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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

4.59 | 2965 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.52 | 2287 ratings
RED
King Crimson
4.50 | 1359 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 1457 ratings
PAWN HEARTS
Van Der Graaf Generator
4.40 | 1921 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.35 | 1116 ratings
IN A GLASS HOUSE
Gentle Giant
4.36 | 538 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.31 | 1104 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.28 | 1003 ratings
STILL LIFE
Van Der Graaf Generator
4.26 | 1271 ratings
OCTOPUS
Gentle Giant
4.26 | 1005 ratings
FREE HAND
Gentle Giant
4.26 | 1009 ratings
THE POWER AND THE GLORY
Gentle Giant
4.24 | 992 ratings
ACQUIRING THE TASTE
Gentle Giant
4.21 | 906 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.27 | 334 ratings
ANABELAS
Bubu
4.29 | 289 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.25 | 328 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.19 | 520 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.16 | 569 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.18 | 351 ratings
MOTORPSYCHO AND STĹLE STORLŘKKEN: THE DEATH DEFYING UNICORN
Motorpsycho

Eclectic Prog overlooked and obscure gems albums new


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

OJCIEC CHRZESTNY DOMNIKA
Skrzek, Józef
ASTRID PRÖLL
Astrid Proll
I'M NORMAL, MY HEART STILL WORKS
Illŕchime Quartet
LE JOUR OŮ LES VACHES...
Booz, Emmanuel

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Latest Eclectic Prog Music Reviews


 Un Segundo by CABEZAS DE CERA album cover Studio Album, 2002
3.20 | 17 ratings

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Un Segundo
Cabezas De Cera Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Cabezas De Cera had come really close with their sound engineer Edgar Arrelin.In fact they considered him to be the fourth ''hidden'' member of the group, the man who took their sound to another level.An example of his stunning work can be heard on the band's second album ''Un segundo'', released independently in 2002.This was yet another work by the Mexicans with a wide instrumental armour.

Imagine if KING CRIMSON were actually a Latin-American group, influenced by Mexican Folk Music to get the picture of this high-octane trio from Mexico City.''Un segundo'' is an innovative and deeply challenging album, where short but extremely rich instrumental pieces are carefully split by the interruption of themes, mostly based on sound effects, narrations, samplers and electronics.Music is complex but always charming, led by scratching electric guitars and pounding drums, surrounded by a vast palette of traditional instruments like the violin, the clarinet, the saxophone and the archaic flutes.The compositions start from powerful, groovy parts to go through folky enviroments with a Latin-spiced atmosphere and get back into loose, almost improvised performances with a jazzy background.Of course. it's not always about dominant, complicated music in here, some displayed acoustic textures sound more down-to-earth and less emphatic but not uninteresting at all, surrounded by the sax or flutes.An amalgam of Folk, Jazz, Fusion, Rock and Electronic Music, delivered with an experimental attitude, producing atonal moments, passionate solos, punchy rhythms and atmospheric innovations.

A winner by all means.Not the main priority of lovers of more melodic offerings, but a must-have for anyone searching for dense and intricate contemporary Prog Rock.Strongly recommended...3.5 stars.

 Aviator by AVIATOR album cover Studio Album, 1979
3.39 | 17 ratings

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Aviator
Aviator Eclectic Prog

