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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 | 3238 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.53 | 2528 ratings
RED
King Crimson
4.48 | 1509 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 1612 ratings
PAWN HEARTS
Van Der Graaf Generator
4.41 | 2136 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.36 | 1240 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1225 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.35 | 624 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.28 | 1119 ratings
STILL LIFE
Van Der Graaf Generator
4.28 | 1112 ratings
FREE HAND
Gentle Giant
4.26 | 1415 ratings
OCTOPUS
Gentle Giant
4.27 | 1140 ratings
THE POWER AND THE GLORY
Gentle Giant
4.24 | 1111 ratings
ACQUIRING THE TASTE
Gentle Giant
4.22 | 1023 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.26 | 370 ratings
ANABELAS
Bubu
4.27 | 303 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.20 | 578 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.24 | 347 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.36 | 159 ratings
1000 AUTUNNI
Ske
4.16 | 639 ratings
SPECTRAL MORNINGS
Hackett, Steve

Eclectic Prog overlooked and obscure gems albums new


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

L'ENFANT ASSASSIN DES MOUCHES
Vannier, Jean-Claude
KRYWAN, KRYWAN
Skaldowie
SENNI ESKELINEN & STRINGPURÉE BAND
Stringpurée Band
NOT OF SOUND MIND
Zapotec

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Latest Eclectic Prog Music Reviews


 Beggar Julias Time Trip  by EKSEPTION album cover Studio Album, 1970
3.45 | 45 ratings

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Beggar Julias Time Trip
Ekseption Eclectic Prog

Review by Guillermo
Prog Reviewer

4 stars For this, their second album, the band had some changes in the line-up: both Rob Kruisman (saxophones, flute, guitar, vocals) and Huib van Kampen (guitar, Tenor saxophone) left the band, being replaced by Dick Remelink ( saxes, flute). Drummer Peter de Leeuwe also left the band (but returned for their next album), being replaced by Dennis Whitbread. Also the band had a lead singer called Michel van Dijk, plus some guest appearances from Tony Vos (saxes, tonytone, electronic effects, and also the main producer of some of their albums), Linda van Dyck ( voice on "Prologue" & "Epilogue"), and Eric van Lier (trombone, tuba), who also was going to participate in their '00.04' album from 1971.

This album is really a concept album about a beggar named Julia who does a time trip through several centuries (more or less as I understood the concept). The main composer in the original musical pieces in this album is keyboard player Rick van der Linden, with some collaborations with lyrics from singer Michel van Dijk, who really only sings in two songs ('Juila' and 'Pop Giant'), and from Linda van Dyck who does some narration. There are some sections in the album which really are done with electronic sound effects and their function is more to work as links to other musical pieces. These electronic sound effects make this album sound a bit influenced by psychedelia, and they really sound like 'experiments' maybe done with Moogs or with other electronic devices.

As in every album by the band, there are several arrangements done to Classical Music pieces (Albinoni`s 'Adagio', J.S. Bach`s 'Italian Concerto', and Tchaikovsky`s 'Concerto'). The appearance of an electric guitar solo in 'Concerto' and its previous appearance as the B-side of the 'Air' single in 1969 makes me think that 'Concerto' was really recorded for their first album, but was finally released in their second album. Of these Classical Music pieces I prefer more 'Adagio' and 'Concerto'. There are also some brief appearances from other uncredited Classical Music pieces in some parts of the album, like some bars from Rachmaninoff`s First Piano Concerto and a bit from J.S Bach`s 'Sicilano in G', a musical piece which the band was going to record in a full arrangement for their 'Ekseption 5' album from 1972.

This is maybe their first attempt for a full Prog album, having a conceptual story, and with each musical piece being linked one after the other without interruptions (other to the natural end of the Side One in the old LP version). The Jazz, Rock, Classical and Pop influences are very present, and maybe in this second album the band sounds more 'mature', more 'serious', and with maybe having less inclinations to appear in the radio, even if they still released some singles.

