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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 07/10/2016

Rob (Epignosis)
Sagi (Sagichim)
Logan (thellama73)
Kevin (Magnum Vaeltajas)

Eclectic Prog Top Albums


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

4.61 | 3534 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.53 | 2779 ratings
RED
King Crimson
4.49 | 1659 ratings
GODBLUFF
Van Der Graaf Generator
4.41 | 2362 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.41 | 1771 ratings
PAWN HEARTS
Van Der Graaf Generator
4.35 | 1376 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1343 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.33 | 693 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.29 | 1575 ratings
OCTOPUS
Gentle Giant
4.29 | 1275 ratings
THE POWER AND THE GLORY
Gentle Giant
4.29 | 1223 ratings
STILL LIFE
Van Der Graaf Generator
4.28 | 1225 ratings
FREE HAND
Gentle Giant
4.24 | 1232 ratings
ACQUIRING THE TASTE
Gentle Giant
4.22 | 1135 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.27 | 431 ratings
ANABELAS
Bubu
4.27 | 347 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.26 | 378 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.20 | 622 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.16 | 708 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.31 | 191 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
SENNI ESKELINEN & STRINGPURÉE BAND
Stringpurée Band
INTERPOSE+
Interpose+
MARIONETKI
Niemen, CzesŁaw

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Latest Eclectic Prog Music Reviews


 Three Friends by GENTLE GIANT album cover Studio Album, 1972
4.11 | 1026 ratings

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Three Friends
Gentle Giant Eclectic Prog

Review by Modrigue
Prog Reviewer

4 stars Three reasons to love this album

Not often cited by fans, "Three Friends" yet remains one of Shulman brothers and co.'s best opuses as well as their most accessible. First concept-album and first auto-production from the band, the lyrics narrate the story of three childhood friends who will later belong to different social class and cease to understand each other's way of life. A track is dedicated to each character: the worker, the painter and the white collar. Less adventurous and demanding than its predecessor, "Acquiring the Taste", this third effort includes shorter compositions with more catchy melodies. This stylistic direction might not always satisfy complex and always changing songs hardcore fans, however this time the musicians somehow take a break by proposing very pleasant and inspired spacey symphonic progressive rock.

Alternating rocking passages and mysterious aquatic keyboards sonorities, "Prologue" is quite an efficient opener. With its modified vibraphone opening, the nice and strange "Schooldays" is pure gentle giant-ish, to then turn into a calm jazzy piano tune. Now come the three songs of the friends. "Working All Day" is the worker's song and may be my least favorite of the disc. A saxophone rock piece with a cool Hammond organ solo. Not bad but fails a little to really lift off.

The painter's song, "Peel The Paint", is rather misleading. Starting discretely, the music becomes suddenly raging and heavy. There are even unexpected furious Hendrixian guitar sections! Wow! Are we still listening to GENTLE GIANT here? Surprisingly, the record concludes with its two best tracks. "Mister Class And Quality?" is the white collar's song. This powerful composition possesses catchy melodies and great instrumental sections. It rocks! The title track simply finishes the album in apotheosis. Quite atypical in the band's discography, it features a religious- like chorus offering a particular ethereal and contemplative ambiance, like if you were about to enter the heaven. Superb!

As promised, here are the three reasons to love these three friends. First, the music remains sophisticated, playful, featuring many changes, while never going too complex or elitist. Second, there are nice rocking passages and catchy melodies. Finally, the particular aquatic organ sound and floating chorus displays a specific floating atmosphere, which is rather singular for the band. Although the middle of the album may contain weaker moments, this is probably my favorite opus from the Shulman brothers and co.

A bit apart considering GENTLE GIANT's other releases, "Three Friends" is their spaciest record, as well as one of their most accessible. The one to start with for newcomers, with their self-titled debut, and an essential listen for symphonic prog rock fans!

