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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 20/06/2017

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

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 | 3764 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.54 | 2969 ratings
RED
King Crimson
4.48 | 1805 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 2533 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.42 | 1915 ratings
PAWN HEARTS
Van Der Graaf Generator
4.36 | 1477 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1446 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.30 | 1375 ratings
THE POWER AND THE GLORY
Gentle Giant
4.29 | 1698 ratings
OCTOPUS
Gentle Giant
4.29 | 1329 ratings
STILL LIFE
Van Der Graaf Generator
4.31 | 742 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.28 | 1320 ratings
FREE HAND
Gentle Giant
4.25 | 1329 ratings
ACQUIRING THE TASTE
Gentle Giant
4.23 | 1240 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.27 | 483 ratings
ANABELAS
Bubu
4.27 | 432 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.26 | 373 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.20 | 651 ratings
SLEEPING IN TRAFFIC - PART TWO
Beardfish
4.15 | 768 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.12 | 1901 ratings
LIZARD
King Crimson

Eclectic Prog overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Eclectic Prog experts team

SENNI ESKELINEN & STRINGPURÉE BAND
Stringpurée Band
KRYWAN, KRYWAN
Skaldowie
DADARUHI
Replikas
ZEALOTRY STERBLICHEN SCHIZOPHRENIA
Seamus

Latest Eclectic Prog Music Reviews


 Live'71 by MOUTH album cover Live, 2017
3.00 | 1 ratings

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Live'71
Mouth Eclectic Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

— First review of this album —
3 stars Welcome to everybody who is keen on following courageous live music expeditions. But attention, transposed numbers! Though it may sound to you as such, not really a live take from 1971. Yeah, recently recorded at the BluNoise Fest instead, this comes rough and elemental. Complementing to the band's new corporate design in any case on the other hand. Including current bass player Gerald Kirsch here we have three motivated musicians on the stage. A little differing outfit as known from the recent studio recordings, where they were a duo more or less.

Most important, head Christian Koller is acting in multitasking mode on this occasion. That means continuously alternating between keyboards and guitar, by simultaniously performing some special vocal art on top of it. They are starting with the obvious, the centerpiece. While offering nearly the complete Vortex suite of course, their excellent psych-kraut follower album released last year, which sounds that blatantly vintage. It doesn't take long and you will know, especially Chris gives all his blood, sweat and tears, in German we would say 'die Sau rauslassen'.

A compressed 'Rhizome' medley is following and they are closing with the wild and furious On The Boat and the skilful Master Volume's Voice, a standard track concerning every gig since years. Hey, this might be something polarizing, just like a matter of get in or get out! Preferably to celebrate in front of the stage, by drinking or smoking this and that ... wow, somewhat reminds me of those adventurous Vibravoid gigs I already was able to attend. As for that, being at home, having a choice, I usually do prefer listening to the Vortex studio version. Nevertheless this a recommended album for sure, worth it to be checked out on their bandcamp page - 3.5 stars.

 The Least We Can Do Is Wave To Each Other by VAN DER GRAAF GENERATOR album cover Studio Album, 1970
4.05 | 917 ratings

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The Least We Can Do Is Wave To Each Other
Van Der Graaf Generator Eclectic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nş 147

'The Least We Can Do Is Wave To Each Other' is the second studio album of one of the most original British progressive rock bands of the 70's, Van Der Graaf Generator, and was released in 1970. Although it can be considered the second official studio album of the band, it's, in a certain way, the first proper album of the group. This happened because their previous debut studio album, 'The Aerosol Grey Machine' should have been released as a solo album of Peter Hammill, but due to a deal with the record company. It was released under the name of Van Der Graaf Generator.

'The Least We Can Do Is Wave To Each Other' was recorded at Trident studios in London in December of 1969 and all songs were written by Hammill with the exception of 'Out Of My Book' which was written by Hammill and David Jackson, and Hugh Banton wrote the cello parts on 'Refugees'.

The line up of the album is Peter Hammill (vocals, acoustic guitar and piano on 'Refugees'), Hugh Banton (backing vocals, piano and organ), Nick Potter (bass guitar and electric guitar), Guy Evans (drums and percussion) and David Jackson (backing vocals and flute, tenor and alto saxophones).