 Ekseption by EKSEPTION album cover Studio Album, 1969
3.29 | 48 ratings

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Ekseption
Ekseption Eclectic Prog

Review by Guillermo
Prog Reviewer

3 stars The band EKSEPTION started as a Rhythm and Blues band, having their start under some different names for the band since the late fifties (The Incrowd, The Jokers). By the mid sixties the name of the band was changed to EKSEPTION, with trumpet player Rein van der Broek (who died in May of this year) being the only musician who was present in all the recordings that this band released during its existence. They first released three singles between 1966 and 1968 influenced by the Rhythm and Blues music style. It was with the arrival of keyboard player Rick van der Linden in 1968 that the band, also influenced by seeing a concert that THE NICE played in Holland, decided to change their musical style to a musical style with a mixture of influences from Jazz, Rock and Classical Music. They became more famous doing arrangements to Classical Music pieces with all the musical influences that I mentioned before. They also composed some musical pieces (mainly composed by van der Linden), but without doubt they were considered more as arrangers and performers of Classical Music pieces. Van der Linden became the main arranger in this band, sometimes with very good results, until he left the band (or was forced to do it) in late 1973.

This first album from EKSEPTION was recorded in 1968-69. It has several musical arrangements of Classical Music pieces (Beethoven`s 'The Fifth', Khatchaturian`s 'Sabre Dance', J.S. Bach`s 'Air', Falla`s 'Ritual Fire Dance', Gershwin`s 'Rhapsody in Blue', and Saint-Saens`s 'Danse Macabre'). Of all these, I think that the best musical arrangements were done for 'The Fifth', 'Air', 'Ritual Fire Dance' and 'Danse Macabre'. In my opinion, the band (particularly van der Linden) did better arrangements for musical pieces which were composed by J.S. Bach. In fact, they recorded more arrangements for musical pieces composed by J.S. Bach than by any other Classical Music musicians. All the arrangements had some Pop influences to be played in the radio, a thing that maybe was suggested by the producers of their albums and /or their record label. So, some of them ('Sabre Dance', 'The Fifth') sound a bit commercial for my taste.

This album also has 'Dharma', a musical piece previously composed and recorded by JETHRO TULL as 'Dharma for One', which also has some flute playing and a brief drums solo. 'Little x Plus', a musical piece being credited as composed by the band, with some Jazz influences, and 'This Here' and 'Canvas' , both Jazz covers.

In this album the band used a bit of electric guitars, a thing which did not happen again until their last albums from 1974-75. Their next album, 'Beggar Julia`s Time Trip' (1970), also included one musical piece with guitar (an arrangement of Tchaikovsky`s 'Concerto', which also was released in 1969 as the B-side of the 'Air' single), which makes me thing that 'Concerto' was really recorded for their first album but was included in their second album.

As a whole, this album now sounds a bit dated. But the band had very good musicians. The recording and mixing are very good, but also showing a bit the passing of time and the changes in recording technologies.

This album was also later released under the "Classics in Pop" title in France, with "Ritual Fire Dance" being replaced by Albinoni`s "Adagio" (from their second album), and with "Danse Macabre" being replaced by J.S. Bach`s "Italian Concerto" (also from their second album). The cover design is the same, only adding the "Classic in Pop" title to the cover.

 The Power And The Glory  by GENTLE GIANT album cover Studio Album, 1974
4.27 | 1140 ratings

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The Power And The Glory
Gentle Giant Eclectic Prog

Review by Necrotica

5 stars Gentle Giant were sort of the "odd-man-out" group when it came to popular 70s progressive rock bands. While maintaining a solid fanbase, they never really achieved the stardom that bands such as Rush or Yes received; when you start listening to the band's music, it quickly becomes evident why this was the case. In the liner notes of their second album Acquiring the Taste, the band stated: "It is our goal to expand the frontiers of contemporary popular music at the risk of being very unpopular." During their prime, they'd follow this quote and shun the commercial world as the commercial world generally shunned them in return. It's really quite unfortunate though, as the group made some of progressive rock's finest works; they'd mix technicality and multi-faceted arrangements with an emotional weight and depth rarely seen in progressive rock. Nowhere does that seem more wonderfully represented than in their 1975 masterpiece The Power and the Glory.

The record is a concept album about a man who wants to use his political power in a beneficial way. However, as he becomes more power-hungry and dictatorial, the man ultimately becomes no different than the leaders who came before him. It's a pretty typical concept, but it also allows for Gentle Giant to get creative with their themes and musical settings. For instance, the opening track "Proclamation" has a very frantic discordant section in the middle, suggesting panic stemming from either the previous leader or the position of this new leader in the story. Also, every song references the previous song by title; so for instance, "So Sincere" would put "Proclamation" somewhere in its lyrics, "Aspirations" would put "So Sincere" somewhere in its lyrics, and so forth. It's a clever way to tie each song and theme together, all leading to the climactic "Valedictory" which displays the complete reinvention of the main character; the song is essentially a more distorted and dark version of "Proclamation," leading the story and album to come full circle. A great concept indeed.

