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ECLECTIC PROG

A Progressive Rock Sub-genre


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Eclectic Prog definition

The term 'eclectic' in the context of progressive rock describes a summation of elements from various musical sources, and the influences and career paths of bands that take from a wide range of genres or styles. While progressive music can be, in a larger sense, eclectic, the 'Eclectic Prog' term is specially meant to reference bands that trespass the boundaries of established Progressive Rock genres or that blend many influences.

Eclectic Prog combines hybrids of style and diversity of theme, promoting many elements from different sources. The Eclectic category recognizes bands that evolved markedly over their career (in a progressive, evolutionary way), or have a plural style without a clear referential core.

The basic features lie within the music's variety, rich influences, art tendencies and classic prog rock elements. Among the representative bands are KING CRIMSON, VAN DER GRAAF GENERATOR, and GENTLE GIANT.

- written by Ricochet (Victor)

Current Team as at 12/31/2013

Rob (Epignosis)
Logan (thellama73)
Sagi (Sagichim)

Eclectic Prog Top Albums


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

4.60 | 2991 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.52 | 2310 ratings
RED
King Crimson
4.50 | 1367 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 1471 ratings
PAWN HEARTS
Van Der Graaf Generator
4.40 | 1941 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.35 | 1124 ratings
IN A GLASS HOUSE
Gentle Giant
4.36 | 543 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.31 | 1114 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.28 | 1012 ratings
STILL LIFE
Van Der Graaf Generator
4.26 | 1285 ratings
OCTOPUS
Gentle Giant
4.27 | 1021 ratings
THE POWER AND THE GLORY
Gentle Giant
4.27 | 1014 ratings
FREE HAND
Gentle Giant
4.24 | 1003 ratings
ACQUIRING THE TASTE
Gentle Giant
4.21 | 913 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.27 | 334 ratings
ANABELAS
Bubu
4.29 | 287 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.25 | 325 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.20 | 526 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.17 | 571 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.35 | 133 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

ASTRID PRÖLL
Astrid Proll
ENIGMATIC
Niemen, CzesŁaw
SENNI ESKELINEN & STRINGPURÉE BAND
Stringpurée Band
OJCIEC CHRZESTNY DOMNIKA
Skrzek, Józef

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Latest Eclectic Prog Music Reviews


 Live Atmosphere by CURVED AIR album cover Live, 2012
4.00 | 3 ratings

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Live Atmosphere
Curved Air Eclectic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

4 stars Atmospheric

Recorded during the band's 2010/2011 tour, Live Atmosphere features a set list full of Curved Air classics all of them taken from their first four albums. As such it plays a bit like a live "greatest hits" album. From the 1970 debut Air Conditioning comes Propositions, Hide And Seek, Screw, Stretch, and It Happened Today. 1971's Second Album is represented by Everdance and Back Street Luv. From 1972's Phantasmagoria comes Marie Antoinette, the title track and Melinda (More Or Less). Finally, Easy has been chosen to represent 1973's Air Cut.

The live album is bookended by two new instrumentals which respectively sets the mood and leaves a good final impression. Overall, this is a great set. If I will raise any complaints it would be that there is only a single track from Air Cut which is my favourite Curved Air album. Concentrating on what is here though, it is hard to complain about the set list. And the performances are full of energy and passion.

The line-up consists of Sonja Kristina on lead vocals, Florian Pilkington-Miksa on drums, Chris Harris on bass, Kit Morgan on guitar, Robert Norton on keyboards, and Paul Sax on violin. Together they recreate the classic songs very well indeed and given that the recording quality wasn't always the best on the band's early 70's albums, many of these songs sound better than ever before here.

A very strong live record and the ultimate source of Curved Air live.