 After the Flood: At The BBC 1968 - 1977 by VAN DER GRAAF GENERATOR album cover Live, 2015
4.67 | 18 ratings

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

Review by javajeff

5 stars You get a real sense of how long ago Van Der Graaf Generator started with recordings going back to 1968. Considering I was born a year earlier, I actually have not had a chance to appreciate their body of work until my prog loving adulthood. The double disc has some of the best performances that you will ever hear from the band. It is so unfortunate that a few tracks suffer from poor sound quality, but they really improve as the years move along. Van Der Graaf Generator was so far ahead of its time, and this is an excellent showcase of their early catalog. I would call After the Flood an absolutely essential release for any fan of the band, and a non-studio album must purchase along with Vital.
 Stories by BRIGHTEYE BRISON album cover Studio Album, 2006
3.48 | 26 ratings

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Stories
Brighteye Brison Eclectic Prog

Review by maryes

4 stars 4,5 stars really !!! I quote BRIGHTEYE BRISON like one of the best and more originals bands which emerges in progressive rock scenery in 21st Century. Best because they are fantastic musicians and originals due to produce a excellent music in terms of arrangements including in their themes, a good dose of "filigrees"... ( as expected by a good prog artist) but, producing a sound very accessible even to non-prog fans ( how already said SPECIAL COLLABORATOR Honorary Collaborator apps79 in their review#193937, Posted Tuesday, December 16, 2008) and I make the same advice - in spite be "more accessible" isn't a pop music using prog elements !!! The album join together intricate vocals parts like in track 2 "Patterns" with a "nasal-choir" starting 1 min 08 sec in duet with electric guitar melody and again starting at 3 min 19 sec when appear a intermission with acoustic-piano/vocal/electric guitar ( this last seems to me very close to Steve Howe's use of Danelectro Coral Sitar guitar but, I'm not sure). In track 3 "Isolation" in a brief passage the electric guitar shows the same timbre as in the previous track , but the highlights comes by the keyboards variety types ( including hammond-organ, acoustic-piano, synthesizers etc... ) . The track 4 "The Battle of Brighteye Brison" mix symphonic/heavy prog (one of better moments in the album ). The track 6 "Late" is a almost dancing theme with remarkable guitar solo and hypnotic acoustic-piano ( other great moment ). In track 8 "All love" brings a nylon-guitar accompaniment with sax and trumpet parts ! In resume this album is very close to a masterpiece and my rate is 4 stars with a great applause !!!
 Terreno Baldio by TERRENO BALDIO album cover Studio Album, 1976
4.02 | 56 ratings

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Terreno Baldio
Terreno Baldio Eclectic Prog

Review by crimson_smoog

4 stars Third review!

Introduction: There was Mutantes, there was O Terço and there was one of the less known of them all, Terreno Baldio. A band that not only sounds similar with Gentle Giant, but also have great musicianship to be compared with them. Besides the unfavorable environment (brazilian dictatorship with high protectionism) they reached the sky which "the mountains come out and stand there". In other words, they created a progressive rock that worth a listen.

Album (General) - Terreno Baldio: I truly don't know how did anyone can accomplish something like this in 4-track recording, impressive. And it was Allan Kraus (former Mutantes) that did the sound engineering. In 1976, 16-track recording was pratically the default ("Tales from Topographic Oceans", in 1973, used the first 24-track machine). The album art is great, really proggy, by the way, one of the reasons of the album's delay to 1976.

Songs:

Passaro Azul - Like many prog songs, it begins with a rhythm played by few instruments, like a xylophone in this case, and the number of them rises to create the intense moment. In the song, a electric guitar in a blues style enters. And well, the lyrics is just "a blue bird that flies high". "High" i think (laughs), because psychedelic is the main characteristic of Passaro Azul. Good vocals.

Loucuras de Amor - Good Hammond's sounds. Vocals and lyrics are regular. "I will love you one more time". A little too romantic. The weakest of the album.

