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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

4.60 | 3263 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.53 | 2547 ratings
RED
King Crimson
4.48 | 1518 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 1626 ratings
PAWN HEARTS
Van Der Graaf Generator
4.41 | 2155 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.36 | 1249 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1236 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.34 | 632 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.28 | 1127 ratings
STILL LIFE
Van Der Graaf Generator
4.28 | 1121 ratings
FREE HAND
Gentle Giant
4.26 | 1433 ratings
OCTOPUS
Gentle Giant
4.27 | 1161 ratings
THE POWER AND THE GLORY
Gentle Giant
4.24 | 1122 ratings
ACQUIRING THE TASTE
Gentle Giant
4.22 | 1028 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.26 | 374 ratings
ANABELAS
Bubu
4.27 | 306 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.20 | 582 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.24 | 350 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.16 | 642 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.34 | 163 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

MASAL
Prat, Jean-Paul
ZEALOTRY STERBLICHEN SCHIZOPHRENIA
Seamus
LE JOUR OŮ LES VACHES...
Booz, Emmanuel
SNAFU
East Of Eden

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Latest Eclectic Prog Music Reviews


 Geafar by HAIKARA album cover Studio Album, 1973
3.74 | 35 ratings

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Geafar
Haikara Eclectic Prog

Review by Matti
Collaborator Neo-Prog Team

4 stars Both the debut and Geafar by HAIKARA are being re-released on vinyl by Svart Records. I had the honour to write the articles for them, and here's the one for Geafar in an abridged form (roughly 70%; buy the album to read the full version with further facts and anecdotes!). My rating would be 3˝ stars if that option was there.

The international prestige of Haikara is mostly based on their eponymous debut album (1972), a unique, dark-toned and eclectic progressive rock masterpiece that has been compared to the music of King Crimson, Van Der Graaf Generator and Tasavallan Presidentti among others. The next album Geafar, released at the end of the following year, may not be as coherent as its predecessor, but it certainly continues the band's classic era and contains some of the finest moments in Finnish prog.

Around the time Haikara was released, the vocalist-lyricist Vesa Lehtinen departed to rejoin the reformed Charlies, the other of the vintage rock bands hailing from the Southern Finnish town of Lahti. In a sense this was a blow for Haikara but the band soldiered on. The composer and frontman Vesa Lattunen's somewhat mediocre singing found a much needed counterpart in his sister Auli, whose beautiful voice is present to varying degrees on Geafar. This time Lattunen also wrote the lyrics by himself.

The opening track 'Change' is a lively rocker with revolution-themed lyrics sung, unusually, in English. Vesa Lattunen's vocals sound rather shaky in it, probably on purpose though. The jam-like funkiness on the first two tracks is quite a departure from the dark and symphonic seriousness of the debut, which of course is not implying that it would be musically less accomplished. The second song (with a long title meaning "When You Go Far Enough to the Future, You'll Find Out You're in the Past") calms down around the sixth minute for a fascinating slower section featuring flutes and Auli's wordless vocals.

The brief and elegant 'Kantaatti' is practically an art music piece for piano, cello and wordless female voice. Lattunen, who had played double bass in the Lahti Town Orchestra, had witnessed a deep prejudice against rock music among the musicians on the classical side, which only stirred up his will to combine the two musical worlds in his own composing work.

'Laulu surullisesta pilvestä' (Song About a Sad Cloud) is another genre-fusing little piece with Auli's background vocalising and classical instruments accompanying Vesa's tender vocals and a rhythm section. But perhaps the best is saved for last: for those listeners who are hungry for epic and complex prog in the vein of Haikara's first album the 14-minute title track will be most rewarding. This time Auli Lattunen sings with lyrics, and the arrangement is very varied in this superb composition. The orchestral section with sharp trumpets reminds me of 'Salisbury' by Uriah Heep.

Some critics at the time blamed Geafar for being too introverted and uneven. From today's perspective it can be said that the closer one listens to this album, free of prejudices and expectations, the better it sounds in its own right.

