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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)
Sagi (Sagichim)

Eclectic Prog Top Albums


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

4.61 | 3462 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.53 | 2723 ratings
RED
King Crimson
4.49 | 1628 ratings
GODBLUFF
Van Der Graaf Generator
4.41 | 2310 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.42 | 1738 ratings
PAWN HEARTS
Van Der Graaf Generator
4.36 | 1340 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1317 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.34 | 680 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.29 | 1203 ratings
STILL LIFE
Van Der Graaf Generator
4.29 | 1243 ratings
THE POWER AND THE GLORY
Gentle Giant
4.28 | 1540 ratings
OCTOPUS
Gentle Giant
4.28 | 1196 ratings
FREE HAND
Gentle Giant
4.24 | 1199 ratings
ACQUIRING THE TASTE
Gentle Giant
4.22 | 1104 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.26 | 408 ratings
ANABELAS
Bubu
4.26 | 340 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.24 | 372 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.20 | 613 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.16 | 687 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.32 | 188 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

KRYWAN, KRYWAN
Skaldowie
CLOSE GRIP
Gourishankar, The
ENIGMATIC
Niemen, CzesŁaw
KOROWOD
Grechuta, Marek

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Latest Eclectic Prog Music Reviews


 USA by KING CRIMSON album cover Live, 1975
4.02 | 406 ratings

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USA
King Crimson Eclectic Prog

Review by Magnum Vaeltaja

3 stars Note: This review entails the 30th anniversary edition CD, which includes "Fracture" and "Starless".

Compiling performances from King Crimson's most famed live line-up, the Bruford-Cross-Fripp-Wetton-(Muir) era, "USA" is a good selection of live tracks but, for more, I found it to be more flawed than not. After an inconsequential intro, "Larks' Tongues In Aspic Pt. 2" wakes you up and sets the tone for what's to follow; that is, a strong performance that is on par with, or doesn't get it quite as well as the studio version. Indeed, as is usually the case with prog, the live recordings lose a lot of the refinement that their studio counterparts set the standard for. This is especially evident with "Easy Money". While I love how crunchy and clean, yet hard-hitting the intro is on the studio album, the version here really just sounds messy. And without Jamie Muir's inventive percussion antics, you realize very quickly just how integral he was to the sound of this era of King Crimson. There are still some very good tracks, however, notably "Exiles" and "Starless", as well as the improvisation "Asbury Park", which is really the album's most unique offering.

Much like Yes' "Progeny Highlights", this is a live album that you'd probably enjoy if you stumbled upon it but it's not really worth seeking out if you already have the studio albums. 3 stars.

 Larks' Tongues In Aspic by KING CRIMSON album cover Studio Album, 1973
4.41 | 2310 ratings

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Larks' Tongues In Aspic
King Crimson Eclectic Prog

Review by Magnum Vaeltaja

5 stars After a string of 4 consecutive masterpieces, each with their own unique flavours and mood, some reinventing themselves completely from the last, King Crimson manages to do it again.

In 1973, prog went ham. Notable groups in the genre were putting out their most ambitious material, and King Crimson seemed to be following suit. This album, though, went just far enough that it was decades ahead of its time but somehow still retains an air of sensibility and control that makes it listenable today.

With a completely new lineup, including Yes drum virtuoso Bill Bruford, Fripp had assembled a brand new freak show flying circus of musical madmen and it proved to be one of the greatest decisions of his musical career. Gone are the woodwinds and extensive mellotron use of yore, and while I initially rejected this, the album's sound redeems itself with the addition of some real strings (David Cross on violin) and the eccentric percussion assortments of Jamie Muir.