Review by tszirmay
Special Collaborator Crossover Team

3 stars Goodness me, I have been trying to get a CD copy of this lost piece of prog glory for such a while now (30 years by last account), my vinyl becoming a sandbox of gritty snap, crackle and pop pebbles. The story of Aviator is a classic scenario of a hugely talented band that wilted under the anti-prog stance of the late 70s, pounded mercilessly into oblivion by a media frenzy dominated by punk and new wave bands. Mick Rogers is , in my humble opinion, the most underrated guitarist in Progland, his contributions to Manfred Mann's Erath Band are stuff of legends (check out his sulfurous axe solos on "Visionary Mountain", "Martha's Madman", "Solar Fire", "Father of Night/Father of Day" and many more) , former Jethro Tull drummer Clive Bunker is outright legendary , while John G. Perry is , perhaps the most underrated bass player ever, a fretless stylist of great repute (Gordon Giltrap, Anthony Phillips, Caravan and Quantum Jump , plus two magical solo albums). Throw in Jack Lancaster of Blodwyn Pig and Colosseum on sax and lyricon and you have the makings of a prog super group. The artwork on this debut 1979 album (ooh, bad year for prog!) is still among my all-time faves, being an SR-71 Blackbird aficionado. All great ingredients except for the poor timing, this album basically went nowhere, as the demands of the market were clearly anti-prog, which meant more commercial constraints that artists had to follow (ELP, Jethro Tull, Genesis, Gentle Giant and many more were guilty of such outside pressures) and ultimately wound up being counterproductive in every single way.

The set list is comprised of 3 distinct attitudes, the dashingly progressive jewels such as the magnificent "Keep Your Heart Right", the brooding "Country Morning" (sounding a lot like Italian prog/fusion band Nova) and its companion "Morning Journey". These are absolute prog classics that still stand the test of time and are entirely worthy of attention.

Then there are the outright rockers like the exuberant "Silver Needles" and its extended instrumental platform, "Greed" and the brash "Cleveland Ohio" (great loopy synthesizer riff) which veer near Spooky Tooth/Foreigner- like territory, but graced by some monstrous guitar playing.

And finally the poppy in-betweens such as the rambling and jagged opener "Your Loving Is My Home", "Evil Eye" , "Time Traveller" , all positive ear-candy but far from progressive , outside of a few twists and turns that keep things interesting.

Obviously, Aviator is more of a footnote than a sheer prog accomplishment but its scarcity make it a valuable addition to a progressive rock collection.

3.5 Supersonic jets

 Larks' Tongues In Aspic by KING CRIMSON album cover Studio Album, 1973
4.40 | 1921 ratings

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Larks' Tongues In Aspic
King Crimson Eclectic Prog

Review by Mutante

5 stars This has to be the best ever prog record. It is experimental, avantgarde, visceral and it has a certain magic about it that starts on the mysterious cover... A funny thing about this album, personally for me was that back in 1992, when I dove into prog, departing from a Floyd lauchpad, via a Yes orbital station, while watching the Yesyears documentary, I decided I would have to check this band for which Bill Bruford left Yes. Coincidentally, a couple of weeks later, in my local prog supplier shop, I listened to the music being played in the shop's turntable (with a chorus that went "cigarettes, ice cream...") and asked the owner what was it, being quiet impressed with the energy in the music. He replied pointing to a record with a crescent moon circumscribed into a sun and told me 'King Crimson'. Even though I was not a mystical, back then, the astrological iconography immediately caught my eye. When I finally had the money to purchase it, I tool the LP (a second had, pretty worn out one) and carefully listened to throughout it, kind of expecting the Ice Cream song, that never came*. Nevertheless, I was not disappointed. Although it didn't reach the peak of appreciation I have for this record today, I could see the brillance of it since the beginning.

Recently it has risen to the top of my preferred music, I have been exhaustively listening to this record during the last year in my car and out of it.

I, having keen interest for percussions and being a Brazilian, would be most grateful for a COMPLETE list of the different percussion intruments, experiments and objects being played in the unique piece of experimental rock recorded for the intro of the opening track, LTiAPI. Then come in the mystery violin and the father of all heavy metal guitars as the thundering ensemble comes together into this instrumental number of pure pioneer exploration into music. The whole drama is followed by the lyricism of BoS, with beautiful acoustic guitar by Fripp. Then the tapes being played at different speeds create the atmosphere for the grandiose Exiles. The song that was, then in 1992, my preferred, today is the least interesting, which doesn't mean it isn't groovy, showcasing Muir's brief, but deep and influential (see the 2014 3D - three drummer - Crimson), Crimson contribution. Then comes the hypnotic Talking Drums, which steadily mounts as a crescendo until the schizoid screams that lead into the closing track, the second part of the title track. Not difficult to understand why Bruford moved along, to form that that would be one of my favourite incarnations of one of the most creative, fearless and aggressive rock acts ever. Long live the King.

