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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 23/10/2018

Ian (Tapfret)
Simon (Mascodagama)
silly Puppy (Mike)
Ian (Nogbad_The_Bad)
Kevin (Magnum Vaeltaja)

Eclectic Prog Top Albums


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

4.62 | 4013 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.55 | 3181 ratings
RED
King Crimson
4.48 | 1948 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 2717 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.42 | 2066 ratings
PAWN HEARTS
Van Der Graaf Generator
4.34 | 1577 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1554 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.30 | 1482 ratings
THE POWER AND THE GLORY
Gentle Giant
4.29 | 1828 ratings
OCTOPUS
Gentle Giant
4.29 | 1430 ratings
STILL LIFE
Van Der Graaf Generator
4.31 | 808 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.28 | 1409 ratings
FREE HAND
Gentle Giant
4.26 | 1428 ratings
ACQUIRING THE TASTE
Gentle Giant
4.24 | 1327 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.26 | 535 ratings
ANABELAS
Bubu
4.24 | 469 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.25 | 392 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.20 | 688 ratings
SLEEPING IN TRAFFIC - PART TWO
Beardfish
4.30 | 237 ratings
DECALOGUE OF DARKNESS
Daal
4.16 | 830 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

DIAGONAL
Diagonal
ENIGMATIC
Niemen, CzesŁaw
NOT OF SOUND MIND
Zapotec
L'ENFANT ASSASSIN DES MOUCHES
Vannier, Jean-Claude

Latest Eclectic Prog Music Reviews


 Chameleon In The Shadow Of The Night by HAMMILL, PETER album cover Studio Album, 1973
4.07 | 342 ratings

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Chameleon In The Shadow Of The Night
Peter Hammill Eclectic Prog

Review by jamesbaldwin
Prog Reviewer

5 stars Peter Hammill's second solo album represents one of the absolute masterpieces in the history of author rock for three factors: the songwriting, which features existentialist texts of a complexity and depth that only very few can afford; the musical score, both in terms of writing and arrangements; the performance of the musicians, in particular the superlative vocal performance of Hammill.

The incipit, "German Overalls", seven minutes, is slow, prudent, guitar and vocals. Intimate. But even when he is romantic, Hammill breeds embers if not magma ready to explode and in fact the song passes from serenity to neurosis to anguish. The vocal performance is superb and leads the piece to high peaks of pathos, the musical arrangement is perfect and refined in its sobriety. The song proceeds always with the same melodic line but enriched by the harmonic variations of the singing; there is mostly voice and guitar arrangement but with a hieratic solo of existential prog organ (thank you, Hugh Banton!) in the middle. This music is prog folk written by an existential philosopher. Masterpiece. Rating 8.5/9.

"Slender Threads", five minutes, is the second fok song, acoustic guitar and vocals, in the wake of the first, but more narrated; there are more melodic variations but overall it's calmer than the previous one, less original, more conventional. Rating 7,5.

After two acoustic folk songs, comes "Rock and RĂ´le", almost six and a half minutes of rock music, with drums (Guy Evans), bass (Nic Potter) and electric guitars in the foreground. Good rhythm, great arrangement thank to the sax played by Jackson, powerful song. It fades away very slowly, maybe the final tail is too long. Rating 8+.

Fourth song: "In the End"; seven and a half minutes made of piano and voice. Beginning muted, brooding, then, after one minute of shy piano music, arrives Hammill's reflective voice. At the second minute the voice become dramatic, and then after 5 minutes there is a pause. After that, starts the grand finale, final rush, voice that comes magnificent, impressive, produces a great pathos, a wonderful climax. Then, final tail fade. Rating 9. Masterpiece.

End of A Side.

Second side opens with "What's It Worth", a folk song that lasts four minutes. Acoustic guitar, wonderful flute (thank you, Dave Jackson!), voice and little else. Relaxed, blissful, pastoral piece. Rating 7,5.

"Easy to Slip Away", almost five and a half minutes, is another wonderful piano ballad. It reaches the climax thanks to Hammill's voice performance towards two minutes, after a beautiful progression, when Hammill sings: "Susie!" Then there is an instrumental piece almost dissonant, very proggy; after about four minutes resumes the voice. Final very dramatic: "It's so easy to slip away." Rating 8.5.

"Dropping the Torch", four minutes, is a semiacoustic song very dragged, slow and melancholy; it's the weaker piece of the album, rating 7,

Then starts with the piano "(In the) Black Room/Tower", eleven minutes, a piece typically Van Der Graaffy, certainly the progger song of the Lp, with the whole group that repeats paranoid and obsessive phrases, and changes of rhythm that recall "Pawn Hearts". In any way, the instrumental variations rest on a clear melodic line, evident even in the continuous variations of tone executed by voice and rhythm section and sax. Towards the middle the piece becomes paroxysmal, repeating the same rhythmic phrase until it fades. There is a dramatic theatrical pause, piano and voice, then screams accompanied by dissonances on the sax, finally a threatening rhythmic progression that leads to a pause (perhaps not necessary) before returning to the original melodic theme, repeated with enthusiasm until the grand finale. Historical piece. Rating 8,5/9

This record is the album of a talented folksinger-songwriter (songs 1, 2, 5, 7); it's the album of one of the most gifted vocalist of prog rock, author of wonderful piano music (songs 4, 6); it's the album of great composer and arranger of prog rock music (songs 3 and 8, but even song 1).

Very inspired album. Absolute masterpiece of progressive rock.