On the surface, nothing about this album should work. It is incredibly experimental and by experimental I really mean to say the "high school chemistry teacher we all had that liked to blow up pumpkins in the hallway" type of experimental. Brutal, explosive, almost sadistic at times. But, through the genius of all those involved, it still maintains a surprising amount of listening enjoyment. Side one, although it sounds nothing like what King Crimson had done before, still offers some familiarity in its structure. "Larks' Tongues Pt. 1" offers the sort of occult-brewed jump scares and unrelenting tension that we got from "21st Century Schizoid Man", only with the dial cranked so much higher. "Book of Saturday" provides much-needed breathing room, a la "Cadence And Cascade". Then we're swept off our feet by the gorgeous "Exiles", where Cross' violin is brought to its full atmospheric effect and Robert Fripp contributes some of his finest soft guitar work. Side two offers a whole new variety of sounds, from the proto-metal "Easy Money" to the crescendo of "The Talking Drum" to the final coda of "Larks' Tongues Pt. 2", which is guaranteed to wake you up in the morning any day of the week

Ultimately, "Larks' Tongues" is a masterpiece of chaotic prog. If you're looking for some soft, melodic prog that holds your hand, pats you on the head and wipes your bum for you, then don't even think of putting this one on for a spin. But if you're looking for an album that will dominate you, perplex you, throw you in the dirt and bring you along for a ride you'll never forget, this is the album to look out for.

 Pawn Hearts by VAN DER GRAAF GENERATOR album cover Studio Album, 1971
4.42 | 1738 ratings

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Pawn Hearts
Van Der Graaf Generator Eclectic Prog

Review by Magnum Vaeltaja

2 stars Van Der Graaf Generator is a bit of a touchy subject. On the one hand, they're an incredibly influential band and if there were a prog award given out for most original sound, they'd be a shoe-in. On the other hand, this band that has a lot going for it in theory happens to have the most marmite-like, controversial vocalist on the planet, Peter Hammill. For some, Pete's vocal work can strike their ears and permeate into the deepest reaches of their souls, conjuring emotions that they didn't even know could be felt, let alone articulated. For others, Hammill's vocals strike the ear in much the same manner as a cheese grater.

So, like I said, Van Der Graaf Generator is a love it or hate it type of band and "Pawn Hearts" is probably the most extreme example of Graafian excess. Peter takes center stage, giving no room for the rest of the band, a competent bunch of musicians, to carry out any roles past giving tinny, dry, uninspired accompaniment. Hammill, on the other hand, gives himself plenty of liberty to go off on tangents, often far, far longer than I'm comfortable with.

So if you've listened to other Van der Graaf Generator works and can tolerate, or even enjoy, them, this is a good album for you to check out. But despite its ambition and influence, this album is too divisive to call essential. 2 stars; fans only.

 Please Don't Touch! by HACKETT, STEVE album cover Studio Album, 1978
3.57 | 472 ratings

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Please Don't Touch!
Steve Hackett Eclectic Prog

Review by Per Kohler

5 stars Go west young man. Off to L.A. and America. In common with his former band mate P. Gabriel, Hackett chose to seek foreign land to record his debut work as solo artist. The reason for this can be obvious. To force one's way out from the past and to do something entirely different. On PDT Hackett goes in for to sound as un-English as possible. Not Voyage of the Acolyte Part 2 but a jazz- and blues style. The director has not entirely forgotten his roots though. Bombastic sound pictures, frail clinks, dramatic effects, romantic adventures... All for your soul and mind. An extended 12-string intro paves the way for vocalist Steve Walsh. It could just as well have meant Hackett joining American top notch act Kansas. I have to admit that Steve Walsh isn't my fave singer of all time but here he fits perfectly. 'Narnia' is as fresh as a premiere danseuse at the opera.

On 'Carry On Up the Vicarage' Hackett sings duet with himself. The light voice is recorded at half speed while the bass- is as natural as Steve himself. 'Vicarage' is as good as anything to emanate from the Genesis camp. The accessibility of 'I Know What I Like', the whimsicality of 'Willow Farm'. Pure genius! Randy Crawford pops up shortly in the vocal section. The lyric is a tribute to Agatha Christie (wasn't she involved in 'And Then There Were None' as well??). 'Racing in A' is made up of 2 separate sections. Once again Steve Walsh on voice and he's just as convincing as on 'Narnia'. Tom Fowler sounds clinical on his highly discernable bass. That's the risk with solo albums; you pay an individual for a commission. Nothing more, nothing less. Someone said that 60% of all studio musicians only play for the money. Some very convincing strings lead to a sole classical guitar. If it didn't happen it wouldn't be Steve Hackett. To edit different sections isn't unique for popular music. It even occurs in classical music and symphony orchestras.