*As the informed reader might figure out, he was playing Starless and Bible Black and pointed me to Aspic, referring to the band, but not necessarily the exact LP.

 Last Epic by A.C.T album cover Studio Album, 2003
4.11 | 218 ratings

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Last Epic
A.C.T Eclectic Prog

Review by gavharr

5 stars Ever wondered how the bastard child of 10CC, Queen, City Boy and Dream Theater would sound? Well, you don't need to wonder any more, because this band is probably how...

What makes this band(and especially this album) stand out, is not the fact that the musicians are skilled and can play 2 million notes a second, but the fact that they are really good songwriters. Showmanship never gets in the way of a good melody. Also A.C.T have a way of blending many differerent genres into a tune and in addition to that, making it sound completely natural.

If you are into catchy melodies, clever arrangements and skilled but restrained and smart musicians, you should really give this album a go.

IMHO it is impossible to single out any tracks, but I will mention that "Wailings From A Bulding" has a guitar solo that is the perfect combination of technique and melody. Superb!

Also worth mentioning is the band's use of three part harmonies which maybe is what reminds me the most of 10CC and City Boy. Really good and playful singing. Also this is a concept album about a bulding and it's tenants. This makes way for interesting lyrical fun from both tenants and the buildings own perspective. Very unique!

I can not recommend this album enough!

 Of Things That Never Were by WORM OUROBOROS, THE album cover Studio Album, 2013
4.52 | 20 ratings

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Of Things That Never Were
The Worm Ouroboros Eclectic Prog

Review by ProgShine
Collaborator Errors & Omissions and Crossover Team

5 stars As I already mentioned before in a couple of reviews, AltrOck/Fading is one of the most interesting labels that has appeared during the last decade. Every time I get their new releases I'm sure that they'll be high quality albums, even if they're not my favorite kind of Prog!

This time I have a review for an unusual band called The Worm Ouroboros that may sound Italian at a first glimpse but in fact they come from Belarus! Their first album, Of Things That Never Were (2013) was released in September last year and it had been recorded in a span of 3 years previous of the release. The band is formed by Sergey Gvozdyukevich (vocals, keyboards, acoustic guitar, bass and flutes), Vladimir Sobolevsky (electric and acoustic guitars), Alexey Zapolsky (bass), Eugene Zarkhin (drums) and Vitaly Appow (reeds).

Of Things That Never Were (2013) follows a Canterbury school, so you can expect numerous vintage sounds, a Jazz Rock touch and some craziness like in the opening track 'L'Impasse Sainte Bérégonne'. 'Shelieth', the second track is completely Caravan in various ways. Also, despite being an instrumental album (90% of the time), all tracks (also the name of the band) are inspired by books and in the beautiful booklet you'll have a chance to see a lot of great pictures adorned with fragments of those books.

Through the acoustic colors of 'Ladybird On A Moebius Strip', the Jazz-Thriller (with great vocals) of 'The Pear- Shaped Man' and the pastoral scenery of 'Dawn Angel' we ended up in love with Of Things That Never Were (2013). Quite incredible how good the album is for a debut!

The second half of the album begins with 'Pirates In Pingaree' and as the name suggests you can easily imagine pirates coming in a big ship to overtake some piece of land or another ship. That's the magic of music! By the time of 'The Magi' you can see a pattern on the album: one full song followed by a short and acoustic piece.

'Soleil Noir' is basically a beautiful lullaby that strikes the heart with some Genesis sound. 'The Curfew' is a weird one (in a good way) with some really strange melodies. And while 'Return To The Cold Sea Of Nothing' is the longest track on Of Things That Never Were (2013) with 9'50 minutes, it is also one of the most interesting on the album. A big part of why it is so interesting is because of the keyboards and bass, not forgetting the wonderful flutes. Hard to say, because the whole album is good, but it's probably my favorite one on the album. Finishing beautifully we have the acoustic poetry of 'Hope'.

