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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

4.59 | 2880 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.52 | 2206 ratings
RED
King Crimson
4.50 | 1316 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 1413 ratings
PAWN HEARTS
Van Der Graaf Generator
4.39 | 1848 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.35 | 1081 ratings
IN A GLASS HOUSE
Gentle Giant
4.37 | 518 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.30 | 1068 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.28 | 970 ratings
STILL LIFE
Van Der Graaf Generator
4.26 | 1240 ratings
OCTOPUS
Gentle Giant
4.26 | 974 ratings
THE POWER AND THE GLORY
Gentle Giant
4.26 | 980 ratings
FREE HAND
Gentle Giant
4.23 | 963 ratings
ACQUIRING THE TASTE
Gentle Giant
4.21 | 877 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.29 | 275 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.25 | 330 ratings
ANABELAS
Bubu
4.20 | 511 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.23 | 324 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.22 | 346 ratings
MOTORPSYCHO AND STĹLE STORLŘKKEN: THE DEATH DEFYING UNICORN
Motorpsycho
4.17 | 555 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

ZEALOTRY STERBLICHEN SCHIZOPHRENIA
Seamus
LE JOUR OŮ LES VACHES...
Booz, Emmanuel
SENNI ESKELINEN & STRINGPURÉE BAND
Stringpurée Band
ENIGMATIC
Niemen, CzesŁaw

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Latest Eclectic Prog Music Reviews


 Twilight Cinema by MAJOR PARKINSON album cover Studio Album, 2014
3.93 | 126 ratings

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Twilight Cinema
Major Parkinson Eclectic Prog

Review by BrufordFreak

3 stars This music would probably be very entertaining to see live--kind of like a Sweeny Todd barrel house Broadway musical--but I'm not sure how progressive this is. I guess it's not unlike the work of Humble Grumble or Nemo or even UneXpect, but, I'm unconvinced. More like DeVotchka (which is a great band but not a prog band). While there are certainly rock and even prog elements and influences to make this creation what it is, the result, to my ears, is still little more than the recording of a Broadway play. Or the next Rocky Horror Picture Show (which, again, is not considered a prog album.)

Cool stuff, lively and entertaining, but not anything I'll come back to--nor deserving, IMO, of a place here on PA.

 Lives by KATAYA album cover Live, 2014
4.00 | 1 ratings

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Lives
Kataya Eclectic Prog

Review by Rivertree
Special Collaborator Psych/Space Team & Band Submissions

— First review of this album —
4 stars Hey, KATAYA lives on. ... this is an album featuring live recordings from 2012 where they are on a roll, absolutely. Hailing from Finland this is a trio in the first place when it comes to the studio work, but here - for those two partially documented concerts - the line up is enhanced with several additional musicians. 10 predominantly instrumental songs are offered, taken from their two regular albums, exactly proportioned in 5/5, however starting with the later recorded 'Voyager' section first. Well, overall they are implementing an atmospheric flow which is priceless, really fantastic.

This is hard to describe, contradictive somehow. On one hand I hear accessible and catchy music which alone would bring them close to popular bands. Otherwise it's so playful, rich in mood, variety, bears some complex nature here and there due to some twists and turns and the musicians' skills and interplay, that I finally would deny any doubts about their prog character. The opener Blue Cranes Over Korso for example lives from different fragments like puzzled together by accident, an unusual composition without a doubt. Or on Canto Obscura they temporarily drive weird, seem to lose control in between.with some avant leanings.

Both guitarists are often changing between acoustic and electric, additionally a lot of keyboard finesse is to state. The basic mood is relaxed, but they know how to play a heavier pace too like on Sun Geese. Ambient and spacey moments are often present due to spheric keyboard patterns. Recommended! This is a collection which convinces me much, where I'm occasionally inclined to hear traces of SBB, Pink Floyd, Sky Cries Mary or Camel, just in case to offer some orientation pretty much. Now it's your turn!