Medium quality of the songs 8,16. Rating 9,5. Five stars.

 Octopus by GENTLE GIANT album cover Studio Album, 1972
4.29 | 1828 ratings

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Octopus
Gentle Giant Eclectic Prog

Review by Kempokid
Collaborator Prog Metal Team

3 stars Gentle Giant has always been celebrated as one of the more out there classic prog bands, at least out of the fairly widely known ones. They has a consistent track record of putting out album after album of short albums that focus more on dense, ever changing compositions as opposed to longer, more grandiose strectches of music, with a major part of their sound being centred around complex vocal arrangements. This album is the first of the three albums by the band where they took this complexity to another level in certain respects, especially these vocal arrangements, at times being downright labyrinthine. With that said, Octopus is also one of the most accessible ones albums by Gentle Giant, having more melodic moments and embracing a medieval folk sound. Despite all that has so far been said, I can also say with fair certainty that this is my least favourite of the classic era GG albums, as I find a couple of the songs to either be quite dull or at the very least, nothing special. I feel like a lot of this comes down to these extremely short song structures causing there to be very little breathing room, eliminating the expansive nature of many of the prog greats. That said, the album still isn't a bad one, just a less appealing one to me when stacked up against the rest of the band's discography.

The Advent Of Panurge starts off the album in a very strong way, with a quiet, pretty melody that quickly begins the wonderful layering that the band applies, backed up by occasional hints of guitar. The song picks up very quickly however, with a groovy bassline backed up by what almost feels like random piano keys being played, some moments with high energy, others being soft and dreamy, right before kicking back in with another idea, all around very jazzy, never sitting still, but with a great central melody. Raconteur Troubadour is a more conventional song in certain respects, with a more focused central theme and a more beautiful, heavily medieval sound. As with the previous song, this one quickly picks up as well, briefly becoming frantic before settling right back down with its main verse, the chorus being rhythmically interesting as it constantly sounds as if it's lagging slightly behind, before making a quick sprint to catch up, repeating this process many times over. My favourite part of the song is definitely the instrumental section in the middle, softly building up with an increasingly fast drum while violins are played wonderfully, before it briefly bursts into a cheery, almost regal sounding section filled with trumpet. Unfortunately, after these first two amazing songs, the album doesn't leave the listener with too many great tracks, one of the most notable ones being A Cry For Everyone, which is more energetic and more rock oriented, but this energy ends up feeling extremely wasted thanks to the weakness of every part involving vocals, and the keyboard use does come off as very cheesy and underwhelming for the most part.

The album manages to avoid falling flat here by following up this weak track with the absolutely perfect Knots, which is easiy one of my favourite songs by the band, and undoubtedly the highlight of this album. The vocal layering present here is absolutely spot on all the way throughout, sounding so incredibly precise, starting out minimalistic, including literally no instrument other than the voice, before briefly including some quick xylophone, before going back to the minimal amount of instrumental work. the song then takes it to another level when it follows the near non existent rhythm and becomes bouncier and more cold and otherworldly, before gradually singing higher notes until the instrumentation fully comes in, sounding almost apocalyptic in nature. The layering of the vocals all throughout the song are nothing short of mind bending , and become more and more impressive the more you try concentrating on the insane rhythmic interplay going on. The Boys in the Band is a better showcase of the band playing something energetic than the poor Cry For Everyone, still displaying a lot of the intricacies of the slower, more calcukated tracks, but giving it enough of a powerful twist to make it interesting, especially that really great saxophone that appears about midway through.

Dog's Life is a folksy little ditty that really does nothing for me. It has a saccharine quality to it that turns me off immensely, and the overbearing classical sound really doesn't seem to work as well here as it did in Peel The Paint, this one just coming off as cheesy. Think of Me With Kindness is better than Dog's Life, but I'm just not as keen on the ballad type songs that the band puts out, I feel like they're far less adventurous and that the band lacks the ability to make a truly beautiful melody that has any impact for more than a few seconds, with them being fun and quirky almost always working out far better for them. That said, this is at the very least a pleasant song, which is better than can be said about a couple of other songs here. River is a strange song, on one hand, I like the abrasive edge it has, with the vocal melody being quite wonky and seemingly out of place with the instrumentation, but on the other hand, I feel like there are too many moments of this in which it just ends up working terribly, such as the quieter section near the start where Derek Shulman tries and fails to sing decent high notes. I also feel like the song ends up meandering quite a bit, with the middle section transitioning right back into more off key singing that's just retreading the opening section, which also wasn't particularly great. Overall, while the song is definitely interesting, I can't say it works particularly well on a level beyond this.

Despite the fact that this album has some of the best songs that Gentle Giant would make, and the shift towards even more complex music is one that I personally love, the uneven nature of this album really drags it down. Certain song just bore me, with a couple being straight up bad in my opinion. However, due to the fact that I am a big fan of the songs here that are good, I would still say that this album is one to listen ot at least once, as when it's good, it's really good. I personally believe that the band would move on to make the two best albums of their career past this point, and this album is definitely responsible for sowing the seeds that would eventually grow into those absolute gems, showing greater prominence in rhythmic interplay and all around instrumenal weirdness. Definitely an interesting album for sure, just not one I personally can enjoy to its fullest extent.

