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ECLECTIC PROG

A Progressive Rock Sub-genre


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Eclectic Prog definition

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

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

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

- written by Ricochet (Victor)

Current Team as at 07/10/2016

Rob (Epignosis)
Sagi (Sagichim)
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Eclectic Prog Top Albums


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

4.61 | 3516 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.53 | 2765 ratings
RED
King Crimson
4.49 | 1650 ratings
GODBLUFF
Van Der Graaf Generator
4.41 | 2348 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.41 | 1760 ratings
PAWN HEARTS
Van Der Graaf Generator
4.36 | 1360 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1335 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.33 | 689 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.29 | 1261 ratings
THE POWER AND THE GLORY
Gentle Giant
4.28 | 1560 ratings
OCTOPUS
Gentle Giant
4.29 | 1218 ratings
STILL LIFE
Van Der Graaf Generator
4.28 | 1213 ratings
FREE HAND
Gentle Giant
4.24 | 1219 ratings
ACQUIRING THE TASTE
Gentle Giant
4.22 | 1132 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.28 | 425 ratings
ANABELAS
Bubu
4.27 | 345 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.25 | 377 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.20 | 619 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.16 | 703 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.31 | 191 ratings
1000 AUTUNNI
Ske

Eclectic Prog overlooked and obscure gems albums new


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

I'M NORMAL, MY HEART STILL WORKS
Illŕchime Quartet
L'ENFANT ASSASSIN DES MOUCHES
Vannier, Jean-Claude
AEROLIT
Niemen, CzesŁaw
ERIS
Baku Llama

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Latest Eclectic Prog Music Reviews


 Drones by GOUDE, JEAN-PHILIPPE album cover Studio Album, 1980
4.00 | 1 ratings

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Drones
Jean-Philippe Goude Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

— First review of this album —
4 stars 4.5 stars. I first became aware of Jean-Philippe Goude when I picked up that amazing WEIDORJE album, a top three album for me from 1978. Jean-Philippe was strongly advised to join that MAGMA spinoff band by the great ZAO drummer Jean-My Truong. And as WEIDORJE was winding down for a variety of sad reasons Jean-Philippe enlisted the help of pretty much the whole WEIDORJE band to make this solo album he called "Drones". A very similar lineup including Goude would play the following year on Patrick Gauthier's solo album called "Bebe Godzilla" and then in 1985 Bernard Paganotti's PAGA GROUP would enlist Goude and many of the players on the three previous albums I just mentioned to record another classic called "Paga". Those four albums are all connected and are all essential in my opinion.

What a lineup though! "Drones" also features several HELDON members including Gauthier, Ettori, Pinhas, Batard and Auger. Just mentioning these names gives me chills. Add Blasquiz from MAGMA, the all female string ensemble called QUATUOR MARGAND who played on a ZAO album and with Yochk'o Seffer. David Rose adds violin and Gerard Prevost one of the bass players who has played with ZAO and HELDON adds his talents to one track. Man I could go on and on. Love the album cover as well, and the liner notes are long and full of great information.

"Les Saturnales" opens with piano(Goude) and it starts to build. Some massive bass lines from Paganotti as drums from Rust and synths(Goude) help out. It picks up as Blasquiz starts his chants after 2 1/2 minutes. Catchy stuff and very Zeuhlish. I really like when it calms down as the vocals stop before 3 1/2 minutes in. So much depth a minute later. A top three track. "Sieilienne" is a short vocal(Blasquiz) synth(Goude) piece clocking in at just under a minute.

"Machine" opens with spacey synths from Goude as that string quartet kicks in along with a synth beat from Pinhas. The strings come and go. Great sound 2 1/2 minutes in, innovative is the word the way the strings and synths create such a beautiful melody. "Drole D'ere" opens with some gorgeous piano and violin from Goude and Rose respectively. It kicks into gear a minute in. Love the synths as the violin starts to play over top. Check out the drum work before 2 1/2 minutes and later on. Horns from the Guillard brothers join in around 3 1/2 minutes.