 Gazing the Invisible by PROMETHEAN album cover Studio Album, 1997
3.30 | 6 ratings

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Gazing the Invisible
Promethean Eclectic Prog

Review by Matti
Collaborator Neo-Prog Team

3 stars Finnish PROMETHEAN were active between 1994-1998 and released two albums, this one being the debut. Interestingly the record deal was made with the Italian Avantgarde Music; back then the Finnish prog scene was struggling for life and was much more ignored by everybody else than today. The melancholic and basically quite pleasant rock of this album has elements from Folk, Gothic Metal and classically influenced Art Rock / Prog, but the depressed and mumbling expression of vocalist Timo Iivari underlines the group's Metal background, and for me is definitely the weakest link.

On the other hand, even I sometimes seek dark and sad emotions in music, and for that purpose I certainly prefer Iivari's understated, low key approach instead of more powerful and aggressive vocals. However I can't help thinking how much better this music would be with a "normal" singing. Especially with a suitable female voice it would probably be very delicious.

The sound is semi-acoustic, but it's mainly the flute that brings Folk ingredients (and also makes the frequent Jethro Tull and Camel references for this band, even if that may be an exaggeration in the end). Some tracks such as 'Gazing' feature also guest appearances for violin and cello. 'The' and 'Invisible' - not-so-clever wordplay on titles - are the instrumentals this album sincerely needed too. Without the vocals one can imagine listening to fairly good Prog Folk with classical music flavour in the arrangement.

The songwriting itself doesn't get very proggy. Another highlight with those instrumentals is 'The Kiss of All that Remained'. It's very atmospheric and sort of meditative with its percussion pattern, and the vocals in it are actually spoken (in fact they do approach spoken voice throughout the album). The final track 'Flowing Downwards' (10:37) stops as a song after 6˝ minutes and continues quietly with only some water sound effects; it's debatable if that makes it any better listening experience, but as another remainder of the more artistic goals it's OK.

Judged against the starvating state of Finnish Prog of the time, PROMETHEAN were pretty interesting - and promising, though they ended perhaps too soon. By the way, a decade later, ORNE shares many features with them: the deeply melancholic and dark emotion, an audible Metal background especially on the vocals, appearance of flute, and two albums released by an Italian label.

 Going For A Song by CULPEPER'S ORCHARD album cover Studio Album, 1972
1.99 | 6 ratings

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Going For A Song
Culpeper's Orchard Eclectic Prog

Review by GruvanDahlman
Prog Reviewer

2 stars I suppose it is some sort of achievement, the rapid decline of Culpeper's Orchard. Rarely has a band gone through such a development and I would say that no band ever has survuved such a decline. Going from the ever so brilliant debut, to the "alrighty then" second and ending with this. It is depressing.

On "Second light" they emphasized their country-folk leanings, leaving some of the progressive elements behind. On "Going for a song" they left everything but their country-rock side. What is left is a collection of lacklustre songs recalling The Band and others of that pedigree. Now, there is nothing wrong with The Band and there is nothing wrong with country. It could be argued, even, that there is nothing wrong leaving the progressive train and embarking on a tram, or whatever. The real problem lies in the substandard songs and the lack excitement. This is really not exciting music.

All in all, this is not terrible but not very good music either. It is definately not prog and I think that the lack of success and change in direction lead to the band's demise. Pity, considering the excellence of their debut and the promise of the second.

 Love Hate Round Trip by AREKNAMÉS album cover Studio Album, 2006
3.77 | 70 ratings

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Love Hate Round Trip
Areknamés Eclectic Prog