Musically, Gentle Giant were better than ever here. You've got the typical sudden changes and instrumental shift displayed in other albums by the band, but there's a greater sense of cohesion at the same time. The concept and certain compositional choices led to this album being a bit more streamlined than In a Glass House (contrary to popular belief, this album is not as complex as you might think), but in a good way. While technically challenging numbers such as the multi-layered violin-led "So Sincere" or the incredibly nimble, dissonant-sounding (for the most part anyway) "Cogs in Cogs" are on the album, a song like "Aspirations" is a completely different tune. Instead it's a heartfelt ballad that's very quiet and keyboard-driven; also unusual for Gentle Giant is how the 4/4 time signature is the main beat of the song. Almost as if it's... conventional??? Well, it doesn't go that far; there are still a few odd breaks and diversions here and there that add the band's unique touch to the music. You've also got "No God's a Man" which goes for a similar slow pace with occasional instrumental diversions, as if separate musical "conversations" are putting their stamp on the atmosphere of the song. And that's what makes this album work so well... it has a very healthy mix of simplistic accessibility and complex multi-faceted technical moments. It's a perfect combination of the two, and the band are very keen on not giving the listener too much of either at a time. For every "So Sincere," there's an "Aspirations" to follow. It's so pleasing to the ears to hear two musical thoughts collide into one cohesive whole. "Playing the Game" and "The Face" have a tendency to be a bit weaker and less played (by me, at least) than other songs on the album, but they have their own share of highlights too. The 6/8 portion of "The Face" is a great shift from the main 4/4 melody played during the verses. The violin's a highlight here just as it was in "So Sincere," working well as a lead instrument against the complex rhythm parts.

This is an amazing record. Not only is it a very technically accomplished progressive rock effort, but it also has a cleverly-executed concept and numerous emotional moments to balance out the virtuosity. It may be a bit tough to find this in stores, but I'm sure it's pretty cheap online. No matter how you get it, just get it. If you like progressive music, you won't be disappointed in the slightest.

(Originally published on Sputnikmusic)

 Octopus by GENTLE GIANT album cover Studio Album, 1972
4.26 | 1415 ratings

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Octopus
Gentle Giant Eclectic Prog

Review by Necrotica

4 stars Gentle Giant's early work was always intent on pushing the limits of popular music, "at the risk of being very unpopular" (as their second album Acquiring the Taste states in its booklet). Indeed, every album the band released had revealed new musical avenues to explore. The band could go from folk, hard rock, progressive rock, blues, you name it. After three excellent records under their belts already, Gentle Giant released a gem of an album that's a bit overlooked these days: 1972's Octopus.

Octopus is an album that explores plenty of new themes and ideas not present in Gentle Giant's early work, but puts them in a much more concise package. This brings some extra perks and flaws for the record, but overall the sense of direction makes the album triumph in the end. The shorter songs mean that the band can concentrate and focus their efforts more, thus eliminating some of their occasionally overbearing segments from the first three albums.

That's not to say the experimentation isn't still there; take "Knots" as an example in this case. The song begins with an acappella section that seems disjointed yet works quite effectively. Then the band come together slowly to eventually clash instruments for a Queen-esque climax, overdubbed vocals and all. Then the next bridge leads into the Yes-styled chorus, overall making for quite a diverse listen. Other examples of their experimental side here include the Medieval-inspired "Raconteur Troubadour" and the instrumentally diverse "Dog's Life."

Indeed, the band experiment and flirt with very different styles, but as I said above, this album is much more accessible; This is especially seen in the song lengths, no song even reaching six minutes. Also, there are more hard-rocking songs than before, like the powerful opener "Advent of Panurge" and "A Cry for Everyone." "Advent of Panurge" especially has a powerful chorus, balanced out by keyboard/organ interludes to give a good contrasting feel to the song. "A Cry for Everyone" starts out in a more straightforward fashion, with traditional guitar and drums doing the average 4/4 time signature before developing into a more normal GG track.

If I had to pick the main flaw, it would probably be the length of the overall album. Octopus clocks in at 34:24, and it certainly feels that short. If there were maybe a few more songs, the album would certainly feel more complete, and not as much like a long EP. Also, some songs, like the aforementioned "Dog's Life" feel a bit tacked on to just make the album longer.