"Coma" opens with water sounds and synths and this is all Goude. It turns pastoral before 2 minutes. So beautiful(gulp). Water sounds end it. "Trepidase" is the one mistake in my opinion. I just find the flute synths to sound lame(just my opinion). I usually skip this one but other than this track I find this album to be flawless. "Duo" is Goude solo on synths and it's melancholic. "Dies Irae" is my favourite and like the opener it's a Zeuhl flavoured piece. Lots of guitars too as we get four players on this one and Paganotti destroys with his bass work. The ear piercing ending is incredible. I adore this song.

"Tintinnabulum" is the other top three for me. I really like the synths and we get the HELDON rhythm section of Auger and Batard. Another gorgeous track. Piano and a calm arrives after 1 1/2 minutes. Nice guitar work after 3 minutes as Blasquiz chants. So good! "Cantilione" is the duo of Goude and Gauthier the two keyboardists from WEIDORJE. The piano melodies are so pretty from Gauthier as Goude joins in on synths. Another excellent track.

Man this is so close to a 5 star album for me if not for that one track. Still it's a top ten album for me for 1980 and essential.

 The Crimson Projekct - Offical Bootleg Live 2012 by KING CRIMSON album cover Live, 2012
2.09 | 4 ratings

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The Crimson Projekct - Offical Bootleg Live 2012
King Crimson Eclectic Prog

Review by Neu!mann
Prog Reviewer

2 stars Apparently it's not only diehard fans who can't get enough of KING CRIMSON; the musicians themselves often show an almost obsequious attachment to the throne. The six-person Crimson Projekct is only the latest in a cycle of KC legacy acts, not unlike the alumni-tribute 21st Century Schizoid Band but focused on the opposite end of the musical electromagnetic timeline, performing infrared '80s and '90s material instead of the ultraviolet early repertoire of the Schizoid setlist.

And why not? The sextet already includes half of the Double Trio Crimson line-up, plus a graduate of Robert Fripp's Guitar Craft seminars (Markus Reuter, class of '98). What doesn't make sense is the lack of any artistic license applied to the music. All the selections (four songs from the "Discipline" album; three more from "THRAK"; and the inevitable title track from "Red") were recycled more or less note for note, or Frame by Frame, as Adrian Belew croons in the song of the same name.

It's hard to argue with the talent involved, even if the duplication of effort doesn't quite add up. Pat Mastelotto attacks his percussion with enough ferocity and flair to make the extra drummer (Belew Band regular Tobias Ralph) somewhat redundant. Ditto bassist Julie Slick, who never manages to emerge out of the long shadow cast by veteran Tony Levin.

All six together create an impressive racket, but the concert needed to be seen in person (as I did in October of 2011, when the two halves of the Projekct first joined forces). On disc, the experience is reduced to a secondhand memento, played with all the skill but none of the invention typically associated with Prog Rock's perennial monarch.

[Consumer alert: this abbreviated set, only 45-minutes long, was recorded in the summer of 2012, when the hybrid band was touring in support of Dream Theater. The much later "Live in Tokyo" disc, released on the Inside Out label and featuring twice the music, is the better bargain]

 Swamp Of Dreams by DJAM KARET album cover Boxset/Compilation, 2015
4.50 | 6 ratings

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Swamp Of Dreams
Djam Karet Eclectic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars For over thirty years now, Californian band Djam Karet have been offering an eclectic variety of instrumental prog rock, covering every style from psychedelic, electronic, ambient, space music and even blues, frequently in the form of completely improvised jamming performances. With a string of superb releases in their back catalogue, and their two most recent works (the spacerock/electronic-infused `The Trip' and the retro flavours of `Regenerator 3017') being especially wonderful, the group have decided to release a vinyl-length stop-gap compilation, `Swamp of Dreams', bringing together assorted rarer stand-alone pieces taken from a range of unrelated compilations spanning the years 1990 to 2006.

`Voodoo Chases The Muse' opens the disc with gutsy slow-burn bluesy snaking electric guitar over liquefied Ozric Tentacles-like gurgling synths, with playful jazzy licks and funky bass sauntering throughout. `The Shattering Sky' presents atmospheric Tangerine Dream-like electronic ticking ambience and droning King Crimson-flecked guitar notes behind brooding heavy Mellotron choirs and bass purring wickedly along the backdrop, but the abrupt quickie fade-out that comes out of nowhere mid-guitar solo is heartbreaking!