Review by brainsuccasurgery

4 stars After a first album in 2003, critically well respected and appreciated, and responding to incongruent expectations of those who dreamed of hearing VDGG interpreted by a group from the Canterbury scene, Areknames gave us Love Hate Round Trip, two-headed, so obviously between the monstrous and the all too human. On the cover of the booklet, a picture of a suburban street; probably from a Anglo-Saxon town. Close-up a flight of four steps of a gray-brown staircase, bordered by a same color stone wall, leading, as a line of flight, to a funeral store background. The letters of the sign of the shop appear upside. Gillman Funeral Service. In the foreground, written on the wall with white paint, the album title: Love Hate Round Trip, a real announcement of what it contains. The reality is a yo-yo, the constant change alone. From love to hate, dark to light, a permanent round trip. "The vortex of passion / Makes us alive and dead / At the Saami time". Inside the booklet there is the same aesthetic state of mind. The text of each song is illustrated by a picture or a dark and mystical painting, the image of this painting by Balthus or Bosch that can not leave us indifferent. A photo of the group in silhouette in the evening light closes the book. We do not even distinguish the faces. This mysterious shot overcomes the traditional list of acknowledgments where one crosses a multitude of names, some known and famous, whose presence here seems logical (Colosseum, Frost, Man, Wicked Mind of course), or seems surprising (Agitation Free, Wishbone Ash, Chocolate Watch Band, Mahavishnu Orchestra). The booklet also tells us that we will hear trumpet on several occasions. Stefano Colombi is this time sought full- time guitarthrough beautifully subtle arrangements, very technical and inventive soli. Then it will be found that the main difference with the previous album is the most important place given to this instrument even if keyboard parts are important (except for the melloton who is more discreet). Despite these changes, these innovations, music Areknames may seem familiar (especially for fans of VDGG). First we think to know it by heart, but that's not counting on its mutability, the way to change according to the strength and condition of our soul. Depending on the angle of approach (by car, concert, with friends or alone with our pain), its appearance is changed by what happens to us.
 Ex Tempore  by VITAL DUO album cover Studio Album, 2001
4.18 | 19 ratings

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Ex Tempore
Vital Duo Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars The gap between the 97' and 03' albums of Minimum vital can be explained by the fact that the Payssan brothers around the time had focused on an emerging side-project called Vital Duo, where they would get into a more Folklore approach on Prog Rock.Jean-Luc played various string instruments like classical and electric guitar, mandolin, a 16-string sitar, while he also handled most of the percussion parts, and his brother Thierry launched a keyboard fest including a sampled church organ, synthesizers, a couple of pianos and a Hammond organ.The sole album of Vital Duo was recorded between July 99' and September 00' at the Mahatma Studio in Bordeaux and released the next year on Musea Records.

If you call this something like Medieval Prog it's fine, the Payssan brothers just prooved how diverse they were, taking MINIMUM VITAL's follkier parts and pronouncing them with the dominant use of keyboards and acoustic instruments.Medieval-styled tunes, performed through keyboards and strings, supported by some great choir parts, and a pallette of flexible moods, depending on the electroacoustic and keyboard instrumentals.All these lost-in-time atmospheres come in evidence through the troubadour-like vocal lines, the ability of Thierry Payssan to adapt Medieval Music in his keyboard themes, especially the digital church organ, and the acoustic depth coming out of Jean-Luc Payssan's acoustic variety.Echoes from the Baroque, Renaissance and Medieval periods and stylings are revisited with a contemporary sound, which still contains a lot of electric atmospheres.If you have ever listened to MINIMUM VITAL's music, you have an idea of what to expect.Take the smooth electric tunes of the main band, throw in a stronger dose of archaic, European melodies, and reduce the instruments to keyboards and guitars (next to some sporadic drumming).Impressive reincarnation of old music principles, leading to nice, mostly instrumental stuff.

Just before the Payssan's refocused on their main band Minimum vital, they also released a great live performance of Vital Duo's music on the DVD ''Le jardin hors du temps'', which comes also recommended.A unique entry of electroacoustic Medieval-styled Prog Rock, strongly recommended to say the least...3.5 stars.

 North Star by CURVED AIR album cover Studio Album, 2014
3.47 | 37 ratings

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North Star
Curved Air Eclectic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars It happened today!

North Star is the first Curved Air studio album containing new material for nearly 40 years (1990's Love Child contained material recorded in the 70's). The new songs are mostly excellent and several are every bit as good as the band's best classic material if not better! My favourite tracks include Time Games, Images And Signs, Interplay, Spider, and Magnetism. The sound is most similar to 1973's Air Cut which is my favourite Curved Air album. The violin heavy passages also remind me of the Symphonic Prog of Kansas.

