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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 14/02/2018

Kevin (Magnum Vaeltaja)
Ian (Tapfret)
Simon (Mascodagama)

Eclectic Prog Top Albums


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

4.62 | 3842 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.54 | 3038 ratings
RED
King Crimson
4.49 | 1849 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 2591 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.42 | 1962 ratings
PAWN HEARTS
Van Der Graaf Generator
4.36 | 1515 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1482 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.30 | 1419 ratings
THE POWER AND THE GLORY
Gentle Giant
4.29 | 1742 ratings
OCTOPUS
Gentle Giant
4.29 | 1364 ratings
STILL LIFE
Van Der Graaf Generator
4.31 | 765 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.28 | 1356 ratings
FREE HAND
Gentle Giant
4.26 | 1359 ratings
ACQUIRING THE TASTE
Gentle Giant
4.23 | 1269 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.27 | 500 ratings
ANABELAS
Bubu
4.25 | 444 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.26 | 378 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.19 | 665 ratings
SLEEPING IN TRAFFIC - PART TWO
Beardfish
4.12 | 1938 ratings
LIZARD
King Crimson
4.15 | 789 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

KRYWAN, KRYWAN
Skaldowie
SENNI ESKELINEN & STRINGPURÉE BAND
Stringpurée Band
SNAFU
East Of Eden
CLOSE GRIP
Gourishankar, The

Latest Eclectic Prog Music Reviews


 For The Light by ROZMAINSKY & MIKHAYLOV PROJECT album cover Studio Album, 2017
4.00 | 14 ratings

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For The Light
Rozmainsky & Mikhaylov Project Eclectic Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars What we have here, in effect, is a Russian supergroup featuring musicians from various prog and prog-related Russian bands including Yojo, Algabas, Enine, Roz Vitalis, KGB etc. Apparently, the fundamental goal of the band and its debut album is to open new musical worlds that cannot be analysed in the rational manner. The applied goal of the band and its debut album is to reveal how to protect peace of mind in the conditions of troubles and stress. So there you go. I have always been a huge fan of Ivan Rozmainsky and Roz Vitalis, so when I was offered the opportunity to hear this I jumped at the chance, and I wasn't disappointed.

Russian bands continue to excite me, as they are producing some of the most interesting music to be coming through the progressive rock scene. Their reference points are quite different to most Western bands, and often it is only King Crimson that could be see to be an influences, and that is again the case here. There is a mix of progressive rock, with an almost classical approach. There is stacks of space within the music so much so that it is almost like another instrument, pushing apart the layers and making its presence felt. The music is often delicate, but also clearly defined, with an almost staccato approach that makes it feel striong and empowered. The avant garde collides with the melodic, to create an album that is constantly inspiring, constantly evolving, and thoroughly enjoyable. This is well worth hearing for any proghead

 After the Flood: At The BBC 1968 - 1977 by VAN DER GRAAF GENERATOR album cover Live, 2015
4.02 | 37 ratings

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After the Flood: At The BBC 1968 - 1977
Van Der Graaf Generator Eclectic Prog

Review by Seyo
Special Collaborator Honorary Collaborator

3 stars This double-disc collection of archival material presents VdGG "live in the studio" performances for several notable BBC Radio shows from 1968 to 1977, thus covering their entire original career prior to 2005 reunion. Several of the tracks were previously unreleased so this is the opportunity for the band's hard-core fans and completists to add them to their precious collections. Sound quality varies considerably from session to session, but it is generally accepted for this type of archival release.

Some key VdGG songs such as "Darkness" and "Man-Erg" are included in two versions, which may sound overwhelming and frustrating to casual listeners. Still, the VdGG experts will rejoice in comparing the sound of "Darkness" with a bass guitar (Top Gear Session 1970) and without it (Sounds of the Seventies Session 1971). And since "Man-Erg" is one of the best and most important songs, not only of VdGG career, but also of entire progressive rock era and beyond, I don't mind hearing it twice in this set. It is particularly interesting to listen to the band in their earliest incarnation of 1968 playing three songs in rudimentary arrangements, that sound quite different from their later officially released versions on a single and the first album.

