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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)
Logan (thellama73)
Kevin (Magnum Vaeltajas)

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 | 3593 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.53 | 2833 ratings
RED
King Crimson
4.49 | 1698 ratings
GODBLUFF
Van Der Graaf Generator
4.41 | 2410 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.41 | 1819 ratings
PAWN HEARTS
Van Der Graaf Generator
4.35 | 1395 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1377 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.29 | 1606 ratings
OCTOPUS
Gentle Giant
4.33 | 703 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.29 | 1299 ratings
THE POWER AND THE GLORY
Gentle Giant
4.29 | 1258 ratings
STILL LIFE
Van Der Graaf Generator
4.28 | 1249 ratings
FREE HAND
Gentle Giant
4.24 | 1254 ratings
ACQUIRING THE TASTE
Gentle Giant
4.22 | 1163 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.27 | 443 ratings
ANABELAS
Bubu
4.27 | 393 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.26 | 356 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.20 | 631 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.32 | 194 ratings
1000 AUTUNNI
Ske
4.16 | 721 ratings
SPECTRAL MORNINGS
Hackett, Steve

Eclectic Prog overlooked and obscure gems albums new


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

ENIGMATIC
Niemen, CzesŁaw
NOT OF SOUND MIND
Zapotec
DIAGONAL
Diagonal
MARIONETKI
Niemen, CzesŁaw

Latest Eclectic Prog Music Reviews


 Bantam To Behemoth by BIRDS AND BUILDINGS album cover Studio Album, 2008
4.27 | 393 ratings

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Bantam To Behemoth
Birds And Buildings Eclectic Prog

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

5 stars To those who say that prog is dead, look no further.

Anything that Dan Britton is involved with has its own unique spin on the preconceived notions of what progressive music should sound like. The man is a true creative genius and a real visionary. So it shouldn't serve as any surprise that this quartet adheres to Britton's usual platinum standard. In fact, Birds and Buildings may very well be the finest prog band of the new millennium, and their debut album "Bantam To Behemoth" is the crowning glory of this project's output (thus far, at least, assuming no new albums pop up under their name). A bold claim? Perhaps, but I feel that there are very few other bands in the world right now who can compete.

So what exactly does Birds and Buildings sound like? Well, a little bit of everything. Others have cited such influences as King Crimson, Gentle Giant, Van der Graaf Generator, Genesis, Magma, Soft Machine, Zappa, and all of their cousins. While these are good reference points as far as timbres, these influences are generally fleeting. Only occasional stylistic homages, if you will. The composition and scope of this project is a completely newly forged path. There's nothing on here that would make you think Birds and Buildings are mere clones. This is all killer, no filler, baby! Every bar, every phrase, every track, is a brand new musical invention.

Now, with that in mind, you may be a bit worried at this point that the album comes across as cold and academic. Fortunately, not the case! This is music that truly lives and breathes, and while it doesn't swim smoothly from melody to melody a la symphonic prog, there are emotional peaks and troughs, oodles of tasty tension and release, and some genuinely evocative atmospheres. The album also chameleons its way through a wide variety of approaches, from the uptempo jazz-rock workouts of "Birds Flying Into Buildings" or "Chakra Khan" to classically-driven pastoral ballads like "Caution Congregates and Forms A Storm", the latter feeling not unlike Genesis' "Trespass" at times. So even if you aren't crazy about avant- garde music, you're still likely to find something to enjoy on here.

There are a few points of contention with this release. Namely, the production, which seems to be entirely analogue, is quite rough. Consequently, the vocals seem very out of place, sitting too low in the mix to sound intelligible. However, this seldom distracts from the mostly instrumental content of the album, and certainly doesn't diminish the absolute creative prowess on display here. As I've said before, this is completely fresh, new, original music. So if that sounds seductive to you - and why wouldn't it, given the saturation of depressive Steven Wilson clones and forgettable retro prog? - then give this a try. Indulge.

This is an absolutely essential release for fans of complex, eclectic prog; a modern masterpiece. 5 stars.