 Islands by KING CRIMSON album cover Studio Album, 1971
3.78 | 1221 ratings

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Islands
King Crimson Eclectic Prog

Review by KingCrInuYasha

4 stars Another year, another line-up, another album, another style for Robert Fripp and King Crimson to tinker with.

After the Lizard lineup fizzled with the departure of Gordon Haskell and Andy McCulloch, Boz Burrell and Ian Wallace were brought in to fill in on bass/vocals and drums respectively. Burrell and Wallace aren't terrible by any means, but they're underused for the most part. Wallace's drumming is kind of standard (though from I've heard, his drumming on the band's live performances have a bit more punch), though I don't think an aggressive style would have fit on most of these tracks. The same can be said with Burrell's bass playing - as for his singing, he's a step up above Haskell and could easily pull off the old and new material when the band finally went back on the road.

For this album, Fripp decides to dial back on the weirdness the permeated Lizard and go for a calmer, lounge jazz type of sound, with Keith Tippet and his crew returning to contribute to the opening and closing tracks of the album. Not surprisingly, this type of direction would rub the wrong way with some listeners and critics, not to mention the band members themselves. Like Lizard, it's not an album that's praised among the critics I like to visit, but given my fondness for the album, it leaves me scratching my head on how this is considered another dud. Oh well.

The opening "Formentera Lady" effectively sets the mood for the album. I like the intro to this one, it sounds like something from the original Star Trek (1) and the song portion is quite good, with Tippet and Fripp delivering some tasty piano and acoustic guitar lines. For the second half, Fripp appears to have taken some inspiration from his production of Centipede's Septober Energy, incorporating bells, violins, random acoustic guitar, saxophone and vocalizations. Some say it drags, but I've heard worse in that department (including the aforementioned Septober Energy); at least the above elements keep things interesting. Sinfield's lyrics about a stroll on the island of Formentera are decent and Burrell singing is pretty nice.

After the final wails and chimes, the song then segues into the more energetic "Sailor's Tale". It's not as aggressive as most other Crim rockers, but at least the band successfully builds an aura of tension around it, particularly Mel Collins' saxophone freak out in the start and Fripp's guitar in the middle, where it punctuates the eerily quiet portion of the piece, like a bolt of lightning briefly turning night into day. The ending has the band abruptly returning to the main theme from the start and the band builds and builds, with Wallace's drumming becoming slightly more agitated, the humming of a synth (mellotron? VCS3? I'm not too sure) rapidly growing louder, like an oncoming storm threatening to overtake a ship (probably why the song is called "Sailor's Tale"). Just as the cacophony is about to overtake the listener, it stops and Fripp's guitar sends the whole thing into a free fall, ending with a distant, haunting synth rumble.

"The Letters" was based on the Court-era song "Drop In", and has the band going into some of neat beatnik jazz, going from quiet guitar into stomping blues as the piece progresses. The music is good, but I can't say the same for the lyrics, sounding like something you would read in a third rate romance novel. I wish Fripp had kept his original "Drop In" lyrics for this one, which would have fit the music much better.

The slightly misogynistic groupie tribute "Ladies Of The Road" opens the second side. (2) Burrell's voice is at his most aggressive and Collins and Fripp deliver some delightfully raunchy solos. Blues was never King Crimson's specialty, but when they dove into the genre, they've shown to be quite capable and this song is no exception. They even manage to throw in a little twist with the slightly carnival-esque bridge that sounds a bit like Queen.

In yet another curve ball, the next song, "Prelude: Song Of The Gulls", doesn't feature the main band at all, but a string quartet and Robert Miller on oboe during a classical rearrangement of the second part of Fripp's Giles, Giles & Fripp era composition "Suite No. 1". It's kind of weird that the rest of the main band didn't participate, but with Fripp, stuff like this is to be expected. At least he manages to successfully give the tune a new arrangement and fully flesh out the piece. The results are quite beautiful.