After many listens I would gladly have given this album a higher rating if it wasn't for the fact that it also contains several re-makes and cover songs. Why couldn't they just have concentrated on the new songs alone? The re-recorded versions of Situations (originally from 1970's Air Conditioning), Puppets and Young Mother (both originally from 1971's Second Album) are all good, but unnecessary. The same must be said of the cover of The Beatles Across The Universe which has been done by so many others.

Other songs that have a history is Colder Than A Rose In Snow which apparently first appeared on Sonja Kristina's self- titled 1980 solo album, and the two covers Spirits In The Material World and Chasing Cars by The Police and by Snow Patrol respectively. I haven't heard any of these songs in their original versions so I cannot comment on how these versions compare to the originals, but even though I enjoy listening to them here I can't help but to feel that this album would have been better had they focused on only new material of their own. Especially as their new songs are really good I don't understand why they felt the need to include covers and re-makes of older songs. Just over 40 minutes of new music would have been enough!

Curved Air is yet another classic progressive Rock band that has returned to the stage in excellent form in recent years and thus proving that the genre is very much alive.

Recommended!

 Second Sight by CULPEPER'S ORCHARD album cover Studio Album, 1972
3.27 | 22 ratings

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Second Sight
Culpeper's Orchard Eclectic Prog

Review by GruvanDahlman
Prog Reviewer

3 stars When I first acquired the debut of Culpeper's Orchard I couldn't believe my ears. At the time (circa 1992) there was not even the remotest chance for me to find out anything about the band. The reissue I bought lacked not only general information about the band but the yyear aswell. Odd, one might say. I dare say that would not happen today. Internet was strictly speaking not in operation, which means that that particular well of knowledge wasn't only dried up, it had not yet begun it's flow. I took a guess based on sound and structure of the songs and concluded it was made back in 1971 or 1972. Pretty good guess.

While the first album is one of my Top5 albums and has been rated five stars by me, the decline seemed rapid for Culpeper's Orchard. The first album is flawless in my opinion. Their brand of hard rock, prog, folk and a slice of countryfied rock was and is superb. This, their second effort, is, while not bad, not all that good. In particular that is true when compared to the brilliance of album number one.

What is the matter, then? For the most parts the details that made up the tapestry of the first album are here. There's blues, hard rock, prog, folk and country all mixed up and presented in a fine fashion. The problem lies in the material. Soundwise it is an improvement on the first album, though I really appreciate the rough and raw sound found on that one. The material on "Second sight" is simply lesss urgent, less forceful and less intriguing.

The opening, "Julia", is a lovely folkstruck little thing I enjoy. It is pretty and the voice of Cy Nicklin is wonderful, as ever. "Keyboard waltz" is also a nice track and holds alot in common with the songs on ttheir debut. "Classified ads" is a hard rock stomper, which also holds similarities to their debut.

The main problem on this album really is "Late night woman blues". I have not quarrels with the blues but in this case it seems like an easy way out. Stretching out for 6.36 minutes it is really nothing more than a piece of bluesy jamming. It disrupts the flow.

"Autumn of it all" harks back to the debut, once again. A nice, little folky thing and one of the better songs on the album. It would really have suited the debut. "Mind pollution/Weather report" is the highlight, really. Nigh on 10 minutes long it is divided into two distinct parts. The opening folky one and the hard rock closing section. Really great song. Inspired and intriguing. The last track is the very countryfied "Satisfied mind" which sees them in some sort of CSN or Grateful Dead mode. Good one, especially as an ending song.

Overall one has to say that this album holds great musicianship but the problem is the material in itself, being really not that strong or intriguing as those tracks on the debut. I believe one has to judge each album on it's own merits and so I do. Even if I was to look at this album as one made by a band that never recorded another track the judgement would be the same. Nice but not that thrilling. I have struggled with this album over the years and every time I get the same experience and draw the same conclusion.

This is an album for those already into Culpeper's Orchard. I would not recommend this album anyone else. It's not bad, just not that special either. Three stars.