 Shamblemaths by SHAMBLEMATHS album cover Studio Album, 2016
4.16 | 45 ratings

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Shamblemaths
Shamblemaths Eclectic Prog

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars From Trondheim, Norway?! No way! This vocalist must be THE STRAWBS' Dave Cousins! The sax and rhythm section has the youthful vigor and sound of SEVEN IMPALE!The music has the quirky yet complex adventurous of THE TEA CLUB! As a matter of fact, this is exactly what I hear when I listen to this album: the dynamic saxophone-assisted drive of youth as in countrymen Seven Impale playing with the musical experience and breadth of diverse styles as The Tea Club with a strong foundation in the tremendous wisdom of folk traditions and impassioned messages of The Strawbs (with, of course, the voice of Dave Cousins in the lead). (*A parenthetical addendum to this last statement: It is obvious to me [and other reviewers] that the lyrical content presented herein may be intended to convey a somewhat tongue-in-cheek message--that Simen and Eirik may not, in fact, be so purely and selflessly uplifting or inspiring to the human audience as was Dave Cousins.) Nevertheless, this is truly an astonishing album--nearly flawless in composition (despite it's symphonic complexity and wide ranges of dynamics), performance and sound engineering. Three prog epics, each worthy of consideration for admission into the Prog Hall of Fame, yet each also standing alone in their own stylistic form and sound.

1. "Conglomeration (or: The Grand Pathetic Suite)" (26:54) - a. "Bloody Racket" - opens as a djenty Tech Metal song that turns into a metallic MAGMA-ish Zeuhl song with choir singing "Bloody Racket." Brilliant synthesis and pretty flawless imitation. The future direction of Zeuhl? - b. "Your Silly Stare" - feels like an attempt at a JETHRO TULL style though it turns into more of a high energy Van Der Graaf Generator sound. - c. "A Mockery in the Making" - "a broken man" section falls into the realm of THE FLOWER KINGS or even MARILLION--though the instrumental section in the eight thru tenth minutes feels more like SEVEN IMPALE. - d. "The Different Tastes of Sick" - e. "A Mockery Well Made" - f. "Life Is Tough (When You're Me)" - is simple, melodic and very funny ("I've nothing left to say but I say it anyway..." using familiar sound. - g. "Saucy Tiara Woman!" - an skillful instrumental display that is trying to be JETHRO TULL and HEART and yet becomes a little HARMONIUM-like with the soft, sustained background sax--before, that is, all hell breaks loose with shredding electric guitar solo. - h. "Another Pear of Ice" - the lines of demarcation among the final three songs (including: i. "Con-girl Omen Ratio 1" and j. "Overture") of this suite are indecipherable to me, but they continue the amped up STRAWBS/JTULL style. Lots of Mellotron, impassioned vocals, and even some djent and folk-jazz. All's well that ends well and this does end well. (9.5/10)

2. "A Failing Ember" (9:27) the album's shortest song, full of mundane and quirk, starts out with - a. "Never Innocent Again"- a three-minute acoustic guitar-based song with a very repetitious vocal melody. - b. "The Winding Stair" - starts out with an odd-tempo SEVEN IMPALE sound that gets heavier like MYRATH or ORPHANED LAND before suddenly switching off at 4:45. - c. "Three Flowers" - Two lone solo acoustic nylon-stringed guitars playing in a near-Spanish style before multiple tracked vocals enter and sing with/over. Some odd rhythms, instruments and styles filter in and out over the next part culminating in a baby's babeling over some odd organ/Mellotron sounds. - d. "Deus Caritatis" - the final 25 seconds of Latin "gregorian" chanting. (8.5/10)