The somber mood continues on with the title track. I agree with John McFerrin's (aka Tarkus1980) view that this is an excellent pre-bedtime ballad, but my impression of "Islands" is somewhat darker and more depressing; whenever I listen to this one, I sometimes look at the album cover full of stars and feel how isolated we are and, given the vast distances, man will never travel to those little islands of light, at least nowhere near our lifetimes (not to mention the whole thing with the Sun expanding and frying the Earth into a crisp several billion years from now). If you're not interested in philosophizing, at least the music is nice, going from piano to harmonium to mellotron, while Burrell delicately delivers Sinfield's lyrics (probably the best on the album) of island metaphors. Chraig's horn is a nice touch, especially the triumphant solo at the end. It's a very beautiful way to close the album. Oh and there's a clip of Fripp giving the "Gulls" orchestra some instructions about a minute after the album proper ends.

Judging by my rating, I admit I'm probably being a little too enthusiastic about this one, but I can't rate this one lower than Court, especially with the whole "Moonchild" thing. On the other hand, I can see where some might have a problem with this. It's certainly the most low-key of Crimson's output, but at least it's not boring, at least to me.

Final rating: 4/5

Personal favorites: "Formentera Lady", "Sailor's Tale", "Ladies Of The Road", "Prelude: Song Of The Gulls", "Islands"

Personal dislikes: none

Notes:

1. A bit of Trekkie trivia: The nebula shown on the album cover is the same one shown in the Star Trek: The Original Series episode "The Alternative Factor" whenever Lazarus has one of his freak outs.

2. On a personal note, I find it amusing that a lot of critics would disapprove of this song's lyrics, yet have no problems when The Rolling Stones do similar stuff on a similar level with their lyrics. Granted, Mick Jagger and Keith Richards were better at writing about this type of subject, but I still find it funny.

 Godbluff by VAN DER GRAAF GENERATOR album cover Studio Album, 1975
4.50 | 1316 ratings

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Godbluff
Van Der Graaf Generator Eclectic Prog

Review by Luís de Sousa

5 stars Is there a perfect record? One that grabs the listener from the very beginning into a breathless journey without detours, distractions or waste of time? If there is such a record it is this one. Writing a review is rather simple: no week points, no negative remarks, it is just pure excellence. It just happens that this is not any ordinary kind of music: eerie sounds from an unconventional set of instruments topped by disgruntling vocals and outstanding lyrics. But it all works together remarkably well, with the sum of its several parts reaching far beyond their individual value. An unrepeatable moment in the history of music. A record without peer.
 Mesto Er by FRAMUS 5 album cover Studio Album, 1971
3.98 | 17 ratings

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Mesto Er
Framus 5 Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Not very well-known among Prog fans, Framus Five was definitely a legend of rock music within the Czechoslovakian borders.Formed in Praha in 1963, they were led by singer/guitarist Michal Prokop, keyboardist Ivan Trnka and bassist Ladislav Elias (he joined the band in 1967) during their early phase.Originally the band relied much on its reinforced horn section and their 1969 debut ''Blues in soul'' was exactly what its title suggested, an amalgam of Blues, Rock and Soul influences.By 1970 with newcomers guitarist Lubos Andrst and drummer Karel Jahn their style shifted towards more intricate paths.The album ''Mesto ER'', released in 1971 on Supraphon, featured several guest and previous members on drums and bass.

The whole story regarding this album is centered around the impressive attempt on the 19-min. title-track, which sounds a lot like MODRY EFEKT, drawing influences from Classical Music, Jazz, Psychedelic Rock and Soul.A great piece with excellent singing by Prokop and many different instrumental segments with romantic, dramatic and dark tendencies, evolving from orchestral movements to powerful, Soul-inspired horn parts and some sort of psychedelic overtones and containing some great organ washes and piano lines next to some dominant work on trumpets and strings.This piece has aged quite well despite its psychedelic lines, there are even some moments of intense Kraut-like jamming in here and a couple of moments with ethereal flute work, while the connections between the variations is trully convincing with the star of Andrst shining through his unmistakable guitar moves.Beautiful piece of art.The flipside of the original vinyl is not that convincing, it's standard Psychedelic/Jazz/Horn Rock, again Andrst's work on guitar is great with both psychedelic and jazzy inspirations, while Prokop's voice is always expressive and tireless.These numbers contain also Orchestral Pop textures, slight Folk influences and evident Soul and Blues touches, executed in accesible structures with split dynamic and mellow passages.Good tracks, but far from the musical concept of the album's centerpiece.