The title of the album was based on a phrase taken from John Minton who was a British painter and an illustrator of landscapes, portraits, and figures, as well a theatrical designer: 'We're all awash in a sea of blood, and the least we can do is wave to each other'.

With this album, the band established their style and it sounds more impressive than the first one, probably caused by Jackson, who joined in 1969. The songs have more progressive influences and the overall sound is excellent. Drum section is very good and Banton organ is also awesome. Guitar parts are almost simple but this doesn't matter because piano, organ and sax replace it. Very strange and fantastic are sax parts. The way Jackson plays the instrument is innovative. Like in all other albums, the lyrics are wonderful. Despite Hammill has a very peculiar and strange voice, he can use it in an awesome way. The changes of tone from loud to silent, from high to low makes his vocals intensive.

'The Least We Can Do Is Wave To Each Other' has six tracks. The first track 'Darkness (11/11)' is a great opener for the album and is also one of the best songs. This is a song dominated by the continued presence of the keyboards of Banton and by a very good and strong bass line. It's the song where we can hear, for the first time, the incredible and unique sound of the saxophones of Jackson. This is a great track. The second track 'Refugees' is the most sentimental moment on the album. This is a very beautiful song, very melodic and peaceful with nice flute by Jackson. It's a song that reminds me very much 'Running Back', the third track of their debut album 'The Aerosol Grey Machine'. This is one of the most beautiful songs written by Hammill. The third track 'White Hammer' is an intense dark song about the torture and the crimes of the Inquisition in the fifteenth century. It's a song dominated by powerful saxophone and great keyboard works with good dark lyrics. The music in the end is very aggressive, dissonant and disturbing, providing us a dramatic final. The fourth track 'Whatever Would Robert Have Said?' is a good song with several different musical passages and with different rhythms throughout the song. We can consider it one of the most progressive songs of the album. However, it isn't one of my favourite songs on the album and isn't as good as all the previous songs. The fifth track 'Out Of My Book' is the smallest song on the album. It's a very different song, a light, melodic and beautiful ballad, which we even can say that it's unusually melodic for Van Der Graaf Generator. This song reminds me, in some moments, the second studio album of Genesis, 'Trespass'. Like the previous song I think it isn't as good as the other songs of the album. The sixth track 'After The Flood' is the longest song of the album. It's the epic song on the album and I think it's also its highlight point. This is a song progressively and gradually very well developed with different musical passages, some more aggressive and some more melodic. This is a perfect end for this amazing album.

Conclusion: 'The Least We Can Do Is Wave To Each Other' is without any doubt the first great studio album of Van Der Graaf Generator. It has everything what made of this band be so great. It has the complex, dark and beautiful lyrics of Hammill and also his beautiful, original and unique voice, the fantastic keyboard sound of Banton, the incredible sound of the saxophones and flute of Jackson, the original drumming of Evans and the strong bass line of Potter. Like 'Trespass' from Genesis, 'The Least We Can Do Is Wave To Each Other' is an album almost perfect. Comparing these two albums, we may say that both are near of the perfection and both show the type of music that both bands wanted to do in the future. For me, there's only a slight difference between both albums. The music on 'Trespass' is more simple, pure and na've, while the music on 'The Least We Can Do Is Wave To Each Other' is more complex, mature and adult.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Live In Toronto by KING CRIMSON album cover Singles/EPs/Fan Club/Promo, 2016
4.58 | 54 ratings

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Live In Toronto
King Crimson Eclectic Prog