Another oddity is the inclusion of both songs from the rare single "Theme One/W" of 1971, as well as "Vision" that was released on the Hammill's debut solo LP "Fool's Mate" the same year. In terms of sound quality and production the second disc is much better. Performances from the latter days of 1976-77, such as "La Rossa", "When She Comes" and "Cat's Eye", are simply amazing; they could match perfectly their released studio versions.

In the absence of official live albums prior to the farewell release of 1978 "Vital", "After the Flood" serves the purpose well in order to present stage power of this seminal band, who for the most part of their career before 1976 rocked hard and heavy on saxophone and organ, without bothering to include guitars in their line-up. However, the uninitiated are advised to study the original eight studio albums first before buying this quite extended and at moments not very nicely mixed set of historically important radio performances.

 Nature by DISEN GAGE album cover Studio Album, 2018
3.62 | 4 ratings

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Nature
Disen Gage Eclectic Prog

Review by felonafan

4 stars This album contains very progressive music, But it is not progressive rock at all! You will not be able to find some similarities between "classic" DISEN GAGE albums (2004 - 2016) and "Nature". There are no bass and drums here. Sound is based on "sonances" and noises generated by surrounding environment - together with guitars, of course (both current participants of DISEN GAGE are guitarists). The 1st track is based on "tones" and noises generated by Planets, 2nd track - by Trains, and 3rd one - by Animals.

If you want to feel and understand music of "Nature" you should forget about stereotypes and try to listen attentively and carefully to these sounds. And you will appreciate and perceive space, atmosphere, hidden dynamics and inner beauty of this music.

"Nature" is not the best DISEN GAGE album - ".. The Reverse May Be True" is the almost unapproachable highlight - and endlessly very far from from "typical" DISEN GAGE "musical approach" (as I already mentioned). But it can beautify both your prog rock collection and your life!

Nevertheless, if you cannot imagine DISEN GAGE music without "rockish" rhythm-section. strange time measures, complex interactions between "guitar lines" and detailed compositional structures, pethaps, you should skip "Nature". But I recommend to go beyond prog rock stereotypes!

 Icebound by NOT A GOOD SIGN album cover Studio Album, 2018
3.90 | 22 ratings

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Icebound
Not A Good Sign Eclectic Prog

Review by progpromoter

4 stars Preceded by the (un)usual original and funny anticipations, among them snippets and games to guess the album title, finally the third Not A Good Sign album is in my hands.

I own a limited edition (signed booklet and 'freezed' jewelcase ' I have the 46/500 copy) taken, as the preceding album, during the album debut gig.

As usual the booklet is evocative and well done, showing lyrics and informations about host musicians.

I have to admit that in this case I had a wary approach to the work, since the preceding two albums were composed by the pair Francesco Zago, who I consider almost the italian Bob Fripp, and Paolo 'ske' Botta, who is the real creator of NAGS project.

In this new album the most of the tracks and lyrics are by Botta and something has changed a bit: while the mood of the preceding two albums was a mix of ansiogenic, melancholic and visionary components, in this latest work the visionary component has been substituted by an oneiric one and this new component rounds up some edge.

You have only to give up your conventional concept of melody and let you bring into NAGS melodic unique interpretation.

The songs have kingcrimsonian inspiration, but the structures are more near RIO way of composing, with unusual rhythmic patterns, dissonant chords, joints which bring to evidence now a cymbal bell, now a guitar chord or a keyboard single key, latent derivative repetitions and plenty of ostinato and obbligato. These structural parts give to NAGS music that certain 'unexpected' component, that every good and passionate listener hope to meet every time he comes in contact with something new. Above all these wonderful constructions, are layed down melodic carpets and instrumental openings of high emotional impact.

The album starts as a Twin Peaks III episode, then it follows in 9 fashionable and high intesive tracks.

Some of them are short ehtereal moments, while the others are complex and long songs.