The band dissolved the same year only to return in 1978 with Prokop as the only original member, releasing four standard Rock albums, until a second demise occured in 1990.In 2000 a third reunion took place and Framus Five continued their career via studio and live performances.

Good document of early-70's East-European Psych/Prog.A great vocalist, a flexible sound and some unmet atmospheres of sheer beauty await every listener of obscure Prog throughout the album's title-cut.Recommended.

 Flash by FLASH album cover Studio Album, 1972
3.68 | 76 ratings

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Flash
Flash Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars After his departure from Yes in mid-1970 and some brief appearances with Blodwyn Pig and Chris Harwood, Peter Banks met with singer Colin Carter and decided to form his own band.It was found in London during the summer of 71' under the name of Flash and the line-up became complete with Ray Bennett on bass and Mike Hough on drums.Original Yes keyboardist Tony Kaye was sucked by the band around the same time and was asked to join Flash, but he only appeared as a guest in the debut's sessions, before forming Badger.Flash'es first, self-titled album was recorded in November 1971 at the De Lane Lea Studios in Wembley with Martin Birch and Derek Lawrence as sound engineer and producer respectively, both were long-time collaborators of Deep Purple.''Flash'' was eventually released on Sovereign Records in February 72'.

With ''The Yes album'' already out, having a trully captivating sound, you can only think that Banks was partially influenced by his former band's innovative work, as the debut of Flash draws resemblances with the legendary album of Yes.The sound is dominated by tons of electroacoustic interplays, irritating Jon Anderson-like vocals, multi-vocal singing lines and frenetic changes between tempos with the guitar in the forefront.On the other hand Flash'es debut was much guitar-oriented with supporting performances on keyboards with Tony Kaye as a guest and Banks even handling some ARP synth flashes.So expect a YES-like style with lots of complex themes and shifting moods, showered by light acoustic flavors and discreet psychedelic moves.Flash combined the poppy sensibilities and some intense organ and synth runs with the emerging power and charm of Progressive Rock, the result was captivating compositions, always highlighted by Banks' complicated guitar lines and the trully dynamic bass playing of Bennett.The long tracks are quite great with more keyboard emphasis towards a more balanced sound and lots of jazzy plays on guitar, maintaing the rock component in a high level but also delivering a unique atmosphere filled with tricky plays.

Great debut by Flash, on the same level as ''The Yes album'' to my ears.Dense, guitar-driven Prog Rock with minor Pop and keyboard-based stylings, very interesting and strongly recommended.

 Jukola by XL album cover Studio Album, 1998
3.00 | 1 ratings

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Jukola
XL Eclectic Prog

Review by Matti
Collaborator Neo-Prog Team

— First review of this album —
3 stars ... and This Artist Altogether :-(

XL were a Finnish instrumental group (of academically educated musicians still active in the jazz scene) whose recordings were made between 1995 and 2003. Their music is - if it had to be put in one sentence - groovy, electronic, eclectic, modern "nu-jazz". Composing credits are shared by midivibes player Arttu Takalo and guitarist Jarmo Saari. This is their second album. By the way, Jukola is referring to The Seven Brothers (1870) by Aleksis Kivi, our national author, but there seems not to be any further concept, it's just the title of one of the tracks.

'Helsinki 2000' is a brief opener concentrating on percussion and tribal-like choir chanting. Not very interesting actually. 'A.S.P.', whatever it's an abbreviation for, has a machine-like throbbing backbeat on top of which mainly midivibes and guitar weave layers. On 'Young Blood' is guesting the famous Michael Brecker on tenor saxophone, helping the groovy music to get some air beneath its wings. 'The Dream Master' starts quietly in a creepy, gloomy mood. I feel some PEKKA POHJOLA in the build-up and melodies. Zagros Ensemble adds strings here and there. Among the highlights, clearly.