Review by thesameoldfears

5 stars I started listening to King Crimson my sophomore year in college 2006-07 and by then there was no active Crimson and wouldn't be for quite a while longer. Certainly, I never thought that any future lineup would give an airing to the classic 70s material, but when this band formed, it was one of the most pleasant of surprises. Having three drummers adds even more texture to material that was already rich and complex. I've seen them live in person twice and it neat to see how the drummers trade lines, play off each other, and accentuate unusual beats and patterns. I love it how Pat Mastelotto has picked up where Jamie Muir left off in 1973 with all the unconventional percussion in addition to the regular kit. This album focuses on the 70s material, though I appreciate a nod to the underappreciated 2000s lineup with Level Five and The Construkction of Light (though I wish they hadn't cut out the vocals on the latter). The return of Mel Collins on sax and flute was really exciting, and it's especially interesting to hear him interpret songs that were originally recorded without winds, like VROOM and Level Five. Also nice that they didn't just play the hits, and instead dived into the catalog and gave great readings to a couple really great tracks from the Islands album, Sailors Tale and The Letters. See this band live if you get the chance.
 Red by KING CRIMSON album cover Studio Album, 1974
4.54 | 2969 ratings

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Red
King Crimson Eclectic Prog

Review by thesameoldfears

5 stars What can I say that hasn't already been said? This is one of the true masterpieces of the prog rock genre and one of my favorite albums. This album the 7th and last before a long hiatus, and as well as being the the 3rd album in the trilogy of the Bruford/Wetton lineup. So it has "finale" written all over it, and boy does it deliver. Red takes all the distinctive elements of previous albums (the heavy guitars, the improv, the wind instruments, the mellotron) and wraps into one package. The last song Starless is one of my favorites of all time, the last two minutes of this song are incredibly moving. Essential listening.
 The Quiet Before The Storm by ATHELSTONE album cover Studio Album, 2011
2.98 | 17 ratings

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The Quiet Before The Storm
Athelstone Eclectic Prog

Review by andrea
Prog Reviewer

3 stars The Quiet Before The Storm is the debut album by Athelstone, a band formed in Malta in 2010. It was self-released in 2011 with a line up featuring Daniel Cassar (guitars, mandolin, keyboards), Matthew Vella (drums, percussion, vibraphone, glockenspiel, keyboards and Ryan Vella Bonello (bass) plus the guests Dana McKeon (vocals), Fabian Bonello (sax) and Rachel Attard Portughes (cello). Unfortunately, the overall sound quality of this work is not up to the wonderful art cover provided by Julian Mallia that in some way depicts its musical content. It's a completely instrumental work where dreamy, calm sections alternate with raw, nervous passages and where you can find some touches of jazz, bossa nova, math rock, psychedelia and other blended together with gusto. All along the three long pieces of the track list you can listen to some really good ideas but in my opinion at times they are like smothered by an excess of distortion... What a pity! Maybe next time...
 The Aerosol Grey Machine by VAN DER GRAAF GENERATOR album cover Studio Album, 1969
3.26 | 557 ratings

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The Aerosol Grey Machine
Van Der Graaf Generator Eclectic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nş 146

Van Der Graaf Generator was formed in 1967 while their members were studying at Manchester University in U.K. The initial trio was comprised by Peter Hammill (vocals and guitars), Nick Pearne (organ) and Chris Judge Smith (drums and wind instruments). In the late of 1969 the band split. But, before that moment, Pearne had already been replaced by Hugh Banton. At the end of 1969 a new version of Van Der Graaf Generator was formed during the recording of an album that was originally intended to be a Peter Hammill's solo release, 'The Aerosol Grey Machine'.

However, 'The Aerosol Grey Machine' wasn't released as a solo Hammill's album and became as the debut studio album of Van Der Graaf Generator and was released in September of 1969. All songs were written and composed by Hammill except 'Black Smoke Yen' which was written and composed by Banton, Keith Ellis and Guy Evans. So, the line up of this album is Peter Hammill (vocals and acoustic guitar), Hugh Banton (backing vocals, piano, organ and percussion), Keith Ellis (bass), Guy Evans (drums and percussion), Jeff Peach (flute) and Chris Judge Smith (vocals on 'Firebrand').

'The Aerosol Grey Machine' always tended to be a little bit an underrated album, as is the case with most debut albums by any progressive rock band. But, especially in this case, and we mustn't forget that we are talking about of one of the most creative bands ever, the real problem is that there's hardly anything groundbreaking on here. So, yeah, this is all really true but if we pay more attention to it, after we took quite a few listens to it, maybe we can appreciate some of its charm. Lyrically, the classic Van Der Graaf Generator's style is already here and somehow all the songs can really rule.