3. "Stalker" (19:55) The final epic opens with some Mediterranean-sounding guitar and Burt Bacharach-soundtrack vocals (uncredited female included!) before a nicely grooving Neo prog rock jam opens up at 1:08. Then at the 2:00 mark it shifts into a more scaled back, acoustic-base for support of a vocal section. The heavier chorus section that launches at the end of the fourth minute (and again at the 5:00 mark) is reminiscent of some RIVERSIDE riffs. At 5:42 some heavier electric guitar chords and bass begin a slowly-ascending-chord interplay that results in a throbbing organ and sax--and, later--electric guitar-synth--duet at the fore. The baseline riff persists throughout the mid-section sounding a lot like RIVERSIDE's "Second Life Syndrome" while the saxophone solos. At the end of the fourteenth minute a solo nylon string acoustic guitar combining Steve Hackett's "Blood on the Rooftops" with Steve Howe's "Awaken" riff breaks down the flow. The male vocal brings us back into full band until at 15:20 saxophone and organ take us through no less than three transitory passages before we come to the Inevitable Anticlimax and Fade-out. Nice song if not as fresh or inventive as the album's first song. (9/10)

4.5 stars; a near-masterpiece of progressive rock music. The reason I've decided to rate it down to four stars hear on PA is that my interested, attention, and enjoyment of this album has waned over the many listens I've subjected myself to. The one song that continues to impress and interest me--despite its flaws--is the first and longest, the tongue-in-cheek, "Conglomeration (The Grand Pathetic Suite)."

 Mad Fellaz II by MAD FELLAZ album cover Studio Album, 2016
4.03 | 41 ratings

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Mad Fellaz II
Mad Fellaz Eclectic Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars I was one of the mad fellas who fell in love with this unique Italian prog band's 2013 debut , a curious style that had both familiar and original features, the spirited playing of an all-instrumental set list of epic sized pieces that simply blew many fans and critics away. Everything about "Mad Fellaz" was inspiring: beautiful cover art, a 'squaddra' featuring a dual guitar approach, sensational bass and drum tandem, a flute/ clarinet to add some flavor , two monsters epics to start off with a bang and a general feel of sophistication. I, among many other reviewers, gave this an easy 5 star rating, a very well-deserved appreciation, especially for a debut album. It took three years to come up with a follow-up, a pretty much intact line-up with only a few minor changes but one major one: a lead singer! Anna Farronato sings in English (maybe a hindrance, maybe not), which threw everyone somewhat off guard, at first.

Just like the first album, the Mad Fellaz initiate the recording with another two sizable back to back epics, proving a point of style I guess. The first is the 14 minute "Hollow Shell" , a whopping instrumental that continues where the band left off, hurling inspired notes at break neck speed and oozing with class and flair. Lavish percussion and electric piano always gets my attention, so it took a mere 3 seconds to get me fixated on Paolo Busatto's stinging guitar as the bass and drums impel the theme forward. The vocal does take a few seconds of adaptation, as her style has a strange tone, a squeaking, girlish rant that hints at Annette Peacock or even Kate Bush perhaps, definitely frantic and deranged at times. Lots of perfected details here, Carlo Passuello's chunky and rambunctious bass guitar muscles along beautifully, amid the intricate drum patterns from Marco Busatto (who shines throughout) and stellar keyboard work from Enrico Brunelli, who also provides a mind blowing sax solo. These well- oiled elements do coalesce into a more Canterbury-like sound, complex rolls and loops that give way more width and depth than other more RPI like bands. Jagged, blurred, distorted, angry and then suddenly serene and almost apologetic, the roller coaster intensity is a unique pleasure to discover and rediscover again. It only gets better with repeated listens anyway.

The second opus is a two-part affair, "Blood Pressure I and II", a swooning and otherworldly voice haunts the fluid acoustic guitar phrasings on the short Part one, before that delectable bass rumble sets the wheels in motion for a shockingly delirious ride, doctored with that unmistakable band characteristic of combining comfortable and original in one whopping missile of music. Stinging and biting rhythms while the organ ruffles a few feathers, Anna blasts angrily into the fray, seemingly unafraid of the musical maelstrom being surgically placed at her feet. The electric guitar performs like a scalpel, devouring sinew and tissue alike, blistering and obtuse, hinting at some Italian cousin of Allen Holdsworth, while Anna resorts to sadistically emote urban poetry into the mix, the sax sounding like a car horn gone berserk in a traffic jam (trust me Italians know how to drive and are the world's best at beeping the bejesus out of their klaxons). Penetrating sounds, forcefully intimidating and pulsating furious with unabashed zeal, this is some kind of devilish progressive rock. This track is also a shocker.