It's difficult to say which one is better.

Alessio Calandriello's melodic interpretations (here in this work he uses tunes less familiar to him) and the killer rhythm patterns of Alessandro Casssani/Martino Malacrida powerful pair, alternate with the amazing guitar and keyboard moments by Gianmarco Trevisan and Paolo Botta, high sensitive pianissimo and high intensity instrumental openings.

Maybe 'Trapped In', with Calandriello wonderful vocalism and David Jackson's sax, has some advantage to the others.

At the end of the game, 'Icebound' is a very pleasant and inspired album and NAGS show they always are able to find new musical solutions, even mantaining intact their powerful and dynamic unique sound.

Fun Facts: - Every new album brings a personnel variation: After the first eponym the bass player left; after 'From A Distance' the guitar player left; now it's the turn of the singer: Calandriello has left.

- In the preceding album there was a track named 'Not Now', in this new album there's one named 'Not Yet'. Should we wait the next one to know if or when the right moment will take place?

 Red by KING CRIMSON album cover Studio Album, 1974
4.54 | 3038 ratings

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Red
King Crimson Eclectic Prog

Review by TenYearsAfter

5 stars "Two Mellotrons on stage during the Red tour in 1974"

On this 7th studio album (1974) you can hear that King Crimson had done a lot of touring in the last two years, the band sounds more tight and powerful than on their previous two efforts Lark's Tongues In Aspic (1973) and Starless And Bible Black (1974). After the departure of first Jamie Muir and later David Cross, King Crimson became a trio (although David Cross is mentioned on Red as a guest musician): Robert Fripp, Bill Bruford and John Wetton. The album Red turned out to be commercially unsuccessful but it was a great inspiration for many bands like Nirvana, Living Colour and Tool.

The music on the opener Red is in the vein of the cover: dark and ominous featuring a kind of Heavy Prog, very compelling with propulsive drums, powerful bass work, a fiery guitar sound and melancholical violin play by David Cross. The climates alternate between mellow and agressive, it generates a hugh tension in the music.

Next Fallen Angel, this track sounds a a blend of jazz, symphonic rock and Heavy Prog. The one moment dreamy with Mellotron violins, and the other moment sumptuous with fiery brass, in a dark atmosphere.

In the following One More Red Nightmare it becomes even more dark, heavy and compelling featuring fat guitar riffs, a screamy saxophone, hypnotizing twanging guitar and a propulsive rhytm-section. This is topped by John Wetton his distinctive vocals, with a melancholical undertone.

And now for something completely different, the long composition Providence: pretty experimental with violin and percussion, culminating in a heavy climax with blistering electric guitar and powerful bass.

The final composition Starless is for me one of the best King Crimson ever wrote. First dreamy with intense Mellotron violins, sensitive electric guitar and saxophone, a melancholical cello and tender vocals. Then follows one of the most exciting build-ups in Classic Prog history: Bruford's propulsive percussion and Wetton's growling bass, fueled by an ominous, razorsharp guitar sound from Fripp, gradually it becomes more and more bombastic, wow, what an ultimate exciting and compelling musical experience. After a break with a saxophone solo the climax is heavy and powerful, the interaction between the trio and the dynamics are overwhelming. In the end the dreamy atmosphere from the first part returns, with wonderful Mellotron work and tender vocals, goose bumps. This was a long and captivating musical journey between ultra contrasting atmospheres, unique and pivotal progrock!

Bonus items on my Red 40th anniversary edition.

The bonustracks are 'trio versions' from Red (impressive bass sound) and Fallen Angel (instrumental with jazzy guitar play) and a 'full version' from Providence (all pre-overdub versions by Steve Wilson).

The DVD is my highlight of this remastered version, especially the video with four tracks from the French tv in 1974.

Lark's Tongues In Aspic : Part II : More powerful and tight than the 1973 Beatclub version, and without Jamie Muir, a big plus, I never liked his contributions.