Despertar - Great funky/jazz groove of the Joao Ascencao's bass. The song gets intense in the middle: "And then came the time to the jump to the air", and the Roberto Lazzarini's hammond accompanies the vocals in a great way. Like the song's title says (Awakening) i think the album turns better and better from here.

Agua que corre - The song starts literally with the "water that flows" (song's title). Experimental. Keyboards's arrangement produces a creepy vibe. Here Joăo Kurk's vocals reminds more of Sergio Dias from Mutantes: "You are like the water that runs searching your place to stop". Psychedelic.

A Volta - The guitar riff from the beginning seems like it's from a Gentle Gentle's song (too obvious, eh?) and soon after a Samba percussion starts. "Bird that flies searching a warm place". Wow, another song about birds (drugs? fetish? laughs). It must connect with Passaro Azul in some way. Hammond works great in the song.

Quando as Coisas Ganham Vida - One of the moments that i most love in music: Instrument's dialogues. Someone plays one riff, stops and other musician plays another riff. Lyrics are Yes-esque: "The day painted to clean the stars and the demons".

Este e o Lugar - Longest and the best track. The most Gentle Giant-ish too mainly because of the vocals and electric guitar. Great sounds from the Moog. "This is the place to you to dump what is left". What this place is? A wasteland (Band's name).

Grite - Well composed. The harmony reminds me of baroque music. "In the wasteland you can shout". And the vocals fades out in a peculiar way.

I will give 4 stars but i think i need more time to absorb more of this album to a final rating.

 Vital by VAN DER GRAAF GENERATOR album cover Live, 1978
3.77 | 227 ratings

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Vital
Van Der Graaf Generator Eclectic Prog

Review by javajeff

5 stars Vital is absolutely vital for any Van Der Graaf Generator fan. Fans should be diving into the live stuff to increase their collections, so this should already be in there. What I really like about Vital is that it is less like anything studio related, and more like a raw concert with the great musicianship and vocal performances you would expect. If you are new to the group, this is not a place to start. You are better off getting familiar with Pawn Hearts, Godbluff, Still Life, and the rest of their amazing studio albums. Once you have gone that route, this album will please as an amazing live offering from an early lineup. I would not call this essential to any progressive rock fan since Van Der Graaf Generator is an acquired taste, but a must buy for any fan of the group.
 Metamorphosis by AXON-NEURON album cover Studio Album, 2016
4.78 | 8 ratings

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Metamorphosis
Axon-Neuron Eclectic Prog

Review by BRIAN STEFFENSEN

5 stars Wow! After just listening to latest, very disappointing Pineapple Thief's effort. This is a wonderful return to real progressive rock. I agree with my fellow reviewer, this 3rd album by Axon-Neouron is a masterpiece! The overwhelming wash of melody, musicianship and incredible composition is stunning. In my opinion this material is more in the 'Canterbury' genre with vocals and arrangements that carry on the fine tradition of Hatfield and the North and National Health. There is also a strong undercurrent of Gentle Giant eclectic ideas and arrangement. There is a lot in common with recent albums by the equally inventive and incredibly talented Thieves Kitchen. I will leave it to my other learned reviews to breakdown the individual tracks, but for those interested in new and incredibly inventive progressive rock/jazz/fusion/RIO this album is for you, do not delay in purchasing this wonderful album, you will not regret it. Axon-Neuton will delight and restore anyone's confidence that while some bands look to more commercial and/or 'metal' pastures, others, like the brilliant Axon-Neuron are still providing us with wonderful, exciting progressive rock (in the true sense of the word)
 The Power And The Glory by GENTLE GIANT album cover Studio Album, 1974
4.29 | 1275 ratings

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The Power And The Glory
Gentle Giant Eclectic Prog