Best songs: The Advent Of Panurge, Raconteur Troubadour, Knots (this one is especially recommended)

Weakest songs: A Cry For Everyone, Dog's Life, River

Verdict: Despite being more accessible in certain ways, this is also the start of Gentle Giant taking their already complex songwriting to the next level. It unfortunately falters in some places, but definitely at least partially makes up for it with the great tracks. I'd recommend listening to their previous 2 albums, Acquiring the Taste and Three Friends first before trying this one out, but this has enough good material to warrant at least one listen, especially if you're a fan of more calculated, intricate music.

 Frat3r by GALAAD album cover Studio Album, 2019
3.31 | 7 ratings

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Frat3r
Galaad Eclectic Prog

Review by TCat
Prog Reviewer

3 stars Galaad is a eclectic prog band from Switzerland that was originally founded in 1988. They released 2 albums in 1992 and 1996 and then disbanded shortly after. The band then reformed in 2016 and finally released their 3rd album in May of 2019. The band returned with the same line up as they did originally with Pierre-Yves Theurillat on vocals; Sebastien Froidevaux on guitars; Gianni Giardiello on synth and piano; Gerard Zuber on bass; and Laurent Petermann on drums and percussion.

Their 3rd album is called "Frat3r". It is available on CD and has 8 tracks totaling 46 minutes. There are 2 longer tracks around 9 minutes, where the remaining tracks stay under 6 minutes. The vocals are in French.

Starting off soft and pensive, "La Machine" builds up intensity each time the verses continue. The vocals are a bit shaky, but get better as the song gets heavier and the melody gets more emotional. The rhythm is moderately slow with a heavy and dark tone. There is also a nice guitar solo in the instrumental break. "Moloch" uses a repeating piano arpeggio pattern while power chords from the guitars, support from synth and drums build up this instrumental, which finally accumulates in an emotional guitar solo.

"Kim" has a laid-back feel to it and the vocals start early. With a simpler melody and a more pop-oriented feel, this one is quite accessible. There is support from high-pitched synths and guitars that build up towards the middle and then smooth out again and finally ending with a lot of emotion. "Stone" is one of the 2 long tracks. It goes back to a dark atmosphere, starting fairly minimal with vocals, a low register synth pattern and effects. After the 2nd verse, drums come in with a moderate rhythm but the music still retaining a dark feeling, and then becoming suddenly more powerful with heavier guitar, slipping into a brighter, major key. As it nears the middle, the progressiveness increases when the instrumental break starts, and the synths take over the spotlight. When the vocals come back in after a while, they are more intense and emotional with the instruments matching that tone. At the end, things soften quite a bit and the track finishes on the more reserved feeling that it started with.

"Justice" begins with a funky synth and bass and vocals and then the band quickly joins in with the first real upbeat track on the album. The song is a more rocked-out track with a good amount of synth and keys supported heavily by the bass. Except for a softer break in the middle, the song continues in the same style throughout, with more guitar added as things intensify towards the end. "Merci [puR]" begins with bongos and what sounds like sitar giving things a mid-eastern flavor at the beginning, but keys take over while the percussion persists and vocals start. When the drums kick in, the moderate tempo is established. Between the verses, there are some nice instrumental passages that follow a recurring melody with a mix of synth and guitar.

"Encore!" is the 2nd of the longer tracks. It has a straightforward, moderately fast rhythm and again, an emotional vocal supported by synth and guitar. Just after 4 minutes, there is a sudden increase in loudness with effects and this quickly gives way to a pensive and quiet section with percussive sounds. Vocals soon bring back the band and synths help build up to a guitar break. The music remains pretty straightforward throughout with the longer length being used for the guitar solo and a more lyric heavy song. The last track is the title track "Frater". Starting with only vocals, the band soon start with a moderate and stately sounding song.

This album is mostly quite straightforward and accessible, but unfortunately does not contain a lot of progressiveness to it. As far as being a nice rock record, it does a nice job adding in a good mix of guitar and synth, but mostly comes across as being quite average sounding, with some sections becoming quite emotional. The vocals do falter, but are at their best during the heavier and more emotional sections. Really, only the synth seems to reflect any semblance of progressiveness coming close to a neo-prog sound, but there is nothing really challenging, and the prog sections are too few and far between. In fact, the only part that could be considered progressive is in the instrumental break in "Stone". Yes, it's a pleasant listen, quite accessible, but it stays pretty safe throughout.

 At The Edge Of Light by HACKETT, STEVE album cover Studio Album, 2019
4.07 | 140 ratings

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At The Edge Of Light
Steve Hackett Eclectic Prog

Review by peskypesky

4 stars Is it possible that in 2019, Steve Hackett has released his best solo album? It doesn't seem possible....but I think he may have done it. This album is a fantastic, inspired prog rock masterpiece. I don't even know where to begin praising it. Steve's playing is off the charts. At times he reminds me of guitar god Jeff Beck, at other times Steve Howe. But it's not those guys. It's like Steve has decided to stop being modest and show what he can really do.

The album is powerful, full of great riffs, but it's also melodic and lush. And Steve's singing has left me stunned! He sounds like John Wetton. When did Steve get this voice??

I really can't believe how good this album is.

 V by BRIGHTEYE BRISON album cover Studio Album, 2019
4.00 | 1 ratings

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V
Brighteye Brison Eclectic Prog

Review by TenYearsAfter

— First review of this album —
4 stars Brighteye Brison from Swden was founded in 2001 and released four studio-albums between 2003 and 2011. And now anno 2019, after 8 long years for the fans, here's the new album simply entitled V. I am only familiar with their third effort entitled Believers & Deceivers from 2008, so it took more than 10 years before I had my second musical encounter with Brighteye Brison. Was it worth waiting that long? Yes!