'The Aerosol Grey Machine' has nine tracks. The first track 'Afterwards' is a great song to open this peculiar Van Der Graaf Generator's album. It's a very simple and na've song, very beautiful, one of the most beautiful and simple songs composed by Hammill in his entire, long and fantastic musical career. It's, at my taste, one of the best tracks on this album. The second song 'Orthenthian St, Parts 1 and 2' is a nicely constructed song and is also very interesting. Once more the voice of Hammill is great and I particularly like the way how Evans plays drums on this song. This is also one of my favourite tracks on the album. The third track 'Running Back' is a very peaceful acoustic song with a very simple structure that reminds me very much 'Refugees', the second track of their second studio album 'The Least We Can Do Is Wave To Each Other'. However, this song is much simpler and less interesting than the other. The fourth track 'Into A Game' is also a good song. It's interesting to note that on this song, for the first time, we can feel some energy in the music of the album. This is a song with some musical complexity, with a very interesting bass line, and once more, I like particularly the way how Evans plays drums on this song. The fifth track, the title track, 'Aerosol Grey Machine' is the smallest on the album. It isn't properly a song but is really a joke of the band. The sixth track 'Blake Smoke' is the second smallest song of the album and is an instrumental song. It's a simple song which is a kind of an introduction to the next song. In my opinion, these two songs are unnecessary and could have been perfectly avoided. The seventh track 'Aquarian' is a song with some psychedelic influences and with fantastic and beautiful vocals of Hammill. This is another song with a very interesting bass and drum lines and also with an interesting chorus. It's also another of my favourite songs on the album. The eighth track 'Necromancer' is a very bizarre, obscure and deep song with scary lyrics. This is a song with a superb Hammill's voice and once more it has a good and melodic chorus. I think this is another interesting song. The ninth track 'Octopus' is the most difficult and complex on the album. This is, in my humble opinion, the most typical band's song of this album and also the most eclectic and progressive in its musical structure. It's the most representative song of what would become the future sound of Van Der Graaf Generator.

Conclusion: I can't agree with those who don't consider this album a Van Der Graaf Generator's album. It's true that it was intended to be the first Hammill's solo album and that lacks to it the necessary presence of David Jackson on flute and saxophones. However, this album has, for me, some of the main characteristics of the group. It has the complex, dark and beautiful lyrics of Hammill as also his beautiful, original and unique voice, it has the presence of the fantastic and unique keyboard sound of Banton, it has the original drumming of Evans and it has also the sound of the bass, sadly missing in most of their future works. I think we can compare this album with the debut album of Genesis, 'From Genesis To Revelation' released in the same year. Despite 'The Aerosol Grey Machine' isn't a great album, it's, in my opinion, better than Genesis' album, because we can see on it some progressiveness and a road to follow in their future musical path. So, 'The Aerosol Grey Machine' is a good, na've and a unique album, in their career, very simple and very acoustic. I think it has a single place to be in the musical career of this unique and original progressive rock group.

Prog is my Ferrari. Jem Godfrey (Frost*)

 In The Court Of The Crimson King by KING CRIMSON album cover Studio Album, 1969
4.61 | 3764 ratings

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In The Court Of The Crimson King
King Crimson Eclectic Prog

Review by The Prognaut
Prog Reviewer

5 stars Arguably, the best progressive rock record of all time. Unarguably, a cornerstone to understand the complexity and depths of the genre. Over the years, this record specifically has been target of several and endless debates between experts, fans and music enthusiasts of whether it defines the origins of Progressive Rock in its whole or not. "In The Court of The Crimson King" is as core musical creation just as any other that emerged alongside at the time the genre was being conceived. What makes ITCOTCK outstand from the rest, is its pure and unique blend of trademark sounds, the eerie mysticism, the overwhelming mixture of profound lyrics and the heavenly powerful lineup.