The morbidly surreal cover art of Geafar, strongly influenced by Salvador Dalí, was again painted by the band's drummer Markus Heikkerö. It's worth noticing that Haikara also had another member keen on visual expression: the reeds player Harri Pystynen withdrew from music due to stage fright in 1985 and became a cartoon artist until his death in 1990.

 Snafu by EAST OF EDEN album cover Studio Album, 1970
4.10 | 113 ratings

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Snafu
East Of Eden Eclectic Prog

Review by aglasshouse

5 stars Snafu is one of those amazing things you discover on this site. A rather obscure piece of music from England in 1970, the band East of Eden released their undeniably perfect album on the apex of progressive music's creation.

Many of the bands sounds point to Gentle Giant,who has the same sort of eclectic zeal that's present in Snafu. East of Eden in the very same manner didn't achieve heavy popularity with their releases either, but was significantly more successful. David Arbus brings a whole new spin on it however, combining the intricate stylings of Darryl Way (Curved Air) and the moving wind instrumentation similar to the soundscapes created by Chris Wood (Traffic). Even in a similar manner to Winwood, Nicholson brings out some fantastic guitar playing as well.

Most if not all of the more significant tracks are six to eight minutes in length, providing enough entertainment while still not going overboard. The aforementioned instrumentation is fantastic with just the right amount of zany attitude. I'd say it's a very good one to pick up if you've heard of them. Give them a listen.

 In The Court Of The Crimson King by KING CRIMSON album cover Studio Album, 1969
4.60 | 3263 ratings

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In The Court Of The Crimson King
King Crimson Eclectic Prog

Review by VianaProghead

5 stars Review Nş 10

In 1967, guitarist Robert Fripp, drummer Michael Giles and his bass player brother Peter Giles, joined together and formed the band Giles, Giles & Fripp. They can be considered as the genesis of King Crimson, founded two years later, in 1969. King Crimson is considered the foundational progressive rock band in the history of progressive rock music.

"In The Court Of The Crimson King" is the debut studio album by King Crimson and was released in 1969. It reached third place on the British charts and was certified gold in the United States. The album is a mix of symphonic and jazz elements. It has long been considered the first progressive album of ever, and is also one of the most beloved and legendary albums that still stands the test of time, even than more of forty years have passed after its release.

The line up on the album is Robert Fripp (guitars), Greg Lake (lead vocals and bass guitar), Ian McDonald (baking vocals, woodwinds (saxophone, flute, clarinet and bass clarinet), keyboards (mellotron, harpsichord, piano and organ) and vibraphone, Michael Giles (backing vocals, drums and percussion) and Peter Sinfield (lyrics and illumination).

After the album, both, McDonald and Michael Giles left King Crimson for to pursue their solo musical careers. They also recorded an album together, in 1970, before dissolving their partnership. McDonald later became one of the founder members of the American New Yorker rock band, Foreigner, in 1976.

"In The Court Of The Crimson King" has five tracks. The first track "21st Century Schizoid Man" written by Fripp, McDonald, Lake, Giles and Sinfield is the heaviest song on the album and is very close to the hard rock style. Lyrically, it consists of a short metaphoric poem that makes references to the Vietnam War. Musically, it's a notable track with great musical improvisation and great jazz influence. The song is also accompanied by a Lake's notable distorted vocals. It must have been quite a shock for the listeners in those days, because it was unlike any of the music they had heard before. This was the track that became so important and influent to the future birth of the progressive metal style. The second track "I Talk To The Wind" written by McDonald and Sinfield is the most melodic song on the album and makes a complete musical contrast with the previous one. It's a serene, simple and peaceful song commanded by McDonald's flute, very well accompanied by Sinfield's lyrics and sung beautifully by Lake, in a very quiet mood. The third track "Epitaph" written by Fripp, McDonald, Lake, Giles and Sinfield is a notable and beautiful track, which would become one of the best and most beautiful symbols of progressive music. It's one of my favourite progressive songs, and the band also used its name as a live album's title. The fourth track "Moonchild" written by Fripp, McDonald, Lake, Giles and Sinfield is the lengthiest song on the album. It starts as a peaceful ballad, but after a few minutes, it changes completely to a free instrumental improvisation by the entire group, which lasts until the end of the song. It's probably the most progressive song on the album and it's also one the most difficult to listen to. This is a very experimental track. The fifth track is the title track "In The Court Of The Crimson King". It was written by McDonald and Sinfield and is the second lengthiest track on the album. It became, with "Epitaph", one of the best and most beautiful symbols of progressive rock. It represents a really hymn to the symphonic progressive music.