Review by poito

4 stars 4.5 This album meant a strong change of direction for the band. In previous work GG used to craft 6-7 min long themes spotted with multiple experimental and dissonant sounds, apparently never caring about the overall taste of the tracks. In this, all but two of the tracks are 3-4 min, the experimental imagery gets limited to a few successful bits harvested in previous work (that is, no experimental any more), and a rocker Yessistic style gets dominant. For the first time, the themes appear compact, and the album too appears to be uniformly oriented. The keys by Kerry Minnear are superb, growing at every new release. The voices are kind of unusual, more mainstream, but it has an undefined not very pleasant timbre, a step back in this section. I particularly like the combination of bass and keys: the bass takes the lead in some themes, like the great opening Proclamation. Guitars are somewhat obscured, by the way. It seems departure of brother founder Philip is to be blamed for many of these changes, but the result is excellent. In my view, they were not that convincing when they tried unsuccessfully to rival the truly experimental bands like King Crimson, Soft Machine and Caravan or Yes. This sound is more believable, more natural.
 For You The Old Women by MIRTHRANDIR album cover Studio Album, 1976
3.92 | 80 ratings

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For You The Old Women
Mirthrandir Eclectic Prog

Review by Warthur
Prog Reviewer

4 stars Mirthrandir (their name seems to be a misspelling or pun based on "Mithrandir", one of Gandalf's various pseudonyms in The Lord of the Rings) were one of those one-album wonder bands that 1970s prog was littered with, and to my ears the reason for that is sadly a little obvious: namely, they put their album out just a shade too late, unleashing it on the world after the prog wave had peaked and audiences were already looking to new sounds.

For You the Old Women is an album steeped in the sort of sounds that Yes and Genesis were exploring in the early 1970s, and most prog fans will enjoy rediscovering this stuff and find it decidedly pleasing - but what for us in 2016 is a lost treasure ripe for a new appraisal must have felt in 1976 like a band trying desperately to climb onto a bandwagon that had already driven off without them. It's a shame, because John Vislocky III's capable vocals and interesting use of trumpet adds a novel spin to the symphonic-leaning prog sound of the group which could have nicely set them apart, had they not come into a music scene already cluttered with the wreckage of risen and fallen bands.

 Metamorphosis by AXON-NEURON album cover Studio Album, 2016
4.78 | 8 ratings

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Metamorphosis
Axon-Neuron Eclectic Prog

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars Classic symphonic prog of the first order from Ohio's Jeremey Poparad and company, they possess a sound somewhere in the same ballpark with Germany's FREQUENCY DRIFT, Sweden's INTROITUS and Norway's WHITE WILLOW due in part to the presence of exceptional female lead vocalist in Amanda Rankin--though her singing style is more akin to that of THIEVES' KITCHEN's Amy DARBY. The guitar sound is a bit deeper, djenty--probably due to the presence of composer/producer Jeremey Poparad's 9-string electric guitar and full, deep bass sound. All songs are incredibly well constructed, recorded, performed and possess wonderful melodic and harmonic sensibilities.

CD1 1. "Prelude I" (6:28) is a classical music composition performed by acoustic orchestral instruments. (9/10)

2. "Euclid" (4:31) opens with harp-like arpeggi before a metal band orients us in a different direction. Djenty yet melodic, we are quickly introduced to the Amy DARBY-like vocal stylings of singer Amanda Rankin. The song breaks into several sections, though all continue to revolve around variations of the central arpeggiated chord progression from the intro. Brilliant! (9/10)

3. "Suspicions" (5:48) again structures itself around variations on a gentle four-chord jazz progression that is established in the opening--which is beautiful and hypnotic. Amanda's vocals here are her first attempt to get grungy--which doesn't work very well. Her voice is too pure and crystalline to rough up. Still, the song has many memorable and haunting elements that make it rise above the mis-matched vocal choices. Nice drumming and keyboard work on this one. (9/10)