Electronic washes and calming acoustic guitar ruminations blend with tribal percussion and a heavy beat that builds in urgency throughout `Pentimento' as strangled Crimson-esque guitar distortion grinds away, and the twitching electronic violations and ebbing/humming drifts in the manner of the early Klaus Schulze works of `New Light on the Dark Age' twist together with tribal- like beats, mangled guitar and an addictive repeated whirring synth theme.

The haunting and dream-like `Inventions of the Monsters' is a crystalline drone that is both ethereal and eerie, and oddly, with its pristine icy synths, buoyant bass and up-tempo drive, the heroic and symphonic title-track closer `Swamp of Dreams' quickly reminds of the Neo Prog bands and could have easily come off almost any early IQ album!

Despite all the scattered tracks originating from over a sixteen-year period, there's still a strong flow that ensures the 44 minute CD works perfectly as a stand-alone album, and while the above mentioned `The Trip' and `Regenerator 3017' stand taller in their discography, `Swamp of Dreams' is simply a great collection of cool instrumental pieces with great playing from a talented group! An easy high recommendation for instrumental prog lovers, let's hope for a second volume of these sort of collected pieces from Djam Karet in the near future!

Four stars.

 Spring by SPRING album cover Studio Album, 1971
3.73 | 153 ratings

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Spring
Spring Eclectic Prog

Review by SteveG

4 stars Warning: the music on this album contains mellotrons.

And with that proviso, we look at this fascinating one off album from the progressive English band Spring from 1971. One of few the early seventies bands that built it's musical foundations on the prog hallowed mellotron. Even the three bonus recordings present on this album, that were the initial songs recorded for their follow up album prior to the band splitting up, also feature the mellotron heavily, with more piano and organ brought in to build up the sound.

So, is the album Spring any good? That depends on how much one appreciates combining of the mellotron with mellow , but always simmering music. There are some dramatic moments on Spring with lyrics worthy of either Peter Sienfeld and Keith Reid, but the tone of the album is reflective and relatively quiet when compared to the more dynamic "From the Wicthwood Sounding" bonus tracks.

But the band, with four out of the five members playing the tron on different tracks, make this one off album seem almost essential to an early prog fan. Heavy 'Chas Cronk' style basslines and deceptively simple sounding drumming that has metronomic precision courtesy of future Dire Straits drummer Pick Withers. The band's rich soundscapes that feature everything from mellotron horns, flute, string, and even tympani, are marked out by a clangy electric guitar supported by the sweet tones of a beautifully strummed acoustic 12 string, which makes the music sound very much of it's time.

However, Spring has one endearing quality that almost all early seventies progressive rock band's lack. A modern, almost timeless, sounding vocalist that brings to mind echos of Peter Gabriel mixed with Cat Stevens.

For prog fans, 3.5 stars seems right. For prog fans who love mellotron, it's easily 4 stars. This review is for Doug, who inadvertently reminded me of why I got into prog in the first place.

 Gentle Giant by GENTLE GIANT album cover Studio Album, 1970
3.90 | 986 ratings

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Gentle Giant
Gentle Giant Eclectic Prog

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

5 stars Somewhere in between the pop stardom of Simon Dupree and the Big Sound and the ostentatious prog pinnacles of the post-Phil bi-Shulman era, Gentle Giant cranked out one of the most solid, consistent and unique debut albums in all of rock music.

The band's debut often gets criticized by prog fans because it's "not as complex" as the group's later works. In all due respect, though, who cares? "Gentle Giant" is a vicious blues-fused prog attack that sounds like the bastard child of Deep Purple and Genesis. Who doesn't like Deep Purple and Genesis? All seven songs on this album are classics. "Giant" is the perfect opener, with its hard-hitting horn arrangements and drums-bass-mellotron groove that almost seems like a precursor to the Yes classic "Heart of the Sunrise". "Funny Ways" is the first indication that Gentle Giant is capable of compositional greatness, though. This seemingly awry tune manages to churn out more quality musical ideas in under 5 minutes than I've ever heard, from mystical bard-style acoustic sections to boogie woogie funk to heroic battle trumpets, "Funny Ways" has it all, and a little extra.