The Night Watch : The same irritating images as on Pictures Of An Exhibition from ELP but interesting to see Robert Fripp sublimating his infamous passive agressive nature into his fiery guitar play.

Lament : A young and inspired Bill Bruford experimenting with assorted percussion, that's why he left Yes for King Crimson.

Starless : A mindblowing version, for me it's also breathtaking to see two white Mellotron M400 models on stage, on the left for David Cross and on the right for Robert Fripp. To be honest, I prefer David Cross here with his violin, rather than the original saxophone. This is top notch legendary progressive rock and showcases why Classic Prog still rules.

More info from the record company.

This 40th Anniversary edition on CD/DVD-A features new stereo & 5.1 mixes by Robert Fripp and Steven Wilson plus high resolution stereo mixes of the original, extensive additional audio material and representative video. It also contains new sleeve-notes by Robert Fripp and King Crimson biographer Sid Smith, a newly designed booklet with rarely seen photos and other archive material and presented in double Digipack format with outer card slipcase.

 Icebound by NOT A GOOD SIGN album cover Studio Album, 2018
3.90 | 22 ratings

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Icebound
Not A Good Sign Eclectic Prog

Review by mitarai_panda

4 stars Not A Good Sign is an eclectic former rock band from Milan, Italy. Founded in 2011, they claim to be resonating melody and lyrics, melancholy and colorful music. They are composed of keyboard player Paolo BOTTA from Yugen, guitarist Francesco ZAGO and producer Marcello MARINONE. Yugen is a pioneer band and Not A Good Sign is relatively easy to listen to. The team name "not a good sign" is their reflection on global climate issues. This is reflected in their 2013 first year. For music, they tend to dynamically match the buffer and string ensembles. The mood is often Melancholy, lonely and desperate, a little symphony, of course, they also have very heavy moments, which makes them close to the KC, but also evoke memories of ÄNGLAGĹRD and ANEKDOTEN. In this year's new album "Icebound", they invited David Jackson, a member of the VDGG, to play the flute and saxophone, as well as the use of violins and chimes to enrich the music. The violin was used in the 9-minute epic Hidden Smile, a bit of a pioneering feeling. The following Down Below and Truth can be said to be a bit heavy. The last epic was Trapped In. David Jackson's saxophone sounded, but the emotions seemed tense. Finally it was even a little distorted. It seemed to express some anxiety (for the album name Icebound). See, this is still an expression of environmental issues?). Overall, the first half of the album was relatively symphonic and approachable. After Zhang had some experiments, he returned to Yugen's old line, but the string and saxophone graced it a lot and could give a Samsung half to four stars. fraction.
 Az ördög álarcosbálja (Devil's Masquerade) by SYRIUS album cover Studio Album, 1972
4.07 | 41 ratings

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Az ördög álarcosbálja (Devil's Masquerade)
Syrius Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. SYRIUS were a band out of Hungary who formed in 1962 and played Beat music but by 1970 or so they decided to jump on the Prog train drastically changing styles, and this is quite jazzy too. We get two sax players in this 5 piece band along with violin, flute, organ and the usual Rock instruments. They managed to get a recording contract from a label in Australia so they flew down and recorded this beast which was released in 1972. The vocals are in English and I'm not a fan of them but I do like the instrumental work although there are two songs I can hardly tolerate but man the title track and the longest tune that closes the album are both excellent.

"Concerto For A Three Stringed Violin And Five Mugs Of Beer" certainly shows these guys had a sense of humour. It opens with what sounds like acoustic violin and some piano before vocal melodies arrive after a minute followed by dissonant sax with organ and drums to follow. Then some jazzy bass with organ takes over as this plays out, flute late.

"Crooked Man" opens with sax and drums before piano and flute help out. Processed vocals before a minute sound rough as the drums support then piano, flute and sax as it sort of stutters along. Normal vocals after 1 1/2 minutes. Bass and piano lead a minute later then it's sax only before drums and vocals join in after 3 minutes. A calm before 4 minutes as it slows right down with drums and piano then sax. Organ joins in after 4 1/2 minutes then it's bass only a minute later but not for long. A detailed song at 7 minutes in length.