Either way, Octopus remains one of the finest early Gentle Giant albums, if a little short by other prog albums' standards. The songs are more concise and focused, and that certainly doesn't take away from the quality of the music within. This album's recommended for any prog fan, or even fans of classic rock in general.

Recommended tracks:

Advent of Panurge Knots Raconteur Troubadour Boys in the Band

(Originally published on Sputnikmusic)

 Continente Perdido by TELLAH album cover Studio Album, 1980
3.50 | 12 ratings

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Continente Perdido
Tellah Eclectic Prog

Review by GKR

4 stars Great album of a fairly unknown Brazilian band. A bit different of the rest of the groups, that appear and dissapear from 1974-1978 (before more like psychdelic, after more like new wave and pop). The difference may come from the fact that they are a lot more isolated of the great musical scene that was Rio de Janeiro and SĂŁo Paulo (they're from Brasília), or may be for the fact that the recording of the album was already in 1980 (quite uncommon for such a "classic" sound a late date).

Whatever the cases, they shared virtuosity of guitar and keyboards in some parts as good as any Yes album, but differ in a little heavy weight sound in the arreanging especially when they thrown a difficult changes in tempo and mood of the songs and in the most instrumental passages. The melodic vocals reminds most the late Camel and a male version of Bacamarte and are not the strong point, but the guitar (as said, truly virtue displayed) remind me again of Bacamarte, as well as a little bit of Rush's Farewell to Kings.

Recomended for Brazilian seeking good references of music in their own country.

Its a solid 3.5, and as I have a too much soft heart, I always round the rate up: 4 stars.

 Rewotower by PROFUSION album cover Studio Album, 2012
3.97 | 180 ratings

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Rewotower
Profusion Eclectic Prog

Review by andrea
Prog Reviewer

4 stars Hailing from Colle Val d'Elsa, a small town in the province of Siena, Profusion began life as a trio in 2001 under the name Mardi Gras Experience, influenced by the American prog scene of the nineties and by bands such as Planet X and Spock's Beard. In 2002 they changed their name into the current one combining the words "Progressive" and "Fusion" and four years later they self-released an interesting debut album entitled One Piece Puzzle. After a good live activity on the local scene and some personnel changes, in 2012 Profusion released their second full length work, RewoToweR, on the independent label ProgRock Records with a renewed line up featuring along with founding members Vladimer Lado Sichinava (drums) and Gionatan Caradonna (keyboards) also Luca Cambi (bass), Thomas Laguzzi (guitars) and Luca Latini (vocals) plus some guests such as Simon Hosford (guitar), Titta Nesti (vocals), Andrea Beninati (cello, percussion) and Andrea Libero Cito (violin). The overall sound on this album is rich and full of energy, the songwriting is good and mixes different influences ranging from metal to world music. According to the band, their music is a spiral of genres, tones and rhythms, melted and tangled together that tries to convey an original message dealing with musical flexibility and research while the album is conceived as a path that guides the listener into a tower and where each song reveals a new plan, a new step that allows you to reach the top. An ambitious project indeed, anyway there's no real storyline and the meaning of this conceptual work remains a bit foggy and open to various interpretations and sensibilities...

The nervous opener "Ghost House" conjures up in music and lyrics a nightmarish mansion on a hill overlooking an American town. It was built long time ago by a mysterious man coming out of the blue who, since then, has always been locked in, like a ghost. Rumours, imagination, fantasy, fear, rage... Eventually the town's folk try to break in the house to see what's hidden in its dark rooms but what they find there is nothing but a surreal vision of their own lives under the light of the moon. Here the atmosphere reminds me of some stories by H.P. Lovecraft or Stephen King such a The Dreams In The Witch House or Salem's Lot...

Next comes "The Taste Of Colours" that is divided into two parts and tells of the personal crisis of man who has lost his identity. It starts softly, with piano a vocals. The protagonist of this piece seems condemned to live all his life in black and white but when he's alone he's still able to see the colours that shine inside his soul and he can break through the dull sense of apathy that's hanging all over him, diving in the inner light his of self consciousness to paint a secret place where to live in peace and harmony...

On the following "Treasure Island" the borders between dream and reality are blurred while the lyrics quote Robert Louis Stevenson and evoke a ghostly sea song and fifteen drunken men dancing on a dead man's chest with a bottle of rum. A man is sailing across an unknown ocean of hopes and doubts, he can't find the right course and he feels like a damned fool at the mercy of the waves, deeply falling into nonsense... Then comes "So Close But Alone", a piece that starts just by piano and vocals before veering to exotic islands and spiced atmospheres built upon Latin rhythms and flamenco sketches while the lyrics evoke the painful memories of a betrayed love...