There's little to say about Of Things That Never Were (2013) really. The only thing that comes to my mind to sum it all up is: Absolutely brilliant!! What more can I say? Just go and buy it already!

(Originally posted on progshine.net)

 Larks' Tongues In Aspic by KING CRIMSON album cover Studio Album, 1973
4.40 | 1921 ratings

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Larks' Tongues In Aspic
King Crimson Eclectic Prog

Review by stefanblazanovic

5 stars This is probably king crimson's weirdest album out yet. But weirdest doesn't also mean it's bad but definitely anyone who has listened to most of king crimson's album can agree that this is their most experimental album. And it also introduces a new set of band members playing for king crimson for the next 3 albums after larks' tongue in aspic (john wetton, David cross, robert fripp, and bill bruford who just retired recently from Yes after "close to the edge") some say that this is king crimson's best band lineup and I would have to agree. Not only does this lineup stay together for a short period of a time. But we get to see them evolve into better musicians in the next few albums after larks' tongue.

Larks' tongue in aspic part 1 (B+)

The book of Saturday (A)

Exile (A)

Easy money (A-)

The talking drum (B+)

Larks tongue in aspic part 2 (A+)

Overall rating (A) or 4.5 stars

The overall verdict of the album says that this is an excellent album. It's solid album and it's an experimental album gone right. Although king crimson does experiment with every album he releases (with the exception of in the court of the crimson king and the wake of Poseidon) I would say that this is a masterpiece for 2 reasons.

1. The Larks' tongue of aspic part 2. If you knew me in real life you would know I hate instrumentals. I get bored easily. But larks part 2 was prefect. The instrumental was melodic, heavy, and complex which what every progressive rocker would like. A must listen.

2. The vocal songs (exile, easy money, and the book of Saturday) John wetton's voice is actually really good. After listening to "in the court of the crimson king" I though to myself that Greg lake's voice was prefect for king crimson and nobody was going to match his vocal range. But boy was I wrong, john wetton's voice was unique and it brought that same feeling to me when I listened to ITCoCK for the first time. Exiles is a great example of what wetton's voice is capable of doing. Exile is such an amazing song that it always brings me shivers up my spine the last 2 minutes. Easy money is a king crimson classic and one of their most memorable songs. And the book of Saturday is a short ballad but it still deserves recognition for wetton's voice.

So to sum this up I think larks' is a great album which should be in every prog collection. Although it isn't ItCOTCK or red I believe that larks' deserve much more credit and recognition because it's often seen as pretentious.... So give this album a try... It's one of those albums where I would buy the box set of this album.

 Last Tango by ESPERANTO album cover Studio Album, 1975
3.92 | 52 ratings

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Last Tango
Esperanto Eclectic Prog

Review by GruvanDahlman
Prog Reviewer

4 stars Usually I shy away from albums including covers of Beatles songs. I have no quarrel with The Beatles. I like them, as most people do. The problem is that I find it boring and uninteresting when bands cover them. On many occasions I have to admit that the covers work well, such as in the case of Kaptain Kopter's "Ticket to ride" or Blood, Sweat & Tears "Got to get you into my life". So, hearing the unanimous praise about "Eleanor Rigby" I was sort of curious but I felt, mostly, suspicion and distrust.

Putting on the album I was soon convinced that Esperanto had indeed made something very special with this song. When you cover a song you need to put something little of yourself into the interpretation. Esperanto poured their very souls into the effort. The original recording of "Eleanor Rigby" is a pensive, thoughtful, beuatiful and mellow, almost baroque piece of music. Esperanto twisted and turned the song into something completely own, unique and over the top. At first you barely recognise the track but when the vocals kick in you know what song it is. Everything from the instrumentation to the vocals are amazing and gives the track a very special feeling. When the lyrics reach "All the lonely people, where do they all come from..." you recognise the original feeling of the song, making me nod my head in recognition as indeed I think they meant it. The vocals apart from that are harsher, less pensive and melodiuos. They are raucious and raw, reminding of Maggie Bell from Stone The Crows. This is one of the most perfect covers I have ever come across and it is progressive rock at it's finest. When bands like Ekseption rewrites classical works into something else you find yourself in awe. The same can be said about "Eleanor Rigby". By now Beatles is as classic as Bach and just as influential. So, when a band rewrites, arranges and kicks up a storm like this you cannot be anything but marvelled. I have no words to describe it. I discover new things every time I listen to it. Utterly complex and genius.