4. "Shattered" (5:58) opens with plucked bass and upper octave piano play setting up for Amanda's delicate vocal. The song shifts into second gear at the one minute mark, and then into third with full band and orchestral instruments shortly thereafter. Nice jazz guitar leads throughout the song. The arpeggiated piano chord progression is quite lovely, quite engaging. Amanda's melody line, as well. At 3:20 things shift into a heavier gear. Nice! I find realizing that I wish Amanda's vocal had been mixed differently in the sonic field--more full and slightly forward. Nice electric guitar soli at the end of the fifth minute. This could be a masterpiece! (9/10)

5. "Koan" (3:42) opens with some nice acoustic guitar picking, over which Amanda begins singing in her upper registers. Quite lovely. As the full band and orchestral instruments join in I am definitely feeling the genius of this "big band" approach. This is a classy old-time jazz song with some modern instrumental twists. In fact, it is the orchestral strings and not the vintage and modern rock/jazz instruments that steal the show on this one. One of my favorites! (10/10)

6. "Eyes" (6:04) for the first two minutes contains some trip-hoppy drum sequences playing beneath the more constant presence of some floating plucked guitar chords and Amanda's singing. Then the music breaks into a more jazz-metal flow with lots of picking, plucking of strings while Amanda continues doing her Amy DARBY thing. At 4:00 the weave begins to sound like a DEVY TOWNSEND wall while Amanda's now treated voice falls a little back in the mix. Dreamy! At 5:00 things return briefly to the more dynamic, voice forward sound, before falling back into the dreamy style to the song's end. (9/10)

7. "Erasure" (5:54) opens as a duet with Jeremey's picked electric guitar and Amanda's voice. At the one minute mark the song kicks into a more poppy, almost Latino style while Amanda continues her story telling in and interesting alternating middle and low voice style. The instrumental portion of the third minute finds a much more jazzy Latin-like style with the use of several more complicated time signatures. The final minute of guitar weaving sounds again like a milder, less processed version of DEVIN TOWNSEND. (9/10)

8. "Postlude I" (7:48) opens with synth strings and orchestra instruments playing a beautiful stop-and-go, flow- between-octaves song. Glockenspiel and woodwinds take the leads during the first two minutes, but then low range winds take over before oboe and violins take their turns. In the fourth minute French horn horn-led horn section next get their say. Bassoons, flutes, and clarinets get a turn around the five minute mark. Beautiful melodies and harmonies are presented and woven in and out of simple and many-layered weaves throughout the course of this gorgeous piece of music. (10/10)

Using the now institutional Fishermetrics, the first CD with a total time of 46:13 is alone worthy of the "masterpiece" status.

CD2 1. "Prelude II" (7:25) continues the previous disc's pattern by opening with a composition that is composed and performed by a full orchestra. Percussion and pulsing lower strings notes establish the almost PHILLIP GLASS foundation over which violins and woodwinds play their weave of melodies. A more Baroque sound establishes itself in the third minute before making way for a more theatric, liturgical sparsely instrumented sound around 3:30. AT 4:20 we are returned to the more modern sounds and structures of the opening. It reminds me of NORTH SEA RADIO ORCHESTRA's "Berliner Luft" or "Mitte der Welt." Beautiful piece! (10/10) 2. "Silence" (7:23) opens with warmly picked electric guitar with accompaniment of trilling strings. The melody established feels quite theatric--as if we are getting ready to see an emotional love scene from Brigadoon or The King and I. Amanda's entry and presence confirms this as she gives us the warmest, most emotional performance of the album (thus far). The Post Rock-like drumming and full strings accompaniment are highlights, again. The piano solo in the fourth minute is too cheezy--over the top. Luckily Amanda's stunning performance helps us to quickly forget this. In my opinion, this is the first song in which the instrumental soli have negatively affected the overall outcome of the song, one in which the vocal could have been left to more sparse accompaniment. Amazing performance, Amanda. Amazing orchestral arrangement, Jeremey. Maybe that's all you should have concentrated on. (9/10) 3. "Kronos" (7:35) is my favorite song on the album. It has a WHITE WILLOW-FREQUENCY DRIFT like feel to it with Kashikura TAKASHI (TOE)-like drumming, CHICK COREA-like keyboard work, James Bond murder-mystery-like orchestration, and Amanda Rankin's beautiful vocal work (which, again, I find myself wishing were mixed more prominently into the soundscape). (10/10)