"Alucard" is classic early Uriah Heep-style horror prog, with an extra dose of jazz and "Isn't It Quiet and Cold?" offers some nice breathing room after its predecessor's train wreck ending. "Nothing At All" is truly a testament to how incredible the Shulman brothers are. One minute you'll be shivering and tearing up from its absolute pastoral beauty and the next minute you'll be air drumming to what is probably the only drum solo in a ballad. The album finishes off with two great blues rock numbers, including a rendition of God Save The Queen that makes what is debatably the most boring national anthem on the planet into a bombastic, no-holds-barred rock and roll fanfare, because why not? (pun intended)

"Gentle Giant" is the absolute gem of the Gentle Giant discography. Though it may not be as over-arranged and needlessly busy as "The Power and the Glory" or "Free Hand", it is still subtly complex, and more importantly, it has SOUL. This is absolutely essential listening for anyone who likes quality progressive music and isn't too worried to listen to something with slightly muddied production. THE quintessential Gentle Giant work; 5 stars.

 Aerolit by NIEMEN, CZESŁAW album cover Studio Album, 1974
4.23 | 111 ratings

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Aerolit
CzesŁaw Niemen Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. I knew nothing of this man until he was added here but the bio says he moved from Russia to Poland when he was around 19 years old. He became a singer in Poland in the early sixties before becoming a pioneer in that country with his Psychedelic music in the latter half of the sixties. "Aerolit" is an incredible album filled with Czeslaw's emotive vocals and his amazing synth and mellotron work. Add to that a very talented drummer, upfront bass and electric piano and you have a classic. He sings in Polish and it's pretty cool that members of SBB were in his band prior to this album. Great album cover too apparently painted by his wife.

"Cztery Sciany Swiata" is the 10 1/2 minute opener and the longest track on here. Drums are joined by bass before the synths and a melody kick in. I'm not big on the melody and it will return a few more times during this song. The song pretty much stops after 1 1/2 minutes as drums then passionate vocals take over. Some nice bass too and it's fairly dark and brooding here. Mellotron 3 minutes in then it kicks in to an uptempo synth/ drum led section. Bass to the fore after 3 1/2 minutes as that melody returns from earlier. Man this changes often. Electric piano after 4 minutes with drums, synths and bass although the synths dominate the sound. I like this a lot. Guitar joins in replacing the synths but they will continue to trade off. There's that earlier melody again before it changes as the vocals and that dark sound return after 7 1/2 minutes. Mellotron too and man can this guy sing!

"Pielgrzym" opens with mournful synths as almost spoken vocals join in but they are rich and full of character. Percussion and bass join in around 5 minutes then the vocals stop as it continues to trip along. Vocals are back with about a minute left. Great track. "Kamyk" starts with electronics which sounds pretty cool as the drums shuffle. Mellotron follows then the synths start to growl as the vocals join in before 1 1/2 minutes. He's singing in a laid back manner here. The tempo picks up before 3 minutes as it turns jazzy. Then high pitched, bouncy synths start to dominate before giving way to some great sounding electric piano. It turns darker with deeper sounds before 5 minutes and the vocals return. Those bouncy synths are back after 6 minutes.

"Daj Mi Wstazkl Btekitna" features picked guitar, cymbals and sweeping mellotron to start as reserved vocals and a beat take over. Picked guitar and bass also help out as well. Mellow. The mellotron is back! Electric piano arrives when the vocals stop after 2 minutes. The vocals return around 3 minutes. "Smutny Ktos-I Biedny Nikt" hits the ground running and vocals join in quickly. When the vocals stop we get an impressive instrumental section, especially the electric piano and drums. Vocals are back but again when they stop the instrumental work just kills. It settles with electric piano and a beat before 5 minutes then the synths return late.

In my opinion this stands up very well with the best from 1974 and that's saying something.