After such an opening, how do one carry one? "Still life" has an intro reminding me of crime shows on television from the 70's. Sort of funky and groovy. A great track in it's own right. "Painted lady" is a more accessible, straight forward prog-rock song. It's a good track, yet again reminding me of Stone The Crows. After the three opening tracks, full of energy and kicks, it is nice on the ears when "Obsession" starts. It is a very beautiful ballad styled song. Very warm, mellow and wonderful organ.

Apart from "Eleanor Rigby" the only true epic is "The rape" with several sections and complex arrangement. Ominous and foreboding, with violin and exceptional keyboards it really is as impressive as the forementioned track. The brass that kicks in at two minutes is glorious. I can't give this track enough praise. The title track is a nice ending of such a complex, entertaining and very special album. A mellow piece to wind things down. It is the slice of mint after a very steady meal.

As a conclusion I can only say that this is a true gem of the progressive movement of the 70's. It holds everything that is great in the genre. It is complex but not to the point that you cannot make out the music. In tone I'd say that it is very british, though they are multi-national, as it were. I would really recommend this album to almost anyone into prog. Top stuff and simply genius.

 Tant que L'herbe est Grasse by LAZULI album cover Studio Album, 2014
3.72 | 45 ratings

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Tant que L'herbe est Grasse
Lazuli Eclectic Prog

Review by DrömmarenAdrian

4 stars With a lantern I am searching for new fine prog rock and in France i found this "Lazuli" record. With a cover formed like an old photograph of a gentleman but with a cow skeleton head it faces me. It is a special cover even if I don't like it very much.

The band "Lazuli" is French and they have released five records since 2004, in ten years. "Tant que L'Herbe est grasse" from 2014 is their fifth one. I liked the French Nemo's record from last year and this one is a bit similar. The line up on the record is Claude Leonetti on léode and choirs, Gédéric Byar on guitar, Dominique Leonetti on vocal, guitar and mandolin, Romain Thorel on keyboards, french horn and choirs and Vincent Barnavol on drums and percussion.

I feel that this band is their best moments here could give us very emotional and living music that is so special you are happy to hear it. The powerful ending of the record for example "Les Courants Ascendants"(8/10) is a grandiose song and "L'Essence des Odyssées" is a great example of the bands instrumentation and the beautiful melody they bring us(8/10). The two first songs "Déraille" and "Une Pente qu'on Dévale"(8/10) are symphonic and very special. Thery are mixing fine and specific atmospheres with more powerful rock.

One great ingredient is Dominique Leonetti's light and strong vocals that in the first place could be a bit annoying but after hearing it a while it's absolutely impressing. The record as a whole is a fine experience. The former Marillion singer "Fish" contributes with English vocals on "Jái Trové ta Faille" and the result of this both English and French song is interesting. Thus should this record be heard also by Fish's fans. I hope people will hear this and make their own judgements. I'll rate this to four stars, it would have been seven on a ten number scale.

 Fantasia by FANTASIA album cover Studio Album, 1975
3.92 | 17 ratings

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Fantasia
Fantasia Eclectic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Finnish act Fantasia came out of the ashes of the Blues Rock band St. Marcus Bluesband in 1973, at a time when the members were experimenting with multiple music forms.They were Hannu Lindblom on vocals/guitar, Jukka Halttunen on guitar, Markku Lonngren on bass, Paavo Osola on keyboards and Karl-Erik Ronngard on drums, but soon Lindblom and Ronngard were left alone due to direction conflicts.They were joined by Harri Piha on bass and Roul Helantie on keyboards/guitar/violin and in 1974 they won the first prize at Finnish Rock Championship contest.This led to their signing by Hi-Hat, a company fighting Love Records for the best prog label in the country.With the help of Mikael Wiik on guitar and Pekka Poyry from Tasavallan Presidentti on sax they recorded their self-titled debut at Finnlevy's Studio in Helsinki, produced by Wigwam's drummer Ronnie Oesterberg and Mikael Wiik.The album came out late in 1975.