"I've Been Down This Road Before" is one of the two songs I don't like. Sounds like a commercial tune that's bluesy with the focus on the vocals. "Devil's Masquerade" is a top two for me. It opens with organ before the sax and drums kick in as we get such a great sound here. Vocals join in before 3 minutes and they are relaxed and sound best here. It's the chorus that really impresses me with that melancholy with vocals, sax, organ and drums.

"Psychomania" is the other tune I don't like. Man as soon as I see the title of this song it brings to mind the chorus where he shouts this word a few times. "Observations Of An Honest Man" opens with vocals and piano. Flute replaces the vocals as they stop briefly. The tempo picks up. Not a fan of this one but it's under 2 minutes.

"In The Bosom Of The Shout" opens with samples before we get an almost Free-Jazz vibe happening, not melodic at all. That changes before a minute as sax, drums and piano lead. Organ replaces the piano then the piano returns as the organ continues with sax and drums. I like the piano 2 minutes in with bass and percussion. I also like that dissonant sax before 3 1/2 minutes with bass, drums and organ. Great sound! We get both sax players playing around five minutes in then for the first time on this song we get vocals before 6 1/2 minutes. Organ and flute impress after 7 minutes as the vocals continue. Spoken words late.

Avant fans seem to favour this one although I must say this seems to get high ratings every where I looked. 3.5 stars is the perfect rating for me because while I do like it I have too many issues with it to offer up that fourth star.

 Interview by GENTLE GIANT album cover Studio Album, 1976
3.75 | 679 ratings

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Interview
Gentle Giant Eclectic Prog

Review by steamhammeralltheway

4 stars Make that 4.5 stars. Interview is a concept album based around the theme of the band interacting with the media. Some tracks are prefaced by a journalist asking the band a question and the band's muffled answer, which fades into songs. The theme and its aim to be satirical are both a bit subtle if the lyrics aren't read. The lyrics are quite revealing of the band's rocky relationship with a media that wasn't ready for a rock band this accomplished and musically elaborate. Interview, released in 1977 is the band's last inspired album before they went stale on Missing Piece.

The mellifluous title track commences the album. Fitting with the theme, there is artistic spoken word interwoven with the music like another instrument. There is also some German oompah band passages. Giant is just joyously zany here. Sometimes in the past their attempts a playfulness have come off geeky. Here these efforts are far more successful.

'Give it Back' is one of the best reggae-inspired songs I've ever heard. I tire easily of straight reggae and really appreciate how Giant incorporates it into art rock. They color it with disparate elements including their famous glockenspiel, here supportive of the song, rather than silly and interruptive, as it has been on past tracks.

There are couple ballads on this albums, a good thing, because these type of pieces show Giant's best songwriting. 'Empty City,' a semi-ballad, is one of the band's most soulful songs ever. Derek's voice has rarely been this moving, even though he's a first rate singer.

'Another Show' and 'Timing' have superb melodies, "I lost my Head," too, but there the focus is more on a very complex rhythm. This song, the album closer, really makes their last good effort memorable. The whole song just oozes rhythm and Kerry delivers a chillingly beautiful vocal. If the entire Giant experience could be summed up in one song, this might be it.

 Free Hand by GENTLE GIANT album cover Studio Album, 1975
4.28 | 1356 ratings

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Free Hand
Gentle Giant Eclectic Prog

Review by steamhammeralltheway

4 stars Make it 4 and a half out of five. Free Hand is a lot more inviting to me than the two albums preceding it. "Just the same" kinds of makes me glow all over like the debut & Octopus did -- it has a couple neat hooks. I understand from my counting friends, a highly unusual tempo: 7's against the drummers' 3's.

"On Reflection" starts out like it's going to be geeky, but instead unfolds into this remarkable one complete with almost perfect harmony and very touching charm. Now I'm starting to see why people are so enthralled with this group.