When the first notes of "21st Century Schizoid Man" rumble to the common ear, a feeling of panicking vertigo and lightheaded symptoms strike irreparably. It's a sense of collapsing discomfort that you end up getting used to over time and oddly how, enjoying endwise. The elaboration is brilliantly terrifying, almost as subtle as strange with a pinch of uttered mildness. In the years to come, this piece will turn into one of the most meaningful progressive rock songs of all time to all those own and strange to the genre.

Right after, "I Talk to the Wind" flutters shyly through delicate fluty notes that lead the way to a beautiful ballad. The words come out suitably exquisite to intertwine with the musical passage where a dreamlike scene takes places before your eyes.

And just when you start feeling this reassuring feel of detachment from the world outside your head, "Epitaph" jumps right in to blur away all that. This third piece in the album can be plainly defined as "mind-blowing". It's quite ironic to believe that a song can make you feel as gloomy as happy in a matter of almost nine endless minutes. There's no question about how magnificent was Greg LAKE behind the mic during his time with KING CRIMSON and in my humble opinion, this song is mainly carved in our minds due to the devoted voice of this man.

"Moonchild" is to me, a much underrated song that undoubtedly suits the wholeness of the record. It floats through enigmatic and comforting sounds, the instrumental section slowly reveals the enchantment of the track as it goes forward, letting us appreciate some intricate guitar and cymbal notes in between that create this moody ambiance all around the song.

Last but not least impressive, "The Court of the Crimson King" blasts away to wind up this 1969 record superbly. This piece was determinant to embrace the spirit of KING CRIMSON then and now of course. The song has turned into this sort of hymn, mandatory to refer to any entry in the history book of this iconic band. To me, it's not possible to think of KING CRIMSON's legacy without bringing this composition to the table. And far beyond from all that, this song seems to hold the essence, the origin, the birth and the entireness of the band that has lasted and prevailed for almost 50 years. Long live the King.

 Edit Peptide by BUBBLEMATH album cover Studio Album, 2017
3.96 | 70 ratings

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Edit Peptide
Bubblemath Eclectic Prog

Review by toddbulky

5 stars Well, lummy. It finally arrived...after what seems like several generations of waiting, the second Bubblemath album 'Edit Peptide' is here, and, by God, it's a musical explosion right into your face.

Prog fans may, in general, be ignorant of the band's existence (even the ProgArchives bio has them labelled as "Bubblebath"), but this is almost certainly down to the huge temporal distance between their recordings. Their first album 'Such Fine Particles Of The Universe' was released back in 2001 on a small record label, and garnered much (well deserved) praise at the time, although, like most good things in/around the prog genre, it slipped under the radar of 99% of the good folk of Planet Earth. Its mind-boggling complexity, coupled with its playful sense of humour, pun- heavy lyrics and song titles, and its memorable tunes, left a real impression on me. I first heard a selection of tracks from the album, long after it was released, on the Aural Moon internet radio station, and even though Aural Moon in those days was prone to breaking up mid-song (and sometimes crashing completely), somehow the Bubblemath selection got through unscathed. Bookended by more furrowed-brow classic prog such as ELP and Yes, it stood out and shouted 'Buy me!'. It was as earnest as the classics in terms of skill, but in terms of atmosphere, this was more foam party than wake. And so I eagerly anticipated a follow-up, with accordingly multiplied sales and subsequent world tour...

Being a fan from that point onward was, to say the least, a little frustrating. Year after year after year went by with the constant inkling of a promise of the hint of a new album...but none arrived. Songs had been written, and in a lot of cases recorded, but it seemed the new material was stuck in 'mastering limbo' - and with the members all having grown up, the distractions that come with family, house moves etc all impeded progress towards completion. And for a band whose sound is defined by perfectionism, this means a LONG wait indeed.

The wait is at an end. And Edit Peptide is every bit the masterstroke that the Bubs promised for all those years. Punishingly complicated, ridiculously tuneful, jagged as a shattered flint, and, lyrically, one of the finest albums you'll ever read. Puns abound in and between song titles, and musical themes are ripped backward and forward in a way that makes the band virtually uncategorisable. Indeed, the band refuse to be pigeonholed and have stated on many occasions that they have only heard their supposed influences (Cardiacs, Echolyn, Yugen) after they've been told that they 'must have been influenced' by those bands.