1. The Crest of Quarrel (12.31) : It starts with a long intro featuring sound effects, then Minimoog flights in a tight mid-tempo beat, gradually turning into a slow rhythm. To me the music sounds as a blend of symphonic rock (vocal harmonies and Hammond like Yes), Neo-Prog (tight beats, song oriented) and AOR (Eighties Styx and Kansas). Next a slow rhythm with lush strings, a pumping bass, Hammond waves and warm vocals and vocal harmonies, very melodic, harmonic and accessible, with a pleasant colouring by Minimoog flights and guitar riffs. The final part is bombastic with again the Minimoog, vocal harmonies, powerful guitar and tight rhythm-section.

2. V (17.27) : First an impressive intro with the unsurpassed vintage sound by the Minimoog and Mellotron violins, along fiery guitar. Then a tight beat, embellished with piano, rock guitar and pitchbend driven synthesizer flights, again very pleasant and accessible. Now the music turns into very inspired by Yes its worldwide hit single Owner Of A Lonely Heart, the spirit of this song reigns over the entire composition: a swinging rhythm with rock guitar, vocal harmonies, heavy guitar riffs, like "modern prog meets AOR". Next majestic Mellotron violins, and then interplay between acoustic guitar and the distinctive Theremin, topped by vocal harmonies, an original musical idea. During the rest of this epic composition the music alternates between symphonic rock, Neo-Prog and AOR, coloured by tasteful work on vintage keyboards (Hammond, Minimoog and Mellotron) and harder-edged guitar, it sounds dynamic, melodic and harmonic, the atmospheres shift from hypnotizing to bombastic. In the compelling final part a Bach inspired Hammond solo and heavy guitar with howling runs (Malmsteen, Blackmore and Vai come to my mind), this band knows how to please its fans!

3. The Magician Chronicles - Part II (36.52) : Brighteye Brison now goes to the extreme with this mega epic composition, and presents the most symphonic rock inspired music on this album ( but it also borders with Neo-Prog and AOR at some moments). From the Rick Wakeman inspired intro with the mighty church organ sound and Minimoog flights to the bombastic final part featuring vocal harmonies, a moving electric guitar solo and a lush Hammond organ sound. In between cascades of flowing shifting moods, from dreamy and slow rhythms to mid-tempo and bombastic. This is wonderfully coloured by strong vocals (and lots of vocal harmonies), excellent harder-edged guitar work, vintage keyboards (a lot of 'Minimoog Extravaganza', along Mellotron, Hammond and Hohner clavinet), the distinctive Theremin and varied piano play. The music evoke the sound of bands like Eighties Yes, The Flower Kings, Glass Hammer and Spock's Beard, also very melodic, harmonic and accessible.

Brighteye Brison has delivered a very tastefully arranged album that will please those progheads who like Old School oriented symphonic rock that borders with modern prog, Neo-Prog and AOR.

This review was recently published in a slightly different version on the Dutch progrock website Background Magazine.

 Emergence by DREADNOUGHT album cover Studio Album, 2019
4.00 | 2 ratings

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Emergence
Dreadnought Eclectic Prog

Review by TCat
Prog Reviewer

4 stars The Eclectic Prog band Dreadnought (not to be confused with Dreadnaught, another Eclectic Prog band) was formed in 2012 in Colorado by Kelly Schilling on vocals, guitar, and flute; Jordan Clancy on drums and saxophones; Kevin Handlon on bass and mandolin; and Lauren Viera on keys and vocals. The album "Emergence" is the bands 4th full length album released in May of 2019. It consists of 5 tracks spanning a total run time of over 46 minutes, 3 of those tracks are over the 10 minute mark. The album is available on Bandcamp for download, CD and vinyl. The basic premise for the album has to do with the destructive and cleansing power of fire, how it causes death yet creates new life from the ashes it leaves behind, and how that all ties into the human condition.

"Besieged" begins heavy dark with mysterious sounding vocals, a bit subdued, and then suddenly screaming. While the background continues to churn along, the vocals change back to subdued and harmonized vocals, then everything cools off a bit as everything slows, but remains dark. Powerful progressive riffs bring everything back to a heavy sound with dampened keys and more harmonized vocals return, more screaming later and then more dampened piano. It's an effective style to match the growing and shrinking of flame, but the undercurrent of the track gives one a feeling of a constant threat. As the song flows into the next track "Still", it calms but becomes quite foreboding and atmospheric, bringing on an almost mourning feeling. The sax gives the mournful atmosphere and soon sad vocals work to keep this track dark as the instruments give one the feeling of destruction in this transitory, yet important track.

"Pestilent" starts with the drums crashing in, bringing in a guitar heavy darkness. Clean vocals begin again, staying somewhat subdued as they have been through most of the album. The heavy riffs contrast with the female vocals when they are clean, but you always expect the vocals to go dirty, which they do many times. Minor key harmonics keep the feeling ominous. After 3 minutes, things lighten up a little, but dark sax and flute remind you of destruction and death. The music isn't what I would call complete doom metal, but it is very close sharing aspects of the genre, but also mixing in aspects of shoegaze. But it also has a lot of variation in the dynamics, but the tone stays somber and dark. More harmonized clean vocals and more screaming vocals come and go. The piano still shows through, but is also mixed to remove a lot of the brightness of the piano so that it sounds right at home with the dark and sometimes heavy guitars. Things intensify for a while, then suddenly soften as a somber guitar solo plays. After 10 minutes, things get really intense and heavy and screaming vocals take over until the end at over 12 minutes.

