ECLECTIC PROG

Art. That's what this album is all about. I didn't have any idea of what to expect when i listened to this album the very first time. Of course, it was at first a weird experience. I hadn't heard before a band with this ideas, ideas that push boundaries in a wonderful way. I think also that this album certainly isn't for everyone, but i suggest that all people should at least give it one shot, cause it's an amazing experience. Now onto the album. The first song "Lemmings" starts with calm guitar, and slowly the organs and effects help to build a tension atmosphere, then an amazing sax riff takes control of the song, and with that also comes the first vocals from Hammill. I know many people certainly don't like his vocals, but i think they fit wonderfully, it gives the album a unique pace. The song varies so much with noises, dissonant parts, and some dark vocals, it all helps to enhance an almost hypnotic mood. The second song "Man-Erg" starts with some beautiful piano lines. I really love that melody. Here Hammill starts singing in a mellowish style, it creates a floating like effect, very nice. Then comes a very dissonant part with sax and guitar(from guest Fripp) and disturbing vocals by Hammill. I find this section extremely effective. Then the song changes into a slow pace again to finish reprising the first verses (Hammill singing the dissonant part into this section it's a wonderful touch). It closes with a unison. Nice And now we enter into the last song, a huge epic " A plague of Lighthouse Keepers." I won't describe this song part to part because I feel it's a complete unique experience on it's own. All I can say it's that this song changed dramatically my view on music. Emotional parts, dissonant parts, experimentation are the key here. One of the most progressive works I have ever listened. Highly Recommended (not for the faint of heart).

Closer and closer to Gentle Giant, closer and closer to masterpiece

I think Beardfish is one of these contemporary bands, that makes an improvement in form with every next release. There isn't exception with the release of Destined Solitaire. It's fresh, profound and really innovative. With Destined Solitaire Beardfish looks like Gentle Giant more and more, but without stealing themes and ideas. They just improve their own art rock style. I'm very attracted by some of the motifs on the album. Especially the bringing in of some themes from different genres (death growls on homonymous song, rap singing on In Real Life There Is No Algebra, frequent use of accordion), a lot of tempo changes, saturated sound, artistic vocals and many more. I'm surprised with the low interest in PA for reviewing this album after successful Sleeping in Traffic Part Two. Only 39 votes after 6 months of its release. In my opinion one of the bests of 2009 - 4,2 stars.

Highlights in Destined Solitaire:

1.Coup de Grâce. /flawless/

2.Destined Solitaire. /true masterpiece/

3.Where the Rain Comes In. /highly recommended eclectic song/

King Crimson - In the Wake of Poseidon (1970)

Every band can try to copy the King Crimson sound... except for King Crimson itself..?

Like VdGG King Crimson did two albums in this important year for progressive music. The first (Poseidon) had a formula based on their famous début, the second (Lizard) with a total new approach with a lot of jazz and avant-garde elements. After there big shot In the Court of the Crimson King, KC had to proof themselves as a band that was to stay. Robert Fripp must have though that he could copy the formula of side one of the debut and do some experimentation on side two of the record. The record eventually got bashed for this naive idea, but I don't think it's a good reason to bash an otherwise great record.

Pictures of a City has that psychedelic jazz-rock feel with the screaming guitar-parts and the many rhythmical technical parts in the middle sections. Some wind instrument complete the jazzy landscape to create the second best rocking' jazz track ever made. Cadance and Cascade reflects the gentle side of KC. The composition is as warm as I talk to the Wind, but fails to be as magical. Still a great ballad that makes me feel very peaceful. I love to play it on the piano myself. In the Wake of Poseidon the track is a symphonic masterpiece on it's own. Such great mellotrons, melodies and vocals. This track touches me and is as magical as it's blueprint Epitaph.

On side two a more interesting, inventive style is created. Cat Food is a KC song that doesn't sound like any other they made. It's a dark jazzy track with screamy rhythmical vocals and a 'gone wild' piano, the baseline is the focus point in the song. This is true progressive thinking! The Devil's Triangle is a dark mellotron symphony without any concessions to their melodic sound. It's dissonant with a marching rhythm section. This could have been used for a horror-movie! With the finally Piece - an End we do come to peace after the worrying previous track. The melodies are nice and gentle, but the recording is a bit shy. It should have had more volume.