Stand-outs, for me, are...

1) The spine-tingling 'Making Light of Traffic', which has to be one of the songs of the decade, with vocalist/guitarist/multi-instrumentalist Jonathan G Smith veering between caustic ego-flattening ire and sweet Green Gartside avant-pop. It's almost impossibly delicate and brutal at the same time. A serious, serious achievement.

2) The very start of the album, where Routine Maintenance kicks in via a series of battering-ram syncs. It's like 'hello again' with a boot in the face. Drummer James Flagg is clearly one of the finest players on the planet, and he shows it here - it's just about the perfect percussive showreel.

3) "...can't we all just get a lawn??". A full song about lawns is to be lauded in any context. "...'Cause we're not gonna take any mow" just finishes it like Picasso must have done. If Picasso had been a lawn mower, that is.

4) Avoid That Eye Candy - "Seven billion people feel shamed and shoddy 'cause they don't have a supermodel body. But it's time those seven billion knew that only seven people do" True dat...

5) The Sensual Con - the breakdown in the middle of this song makes Dream Theater look like the Monkees. Exhilarating and bonkers in equal measure.

If you want to smile more in 2018 and beyond, forget Happiness Therapy and all of that rum meh - just catch yourself an earful of Edit Peptide. Like its title, it works as well backwards as it does forwards. Roll on the next one...sometime before 2033 would be great lads!

 Of Clans and Clones and Clowns by SOUL ENEMA album cover Studio Album, 2017
4.09 | 73 ratings

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Of Clans and Clones and Clowns
Soul Enema Eclectic Prog

Review by b_olariu
Prog Reviewer

4 stars Soul Enema is one of the most promising bands from progressive rock genre in last decade. They release so far two albums, one in 2010 and the second is coming after almost 7 seven years in 2017 Of clans and clones and clowns , now this is for sure a total winner as the debut, at least to me in top 5 I've heared so far from this year.

I was very pleasent surprise about this album, the music is very innovativ and intelligent, quite original, a hard thing to find on most of the new and young bands from this genre. Combining elements from symphonic prog zone with blistering keybords, with some eastern infuse folk arrangements to even progressive metal parts, and on top of that a solid voice coming from now diffrent female voice as on debut Noa Gruman. Brilliant ideas , great musicianship makes from this album a total winner, every piece is well developed, complex structures, their is enough room to show that Soul Enema mean bussines in this field. Very captivating keybords arrangements, who together with the guitar make a real treasure this album to listen and to have in the end in any collection. Nice electric atmosphere, from avan to prog metal, they have it all in their sleeve, and is intredting that they combine elements from diffrent genre with an amazing ease and very natural, the music is not forced. The first 3 tracks are killer, specially the opening Amon Ra really smokes, the guitar and keyboards are exemplary, aswell the voice. The rest of the pieces are aswell great. Some respected invited guests present among others famous Arjen Lucassen on track 13 and Yossi Sassi ex Orphaned Land who done a great job

It's pretty said that this band doesn't get the full appreciation world wide , they are among the most original bands around in prog field. for me a solid 4 stars , Recommended both albums has same level, and I mean high level. Nice intriguing art work, CD digipak format.

 From The Trees by HAMMILL, PETER album cover Studio Album, 2017
4.17 | 3 ratings

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From The Trees
Peter Hammill Eclectic Prog

Review by javajeff

4 stars This is another fantastic release from Peter Hammill, and a very welcome addition. He is an excellent song writer, and provides a vocal performance and phrasing like no one else. With such an enormous catalog of albums, finding new ground must be a huge challenge. The first thing I noticed with this recording beyond the sparse instrumentation is the layered vocals. Some of the backing vocals sound like there are contributors on this album. From The Trees does not deviate much from other of his modern releases, but surely progresses and advances his unique sound. There are no bad tracks on the album, but What Lies Ahead, On Deaf Ears, and Torpor are early standouts for me. I am a huge fan, and can listen to his material for hours. From the Trees is another adventure that I will enjoy in my collection. 4.5/5. Thank you Peter.
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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
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