vocal parts.For their only release ''Und ueberhaupt ...'', pressed privately and released sometime during year 1978, they were joined by Fortunat Froelich on cello and piano and Marc Keller on acoustic guitars.

Plamp used the nearby Kraut Rock qualities in a lighter version to produce their own personal sound, obviously influenced by Folk, Jazz and Psychedelic Rock, and it's really amazing why the band remained so obscure, they were propably at the wrong place at the wrong time.The result of their efforts was a rich album with long instrumental passages and reduced, mediocre vocals in English, containing a wide range of inspirations, as proposed by the expanded instrumentation, including keyboards, sax and flute.They offered what most Kraut Rock acts were doing previously yet in a calmer edition, the arrangements sound a bit more delicate and elaborate as a whole, but you can find all the traditional elements of the movement, some serious groovy parts, some cosmic/psychedelic breaks with a folky aura and of course some nice little jams with a jazzy background.Close to Austrians ISAIAH, their music goes from lyrical, rhythmic parts with organ showering to flute-based psychedelia and from jazzy interventions, featuring great sax and piano, to standard Kraut Rock abnormalities with tireless solos on various instruments.''Behind'' is a nice example of their undefinable eclectisicm, archaic flute lines meet with theatrical vocals, cello strings and organ in a very jazzy enviroment.

The band stayed together until early-80's.Musicians of Plamp have been later detected in various local-based bands and collaborations, while three members, Louis Streiff, Toenz and Thoeny, rejoined forces again in 1984 for Paulin Nuotcla's album ''Mouva't''.

Nice Kraut-influenced Psych/Prog/Fusion with diverse influences and instrumental mannerisms.Very expensive in its original form without any reissues, still a good one within the movement.Strongly recommended...3.5 stars.

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Eclectic Prog bands/artists list

Bands/Artists Country
16 DEADLY IMPROVS United States
17F Switzerland
4/3 DE TRIO France
8 DAYS IN APRIL Germany
A.C.T Sweden
ABRETE GANDUL Chile
ABSOLUTE ELSEWHERE United Kingdom
ABSURDCUS Romania
ACADEMIE OF FARSIDE Indonesia
ACINTYA France
ADVENT United States
AFFINITY United Kingdom
AKO DOMA Slovakia
AKRITAS Greece
AKT Italy
JEAN-PIERRE ALARCEN France
ALBATROS Germany
ALEXL Brazil
ALGERNON United States
ALLOMERUS Australia
ALON United States
ALPHA RALPHA France
ALQUILBENCIL Spain
ALQUIN Netherlands
ALTABLANCA Argentina
ALTAIR Spain
ALTERNATIV QUARTET Romania
ALTERS Poland
AMPLEDEED United States
COSTE APETREA Sweden
APPLE BELLS Poland
ARBATEL Mexico
ARDO DOMBEC Germany
AREKNAMÉS Italy
ART AND ILLUSION Italy
ARTCANE France
PETER ASHBY United Kingdom
THE ASHQELON QUILT Israel
ASTRID PRÖLL Puerto Rico
ATHELSTONE Malta
ATLANTIDE France
AUDIENCE United Kingdom
AUDIO VISIONS United States
AUNT MARY Norway
AVE ROCK Argentina
AVIATOR United Kingdom
ÁVORA DI CARLLA Brazil
BAD ALCHEMY United States
VLADIMIR BADIROV Uzbekistan
BAG France
DAVID BAGSBY United States
BAKU LLAMA United States
FRANCK BALESTRACCI France
BARBARO Hungary
AL BASIM Iraq
BATABEAT Canada
BEAR IS DRIVING United States
BEARDFISH Sweden
ADRIAN BELEW United States
SERGIO BENCHIMOL Brazil
IL BERLIONE Japan
MICHAEL BERNIER United States
BIRDS AND BUILDINGS United States
BLOQUE Spain
THE BOB LAZAR STORY New Zealand
BOOTCUT Sweden
EMMANUEL BOOZ France
BORDERLINE SYNDROME Greece
EDUARDO BORT Spain
BRAINSTATIK United States
VYTAS BRENNER Venezuela
BRIGHTEYE BRISON Sweden
BUBBLEMATH United States
BUBU Argentina
JEAN-LOUIS BUCCHI France
BUDKA SUFLERA Poland
C & K VOCAL Czech Republic
CABEZAS DE CERA Mexico
CALLE DEBAUCHE United States
CAMERA CHIARA Italy
NEIL CAMPBELL COLLECTIVE United Kingdom
CANGACEIRO Chile
JOSE CARBALLIDO Spain
CARPE DIEM France
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