 Steps to life by SINATLIS TSELITSADI (THE LIGHT YEAR) album cover Studio Album, 2016
4.71 | 8 ratings

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Steps to life
Sinatlis Tselitsadi (The Light Year) Eclectic Prog

Review by B00

5 stars From powerofprog.org

In a portion of the world where there is much turmoil and uncertainty comes a melodic beacon of hope and light. This band is known as The Light Year. Coming out of the area between the Black Sea and Caspian Sea in the country of Georgia, it is certain that no matter how much turmoil, progressive rock has tentacles in Georgia. The Light Year Steps Of Life is one of those progressive masterpieces that come from out of nowhere once every 5 to 10 years. The Light Year are a band at the crossroads of Enchant and Transatlantic meets Pain of Salvation and Porcupine Tree. The Light Year combine very modern neo progressive elements with vintage hard rock/heavy metal with a twist of vintage progressive rock elements. The Light Year combine Arabic, Oriental and near Eastern influences with Western power progressive rock/metal elements. Steps of Life begins with a powerful progressive symphonic instrumental track called Tornado 1 which starts off like the opening of a cinematic production. Tornado 1 has various hooks and instrumental melody. It reminds me a little of Liquid Tension Experiment at times. Tornado 1 charges right ahead in a progressive frenzy setting up track 2 Steps to Life. Steps of Life starts off as a well articulate Acapella voice composition. At about the 1:16 mark the keyboard comes in with another layer to add to the vocal melody. At the 2:35 mark the track gains a acoustic guitar layer to be joined by the rhythmic section at the 3:35 mark. At about the 4:30 mark the track takes on a Peter Gabriel rhythmic vibe building the track to a up tempo track at this point. About the 5:35 mark it takes on a Spock's Beard sounding track. At the 7:15 mark the track takes on a neo progressive vibe much like the band Enchant. Tornado 2 starts off with a thunderous rhythmic section. The keyboards are executed quite well as a percussive rhythmic instrument instead of the status quo stringed sectional style instrumental. Tornado 2 like Tornado 1 is a instrumental in a cinematic style. The album starts taking on a conceptual sound at this time. Tornado 2 has some seriously heavy fusion elements going on with the composition all the through much like Planet X or Gordion Knot At 4:55 mark there appears a choir as more of a chant instrument even more so than a vocal. Steps Reprise is a very well arranged and well placed track to bridge into the next track Side. Side opens a lot like Yes with lush vocal layers engineered with a well rounded rhythmic section and the keyboard and acoustic guitar giving the track absolution. At the 2:35 mark the track really takes a very up tempo melody to harmony exchange. Side goes in and out from up tempo one moment to a down tempo the next moment. Side has that later Pink Floyd sound of the 1980's. This track has some light alternative elements to it as well. Dark Times starts out with a serious down tuned alternative sound. The vocal takes on a abstract atmosphere through a minimalist filter. Dark Times displays a less in more attitude and with various time signatures and breaks. With every break pause the track adds or subtracts various layers. Towards the end the track is blistering with some very heavy progressions and time signatures. Damskerland is a mellow acoustic track. Although the vocals are being sung here they also sound a little in the realm of spoken word making it easy for the listener to grasp the story of Damskerland. This has almost a Dust In The Wind style about it. Love Without Love begins with a sitar oriental sound to start off with this mini epic. About the 2:32 mark the track takes on a mellow guitar atmosphere. The warmth of the vocals appear to be filtered through the keyboard although they are not. Love Without Love reminds me of a little longer Kayleigh or Easter from Marillion. It has a great flute at the 6:45 mark and rain stick sound giving it a really heavy near to far Eastern sound. At the 8:44 mark the track takes a symphonic approach almost like a movie soundtrack. This is perhaps the most eclectic track on the album. Digital Dream opens subtly with a fade in drum percussion passage. Soon they electric guitar and keyboards take on a very heavy jazz prog fusion vibe. This track is like Buddy Guy and Miles Davis and Steely Dan rolled in one. The track soon breaks instrumentally and a spoken word section appears right before the free form prog jazz fusion takes off again. At the 4:30 mark the track takes on a vibe progression like Pain Of Salvation with the vocal arrangement. My Lord picks up right where Digital Dream left off however, with a more distorted progression. The vocals sound heavily like John Wetton in King Crimson. The band even ventures into areas of funk with their progressions. At times it sounds like the instruments are talking back and forth from one another. There is a lot of twists and turns you do not know where the band is going with the track. About the 5:00 mark this track drops off some for a refined piano and keyboard atmosphere. Soon after sounds of nature like the birds in a forest chirping give the track depth and emotion. The character in this story starts to quietly question life on a lyrical level. About the 8:00 mark there is some heavy psychedelic elements instrumentally supporting the lyrical narrative. The track ends with a nice fluid cinematic ending. Sky Way starts with a beautiful lush piano intro as if the instrument is isolated. Soon a partial spoken word partially sung vocal comes in. Soon after a calm guitar and languid rhythm section kicks in and the track takes almost a ballad style. This is a track of personal reflection lyrically. Sky Way has potential for the listener audience to sing this back to the band in a live setting. Tornado 3 is a overall reflection of the album. Little portions of every track before it appear within the span of a 1:15. This is a heavy 1:15 as well. The Light Year have made a statement on Steps of Life. This band mixes a little bit of the old with the new to form there own unique sound. The even bridge Eastern and Western musical styles into a well craft progressive music brew.