 Pearl Moon by INNER LIGHT ORCHESTRA album cover Studio Album, 2012
3.71 | 9 ratings

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Pearl Moon
Inner Light Orchestra Eclectic Prog

Review by Matti
Collaborator Neo-Prog Team

4 stars This is the only release from I.L.O. (by the way, "ilo" means joy in Finnish!). The instrumental group - which I would actually rather label as Jazz-Rock/Fusion than Eclectic Prog - is led by guitarist-composer Samuel Leminen (formerly of WASAMI; no idea what kind of a band it is). One track, 'Boogie Nights', he wrote together with Heikki Puska, the guitarist-composer of the excellent and sadly bygone prog act UZVA. These two guys share the guitar duties, curiously mixed into the left and right channel separately. Also saxophonist-flautist Antti Lauronen served formerly in Uzva, and the bassist Kimmo Dammert is known from the Space Rock band HIDRIA SPACEFOLK.

I'm really fond of the drawn cover art by Antti Silvekoski! It reminds me of the early 70's heydays of the album cover art in progressive rock especially. This is a very justified allusion, since the music too reflects the vintage Finnish jazz-rock oriented prog such as PEKKA POHJOLA, TASAVALLAN PRESIDENTTI, JUKKA TOLONEN and WIGWAM.

In the opener 'Boogie Nights' the reggae-ish beat is luckily only a starting & returning point for an uplifting and unquestionably progressive 9-minute Fusion ride. At first I thought it to be my least fave of the five tracks, but in fact it has much more spirit than the guitar-emphasized 'Winds of Oyá'. Soprano saxophone is perhaps the other key instrument in the album's overall sound besides electric guitar. The third track 'Lamentation of Ancestress' features the Hammond organ of legendary JUKKA GUSTAVSON (ex-WIGWAM) and is the definitive highlight. In the beginning the introspective melodies are built slowly in a Pekka Pohjola style, and after the Hammond gradually takes a bigger and bigger role, the playing is filled with sheer joy and the listener is totally charmed with this very vintage sounding composition.

The nearly 13-minute 'Summer Days, Summer Nights' gets in my opinion a bit boring in its jam-like stretched structure, but surely it's not without joy and power either. The final number 'Domestic Spirits' starts delicately with acoustic guitar and flute, but the folky flavour gives way to a fuller jazz- rock sound led by strong electric guitars. The high-pitched flute struggles along until the more harmonious end.

Many connoisseurs of [Finnish] vintage prog will be delighted by this jazzy, happy music. There are wonderful highlights but also some less interesting, jam-approaching stuff lacking of impressive melodies. Another negative remark is that the arrangements are not as colourful and many-sided as on the albums of UZVA for example. Anyway, a warmly recommendable addition in the prog- listeners shelf somewhere near the classics of the artists and bands mentioned.

 Dances of the Drastic Navels by DAAL album cover Studio Album, 2014
4.51 | 3 ratings

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Dances of the Drastic Navels
Daal Eclectic Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars You have to hand it to the Italians, they are a crafty bunch, always looking to provide fun, pleasure and emotion in whatever they decide to sink their talents into. Cooking, fashion, cars, design, footy, wine, architecture and of course, music. So veteran RPI masters Alfio Costa of Tilion and Prowlers fame and drum maestro Davide Guidoni (Taproban, Nuova Era, Aries and Gallant Farm) searched out a niche for their deepest creative urges, effectively combining sweeping electronics in the Tangerine Dream, Vangelis, JM Jarre mode and infusing them with symphonic prog, a dab of gothic ambient and some old school King Crimson motifs that, all combined in a bartender's shaker, provides a heady cocktail of astounding sounds and amazing music. The result is an original take on soundtrack panoramas, mind music of the highest order and an intense, I daresay, explorative demeanor. Dodecahedron was a masterpiece but all the Daal albums are impressive, including remakes of Pink Floyd's classic 'Echoes', and Pain of Salvation's "Undertow", ballsy and successful moves indeed! Daal is rapidly becoming a personal all-time favorite for many prog fans, yours truly on the front lines. On board are some amazing guests , the trustworthy return of marvelous guitarist Ettore Salati (The Watch, The Redzen, SoulenginE) is only trumped by the vocal presence of Tirill Mohn of White Willow fame, as well as Bobo Aiolfi on bass (a Tilion pal) . Alfio Costa handles a vast arsenal of analog and digital keyboards, uniting the Froese with the Wakeman. The mood has always been dark, brooding and hinging on evil, loaded with despair, perspiration and palpable fear, it's actually quite hard to explain or categorize.