Conclusion. Side one isn't very inventive, but side two brakes all the rules. That's inventive enough for me. By the way... if KC is bashed because of this, we could bash 90% of all neo-prog and other symphonic prog ass well. It's one of my favourite KC's and the quality of the compositions is very high. I will give this five stars without a moment of doubt.

King Crimson - Larks' Tongues in Aspic (1973)

The big dilemma...

The progress Robert Fripp's Crimson made in just four years is unbelievable! First they've set the standard for symphonic prog, secondly they show how to use jazz influences in prog on Lizard. Now the time has come to make all the heavy metal bands of the seventies look like they are shy neighbourhood-friendly bands. This album has a lot of progressive elements; the first trash-metal riff, progressive music with a violin that play's solo parts, a strange guy playing a strange assortment of percussions and totally new harmonic interpretations of rock. Only for this varied combination of inventions this album should be listened to by every listener of progressive music.

Having that said, I don't really like this album very much. The Larks' Tongues in Aspic parts one and two are very good and ground-braking and the gentle song Exiles is worthwhile, but I can't get a kick out of the long violin solo's on side one of the record that seems to nowhere, I find Easy Money to be a bit simple, almost punk-like and can't appreciate the Talking Drum at all. It's just too boring! Some of the material presented is very important, but not every part is very interesting for me on this album. It's not like I have an urge to listen to it, I must talk myself into putting it on.

And there's a big dilemma: I recognise this album as being one of the founding fathers of progressive music, but I don't like it very much. It isn't that I didn't listen to it enough, but I keep getting tired on the middle section of side one and I really dislike the boredom of Talking Drum and partly of Easy Money.

Conclusion. I will give it three stars, for it just 'good' for me. This might have been more attractive for me if they would have replaced some repetitive material of both sided with more melodic structured compositions. Furthermore I would like to say again: This is essential listening!

Yes! Crazy, that's the word that fits here perfectly. Because from beginning to end, this is big ride of insanity, even it's quite pleasant one. Quite a lot. Because we're talking about third in a row of half crazy / half insane (remember, I see these words as synonyms) album here, intended to be just for the pure beauty of it. And again, things that are melodic are tended to be rated lowly, because of pop leaning. No way, I feel absolutely calm here, even more than with their previous one. And having emphasis on melodies isn't crime, as a lot of people are trying to persuade us. Let's unite and join our group against these prejudices, we're on every social site like last.fm, facebook, myspace (just kidding, don't worry).

5(+), but I was serious about melody factor here. It's alfa-omega here, it stands and falls with it. By my opinion, these intelligent and mature tunes are pleasant for soul and interesting enough to be listened by proggers. It's well wrapped present, in a shiny paper with flitters and these sh_ts, but inside, it's even better. Much better. It's unexplainable, but be sure that this had hit me straight to the heart.

"Si Partie I" is an amazing album from one of the most creative, eclectic bands of these days. Fresh sounds and complex instrumentals make this album to a truly highlight of French progressive movement. Although I don't understand the lyrics, I like the French language and I think it fits perfect in progressive rock, Vocals in French are theatrical, melodic and sentimental, what we can hear, for example, on so appreciated ?Si on avait besoin d'une cinquième saison" This album full of emotional vocal parts is still convincing me to discover another bands from France and Nemo is truly worth of attention on this note.

What we have on the record are five strong tracks and classic structure with two epics, one on the beginning and one on the end of the album. I 'm more into the first one "Douce Mort". A magnificent beginning and numerous tempo changes make this track very dramatic. There are also a quite a few catchy moments on the record as on the end of "Douce Mort".

What makes the album one-of-a-kind is the vintage feeling what I really get only by releases from the seventies. It also could be called eclectic feeling, because it's somehow characteristic for bands in this genre. "Si Partie 1" doesn't lack of experimental parts and includes numerous innovative instrumentals. I consider the last track as the most creative relating to instrumental work. "Apprentis Sorciers" is a bit harder to get into, but it's truly a source of instrumental ideas. As opposed to that, the most remarkable track is for sure the title track "Si", particularly for expressive vocals and unique, dramatic composition. This release from Nemo is really worth listening and together with the second part a perfect introduction to this band.