"Tempered" signifies the use of fire to create and strengthen metal tools. The dark heaviness continues, with a faster tempo and the use of occasional keys giving a piano and organ effect amidst the wall of guitar noise. Clean and dirty vocals are used slipping from one to the other. Dissonant harmonies are also used. Just before the 5 minute mark, the intensity wanes a bit and the vocals get a slight gothic and hazy feel to them. Guitars come back in full force after 6 minutes. Churning doom style guitars are accented by piano chords and screaming vocals, then a screeching sax and flute join in, turning it into a boiling cauldron of sound. As it all comes to an end, though, things soften and lead into the next track.

"The Waking Realm" reflects upon the new life that a fire can create in nature. It starts off quite atmospheric and pensive, utilizing hazy, but clean vocals and softer, hesitant instrumentation. Dissonance and unclarity are rampant in this somewhat minimal track, but a slow, thumping drum and crashing cymbals finally call up a steady, almost jazz-like rhythm with dampened piano and vocals playing over the top it all. More guitar and bass come in, intensifying things a little, but still keeping restrained. Finally, after 6 minutes, the guitars and frantic drumming kick up the heaviness. Clean and harmonized vocals continue, still retaining their subdued and hazy feel that they have retained through the entire album, sounding almost like a very heavy version of "The Cocteau Twins", even with a slight goth and shoegaze feel to it, with the attitude of doom metal. Just before 10 minutes, things quiet down again with a soft guitar and soft vocals. The drums bring in one of the heaviest passages of the album with a wall of guitar and screaming towards the last part of this track as life comes back with a vengeance.

This is a surprisingly heavy and dark album with a lot of dynamic, but it tends to lean on the loud and heavy side of things more than anything else. The mix of tones in the dual female vocals are a very important sound in this album, even though they stay a bit fuzzy and subdued, they still leave quite an impact. The heavy guitars tend to bring dual styles of doom metal and shoegaze, while the keys struggle to bring a little brightness to it all, but they are always kept dampened, yet they are almost always there. There are some nice surprises throughout too, with the addition of sax and flute which are added without feeling strange and alien to the music, and the addition of some jazz elements scattered around. Make no mistake though, this album is dark and heavy, always feeling like there is a layer of ash and smoke hanging around. The music definitely fits the concept idea of the album, and this can tend to be a bit depressing, but the music is effective in conveying it's concept. The genre this band is under is eclectic, but it tends to sound more like Post Metal at times with it's heaviness and forays into doom and goth styles. Overall, it is an interesting combination of styles, which I guess in the end is what makes it Eclectic.

 Live in Mainz, Gemany 1974 by KING CRIMSON album cover Singles/EPs/Fan Club/Promo, 2001
4.08 | 32 ratings

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Live in Mainz, Gemany 1974
King Crimson Eclectic Prog

Review by Warthur
Prog Reviewer

4 stars A decidedly welcome live release from the mid-1970s lineup of King Crimson; OK, sure, we have USA, we have The Great Deceiver, but even then there's still treats to be had here. Of course, the mid-1970s Crimsos had their famous penchant for improvisation, and you have several such pieces here, as well as an actual composed song that never made it onto a studio album in the form of the sleek and scandalous Dr Diamond. Combine this with excellent versions of old favourites, and the fact that the audio cuts off abruptly towards the end (this was sourced from a soundboard recording).
 Decalogue Of Darkness by DAAL album cover Studio Album, 2018
4.30 | 237 ratings

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Decalogue Of Darkness
Daal Eclectic Prog

Review by Warthur
Prog Reviewer

4 stars More spoopy prog with a significant influence from mid-1970s King Crimson from the dynamic duo of Daal? Sure, why not? This is pretty much "Dodecahedron II: Polyhedral Boogaloo", with the album split into 10 chapters (hence the title!). Take Dodecahedron, immerse it in purest Mellotron for a while, and cut into 10 slices instead of 12, and you more or less arrive at this.

Lucky for Daal, Dodecahedron was a pretty good album, with the result that this one is as well. Perhaps a more retro- prog styled approach this time, in keeping with the historical style of the cover illustration, but otherwise we're looking at business as usual for Daal.

 Pop Sided by BELEW, ADRIAN album cover Studio Album, 2019
2.96 | 7 ratings

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Pop Sided
Adrian Belew Eclectic Prog

Review by admireArt
Prog Reviewer

3 stars Adrian Belew´s Pop Sided (2019) may well hold on more or less to its album title yet Belew´s restless energy delivers also some very un-Pop tracks to balance things a bit.

An 11 track album which if anything is varied and shares along the way some of his most hidden influences like Paul McCartney and the Beach Boys and the not so hidden like David Byrne (for whom he has collaborated), blended in with his own Pop and non-Pop vision and also of course his King Crimson kinship.

The real deal of this release, as told, is found in its variety which somehow frames its better tracks and makes the not so good tracks look not so bad, because although it will have been great for it to be flawless as some compositions may point out, it is not, it is only very well produced.

So, a couple of excellent songs (Take Five Deep Breaths, Luminous), some simply good and others are far from my likings, but then again that´s me.

***3 PA stars.

 Arena by MARSUPILAMI album cover Studio Album, 1971
4.02 | 84 ratings

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Arena
Marsupilami Eclectic Prog

Review by Menswear
Prog Reviewer

4 stars Tough to get around, tougher to describe.