The title track begins pretty mystical, and then dives into a sort of deep but playful groove, for lack of any other way to describe. Melody is catchy.

Things are still looking good on the flip to the other side of the LP. "Time to Kill" does somewhat follow a Giant formula, but has enough fresh ideas, including very rich harmonies galore, one in a low register. Very fluid & rhythmic.

Wow. "His Last Voyage" is a ballad. Giant ballads and slower numbers are to die for; this no exception. I liked the piano/guitar interplay on the solo but think it was a bit misplaced on this celestial ballad. I was glad when the echoey vocal returned.

Usually when people claim that Giant is doing a Renaissance song, they are mistaken. The twelve tone scales found in much Giant were not used in the Renaissance. (Try John Cage. Ugh!) "Talybont" is indeed a genuine Ren. song though, and a ravishing one at that. It is entirely instrumental too. Giant needs to do more of those, being so accomplished on so many instruments. There is an endearing modern section to the song with some unusual tone colors.

"Mobile," the album closer, is pretty indescribable, simple and very complex at the same time. It didn't really strike my fancy, but I get the feeling that there's a lot more there than an initial listen can grasp. On this song the Renaissance acts a backdrop for rock and funk ideas. Well the reason this album doesn't get a five is that my favorite Giant album is the Power and the Glory. That one I think is the absolute apex of Giant's career.

 The Power And The Glory by GENTLE GIANT album cover Studio Album, 1974
4.30 | 1419 ratings

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The Power And The Glory
Gentle Giant Eclectic Prog

Review by steamhammeralltheway

5 stars I'm so glad I have known about this amazing album for over a year. It is so strong, and to me speaks the beautiful essence of Giant. I think one thing that makes this click and others fall is that there is very little disorienting atonal/ 12 tone work here. Most 12 tone work by any artist is jarring because the scale has little emotional appeal. Music majors forced to endure it report torture. I am in almost total agreement, unless the band is going to take special effort to shape it as on "Edge of Twilight" (Acquiring the Taste).

Power's opener, "Proclamation" is a multi-faceted, high developed epic with a number of memorable passages featuring different instruments and rhythms. It kind of unravels like a twisting, winding road with many surprises. A more perfect song by any band would be hard to find.

"So Sincere" rolls out moodier than anything Giant has ever done. This is a needed change of pace. This is probably one of their most psychedelic songs and one with a high amount of counterpoint. Really it's too intricate to properly describe in words..

"Aspirations" is my favorite Giant song, a ballad of course. They are the masters of those. I don't usually pay lyrics any mind, but this one is too angelic to ignore. The delicate vocal (Kerry) coupled with the electric piano accompaniment and the heavy, heavy bass and drums make this one of prog's true gems.

Just when you thought things were too good to be true already, arrives "Playing the Game." Again it's hard to describe, being such a unique one. There's a nifty riff working it's way throughout, I'm not even sure on what instruments: guitar? synthesizer? And there's also a subtle secondary "answer" on a different type of synthesizer. Thus closes side one, a sterling piece of work.

I'm not sure if I ever heard side two prior to this review. The complexity of "Cogs into Cogs" is pretty mind-blowing, on top of which emerges an excellent and quite nuanced melody. The band is so mature and committed at this point.

"No God's a Man" starts with an interplay of Renaissance and jazz elements. Again it's understated in contrast to all the in- your-face annoyance this band has served up over the years.

"The Face" is particularly creative and melodic. It is a little more uptempo and rich than what Giant has ever before offered. The Renaissance flavor is very strong. But then it moves in a rocky, totally unprecented direction, very smoothly of course.

"Valedictory" is a boogie rocker but with that Giant whimsy fans know only too well. The song is actually a spacy reprise of "Proclamations." After all Power and Glory is a concept album. And then, rather than ending, the song self-destructs. There you have it: one of the greatest all-time art rock achievements.

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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
ANAKDOTA Israel
APERCO Israel
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
AXON-NEURON United States
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
ARNAUD BUKWALD France
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
EL CIRCULO DE WILLIS Spain
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
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