Indeed, their debut is progressive metal, but let me add, without progressive metal. Quite confusing, I know, but this all I want to say is that this is not normal PM. It's big element is humour, playfulness and melody, so for me, PM is just a form in which all these sounds takes shape. Importance lies elsewhere.

In contrast with their first album, this is less prog. But melodic line basically remains, but metal is just disguise here. I hope that there are also pop elements, but it's all hidden behind prog. And, well, from giving 5 star prevents me that all this, even present in next album is focused in it. Here, it's all thrown into one big pot and mixed together with something that results in quite good soup. But not as good as their later release.

4(+) ladies and gentlemen, but feel free to surf on these waves of joy.

Sweden, again. This country is decreasing the value of my 5-star ratings (just joke, this country is proving very prog at all). This one is another guilty pleasure, I feel very good when listening this, but yet I know that maybe I shouldn't. Nevermind, the feeling is the most important thing for me, let's leave all these negative (and unfair thoughts) behind and visit Sweden once again (not last visit I hope ... no, I know).

It's melodic. A lot, but not so much that it would make most people feel bad (every time, there will be someone complaining. Hopefully, because they present different point of view, as Prog-Jester keeps telling me from time to time. And that's good, because I keep forgetting this important fact, also from time to time). It's sometimes hard, like a metal, but in general, it doesn't induct feeling like listening something hard/heavy. I guess that melody element is softening it a lot. Vocals are very interesting, but while listening for example Hippest Flop I feel strange. Good, but again, it's perfect example of these guilty pleasures. Is it good to feel good, is it appropriate ? Well, let's assume that it is, for good sake of everyone. So my suggestion is that we should just enjoy it. That's biggest advantage of this record, but other parts are here too. These that makes goof prog album. Try to watch (hear) bass lines here (you'll be rewarded, don't worry), strings arrangement or these things.

5(-), remember, guilty pleasure ? But it's good to listen mostly these album you're sure you'll like.

If you think progressive as an attitude to the music, surely this is not the first progressive rock album. The Soft Machine, Moody Blues, The Family, The Nice, Pink Floyd had truly progressive approach to rock music before, but if think at all the stereotype of progressive rock, In the court of the crimson king is the first 100% prog album in rock history. Anyway, first or no first prog album is surely one the best album in rock history a masterpiece that everybody should own. 21st century is an incredible opener for this album, a song in advance of 30 years in rock history and in the following tracks KC codify the symphonic prog rock.

The second album brings more experimental side of EAST OF EDEN. Free-form jazz improvisations and electronic tape manipulations are omnipresent so that they sometimes suffocate the album's consistency. Diversity in style and eclecticism are fine but only if they serve the purpose and I think it is not always the case with "Snafu". On the other hand one must applaud the band's uncompromising attitude and "pushing the boundaries" methodology, which were at the core of "progressive" movement in the early 1970s.

Central-East European and Oriental/Arabic folk elements were important inspiration to this album, even more than it was the case with the debut. Although they are dispersed and inter-mingled across several different multi-part tracks, these are perhaps the best moments on "Snafu". "Marcus Junior" with its klezmer-like danceable feel and wonderful woodwinds as leading instruments was even a minor hit, published as a B-side of the 7" single "Jig-a-Jig" (the band's most popular track, included on some "Snafu" CD re- issues as a bonus). "Ramadhan", "Gum Arabic" and "Habibi Baby" contain obvious Arabic/Middle Eastern snippets, bringing them close to (and anticipating) the work of EMBRYO or other early "World Fusion" pioneers, such as OREGON. There are even some noisy elements that I could recognize from FAUST's phenomenal "clear vinyl" debut from the following 1971 year! We cannot say that EAST OF EDEN were not aware of the contemporary progressive music!

If only the whole album was produced with a clearer sense of unity among different tracks or if there were more compositions like excellent "Nymphenburger", "Snafu" would deserve even a better rating. Still, in spite of my feeling that it is less strong work then the debut album "Mercator Projected", due to its experimental and avant-guarde nature I cannot give it simply a 3 star rating.

PERSONAL RATING: 3,5/5

P.A. RATING: 4/5