 Catapilla by CATAPILLA album cover Studio Album, 1971
3.41 | 94 ratings

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Catapilla
Catapilla Eclectic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars An eclectic group from the early Seventies, Catapilla released two contrasting albums that boasted a tough but playful female singer and were full of furious and hair-tearing heavy jazz rock. A seven- piece group that wielded two saxophone players and another member on additional wind instruments, their self-titled debut in 1971 delivered two extended epics of endless improvised jamming passages with additional shorter compact pieces, aided by a welcome dirty production and a ferocious lively energy.

Arriving with droning sax before a filthy blast of heavy snarling guitar, the almost sixteen minute opener `Naked Death' slugs the listener in the face right from the start. A heady brew of thick and purring upfront bass, a battery of rumbling drumming with sax sultry and sweaty one minute, maddening and unhinged the next. The bookended voice of Anna Meek is anything but, instead she's a gutsy tornado of Janis Joplin-esque howling that resembles a witch and a banshee violently making love! She's really there to introduce and close a lengthy jam of funky breaks, jazz-fusion embers and fuzzy acid-rock blaring electric guitars, making for an epic full of great foot-tapping, head-nodding power throughout. The groovy `Tumblewood' is almost poppier in comparison with a sweet reflective lyric and Anna's voice taking on a cooing, motherly warmth in between constant little bluesy soloing from the fellas, and `Promises' slinks with funky danger and plenty of If-like call- and-response honking sax blasts.

But best of all might be the twenty-four minute second side `Embryonic Fusion', a whirling and unrelenting storm of dual-sax demolition, drifting ruminative clarinet, pumping distorted bass, brooding organ, a battery of rambunctious drumming and scuzzy acid-rock guitar-slinging. Anna's deranged voice drifts ethereally then erupts with foaming acid back and forth, the epic seamlessly transitioning in and out of sprightly up-tempo pounding jazzy runs, sombre and noisy Soft Machine- flavoured breaks and break-neck dying assaults. Constantly reprising musical themes worked in reign all the constant jamming commotion in cohesively without sacrificing intensity and vigor, and it delivers a fiery and dynamic conclusion.

Singer Meek's mostly roaring vocal may be a divisive issue for some listeners, but there is just so much great playing squeezed onto this lengthy 49 minute album, and while the follow-up album may offer a bit more subtlety and variety, this debut makes for an addictive and raucous blast of power all its own.

Four stars, but add an extra half star if you can handle the vocals!

 The Total Experience Live In Liverpool by HACKETT, STEVE album cover Live, 2016
4.17 | 5 ratings

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The Total Experience Live In Liverpool
Steve Hackett Eclectic Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars Here's another live release of Mr. Hackett after a couple of Genesis revisited show, this time, it's the celebration of 40 years of "Voyage of Acolyte" and the release of the "Wolflight" album. The concert starts with the intro of "Corycian Fire" and open with the old track "Spectral Morning". It's disappointing that we can see and hear this complete song only in the extras in the videos section. "Love Song to a Vampire" has that attractive melody getting you hook immediately. In "Out of the Body", we can witness the confidence that Steve's voice has acquired in the past years. "Weel's Turning" show heavier guitar sections before an acoustic set of 2 songs beginning with a personal song from Steve dedicated to his wife : "Love and Sea". It's followed by an acoustic version of "Jacuzzi" with his brother Jon on flute. The second set of the show is the Genesis songs starting with "Get' em Out by Friday" with a Nad Sylvan voice that is spot on so as Gary O'Toole's voice. Ronnie Stolt is on bass, being the first instrument he played in his life, so that was not something new for him. The surprise came with the rare interpretation of "Can-Utility and the Coastliners" and "After the Ordeal". My review is based on the Blu-Ray, so my rating will include my appreciation of the overall experience of that 2 hours and 40 minutes show. If I compare this live release from the previous release, I will say that a little more attention has been given to the visuals.The sound and, the camera work are excellent. In the extras, you should take a look at the three videos from the new album that are impressive. The Behind the scenes documentary is what you expect with some repetitive answers in the band's members interviews. I rarely give a 5 stars rating on live releases, because it's a new interpretation of previously old songs, so this is a solid 4 stars.
 The Silent Moonchild by GOAD album cover Studio Album, 2015
3.59 | 11 ratings