A british band with lots of folly, splurge, insanity or madness...without being Italian Prog!? It's a bold blend of flute, screaming, awkward vocal harmonies, more screaming and bat[&*!#]ness. Way before Triumvirat serenaded us with Spartacus-Roman-Gladiator scenario, Marsupilami destroyed our eardrums and charmed us with this wicked bag-of- cats of an album. Charmed indeed, I seem to go back again and again to this, probably because the weirdness factor is so high.

Usually this type of insanity is reserved for the lost gems of Italian Prog, but this steamy pile of...music will test your gray matter. It deserve your full attention since the 'melodical' segments are scarce and the theatrical aspect are all over the place. You can tell easily that they could be a grandfather to Camel, but at the same time, in 1971 no one sounded like them...and it's a good thing.

Even when you think you heard it all, this remains a curiosity in my collection, a conversation starter with my prog wisemen. An entertaining album that will fascinate the progger in search of a (mental) challenge.

I can see myself in cocktail parties: 'Hey you know Yezda Urfa, Catapilla and Minotaurus? But have you heard Marsupilami?'

Data cached

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
ANANE Indonesia
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
BIOCORD Ukraine
BIRDS AND BUILDINGS United States
BLOQUE Spain
THE BOB LAZAR STORY New Zealand
BOOTCUT Sweden
EMMANUEL BOOZ France
BORDERLINE SYNDROME Greece
EDUARDO BORT Spain
BRAINSTATIK United States
VYTAS BRENNER Venezuela
BRIGHTEYE BRISON Sweden
BUBBLEMATH United States
BUBU Argentina
JEAN-LOUIS BUCCHI France
BUDKA SUFLERA Poland
ARNAUD BUKWALD France
C & K VOCAL Czech Republic
CABEZAS DE CERA Mexico
CALLE DEBAUCHE United States
CAMERA CHIARA Italy
NEIL CAMPBELL COLLECTIVE United Kingdom
CANGACEIRO Chile
JOSE CARBALLIDO Spain
CARPE DIEM France
CARPET Germany
CARTOON Brazil
CASTLE FUSION Italy
CATAPILLA United Kingdom
CENTENAIRE France
CHAMELEON United States
CICCADA Greece
CIRCLES END Norway
EL CIRCULO DE WILLIS Spain
CIRCUS Switzerland
CIRKUS United Kingdom
BARRY CLEVELAND United States
CLOUDS ON STRINGS United States
CMU United Kingdom
COLONEL CLAYPOOL'S BUCKET OF BERNIE BRAINS United States
CONSIDER THE SOURCE United States
THE COWBOYS FROM HELL Switzerland
CRIME IN CHOIR United States
CRÓ! Spain
THE CRYSTAL SUN United Kingdom
CULPEPER'S ORCHARD Denmark
CURVED AIR United Kingdom
CZAR United Kingdom
DAAL Italy
THE DAEDALUS SPIRIT ORCHESTRA France
DAGMÄHR Canada
DALTONIA Chile
DARK AETHER PROJECT United States
DAYS BETWEEN STATIONS United States
GUILLAUME DE LA PILIERE France
DEBOCO France
DIAGONAL United Kingdom
DICE Sweden
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
ECHOTEST United States
EDENSONG United States
EFECTO Chile
EL EFECTO Brazil
EKSEPTION Netherlands
ELECTRIC MUD Germany
ELEKTRYK BESTIA United States
EMMETT ELVIN United Kingdom
EMERGENCY EXIT France
EMPATHI Thailand
EMPTY SPACE ORCHESTRA United States
EPIDERMIS Germany
ERE G Canada
ERIK BARON & D-ZAKORD France
ESPERANTO Multi-National
ESTHEMA United States
ET CETERA Canada
EVELINE'S DUST Italy
EXCLUSIVE RAJA France
EXPERIMENTAL Chile
EXPERIMENTAL QUINTET Romania
FAMILY United Kingdom
FANTASIA Finland
FETUS MAXIMUS Finland
OLIVIER FEUILLERAT France
FIFTH SPECIES United States
FINNEUS GAUGE United States
FLASH United Kingdom
FLÄSKET BRINNER Sweden
FLIGHT United States
THE FLOCK United States
HUGO FLORES Portugal
FOND OF TIGERS Canada
FONDERIA Italy
FOXTROT Norway
FRAMUS 5 Czech Republic
FRATERNITY Australia
FRIENDSHIP TIME Sweden
ROBERT FRIPP United Kingdom
FROM.UZ Uzbekistan
FRUMPY Germany
FUN MACHINE United States
FUSIOON Spain
THE GAK OMEK United States
GALAAD Switzerland
GARDENIA Argentina
GARGAMEL Norway
GAYLORD United States
GECKO'S TEAR Italy
RON GEESIN United Kingdom
GENTLE GIANT United Kingdom
GEPH United States