So the mood on this strangely titled disc gets even more sombre, a spectral world of surrealism, abstract emotions and a visceral sense of suspended animation. The devilish "Malleus Maleficarum" has all these attributes in copious amounts, slashed by a lightning Ettore Salati guitar rampage. Like some fugitive train, the gruesome pulse seems both controlled and rather haywire, as if to underline the sheer audacity of playing such a style of cinematographic prog. Alfio's various sleek electronics provide an utterly modern sheen, soundtrack to some suspenseful movie. Davide shows little pity on the drum kit and Bobo follows along, smiling as his instrument rumbles mightily. Unsettling, slightly menacing and totally brilliant.

The wily titled "Elektra" suggests all manners of fantasy, a misty unfurling of swooning ambient sound that gradually involves a stylized rhythmic track, paralleled by Salati's urgent axe scouring the heavens, then followed by an assortment of synthesized gurgles, rasps, collisions and detours. Cripplingly mind-altering, the mood merges Pink Floyd's ambient ruminations with a harder edged Wagnerian psychosis that is wholly original. The insistent piano chaperones the exalted fret board most convincingly, waltzing frenetically into some unknown void. I feel this is all so disturbing!

In contrast to all the heroic Sturm und Drang, "Lilith" extols the virtues of a more sensually romantic direction, fueled by a repetitive Chopin-like piano sequence that screams both splendor and sorrow. This gentle 'berceuse' swings back and for serenely and while highly romantic, the music remains firmly slotted on an underbelly of palpable angst. The vivacious guitar repeats the theme, ultimately veering back to piano, mellow cello and military snare drum as it evaporates into the clouds. This is perfect.

La piece de resistance is the title track, a monstrous affair that spans nearly 24 minutes, "Dances of Drastic Navels", a slow burn entrée that infuses a wide variety of effects, enough sampled distant voices, shudders, pants, clicks and beeps to fill a sound gallery. The Gothic straight jacket guitar has an ominous tone, the piano remains chaotic and slivers of synthesized spittle adorn the echoing drumbeats, the progression stays laborious and unhurried. The second part involves even more weird sweeping electronics, dense mellotron carpets and that aggressive low guitar tone that recalls Mick Ronson, though in an obviously more sinister environment than the Spiders from Mars! The perverted piano asserts the degenerative illusion of something going gradually bonkers, the feverish mood is impeccably classic King Crimson inspired, while the sequencer- crazy synths offer up a near Klaus Schulze/Tangerine Dream feel, less Teutonic and way more insanity- oriented. The final section reverts to shimmering beauty ,after dealing with the nasty beast and shows clearly that Daal can master both extremes, perhaps even boldly going even further into the depths of such a 'starless' universe. Tranquility returns in the guise of an achingly gorgeous piano, entwined with the most subtle mellotron I have ever heard. The mighty string machine flickers along majestically, Salati pointing his guitar gun and firing in semi-automatic mode and Costa pushing the ivories along. Astonishing yet also disconcerting stuff!

Just when one expects another tenebrous arrivederci, the Daal crew set out to completely astound with a piece that is out of context though not necessarily out of character, the sweeping melancholia of "Inside You" will have you scurrying to find your misplaced jaw, accidentally kicked in all the commotion, to the trash-infested curb. Tirill Mohn of White Willow and solo fame, takes over the microphone with her panting and sensual voice, with the mission to thoroughly stun and surprise. Guest violinist Letizia Riccardi plays with masterful emotion, compounded by the multi-layered voices of the Norwegian star.