The short instrumental "Tkeshi" features a strong ethnic flavour. The title is a Georgian word that means "Into The Woods" and introduces the following "Chuta Chani", a wonderful traditional Caucasian lullaby from Georgia re-elaborated and transformed into something unusual and new with sudden bursts of energy and even tarantella passages. After all, the drummer Vladimer Lado Sichinava was born in Tbilisi and he's proud of his roots: just take the time to compare Profusion's version with the one by Lela Tsurtsumia...

"The Tower" is a complex track divided into two parts that tells about a man obsessed by the dream of building a tower to reach the sky. Every night his sleep is haunted by sounds of iron work and images of incomplete shapes and incomplete walls. Eventually that tower will be buried and from the top of its ruins he will start to fly... A nice track that in some way reminds me of some atmospheres from Stephen King's Dark Tower saga

"Turned To Gold" is a romantic, melodic ballad that tells in music and words of the cathartic effects of a new relationship with someone that seems to understand you and complete your soul... It leads to the closer "Dedalus", a long, complex track about the mysterious architect who planned to build the metaphorical, labyrinthine tower that marks this strange concept album: a living building where he's imprisoned for the eternity, a building that irepreents in the meantime the wonderful fruit his creative work and his damnation. In the end a reprise of the first track closes the circle inviting you to listen to the album again, reflecting about time and dreams, hopes and old fears... You can listen to the complete album on bandcamp: have a try!

 City Of The Sun by SEVEN IMPALE album cover Studio Album, 2014
4.15 | 171 ratings

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City Of The Sun
Seven Impale Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Norway seems to be churning out the bands these days and SEVEN IMPALE is another new band who have received a lot of adoration by Prog fans world-wide. In fact on PA here their "City Of The Sun" album was voted the third best recording of 2014 which is very impressive. I almost feel like I have to explain why i'm not giving this five stars despite being very impressed with it overall. For me it's the blasting sax. And it's not that it turns me off per se but it just really isn't my thing. "21st Century Schizoid Man" is an example of blasting horns and while I appreciate that track and gave the album 5 stars that song just doesn't resonate with me. And I love horns too but just not the blasting style. Okay I think i've made my point. Just my tastes that's all.

This is a six piece band with two guitarists, one being the vocalist along with bass, drums, keyboards and sax. They are a young band with varied influences who have come up with a beauty here in "City Of The Sun" which is a great title, and I dig the album art as well. They really do the bombast versus mellow sections really well and I have to say the final track "God Left Us For A Black-Dressed Woman" has to be one of the best songs of 2014.

"Oh, My Gravity!" opens with the sax gently honking as other instruments join in gradually. It settles in after a minute then builds in intensity. A change follows as we get a guitar/keyboard section before the vocals, drums and sax return. A calm 4 minutes in as the vocals and a mellow sound take over including organ. It kicks back in and man this is intense. The sax is blasting again then we get some ripping guitar after 6 minutes. A killer instrumental section arrives 7 minutes in and vocals return a minute later. Some great sounding sax before 9 minutes. "Wind Shears" opens with a relaxed sound as reserved vocals join in. I really like this. Sax and a jazzy sound arrive as the vocals step aside. Vocals are back before 3 minutes then they stop as it kicks into gear heavily. Another calm arrives as contrasts continue.

"Eschaton Horo" opens with keyboards that are followed quickly by a full sound. A calm a minute in as fragile vocals join in. Some lazy sax excursions before 2 minutes as it stays mellow. By the 3 minute mark the intensity kicks in as we get outbursts of power. It turns even heavier before 5 minutes and there's some cool sounding guitar here. It all stops as the band yells at 6 minutes then it kicks back in. Another calm from 7 minutes to the end. "Extraction" is fairly bluesy and we get an all out blitz early on with drums, guitar and organ leading the way. It settles back as the sax arrives then these passionate vocals almost shout the lyrics as the music becomes more powerful. It settles back again as the vocals continue but in a more laid back fashion. Themes are repeated.