'Kim' seriously calms down the temper. Steve on acoustic and Brother John on flute. Dedicated to spouse Kim Poor who in due order is responsible for the album cover. Inspiration comes from a shop on Portobello Road (London) which is selling articles from Victorian times. On the back cover Steve is standing at Palace Pier in Brighton. If you want a richer instrumentation listen to the version on Bay of Kings. 'How Can I' with Richie Havens on vox is the most down-to-earth and laid-back inclusion on the album. Not the most advanced piece of lyric in history. You wouldn't believe it to be a Hackett composition for obvious reasons. 'Hoping Love Will Last' feels like the records central piece and it's worth the price of the album alone. It was rehearsed in Genesis with Phil on vocals but never included on W & W. Hackett had a desire to bring in a female vocalist in the Genesis recording too. Instead it ended up here with a so far rather unknown Randy Crawford. The piano chords move the song forward to the delightful string section. A mixture between real strings and guitar synth. The strings took two weeks to record as every violin part is dubbed a number of times. Also first time for Hackett as string arranger so it was rather strenuous. Also for Graham Smith from Van Der Graaf.

'Land of a Thousand Autumns' consists of acoustic- and multi-layered gtr synth. 'Please Don't Touch' is as you probably know by now one of the many leftovers from W & W. As an amalgam with 'Wot Gorilla' but only the latter was included. There were still a lot of instrumental work from Steve on the B-side of Wuthering but PDT had to wait to this very moment. John Hackett on flute, piccolo flute and bass pedals is just as important here as his elder brother. It would still be interesting to hear Collins render the work, to cite M Rutherford; - 'the only drummer who cares about the song'.

'The Voice of Necam' is high-tech with a vengeance. Tape loop vocals, a singer sings a tone for 8-10 seconds recorded on two different tape recorders. Then transferred to 24-channel and changes speed on the tape to obtain various tones on every channel. On 'Necam' the voices are even treated through computer(please note that this is the Stone Age 1978!). Final 'Icarus Ascending' is performed by Richie Havens. A moderate and deep voice of fine standard. Once again Hackett takes out his guitar synth and this time he wants to resemble a saxophone. If you listen to the tones in the solo towards the end of instrumental section (in the middle of the tune) you're able to discern this phenomena. Tape loop on the chorus, reggae rhythms and piccolo from Bro. John. A grand mixture!

Released almost simultaneously with 'And Then There Were Three' and followed by 'P.G.2' shortly afterwards, you can state that 1978 was a productive year for the former cohesive band. Remarkably and quite unique everything still on the same label. Why not pick your favorites and turn it into The Lamb Part 2?

 Onde, Quando, Como, Porquę, Cantamos Pessoas Vivas by QUARTETO 1111 album cover Studio Album, 1974
4.36 | 46 ratings

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Onde, Quando, Como, Porquę, Cantamos Pessoas Vivas
Quarteto 1111 Eclectic Prog

Review by Meltdowner
Collaborator PSIKE Team

5 stars To celebrate the 42th anniversary of the event that lead to the creation of Quarteto 1111's final album, the end of the political oppression in Portugal that lasted more than 40 years, I decided to review it.

It has become a tradition for me to listen to this album on this day, since it's the most genuine expression of freedom and what it truly means, unlike the long speeches sketchy politicians give on this day!

Instrumentally, it's a mixture of Symphonic and Folk in a very Italian Prog way, with plenty of Mellotron, Moog, pastoral acoustic guitars and José Cid's voice at its most powerful state. Another curious thing about it is how the drums are in foreground, which sounds surprisingly good with the epicness of the music, I couldn't imagine it any other way. This was due to the fact that Vítor Mamede, the drummer, was responsible for mixing it.

Lirically, it's as beautiful as the music: it was based on a poem by José Jorge Letria which José Cid continued. It speaks about important values, not only freedom but also education, equality, tolerance and respect for others (and maybe nature, since it's so frequently mentioned). It also gives the idea that the struggle didn't end with the revolution of 1974, that the country should be built anew with these ideals in mind and people should be simple and honest (as the compositions and cover suggest) in order to live in harmony as a community. It's too bad the message of this album was ignored.

Maybe the importance of this day faded in the memory of people but the feeling was immortalized on this record. It is one of my all time favourites and I can't rate it with less than five stars.