This is not RPI, not really Symphonic, definitely not Neo or Crossover, Daal is a one of a kind purveyor of drastic plastic (to quote Be Bop Deluxe) that truly seeks to take the musical adventure into further realms of creativity, further stretching the boundaries between genres and sub-genres. Their catalog has kept on growing in quality and stature, so this will remain one of my 2014 favorites. It goes without any wonder or surprise that my most esteemed colleague and, to a certain extent common prog traveler Aussie-Byrd-Brother, has anointed this with equal universal acclaim.

5 dire umbilici

 Chance  by MANFRED MANN'S EARTH BAND album cover Studio Album, 1980
3.17 | 82 ratings

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Chance
Manfred Mann's Earth Band Eclectic Prog

Review by ghost_of_morphy
Prog Reviewer

2 stars One third arena rock and two thirds mild art rock would be how I would some up MMEB's album chance. The bad news is that the two thirds that isn't arena rock is mostly insipid. The good news is that the arena rock part is surprisingly good, especially considering that the genre was just getting started at the time. A revolving cast of vocalists also detracts from this release having a consistent sound. Also the bluesy groove that MMEB can occasionally rock has mostly evaporated away.

This is a two and a half star album, but I will round down on this one. If you are a fan of the Earth Band, you will eventually want to listen to this. Otherwise, give Chance a pass.

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Eclectic Prog bands/artists list

Bands/Artists Country
16 DEADLY IMPROVS United States
17F Switzerland
4/3 DE TRIO France
8 DAYS IN APRIL Germany
A.C.T Sweden
ABRETE GANDUL Chile
ABSOLUTE ELSEWHERE United Kingdom
ABSURDCUS Romania
ACADEMIE OF FARSIDE Indonesia
ACINTYA France
ADVENT United States
AFFINITY United Kingdom
AKO DOMA Slovakia
AKRITAS Greece
AKT Italy
JEAN-PIERRE ALARCEN France
ALBATROS Germany
ALEXL Brazil
ALGERNON United States
ALLOMERUS Australia
ALON United States
ALPHA RALPHA France
ALQUILBENCIL Spain
ALQUIN Netherlands
ALTABLANCA Argentina
ALTAIR Spain
ALTERNATIV QUARTET Romania
ALTERS Poland
COSTE APETREA Sweden
APPLE BELLS Poland
ARBATEL Mexico
ARDO DOMBEC Germany
AREKNAMÉS Italy
ART AND ILLUSION Italy
ARTCANE France
PETER ASHBY United Kingdom
THE ASHQELON QUILT Israel
ASTRID PROLL Puerto Rico
ATHELSTONE Malta
ATLANTIDE France
AUDIENCE United Kingdom
AUDIO VISIONS United States
AUNT MARY Norway
AVE ROCK Argentina
AVIATOR United Kingdom
ÁVORA DI CARLLA Brazil
BAD ALCHEMY United States
VLADIMIR BADIROV Uzbekistan
BAG France
DAVID BAGSBY United States
BAKU LLAMA United States
FRANCK BALESTRACCI France
BARBARO Hungary
AL BASIM Iraq
BATABEAT Canada
BEAR IS DRIVING United States
BEARDFISH Sweden
ADRIAN BELEW United States
SERGIO BENCHIMOL Brazil
IL BERLIONE Japan
MICHAEL BERNIER United States
BIRDS AND BUILDINGS United States
BLOQUE Spain
THE BOB LAZAR STORY New Zealand
BOOTCUT Sweden
EMMANUEL BOOZ France
BORDERLINE SYNDROME Greece
EDUARDO BORT Spain
BRAINSTATIK United States
VYTAS BRENNER Venezuela
BRIGHTEYE BRISON Sweden
BUBBLEMATH United States
BUBU Argentina
JEAN-LOUIS BUCCHI France
BUDKA SUFLERA Poland
C & K VOCAL Czech Republic
CABEZAS DE CERA Mexico
CALLE DEBAUCHE United States
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
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