GESTALT Japan
JANE GETTER United States
GEVENDE Turkey
GEYSIR Germany
GLAZZ Spain
GLOBALYS Belgium
GNIDROLOG United Kingdom
GOAD Italy
GOMA Spain
GOOD NIGHTOWL United States
GÖSTA BERLINGS SAGA Sweden
JEAN-PHILIPPE GOUDE France
THE GOURISHANKAR Russia
SÉBASTIEN GRAMOND France
THE GRAND ASTORIA Russia
GRATTO United States
THE GREATEST SHOW ON EARTH United Kingdom
MAREK GRECHUTA Poland
GREYLYNG United States
GRIOT Portugal
GROOVECTOR Finland
THE GUARDIAN'S OFFICE Norway
GUERNICA Japan
TREY GUNN United States
GUNS AND BUTTER United States
GURUH GIPSY Indonesia
GUZZLEMUG United States
GYPSY United States
H7G Costa Rica
STEVE HACKETT United Kingdom
HAIKARA Finland
BRENDAN HAINS Australia
HALF PAST FOUR Canada
HAMADRYAD Canada
PETER HAMMILL United Kingdom
JACK HAMMOND United States
HANAGARIA Israel
HAPPY THE MAN United States
GAVIN HARRISON & 05RIC United Kingdom
STEVE HART United Kingdom
HEADSHEAR United States
HERD OF INSTINCT United States
HOBO Yugoslavia
HOBSON'S CHOICE United States
HOKR Czech Republic
HOME United Kingdom
HOMÍNIDO Chile
HOUSE OF USHER United States
HUNE Canada
ICED INK United States
ICHTHYANDER DAD'S ONLY DOLPHIN Ukraine
IKARUS Germany
ILLŔCHIME QUARTET Italy
ILLUSION United Kingdom
IN ABSTRACKTO Mexico
INFINIEN United States
INNER LIGHT ORCHESTRA Finland
INTERFACE Japan
INTERPOSE+ Japan
ISKANDER Germany
ISLAND Switzerland
IT United States
IT'S THE END Norway
IX Venezuela
IXT ADUX United States
JANOS VÁRGA PROJECT Hungary
JEAVESTONE Finland
JOY UNLIMITED Germany
JULIAN'S TREATMENT United Kingdom
JUNE CLEAVER AND THE STEAK KNIVES United States
KARMABLUE Italy
KATAYA Finland
KEOR France
KHARMINA BURANNA Peru
KIDS EAT CRAYONS Canada
KING CRIMSON United Kingdom
KLOTET Sweden
KOIAK Chile
KOLORS OF ZOUND Austria
KOMARA Multi-National
KORPUS 2 (Корпус 2) Russia
KRACQ Netherlands
KRAKEN IN THE MAELSTROM Italy
KROMLECH Mexico
KTU Multi-National
KTZAT ACHERET Israel
KULTIVATOR Sweden
KWADRAT Poland
KYTAJA Finland
LAPLACE Argentina
LALLE LARSSON Sweden
LASER PACE United States
THE LAZE United Kingdom
LAZULI France
LEMURYA France
LETHEAN Italy
BJORN J:SON LINDH Sweden
LIZARD Poland
LOBSTER NEWBERG United States
LOCOMOTIV GT Hungary
THE LONG HELLO United Kingdom
LOST KITE Sweden
LUARVIK LUARVIK Estonia
LUCIFER WAS Norway
LUCY Brazil
MA BANLIEUE FLASQUE France
MACHIAVEL Belgium
MAD FELLAZ Italy
MAELSTROM Canada
MAGICAL PLANETS United States
MAHOGANY FROG Canada
MAJOR PARKINSON Norway
MAKAJODAMA Sweden
MAKKIWHIPDIES United States
MAMMUT Germany
MAN ON FIRE United States
MANFRED MANN'S EARTH BAND United Kingdom
MANNING United Kingdom
MAQAMA Israel
MARSUPILAMI United Kingdom
MASTERMIND United States
ME EL-MA Israel
THE MEDICINE CABINET United States
HAI MEIRZADH Israel
MEN OF LAKE Italy
METROGNOM Norway
MICHIRU Japan
JOHN MINER United States
MINI (TÖRÖK ÁDÁM & MINI) Hungary
MINIMUM VITAL France
MIRTHRANDIR United States
KIMIO MIZUTANI Japan
MOJO POJO Venezuela
MORAINE United States
EDUARDO MORENO Spain
MÖRGLBL France
STEVE MORSE BAND United States
MOSER WOODS United States
MOTORPSYCHO Norway
MOUTH Germany
MR. EUPHORIA United States
MR. HYDE Chile
DOMINIK MÜLLER Germany
MUSICA FICTA Israel
N.Y.X Italy
NAPRA Hungary
NARAJAMA Czech Republic
NARANJA MECANICA Cuba
NARR France
THE NATURAL MYSTIC Italy
NAU ALETHEIA Argentina
NECROMONKEY Sweden
NEMO France
NEMO France
NÉODYME Canada
NEOGRASS Norway
NEUTRONS United Kingdom
NEWCROSS United States
NICE BEAVER Netherlands
CZESŁAW NIEMEN Poland
NIL France
NOT A GOOD SIGN Italy
NOVA Finland
NURT Poland
OBLIVION SUN United States
OCTOHPERA Brazil
ODYSSEE Germany
RYO OKUMOTO Japan
THE OPEN WINDOW United States
OPERATION: MILKSNATCH United States
ORDER OF THE LIVING Finland
ORGIYA PRAVEDNIKOV Russia
ORIGINS United States
ORNE Finland
OS MUNDI Germany
THE OTHELLO SYNDROME United Kingdom
OUT OF THE BEARDSPACE United States
OZ URUGULU Switzerland
PALEY'S WATCH United Kingdom