 Empty Space Orchestra by EMPTY SPACE ORCHESTRA album cover Studio Album, 2011
3.33 | 6 ratings

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Empty Space Orchestra
Empty Space Orchestra Eclectic Prog

Review by maryes

3 stars EMPTY SPACE ORCHESTRA 2nd album is a "strange" album... Why ? Because in my opinion the 5 first tracks make me think to give a high note ( above 4 stars...)... but the 4 last tracks sounds completely "out of tune" in relationship to initial tracks - in real, seems another band. In the best part of the album their sound remember their countryman BIRDS AND BUILDINGS and his 2 fantastic albums "Bantam to Behemoth" and "Multipurpose Trap" a fantastic mix of jazz, heavy and eclectic prog. In the final tracks only the last track "Clouds" can be saved from the "ostracism". My rate is 3 stars !!!
 Resplandor by BUBU album cover Singles/EPs/Fan Club/Promo, 2016
4.08 | 3 ratings

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Resplandor
Bubu Eclectic Prog

Review by Magnum Vaeltaja

4 stars 38 years later, and seemingly out of nowhere, Bubu is back.

"Anabelas" composer Daniel Andreoli has assembled a new team of young Buenos Aires musicians to carry on the musical tradition of the original 70's Bubu line-up, aiming to create complex, mood-shifting music, sometimes abrasive, sometimes ethereal. The music on "Resplandor" is very similar in feel and timbre to that on "Anabelas"; indeed, if you liked the first one, you'll like this one too. For those who are unaware of what Bubu sounds like, I'd recommend going with "Anabelas" first, but just know that the band can most easily be compared to King Crimson (Lizard or Larks' Tongues era) for its chaotic, often jazz-tinged soundscapes, or, for a more modern equivalent, Birds and Buildings, who shares a very similar compositional style.

"Resplandor" is very short, clocking in at less than the length of "El Cortejo De Un Dia Amarillo" and works best when listened to as a single suite. I won't get too detailed with a track-by-track but I do have to say that the second track "Omer" is currently my favourite, though all 3 have something unique to offer. The reason why I don't give "Resplandor" 5 stars, because the playing and compositional quality are certainly there, is just because the short length leaves you wanting for more. Though, to paraphrase a comment I read on Bubu's facebook page: "That's the point of an EP". All things considered, I'll give this new release 4 stars for containing some excellent prog that will hopefully hold us all over until Andreoli and the boys get around to making a full length album.

 Still Life by VAN DER GRAAF GENERATOR album cover Studio Album, 1976
4.29 | 1203 ratings

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Still Life
Van Der Graaf Generator Eclectic Prog

Review by ALotOfBottle

4 stars After releasing Pawn Hearts, Van Der Graaf Generator enjoyed respectable chart success, got a fair amount of radio play and started touring a lot more than before. This obviously included a lot of hard and exhausting work. That combined with lack of support from Stratton-Smith and Charisma label led to financial problems, resulting in Peter Hammill leaving the group. At that time, he recorded a few solo albums such as Chameleon In The Shadow Of The Night or The Silent Corner And The Empty Stage. In 1975, the group reunited refusing to play audience's favorites and continued to create ambitious material. The same year, Goldbluff came out meeting a relatively warm welcome. In 1976, the band recorded Still Life. The keyboardist Hugh Banton considers this album as one of the quartet's most accomplished works.

1976 was not the best year for progressive rock. Peter Gabriel left Genesis, King Crimson broke up, Yes slowly gravitated towards radio-friendly pop songs. Of course, many interesting things came out after, but the overall freshness and vigour once so exciting, was nearly gone from the genre. Despite that, Still Life sounds vivid with Van Der Graaf Generator's "classic" sound at the first plan. Compared to previous works, this album is a bit more organ-centric and not as dark. However, the classic moodiness and theatricality that the band became renowned for is very much present. The group's signature outer space-like quality reverbrates in places.