'Milou II' is also pretty interesting with a suitable amount of electrified groove and fresh-sounding vibes. 'The Palace of the Great Vizir of Angst' lasts almost ten minutes, so there's a lot of space for delicate playing to paint inner images of the surroundings. Starting quietly as if in fear of waking up somebody there... Again the music partly resembles post-seventies Pohjola, but the main difference is in the arrangement. I enjoy those vibes! Of course there might be more new ideas for the last minutes too.

The two next tracks feature the voice of Sanna Kurki-Suonio, first as wordless in the ethnic style, then with brief lyrics - too brief, in fact, since these vocals bring nice variety to the album. Takalo's pair of 'Nocturnes' represent XL's rather rare romantic & sensitive side. Beautiful, if slightly mild and unspectacular. The 9-minute title track features Pentti Lahti on five different saxes, as well as the strings of Zagros Ensemble. Composer Jarmo Saari approaches PIIRPAUKE territory with folklore elements.

I'm not an advanced XL connoisseur to evaluate Jukola against their other albums. Personally I'm not very moved by this music. It feels a bit dry and academic, despite its brave genre-crossing uniqueness. It may work better as cool background soundscape than as the object of concentrated listening. Some more emotion and/or liveliness to the game, thank you!

 Hobo by HOBO album cover Studio Album, 1975
3.70 | 14 ratings

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Hobo
Hobo Eclectic Prog

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

3 stars Another one-and-done band, a curse that afflicted many prog related acts who only blessed us with a single lonely album, Yugoslavian band Hobo, despite supporting the likes of Deep Purple, disappeared soon after releasing their one self-titled disc, and a strong collection of melodic 70's rock it was too. Despite the album being released in 1975, it had more in common with the proto-prog bands rather than offering full-blown progressive workouts, but that doesn't mean there's nothing to appreciate and enjoy with it's mix of jazz, blues and R&B with soft proggy touches. Perhaps the band were a little hesitant to fully commit to playing in an extended progressive rock style, but more likely it's that they were an adventurous rock band who simply wanted to tick as many boxes as possible, or were trying to actually work out what direction to head in while they were going along.

Musician Mato Dosan in particular, on keyboards and guitar, is a real standout on the album, offering a variety of progressive flourishes throughout. The frantic tempo of `Druzenje' is highlighted by his repetitive electric piano and spacey Moog runs with Sasa Cavric's thick murky bass bringing an almost Zeuhl intensity to this brief instrumental introduction that doesn't even run two minutes. `Prijatelju' opens as a mellow piano-led ballad over Boris Trubic's gentle congas, soothing yet confident lead vocals (no idea who is singing here, as four of the five members are all credited to vocals on the LP sleeve) before bursting to life in a furious up-tempo blast with searing Kansas/FM-styled electric violin from Josip Belamaric and phasing synth panning between the speakers within snappy time-changes. `Dijete' begins as a gradually building piano/violin duel that could have come from an early Curved Air album before settling into a gently jazzy vocal groover with a smoothly improvised middle that lets Mato's guitars take flight with some tasteful soloing. `Sretan Kraj' is a pleasing short mid-tempo pop/rocker that teases a jazzy piano send-off at the end only to rapidly fade out.

Conga and scratchy violin surges around `Raskrsce', a furious panning Moog race reprised several times and takes the place of a vocal chorus, with Mladin Garasic's attacking drumming holding it all together. Sadly what instrumentally holds promise through `Postajem Lud' - disorientating synth quirkiness and slinky bass grooves from Sasa Cavric - is ruined by some awful comical call-and-response female vocals from one of the fellas in the band! `Srebo' picks the quality up again and provides the strongest progressive rock moment on the disc, an eastern flavoured droning instrumental with downbeat piano, moody wah/wah guitars, a pounding staccato drumbeat that gradually builds in hypnotic urgency, humming synths with a lovely brief trilling Moog solo in the middle and moody wordless group sighs. Despite nice piano and violin throughout, `Ha-Re-Ho' is a somewhat annoying commercial piece with a repetitive and almost cringe-worthy gospel- like singalong chorus, but thankfully `Cuj Me' closes the album in a more somber and dramatically satisfying manner, a downbeat and gloomy piano/vocal ballad.