The art cover of the album was painted by Barry Godber, an artist and computer programmer. Unfortunately, it would become his only album cover. He died in February 1970 of a heart attack, shortly after the album's release.

Conclusion: "In The Court Of The Crimson King" is one of the most important and influential albums in the progressive music, contributing to the development of the psychedelic rock, symphonic rock and heavy metal. The album combines an exceptional musical quality with really great poetic lyrics. I want to say three more things about this masterpiece work. In the first place, I want to detach the beautiful and massive use of the mellotron orchestrations on the album, especially on two of their tracks, "Epitaph" and "In The Court Of The Crimson King". In the second place, we have the quality and the originality of Sinfield's visionary lyrics. He also contributed with some other future musical works of the group. Finally, the clear, beautiful and distinctive Lake's voice, which is, in my humble opinion, one of the best, most striking and unmistakable voices in progressive music. "In The Court Of The Crimson King" was universally very well received by critics and public, and it has also the respected compliments of Peter Townshend. The Who's guitarist, called the album "an uncanny masterpiece". Concluding, I must confess, that "In The Court Of The Crimson King" and "Red" are, for me, the two best studio musical albums from the group, and they are also two of the best and most important progressive albums ever made.

Prog is my Ferrari. Jem Godfrey (Frost*)

 +4626 - Comfortzone by BEARDFISH album cover Studio Album, 2015
3.94 | 284 ratings

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+4626 - Comfortzone
Beardfish Eclectic Prog

Review by CrimsonWolf

4 stars As a Beardfish and longtime prog fan, this is one of those neat albums that grabs you all along and grow with every listen even more and more. This is for me their second best! so much good prog in it!

For me, I think these guys gives us a good modern era prog that a lot of band labeled as "prog" don't gives us anymore, THIS IS A GOOD ALBUM GUYS, a very good one that will keep along the history of prog of our era.

The good things this album have is the major and varied influences that it has. In the title track you can encounter a mix of old prog and modern stuff influence on it. Example: I can hear DT's Octavarium on that intro, inspired initially in Pink Floyd sound, I can even hear Spock's Beard's Snow references in there too, Gentle Giant and even more modern acts like "Minus The Bear" things in there, that they shine with the guitar production in their records, and I think Beardfish took and liked that approach.

However, throughout the whole album you can pick point a lot of proggy references, and of course unique passages and sections unique and signature of the band. Totally recommend this album, the good thing is that without fear I can recommend it to lot of people that are not specially "proghead" like me.

 A Spark In The Aether - The Music That Died Alone: Volume Two by TANGENT, THE album cover Studio Album, 2015
3.97 | 165 ratings

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A Spark In The Aether - The Music That Died Alone: Volume Two
The Tangent Eclectic Prog

Review by RaelWV

4 stars The subtitle for The Tangent's latest album ? it's eighth ? is "The Music That Died Alone Volume 2," referencing the title of the band's debut. Of course, the music it's talking about ? progressive rock ? has never died, even if it did (to paraphrase Frank Zappa) "smell funny" for a while. But it's thriving today, if not commercially than artistically. That's due, in no small part, to The Tangent.