Musically, it seems like Van Der Graaf Generator's sound is shifting towards more soul-influenced scenario with the symphonic methods being estranged. Some of the pieces like "My Room" seem a bit more pop-oriented, but it is all done with phenomenal taste and does not sound ubiquitous. David Jackson's jazz-inspired saxophone appears in places bringing back the band's older material to mind. Besides phenomenal organ playing, Hugh Banton plays bass guitar (quite proficiently in fact), which I found to sit very loud in the mix. Peter Hammill's unmistakeable voice has a very melodic factor to it, almost like an instrument. All in all, the musicianship on this release is excellent.

The album consists of five tracks, all fairly long, never getting below the 7-minute mark. What I especially like is that musicians seem to be taking their time in drawing the charming soundscapes, rather than rushing because of the recording time limitation. Some find the album boring because of that, I have grown to appreciate it. "Pilgrims" and "Childlike Faith in Childhood's End" are two pieces that I feel are the most representative of this work.

All in all, Van Der Graaf Generator are back in a tasteful fashion with Still Life. Although their material might not be as exciting as it used to be, it's sure of superior quality. All of the band's classic ingridients are there put into great use once more! Naturally, Still Life is a treat for Van Der Graaf Generator fans and is a good place to start your adventure with the band. Recommended! 4.25 stars!

 Pionnier 1969-1994 by DIONYSOS album cover Boxset/Compilation, 1994
2.17 | 8 ratings

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Pionnier 1969-1994
Dionysos Eclectic Prog

Review by FragileKings
Prog Reviewer

2 stars Dionysos was one of the earliest rock bands out of Québec who chose to sing solely in French. Their debut album "Le Grand Jeu" in 1971 was still deeply rooted in the heavy psyche / heavy blues sounds of the day and makes for an excellent proto-metal album just as much as a proto-prog album. Their second album "Le Prince Croule" is rated at 4 stars with 19 ratings on PA. They released one more album in 1976 and then disappeared from the map for a while. I'm not familiar with the history of the band so well but I can imagine members went their separate ways and took part in other projects as 1976 was the apogee of the Québec prog scene. Of their three albums, only the debut has been released on CD and the recording sounds like it came directly from vinyl. The sound is acceptable mostly due to the loud and scratchy nature of the guitar distortion and the Hammond organ. The other two albums have not ever been released on CD.

In 1994 they released this album "Pionnier 1969-1994". Eager to hear music from their two more progressive albums, I ordered it and only after did I learn that this is not a compilation of original studio recordings but an album of new recordings of old songs. With this there's both reason to rejoice and to be disappointed.

The first five tracks are from the debut and from the opening of "Narcotique" it sounds like the band are going to stick to the original as closely as possible. Vocalist Paul André Thibert doesn't seem to have aged at all as he gives a vocal delivery as powerful as in 1971. Of course it soon becomes apparent that this is a modern (1994) recording with a much cleaner and clearer sound reproduction. I'm not a fan of this song really because there are better songs on the original album but also because the Axis Records reissue of this, which as I said must have come directly from vinyl, has an interruption in the music from 1:56 to 1:58 when it sounds like someone bumped the jack from the turntable and bursts of static replace the music. I returned the disc to the seller the first time, explaining the problem and a replacement was sent with the exact same problem. Thus if you buy the Axis CD you'll have this problem too. The original song is over 12 minutes long but has had four minutes cut off here.

The other four songs are performed with close attention to representing the originals, and you'll catch some great Hammond organ, electric guitar, and even harmonica. However, Dionysos decided to add a brass section not present in the original songs. Hearing this, I recall once seeing on TV the Stones perform "Satisfaction" live in the 80's, and they had a trio of female backing vocalists and brass. The classic song was a hit with the audience, but I felt something had been lost. The original song had that youthful spit and grit, and the magic lamp found dusty and smeared in a desert cave had been polished all smooth and shiny and proudly displayed on the mantle piece. I have the same impression here. The music is still expertly performed and some of the heaviness, bluesiness, and psyche feeling preserved, but the long hair has been cut and styled, the scraggly beards neatly trimmed and the flannel shirts and denim replaced by pressed shirts and dress slacks.