Several lost Yugloslavian prog-related albums have recently been given a series of reissues on both CD and LP, and with artists such as Oko, Kornelyans, Yu Grupa, Korni Grupa and more, there's really been some hidden gems to rediscover, this one no exception.`Hobo' makes for a very respectable addition to the collection of easy-going fans who are perfectly happy to unwind to well played, lightly-prog influenced rock, and the band should be proud of this fine little effort.

Three stars.

 Genesis Revisited : Live at The Royal Albert Hall by HACKETT, STEVE album cover Live, 2014
4.00 | 4 ratings

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Genesis Revisited : Live at The Royal Albert Hall
Steve Hackett Eclectic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

4 stars Return Of The Giant Hogweed

Steve Hackett's massively successful Genesis Revisited tour has now resulted in yet another live album and video following last year's Genesis Revisited: Live At Hammersmith. The present album was recorded in the Royal Albert Hall. (Phil Collins, Mike Rutherford, and Tony Banks should take note: classic Genesis can still sell out arenas of this size.) The set list draws exclusively from the Genesis albums to which Steve contributed: Nursery Cryme, Foxtrot, Selling England By The Pound, The Lamb Lies Down On Broadway, A Trick Of The Tail, and Wind And Wuthering. To be exact, precisely three songs from each of these six albums make up this impressive set list. However, out of the 18 tracks featured here no less than 13 were also present on Live At Hammersmith. Moreover, it is the same line-up with Roger King on keyboards, Gary O'toole on drums, Rob Townsend on sax and flute, Lee Pomeroy on bass, and Nad Sylvan on vocals. Even some of the guest performers are the same including a returning John Wetton (though he sings Firth Of Fifth here instead of Afterglow).

The considerable overlap with Live At Hammersmith raises some doubts about whether yet another live release from the same tour was really needed. In the light of this let's look at the differences. Out of the five tracks not also on Live At Hammersmith, by far the most interesting are Return Of The Giant Hogweed and Fountain Of Salmacis, both originally from Nursery Cryme. These songs are not often played live. (When I saw this show live in Copenhagen a little while ago they also played The Knife, but unfortunately this song is not present here.) Another interesting feature of Live At The Royal Albert Hall is the presence of Ray Wilson, the singer that Genesis hired for Calling All Stations in 1997 (some 20 years after Steve had left the band!). Wilson sings on The Carpet Crawlers and I Know What I Like.

In the end I must say that I do enjoy the present live album as much as Live At Hammersmith and I thus think the two deserve the same rating of four stars. Live At The Royal Albert Hall is a great live document in its own right, but it is probably only fanatics like me who will feel a great desire to have both of these live albums.

 Seres Humanos by KHARMINA BURANNA album cover Studio Album, 2012
3.77 | 11 ratings

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Seres Humanos
Kharmina Buranna Eclectic Prog

Review by MJAben

3 stars What a surprise this! I went into this album not expecting much, well, not knowing what to expect really. I'm not going to say that this is a brilliant album, most of what you hear here you have probably heard before but it's played so wonderfully and with such conviction that this almost doesn't matter.

Not every song is of the same caliber, Pastal Mental takes a while to get going (but is nice once it does), Sublime Muerte feels a bit out of place and 10:27 feels like it's struggling to find a place for itself.

But the other three songs are all absolutely fantastic, no complaints, gorgeous and intelligent music throughout here. The female vocals are of special note, they seem to the song Seres Humanos to see what I'm talking about.