As the name suggests, The Tangent grew out of what was supposed to be solo project by keyboardist Andy Tillison. It grew into a real band for a few albums and has since morphed into a kind of revolving cast of players carrying on the band's proggy project. Tillison is the central character (duties having expanded at times to include lead vocals and guitar), driving The Tangent on with his desire to bring fresh slabs of classic prog to the 21st Century.

Tillison's never been coy about this. The first album uses a Hatfield and the North song (incorrectly titled, but whatever) in the middle of an epic. A Place in the Queue has a liner notes directing unsuspecting young readers toward Tales from Topographic Oceans (the prog equivalent to luring children into your van with candy). Hell, he even wrote a novella to go along with Not As Good As the Book which involves a far flung future and, naturally, Yes. Tillison is prog down to his bones.

On A Spark In the Aether, he lets it all out. Not only musically, but lyrically as well. Witness the epic "Codpieces and Capes," which takes on the general slagging that prog has taken from the music press, concluding that those who fobbed it off as pretension were "so wrong" (but, in a bit of humor, "they were probably right about the rug."). That being said, the album covers lots of ground, from the rocking title track, to jazzy ambience, and even some funky bits here and there.

The centerpiece of this album, however, is "The Celluloid Road," which is a view of modern American through the lens of someone who's never actually set foot here (although that doesn't accurately describe Tillison). In other words, it's less about how we actually are than how we project ourselves to be to the rest of the world via film and TV. It's always interesting to hear how the rest of the world views us. In this case, it's how the rest of the world views the way we view ourselves. It's both amusing and a little disheartening. Said funky bits show up here in the "San Francisco" section (which mostly deals with it being destroyed in various movies ? and this was written before San Andreas!).

This isn't a Tangent masterpiece, but I'm enjoying it a lot more than Le Sacre du Trevail, which I found to be really dire and depressing. There's nothing wrong with a bit of fun. So come on in and prog your brains out. Don't forget to bring your cape!

 On The Road by TRAFFIC album cover Live, 1973
4.08 | 62 ratings

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On The Road
Traffic Eclectic Prog

Review by aglasshouse

5 stars On The Road is the second and last live album from Traffic not too long before they broke up. '73 was undeniably a big year for rock, with Pink Floyd's Dark Side of the Moon, Selling England by the Pound by Genesis, and to a lesser extent Shoot Out At the Fantasy Factory was released in that year. Like any progressive rock band Traffic has to live up to other amazing live performances by other bands of it's caliber. Welcome to the Canteen wasn't terrible two years prior but it's undoubtedly pushed aside by the fantastic jam that this is.

With a very small track-list of only four songs, The performance does lack slightly on the variety they could have had if they had played from their earlier albums. But the epics are the ones to come first which is always pleasant. 'Low Spark' is obviously the main event here; the icing on the cake if you will. With a run time that goes about five minutes or so over the studio version, Traffic really does play their hearts out over this one. Their playing on it is unbroken and contrasts very well with the original, albeit with some more jazz and psychedelic tidbits in the longer time-span. The band does rock pretty hard as well with 'Shoot Out' where the tempo's quickened to a beating pace. Again, flawless performance with Winwood's fantastic playing. '(Sometimes I Feel So) Uninspired' was spiced up a little to the point where it seemed more like 'Sometimes I feel so inspired'. Even 'Light Up or Leave Me Alone', perhaps my least favorite track on Low Spark was made great with a longer run time for more experimentation and rocking capabilities. Truly marvelous.

A great staple on the progressive live performance scene if I've ever seen one.

 A Child & A Well by MUSICA FICTA album cover Studio Album, 2012
3.63 | 15 ratings

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A Child & A Well
Musica Ficta Eclectic Prog

Review by maryes

4 stars Although "A Child & A Well" from Israeli band MUSICA FICTA don't shows great news , I wish to say which this album deserves at least one audition ( an in my case, a place im my collection), because presents very good taste in arrangements mixing some progressive rock styles. Besides this, although don't express great musicians virtuosity the performance is very competent. How I already said the album "walk" through some styles, mainly heavy/jazz prog and certain ballads themes. I can detach the track 3 "Man and Angel" and their "heavy" main melody and the lyrics parts with a jazz-waltz accompaniment ! Another great moment is the track 5 "Run free you idiot" a jazz- rock with reggae and heavy rock intermissions. In spite I can detach this two tracks the whole album is the same level ! My rate is 4 stars !!!
 Private Shangri-La by ZIP TANG album cover Studio Album, 2015
4.07 | 9 ratings

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Private Shangri-La
Zip Tang Eclectic Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Knowing ... what?