''Fantasia'' draw influences from the jazzy sound of WIGWAM, no doubt about it, but it was more in the vein of Classic Prog in terms of structures.It's actually a soft, jazzy Prog Rock album with detailed arrangements and multiple sources of inspirations with the jazzy elements dominating the music, but there is also space for psychedelic textures. Fusion parts and even some light symphonic keys in the process.The varied influences led to a deep instrumental background, which included organ, sax, synthesizers and electric piano, eventually creating music with lots of variations and diverse moods.Mostly instrumental, this one explores the more mellow side of Progressive Rock with an impressive rhythm section, swirling around jazzy patterns and more groovy, psychedelic beats, surrounded by the careful guitar plays of Hannu Lindblom, somewhere between PEKKA RECHARDT and JAN AKKERMAN, and the beautiful keyboard moves of Roul Helantie, characterized by atmospheric synths, soft organ washes, jazzy electric piano and more Fusion and intricate flashes.The atmosphere is pretty dreamy, getting even more ethereal with the use of sax and violin in a couple of tracks, and the arrangements are always nice and flawless, albeit less energetic than expected.

The album sold about 2000 copies, which were not the anticipated number by the Hi-Hat management.Thus Fantasia never made it to a second album.They still toured in Soviet Union in 1976, but changes in styles and line-ups led to incosistent musical results and they broke up in 1979, giving birth again to St. Marcus Bluesband and its more solid and accesible bluesy sound.

Cool jazzy Progressive Rock with interesting arrangements.Elements of Fusion and Psych Rock are all over the place for a fine discovery from 70's Finland.Warmly recommended.

 Allomerus by ALLOMERUS album cover Studio Album, 2012
2.48 | 4 ratings

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Allomerus
Allomerus Eclectic Prog

Review by progaeopteryx
Prog Reviewer

3 stars Allomerus is a neotropical genus of small ants in the subfamily Myrmicinae. Allomerus is also a duo of musicians from Australia consisting of John Wegner on guitars, synths, bass, and vocals and Paul Wegner on drums and percussions. John and Paul are clearly not neotropical, nor are they ants (check their website, they're humans).

They released this, their self-titled debut, back in 2012 on Bandcamp onto an unsuspecting public which I think is still in a state of not knowing either of the Allomerus' mentioned above. John and Paul make some unusual "homemade" music that mixes traditional instruments with modern technology like iPad synths and electronic drums. I'm at a loss on who their influences might be as not a lot of comparables is registering while I listen to this debut. There is a sense of King Crimson in some of the guitar work, but compositionally, these guys are kind of unique. There are a lot of different styles being used throughout the album, even some brass rock in places. Some transition nicely, others seem to hit each other like a bunch of slammed doors.

I can't say this is for certain, but this album shows (at least to me) some evidence of a learning curve from the beginning to the end. The sound of the album and the compositions seem to improve as one goes forward. In some of the earlier tracks, it almost seems like there are timing problems present, like the instruments are out of sync with each other. At times it seems as if there are "artifacts" in the recordings of the hi-hats and cymbals; they don't seem smooth like they either weren't recorded correctly or were modified electronically. But like I said, the album does get better as you move forward.

I'm at a loss on how to grade this. It started off seeming like only friends of these guys (or some ant colonies somewhere in South America) would be interested in it and then it seemed like folks interested in experimental "homemade" recordings would like it. I'm going to generously give it a three star rating. It was weird enough to catch my attention, and that's a good thing. Is it essential? Nah, but if you're looking for oddball stuff you might get a kick or two out of this.

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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
CZAR United Kingdom
DAAL Italy
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