4. "Summit" (8:00) has the musical feel of a good OCEANSIZE song. This may be the best progressive rock song on the album. The guitar and bass interplay is remarkable for the precision of their 'conversations'. Neither the lyric nor the vocal add much; this could've been a great instrumental. (9/10)

5. "Keepsakes" (6:40) opens with some delicate percussion play into which a few sparse keyboard and guitar noises and/or chords are mixed. A delicate, slow, breathy vocal by Amanda Rankin ensues which is mirrored, note-for- note, by a heavily chorused lead electric guitar. Crazed jazzy electric piano play is going on beneath. Brilliant song! So unique and unusual! Psychedelic. On display here is yet more of diversely creative genius of everyone of these musicians and songwriters. Amazing! (10/10)

6. "Kafka" (7:43) is the only song that really doesn't work for me--and this is true on multiple levels. There are so many things going on, so many different styles and sounds, and, for some reason, they just don't gel as well as one would hope. A bit like a Dan Britton (CEREBUS EFFECT, DELUGE GRANDER, BIRDS & BUILDINGS, ALL OVER EVERYWHERE) song: Proggy but a little too esoteric. (7/10)

7. "Eulogy" (4:53) gets the prog back on track with a nice prog ballad in the Bill GILLHAM/CIRRUS BAY style. (9/10)

8. "Postlude II" (8:13) closes the second album out with another classical piece. Performed by orchestra, this one opens in a kind of DELIUS/ELGAR/BRITTEN pastoral style before detouring into a full-on blues-rock dirge--a folky version of a Clapton song, perhaps. Beautiful metaphor for the stylistic melange that is the entirety of this beautiful album. Well done, Ohio! (Nice vocal, Amanda! Nice guitar lead, Ryan! Amazing composition, Jeremey!) (10/10)

A stunningly original and mature album. I consider this a veritable masterpiece of eclectic and/or symphonic progressive rock and yet I can see where this band and its composer/producer have room to grow. Can't wait to see what they bring in the future!

Without question this is a five star album; a masterpiece of progressive rock music.

 In A Glass House by GENTLE GIANT album cover Studio Album, 1973
4.35 | 1376 ratings

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In A Glass House
Gentle Giant Eclectic Prog

Review by poito

3 stars The GG keeps on the same track initiated in OCTOPUS, experimenting and composing at 50-50. In those years, an immense amount of similar music was being released and their contribution does not stick out as before. The experimental side begins to sound worn-out; it is easier to recognize fragments derived from King Crimson or Yes with whom they appear to rival in uneven suicide battle in some tracks (Way of Life). The voices are less surprising and sound a bit tired. The Gregorian chant formula does not seem to work anymore and it blends with rocker singing in impossible combination. The composition was still notable, but they recreate more in the use of an infinite number of instruments that follow one after another in crazy succession, while they disregard somewhat the compactness of the theme, although they never cared much about this. There are brilliant moments, but not brilliant themes. It is difficult to follow the music; unless you are a hardcore fan, you'll forget about every note after the tracks end. The more recommendable themes for a general audience are the opening and closing ones, The Runaway, and In a Glass House, this in a rocking style interrupted several times for nailing bits of whatever they had in mind. It's worth mentioning also the title Experience, but better in the live version that you may get in remastered copies; playing live limits quite their use/abuse of infinite instruments and they concentrate on the theme itself, which then appears better crafted.
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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
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
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
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
EARTH SIZE DIAMONDS United States
EAST OF EDEN United Kingdom
ECHOES France
EDENSONG United States
EFECTO Chile
EKSEPTION Netherlands
ELEKTRYK BESTIA United States
EMPTY SPACE ORCHESTRA United States
EPIDERMIS Germany
ERE G Canada
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