PANDORA SNAIL Russia
HET PANDORRA ENSEMBLE Netherlands
PANGÉE Canada
PEANUT BRITTLE SATELLITE United States
THE PENGUIN CAFE ORCHESTRA United Kingdom
PENTWATER United States
THE PEROTIC THEATRE Germany
PHILHARMONIE France
PINGVINORKESTERN Sweden
BRUNO PITCH France
THE PITTS MINNEMANN PROJECT United States
PIXIE NINJA Norway
PLAMP Switzerland
PLAT DU JOUR France
PLATURNO Chile
POETICA IN SILENTIO Netherlands
LAURI PORRA Finland
VYACHESLAV POTAPOV Kazakhstan
JEAN-PAUL PRAT France
PRAXIS Mexico
PRAZSKY VYBER Czech Republic
PROCOSMIAN FANNYFIDDLERS Norway
PROFIL Germany
PROFUSION Italy
PROGRES 2 Czech Republic
PROMETHEAN Finland
PROTOFONIA Brazil
PSI VOJACI Czech Republic
PSICOTROPIA Spain
LA PURA REALIDAD Mexico
PURGE SOLENOID United States
QUAKER Argentina
QUARTETO 1111 Portugal
QUILT Canada
QUODIA United States
RACHEL'S BIRTHDAY Germany
SIMON RAILTON United Kingdom
RAW MATERIAL United Kingdom
REDD Argentina
THE REDZEN Italy
THE REFORMATION United States
EL RELOJ Argentina
REPLIKAS Turkey
RITRATTO DI UN MATTINO Italy
OMAR RODRIGUEZ-LOPEZ Puerto Rico
ROOTS OF CONSCIOUSNESS United States
LA ROSSA France
ROZMAINSKY & MIKHAYLOV PROJECT Russia
ANDRES RUIZ Argentina
THE RUNNING MAN United Kingdom
SACCHARINE TRUST United States
SAHARA Germany
SANHEDRIN Israel
SARCOPHAGUS NOW Sweden
SBB Poland
LUCA SCHERANI Italy
SCHIZOFRANTIK Germany
SCYTHE Germany
THE SEA WITHIN Multi-National
SEAMUS France
THE SEASON STANDARD Germany
SENOGUL Spain
SEVEN IMPALE Norway
SFILTROM Slovenia
SFINX Romania
SHAMBLEMATHS Norway
SHESHET Israel
SHINSEKAI Japan
SINATLIS TSELITSADI (THE LIGHT YEAR) Georgia
RIKARD SJÖBLOM Sweden
SKALDOWIE Poland
SKE Italy
JÓZEF SKRZEK Poland
SKY United Kingdom
SLEEPY PEOPLE United Kingdom
JULIE SLICK United States
MALCOLM SMITH United States
SIGMUND SNOPEK III United States
SOLAR WIND Israel
SOLUS3 United Kingdom
SOM NOSSO DE CADA DIA Brazil
SOMA PLANET Spain
SOPHISTREE Germany
SOUL ENEMA Israel
SPECIMEN13 Canada
SPEKTAKEL Germany
SPIROSFERA Italy
SPRING United Kingdom
SPROINGG Germany
SQUINTALOO Germany
STA IMA? Croatia
STAR PERIOD STAR United States
STELLA LEE JONES Japan
STICK MEN United States
STIMPY LOCKJAW United States
JEREMY STORCH United States
STORM CORROSION Multi-National
STRINGPURÉE BAND Finland
JAMES SUDAKOW United States
SUMO ELEVATOR Israel
SUPERLUMINAL PACHYDERM United States
SWIFAN EOLH & THE MUDRA CHOIR Norway
SYLBAT France
SYLVIA BLISS United States
SYNCAGE Italy
SYNKOPY Czech Republic
SYRIUS Hungary
TAAL France
TAGYERIT United States
THE TANGENT Multi-National
TÁNGER Argentina
TCP United States
TELIOF Israel
TELLAH Brazil
TERRENO BALDIO Brazil
THIEVES' KITCHEN United Kingdom
THORS HAMMER Denmark
TIME United Kingdom
TIN SCRIBBLE United States
TMN Switzerland
TOOTSCATS Russia
TOWNSCREAM Hungary
TRAFFIC United Kingdom
I TRENI ALL'ALBA Italy
TRIODE France
TRIPCYCLE Serbia
TROYA Germany
TU United States
TULLY Australia
UK United Kingdom
UMLÄUT Australia
THE UNDERGROUND RAILROAD United States
URBAN NOMAD Canada
UTOPIA United States
VĆRKET Denmark
VAN DER GRAAF GENERATOR United Kingdom
LAURENCE VANAY France
JEAN-CLAUDE VANNIER France
VELUDO Brazil
THE VIRIDIAN GROOVE Venezuela
VISITOR 2035 United Kingdom
VISITORS France
VISOKOSNOE LETO Russia
VITA NOVA Multi-National
VITAL DUO France
VITKASTE Finland
VOX NOSTRA France
VU METERS Italy
VULGAR UNICORN United Kingdom
VY Puerto Rico
WALPURGIS Germany
WEJAH Brazil
WHALEPHANT Russia
WLUD France
WOOLLY WOLSTENHOLME'S MAESTOSO United Kingdom
WOMEGA Belgium
THE WORM OUROBOROS Belarus
ALEX WROTEN United States
WRUPK UREI Estonia
XENOGRAFT Australia
XL Finland
YEAR ONE United States
YEZDA URFA United States
YGGDRASIL Faroe Islands
YOLE France
YONIN BAYASHI Japan
ZAPOTEC United States
ZECHS MARQUISE United States
ZEROESQUE United States
ZHONGYU United States
ZIP TANG United States
ZITA ENSEMBLE Italy
ZOMB France
ZWEITON Germany

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