The album is not without its flaws but the good definitely outweighs the bad here, a fine addition to anybody's collection.

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Eclectic Prog bands/artists list

Bands/Artists Country
16 DEADLY IMPROVS United States
17F Switzerland
4/3 DE TRIO France
8 DAYS IN APRIL Germany
A.C.T Sweden
ABRETE GANDUL Chile
ABSOLUTE ELSEWHERE United Kingdom
ABSURDCUS Romania
ACADEMIE OF FARSIDE Indonesia
ACINTYA France
ADVENT United States
AFFINITY United Kingdom
AKO DOMA Slovakia
AKRITAS Greece
AKT Italy
JEAN-PIERRE ALARCEN France
ALBATROS Germany
ALEXL Brazil
ALGERNON United States
ALLOMERUS Australia
ALON United States
ALPHA RALPHA France
ALQUILBENCIL Spain
ALQUIN Netherlands
ALTAIR Spain
ALTERNATIV QUARTET Romania
ALTERS Poland
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 PROLL Puerto Rico
ATHELSTONE Malta
ATLANTIDE France
AUDIENCE United Kingdom
AUDIO VISIONS United States
AUNT MARY Norway
AVE ROCK Argentina
AVIATOR United Kingdom
ÁVORA DI CARLLA Brazil
BAD ALCHEMY United States
VLADIMIR BADIROV Uzbekistan
BAG France
DAVID BAGSBY United States
BAKU LLAMA United States
FRANCK BALESTRACCI France
BARBARO Hungary
AL BASIM Iraq
BATABEAT Canada
BEAR IS DRIVING United States
BEARDFISH Sweden
ADRIAN BELEW United States
SERGIO BENCHIMOL Brazil
IL BERLIONE Japan
MICHAEL BERNIER United States
BIRDS AND BUILDINGS United States
BLOQUE Spain
THE BOB LAZAR STORY New Zealand
BOOTCUT Sweden
EMMANUEL BOOZ France
BORDERLINE SYNDROME Greece
EDUARDO BORT Spain
BRAINSTATIK United States
VYTAS BRENNER Venezuela
BRIGHTEYE BRISON Sweden
BUBBLEMATH United States
BUBU Argentina
JEAN-LOUIS BUCCHI France
BUDKA SUFLERA Poland
C & K VOCAL Czech Republic
CABEZAS DE CERA Mexico
CALLE DEBAUCHE United States
NEIL CAMPBELL COLLECTIVE United Kingdom
CANGACEIRO Chile
JOSE CARBALLIDO Spain
CARPE DIEM France
CARPET Germany
CARTOON Brazil
CASTLE FUSION Italy
CATAPILLA United Kingdom
CENTENAIRE France
CHAMELEON United States
CICCADA Greece
CIRCLES END Norway
CIRCUS Switzerland
CIRKUS United Kingdom
BARRY CLEVELAND United States
CLOUDS ON STRINGS United States
CMU United Kingdom
COLONEL CLAYPOOL'S BUCKET OF BERNIE BRAINS United States
CONSIDER THE SOURCE United States
THE COWBOYS FROM HELL Switzerland
CRIME IN CHOIR United States
CRÓ! Spain
THE CRYSTAL SUN United Kingdom
CULPEPER'S ORCHARD Denmark
CURVED AIR United Kingdom
CZAR United Kingdom
DAAL Italy
THE DAEDALUS SPIRIT ORCHESTRA France
DAGMÄHR Canada
DALTONIA Chile
DARK AETHER PROJECT United States
DAYS BETWEEN STATIONS United States
GUILLAUME DE LA PILIERE France
DEBOCO France
DIAGONAL United Kingdom
DICE Sweden
DIONYSOS Canada
DISCORDIA Finland
DISEN GAGE Russia
DISTINGUISHED PANEL OF EXPERTS Multi-National
DJAM KARET United States
JULIUS DOBOS Hungary
WILLIAM D. DRAKE United Kingdom
DREADNAUGHT United States
DREADNOUGHT United States
DRIFT United States
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