Due to their ambitious approach I once was pleased with the 2008 'Pank' album, though lost connection after that for what reason ever. Just right now in August 2015 the Chicago based band have a new album ready that shows them reduced to a trio - yet for the first time missing former keyboardist and saxophone player Marcus Padgett. Okay, where does the new ZIP TANG 2.0 expedition take us now? Hah! Easily to imagine really, when you're going to consider the album title. So much for the obvious knowing, or what?

Eleven songs are offered, provided with a lot of twists and turns. They are extending a quite unpredictable workout - yes, that stays even after several listening sessions. So I had to rewrite this a few times, since I occasionally faced problems to pin down the album for some mysterious reason. In any case they don't take it too seriously overall, well, this is not lacking of subtle humour ... just taking the album cover into account for example. Don't have the lyrics at hand, but in between I can hear them searching for the Plastic Jesus, oh yeah.

So let me pick Big Crunch to start with - maybe ambigious, maybe freaky - musically the opposite of a crisis because my favourite excerpt - though possibly has a cosmological meaning too. There's certainly a psychedelic flavour to state on this occasion. Surprisingly I could detect a few references to other bands here at the very start - placed with intent or not - like Fates Warning's 'Still Remains' or 'Zoombiance' by Rinse, Repeat. And other diffuse reminders which I can't name until now. Food for thought, still. On top of it this just is part of a declared song couple.

Which means the acoustic guitar driven Line comes prior. An excerpt provided with nice polyphonic vocals and yep ... inviting to sing along. You might sense it in the meanwhile - this album instantly won't be that accessible, like a pop oriented album would come along of course. A jazzy component takes a backseat (no sax, lesser keys) to the benefit of a more hard & heavy rocking attitude. It's Perry Merrit who has an important impact more than ever, due to the lead vocal and keyboard/synthesizer task, plus the whole guitar dominance, the latter often double- or even multi-tracked (rhythm and solo), also taking the acoustic part into account.

Rick Wolfe (punchy bass) and Fred Faller (lively drums) are suitable companions moreover, and this altogether - based on many overdubs - will guarantee a really lush and vibrant sound. Not a 'live in the studio' result with other words, I'm quite sure concerning the mix it took a bunch of hours to come to a final solution. Is it my pure imagination, or are they provoking a lot of references and relations? Some more examples needed? When the Cigarette Burns Perry counters with sireen alike guitar. And they will offer us the opportunity to Delete The Hole via head banging. Or alternatively, is there anybody out there to stop the Maniacal Calliope?

Bang! Brilliant! Their private Shangri-La is a well thought out curiosity, which needed some time getting used to. Based on my experiences gradually the wonderful melodic contours come to the fore more and more, weirdness turns into trickiness. Shortened to a three-piece affair ... so what, this does not imply limited opportunities quite naturally - no, not necessarily. They compensate this with virtuosity and creativeness, and last but not least they are definitely able to rrrrrock the house! 4.5 stars so far!

 Live in Guildford, 1972  by KING CRIMSON album cover Singles/EPs/Fan Club/Promo, 2003
3.83 | 22 ratings

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Live in Guildford, 1972
King Crimson Eclectic Prog

Review by Zahler

4 stars Like many people who would read a review of an exhumed, obscure King Crimson show, I am a big fan of this ever-changing band, and all of its incarnations ... though I do have a bias toward Michael Giles's tasteful, gorgeously emotive drumming, and the Wetton/Bruford rhythm section, and the expansive mellotron, violin, and brass epics of the 60s and 70s (my favorite KC tunes include Wake of Poseidon, Epitaph, Fallen Angel, The Letters, Fracture, Larks Tongues in Aspic Part II, Starless, and Islands).