Of course I was very excited about hearing songs from the other two albums and being able to compare the similarities and disparities between the debut album's songs and their reworked descendants, I was looking forward to at least discerning some of that 70's prog feeling. Unfortunately, the rest of the songs, no matter what the year of their original recording, all sound to me like mature adult-oriented contemporary pop music. That adventurousness and notion of creating something new that pervades so much of 70's music is replaced by visions of a mature band with their polished mature look playing for a mature audience. That doesn't mean the music is not good. It's excellent with talented and experienced musicians. Just listen to the instrumental "Ostie de problčme". Great stuff! And this is where one can rejoice. Excellent production for wonderful performances. For me, though, I find it easier to identify with that shagginess, that hirsute 70's spirit that lead to the creation of so much incredible music where studio engineers and technicians had to improvise constantly in order to capture what musicians and producers imagined. This album of 1994 remakes is safe and smooth. And somehow I can't relate as well. I can't feel a lot of this music is part of my identity. In fact, the song by Dionysos that I would proudly play loud is "Agneau de Dieu" from the debut album, which was not covered here for better or for worse.

In conclusion, obviously I would have preferred a compilation of original recordings. The music is still nothing to scoff at. For me though, it's less my cup of tea than what is presumably on the releases from the 70's. I give it two stars not because of poor music or production, which is not the case at all, but because I think the discerning prog connoisseur would better enjoy the original songs than the offering on this disc.

 Enigmatic by NIEMEN, CZESŁAW album cover Studio Album, 1969
4.07 | 117 ratings

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Enigmatic
CzesŁaw Niemen Eclectic Prog

Review by ALotOfBottle

5 stars "Enigmatic" is indeed enigmatic!

With progressive rock still not being fully developed as a genre in its homeland, the United Kingdom, Czesław Niemen in Poland was creating very innovative and advanced music. What's more, he was doing it behind the Iron Cutrain. Consider that Poland was than a poor country ruled by a communist regime of USSR and it was definitely no fun being a progressive musician at the time.

Niemen's musical extract consists of elements of Polish folk music fused with soul and jazz sensibilities. "Bema Pamięci Żałobny Rapsod" is a side-long epic, which applies these influences. It starts out driven by church-like organ, which brings some of Focus' later sounds to mind, and is supported by a pastoral choir and tubular bells. Then comes Niemen's deep voice, similar to that of Joe Cocker, and the piece completely changes its flow with Hammond organ being put into a more soul-inspired scenario. Later on, we encounter an incredibly emotional bluesy guitar solo. The lyrics are a musical interpretation of a rhapsody by a national 19th century Polish poet Cyprian Kamil Norwid. A piece is really moving and expressive in every part and is definitely the highlight of the album. Side two offers more jazz-oriented pieces with superb bass-lines, a competent horn section and Niemen's great voice.

"Enigmatic" is a highly ambitious work of a proficient and inspired musician. It's without a doubt one-of-a-kind work and will make a great addition to every progressive rock fan's collection. I have had a little bit of dilemma whether it deserves four or five stars. Even though I feel like it is more of a four star album, I have decided that the higher rating will be more adequate. Recommended!

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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
ALCO FRISBASS France
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
MICHEL ALTMAYER France
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
BARRACUDA TRIANGLE Sweden
AL BASIM Iraq
BASTA! Italy
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
CARPET Germany
CARTOON Brazil
CASTLE FUSION Italy
CATAPILLA United Kingdom
CENTENAIRE France
CHAMELEON United States
CICCADA Greece
CIRCLES END Norway
CIRCUS Switzerland
CIRKUS United Kingdom
BARRY CLEVELAND United States
CLOUDS ON STRINGS United States
CMU United Kingdom
COLONEL CLAYPOOL'S BUCKET OF BERNIE BRAINS United States
CONSIDER THE SOURCE United States
THE COWBOYS FROM HELL Switzerland
CRIME IN CHOIR United States
CRÓ! Spain
THE CRYSTAL SUN United Kingdom
CULPEPER'S ORCHARD Denmark
CURVED AIR United Kingdom
CZAR United Kingdom
DAAL Italy
THE DAEDALUS SPIRIT ORCHESTRA France
DAGMÄHR Canada
DALTONIA Chile
DARK AETHER PROJECT United States
DAYS BETWEEN STATIONS United States
GUILLAUME DE LA PILIERE France
DEBOCO France
DIAGONAL United Kingdom
DICE Sweden
DIONYSOS Canada
DISCORDIA Finland
DISEN GAGE Russia
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