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The Silent Moonchild
Goad Eclectic Prog

Review by Matti
Prog Reviewer

3 stars "... if this were to be your first Goad album, be aware that Maurilio Rossi's scratchy and pained voice will be an acquired taste." Right on, Aussie-Byrd-Brother! Yes, this album is my first acquaintance of this long-time Italian band, and indeed the vocals are the hard part for me; they're like a blend of Rod Stewart's rasp and Steve Jolliffe's (Tangerine Dream, 1978) pervert and throaty expression. Funny, I have no trouble listening to either of them, but Rossi sounds unbearably phoney, artificial and ugly to my ears. If the album would be notably less vocal-oriented, that wouldn't matter too much because the music is interesting, sometimes even great and honestly beautiful. Its only fault is that it feels like being there for the vocalist, not the other way round. Except for the few instrumental moments.

Sorry, I really find it hard to concentrate on the music. "Oh, please, just shut up!", I keep on thinking. The playing has a charming seventies vibe with Mellotrons and all, ranging from dark-toned and gloomy to symphonic and celestial. The arrangements are pretty varied. I'd probably love an instrumental version of this band. Maybe also the Italian lyrics instead of English might help in concentrating on the music. You'd better check this band out by yourself.

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Eclectic Prog bands/artists list

Bands/Artists Country
16 DEADLY IMPROVS United States
17F Switzerland
4/3 DE TRIO France
8 DAYS IN APRIL Germany
A.C.T Sweden
ABRETE GANDUL Chile
ABSOLUTE ELSEWHERE United Kingdom
ABSURDCUS Romania
ACADEMIE OF FARSIDE Indonesia
ACINTYA France
ADVENT United States
AFFINITY United Kingdom
AKO DOMA Slovakia
AKRITAS Greece
AKT Italy
JEAN-PIERRE ALARCEN France
ALBATROS Germany
ALCO FRISBASS France
ALEXL Brazil
ALGERNON United States
ALLOMERUS Australia
ALON United States
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HALF PAST FOUR Canada
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HOME United Kingdom
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INTERPOSE+ Japan
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OPERATION: MILKSNATCH United States
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ORNE Finland
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OUT OF THE BEARDSPACE United States
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HET PANDORRA ENSEMBLE Netherlands
PANGÉE Canada
PEANUT BRITTLE SATELLITE United States
THE PENGUIN CAFE ORCHESTRA United Kingdom
PENTWATER United States
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PINGVINORKESTERN Sweden
BRUNO PITCH France
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PROGRES 2 Czech Republic
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RAW MATERIAL United Kingdom
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THE RUNNING MAN United Kingdom
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SBB Poland
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SENOGUL Spain
SEVEN IMPALE Norway
SFILTROM Slovenia
SFINX Romania
SHESHET Israel
SHINSEKAI Japan
SINATLIS TSELITSADI (THE LIGHT YEAR) Georgia
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SKALDOWIE Poland
SKE Italy
JÓZEF SKRZEK Poland
SKY United Kingdom
SLEEPY PEOPLE United Kingdom
JULIE SLICK United States
SIGMUND SNOPEK III United States
SOLUS3 United Kingdom
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SPECIMEN13 Canada
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STICK MEN United States
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STORM CORROSION Multi-National
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JAMES SUDAKOW United States
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TAGYERIT United States
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TCP United States
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TIME United Kingdom
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TMN Switzerland
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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
UTOPIA United States
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VISITOR 2035 United Kingdom
VISITORS France
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WLUD France
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XL Finland
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