"God Left Us For A Black-Dressed Woman" is my favourite track and it's almost 15 minutes in length. Picked guitar to start as the sax and liquid keys take over. Drums and more follow. I love the deep sounds before 2 minutes then it starts to pick up. So good. A calm before 2 1/2 minutes as the vocals arrive. Man this is good. Then the tempo and mood begins to shift at will. An experimental section arrives before 7 1/2 minutes then we get outbursts of power until it calms right down with sax and more. Reserved vocals are back. It's heavy again at 9 1/2 minutes before it settles in with vocals. Love the keyboards and guitar. It's so uplifting 13 minutes in then we get a big finish.

A very solid 4 stars and the future certainly is very bright for this young band.

 Traffic by TRAFFIC album cover Studio Album, 1968
3.41 | 101 ratings

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Traffic
Traffic Eclectic Prog

Review by aglasshouse

4 stars While 1967's Mr. Fantasy was inspired by the psychedelic bands of the time, Traffic evolved rapidly and suddenly with the release of their second album the coming year. Folk rock entered the stage in a much more prominent role, mostly carried by Mason's song writing. What came from the self titled was doubtlessly more structured than the prior, and acclaimed similar positive critical reception.

Traffic takes a different approach on the composition, with a theme of split sides; one being the bouncy, folk Mason end where all songs are catchy and sing-song. The opposite end is led by the haunting Winwood, whose writing I've always preferred due to it's stylistic nature of more prominent coinciding elements. The music especially from Winwood ages much better than the 60's-born folk that Mason wrote. I won't deny that Mason struck gold a few times, although songs like the slightly annoying 'You Can All Join In', mostly meant as a sort of sing-a-long (living truly up to it's name) tone, can get degrading the more times you cycle through the album.

As for instrumentation, consistency is something the album does best. Sometimes vocals from Mason, Winwood and Capaldi can get a little strained to match the pitch of the song, but the actually instruments maintain the beat steadily and don't find much issue in jumping back and forth across the different styles presented each track.

This self titled from the late 60s is of course emblazoned with the stamp of the decade, but is less of a product of the times as Mr. Fantasy unduly was. Unique variation is something that is found in large amount with all of the tracks. Anyone, prog fan or not, could find this enjoyable in some way. Fun for the whole family!

 The Bremen Broadcast - Musikladen 8th November 1978 by HACKETT, STEVE album cover DVD/Video, 2013
3.95 | 3 ratings

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The Bremen Broadcast - Musikladen 8th November 1978
Steve Hackett Eclectic Prog

Review by Matti
Collaborator Neo-Prog Team

4 stars Originally broadcast in the German TV early in 1979, this small-sized gig captures the ex-GENESIS guitarist at the very early stage of his live solo performing career. Despite that fact, there are material from three different albums; Spectral Mornings hadn't yet come out at the time. To many these first three albums are the best ones too. So the track list is really fine! One could almost say, too fine for this sextet. I'm referring to the songs that originally featured guest vocalists (Steve Walsh of KANSAS, Sally Oldfield, Phil Collins) and are now sung by Pete Hicks. He manages to sound quite a lot like Walsh on 'Racing in A' and 'Narnia', but his high, falsetto-approaching vocal performance on 'Shadow of Hierophant' is a rather disturbing mockery of Sally Oldfield's soprano excellence.

That's about the only fault I can find in this set. The playing is energetic, highlighting Hackett's versatile guitar technics. Brother John's flute graces several tracks, and Nick Magnus is great on keyboards. Mellotron on 'Hierophant', wow! The camera work and sonic quality are both fairly good.

There are two previously unreleased bonuses from the same gig: 'Carry On Up the Vicarage' (I wonder how Hackett makes himself sound like a little squirrel), and 'Star of Sirius', in which the vocal parts sound a bit blurry. Despite some tiny minuses, this is a totally recommendable release for all Hackett fans.

 Snegs by SOM NOSSO DE CADA DIA album cover Studio Album, 1974
3.93 | 44 ratings

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Snegs
Som Nosso de Cada Dia Eclectic Prog

Review by GKR

4 stars Great cohesive and ecletic sound from Som Nosso de Cada Dia. The band take their name, apparently, from the Secos & Molhados song "O Patrăo Nosso de cada dia" (Our Daily Boss, or something like that).

Snegs mark another album on a great year for progressive music in Brazil. Their sound is more tighter and together than Terreno Baldio and the great achievement is to have few band members playing a lot of instruments, which made the "guest" appearances of violin and others a complement.

Sadly, the vocals are a little too simple, in comparison, for example, with Terreno Baldio more ecletic and poetic approach. Nevertheless, a great album, full of lot good melodies and arreangements.

Solid 4 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
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
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