At present, I've purchased no less than a dozen live albums by this band--from various eras--- and in some cases found excellent, well-recorded versions of songs I already knew (Live in Asbury Park is a sterling example of this, as is Ladies of the Road---both are highly recommended). These recordings sparkle with embellishments and (in the case of tunes like Lament, Exiles, and Cirkus) additional living fire. Yet still ... I am hoping for something more than strong variations of music with which I am familiar when I buy these albums---I am hoping for some NEW music with which I am unfamiliar. I should also point out that I have mixed feelings about the purely improvised pieces that the various iterations of KC have recorded---often, I feel that the ratio of desultory wandering to inspired coherence isn't great. Sure, for two or three of its ten minutes an improvised number like "Asbury Park" coheres into something memorable, but not for most of its duration to my ears.

So with this admitted bias, I was floored when I heard this album, Live in Guildford 1972. The sound quality here is flat---there is little depth and no dynamic other than one instrument blocking out another on occasion, but the 25 minute improvisation on this record entitled "All that Glitters is Not Nail Polish" is powerful, memorable, formidable, exhilarating, menacing, and inspiring. The version of Larks Tongues in Aspic Part I is good, and the other tunes aren't all there, but with this recording I finally found what I'd hope to find by buying numerous live releases from this band: some very good King Crimson music that exists nowhere else. For those on a similar quest, this lo-fi release delivers some real platinum.

Ladies of the Road and Live in Asbury Park are great live albums that feature energetic elaborations of familiar material, but Live in Guildford is essentially a new album born in the maelstrom of interstellar Fripp, Wetton, Bruford, Muir, and Cross improvisation. Bravo gents. I'll gladly buy a dozen more live releases to find another gem like this...

(An aside: The Bremen show provides the second best lengthy improvisation I've heard by KC-- that one is 28 minutes--though it peaks in it's first half, whereas the one on Guildford builds up and grows and gets more engaging throughout. And the Improv: Cerberus on Central Park 1974 is 8 minutes of sharp platinum...)

 City Of The Sun by SEVEN IMPALE album cover Studio Album, 2014
4.17 | 174 ratings

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City Of The Sun
Seven Impale Eclectic Prog

Review by ergaster

4 stars 4.5/5

This was one of those albums that came out of the blue. A recommendation from a friend, he also provided the warning: "give them a chance" -- which can be regarded as either a challenge, or a red flag. And the first time I played the album, I knew exactly what he meant: I spent a lot of the time thinking, "What the hell is going on here??" But I also got that feeling...the one where I have no idea if I liked what I heard, but there was something. Albums that start out that way, that leave me bemused and intrigued, that demand revisiting in order to make sense of them, often end up being long-term winners.

Who are they? A six-piece from Bergen, Norway. What are they? Well, it is hard to describe what they do. Psychedelic jazz-rock-fusion, lots of saxophone winding all through prog-like songs, they sound deceptively loose and crazy, but don't be fooled. What we have here is masterfully-controlled chaos.

While they do not really sound like any of those bands, they are reminiscent of Soft Machine, Quiet Sun, a bit of jazz-era Crimson. Each song is a surprise, the way the elements are all intertwined, sliding smoothly from raucus disorganized noise to nice melodic themes, changing up the time signatures but not in that self-referential way that too many modern prog bands tend to do--when it happens, it's like it takes everyone by surprise, listener and performer both.

Every time I play this album, I am surprised how much I like what I hear, because otherwise every musical instinct tells me this is not the kind of thing that holds my attention. But these guys are the real deal. They don't sound quite like anyone else, and sometimes they sound less like a band than a loose collective of people wandering in and out of the songs at random. If you do choose to listen...well, give them a chance.

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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
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