Ti Piace? (You like?) "Me Gusta" (I like it) is, at first, a welcome relief after the 2 previous cataclysmic pieces but these fellaz like to keep the blood pressure on high, providing a rollicking promenade of exotic and ecstatic themes. At times, it sounds almost like Santana on steroids, complete with brassy blasts in a Latin frame of mind, slashed by an old school guitar solo that will bring your house down and a drum solo that winks at Michael Shrieve at Woodstock. This owns not only class and style but humor as well. Daring, adventurous and cool.

"Ovo" offers another 11 minutes of exhilarating enjoyment, giving the piano a chance for Enrico to show off more of his talent. Combining with flute is always a great concept, as the two work well together. As the luxuriant percussion?fueled beat intensifies, the electric guitar starts beaming its illumination in all directions, with Anna adding smooth vocalizations that throb and excite to no end. There is no doubt that there is a pronounced National Health vibe here, not exactly the worst influence one can hope for, as that British band certainly carved a reputation that is now legend. Burdened with endless stops and starts, twists and turns, this a perhaps exhausting labyrinth to deal with but if there is one absolute characteristic of Mad Fellaz, it's definitely their loyalty to ingenious insanity. Note the athletic drum work, the roiling organ forays a la Dave Stewart, the booming bass monster keeping everything in check.

The brutal and austere "Moslem Sabbath" could easily be a soundtrack to some Middle Eastern tragedy (like Aleppo), the lethally pounding drums akin to the devastation falling from the skies, the guitars raging and bloodied, all hammering mercilessly. And then there was ambient serenity, a mournful Arabic-sounding wisp of clanging hand percussion, glittering electric piano ruffles and aromatic flicks of the wrist over the guitar strings. The mysterious blare of the saxophone reprises the sense of forlorn doom displayed earlier, the sinuous clarinet offering prayer to the almighty and finally, the exotic entrance of both the electric guitar and the whirring organ, blasting a linear passage through the Kasbah of sounds. There is a quasi Mahavishnu Orchestra vibe going on here that is exquisite. The short finale resorts to more playfulness, though maintaining the oppressive feel, almost like a Post-rock exercise, slashing guitar panels throbbing wildly in some kind of agony. The theme grows into a crescendo and then, basta! Wow!

I stayed away from comparing this sophomore release to their magnificent debut, and even though it took many repetitions to finally feel comfortable to critique this album on its own merits, I can truthfully announce that it's a marvelous continuance for one of Italy's most promising acts and a beacon of unending entertainment for those who worship originality and style. The sublime cover art maintains the fine reputation that began with the first album. This is one hell of crew, certainly deserving of an avid following in Progland.

5 likes

PS. this review is dedicated to Aussie-Byrd-Brother, a hopefully kindred spirit who never steers me wrong. Ever!

 Bewitched (with Andy Summers) by FRIPP, ROBERT album cover Studio Album, 1984
2.73 | 37 ratings

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Bewitched (with Andy Summers)
Robert Fripp Eclectic Prog

Review by poito

2 stars Robert Fripp made a number of collaborations with big names of the music scene. I only know of a few, Summers, Eno. At least in these two cases, I think it was nearly a waste of time and effort. I do not understand such collaborations between big shots, it may just be vanity, self-indulgent business, kind of superstar football players all wanting to play in Real Madrid or Manchester, maybe expecting the other guys do the hard job while creativity jumps out the window. There is little here to remember, not even to listen twice. The former album with Summers had a few worth themes. This Bewitched is got only a few moments, not a complete track to spare from the burn. I liked the almost inaudible background guitar in the album's theme, the synth notes with boring background in Tribe, the quietness (not the music) transmitted in Guide, and that's about it.
 Songs From A Solitary Home by MAJOR PARKINSON album cover Studio Album, 2010
4.22 | 60 ratings

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Songs From A Solitary Home
Major Parkinson Eclectic Prog

Review by javajeff

5 stars I just picked up all their music, and I am blown away by everything that I have heard. I am a fan of eclectic stuff, so they fit nicely into my collection. If I had to choose a favorite album, it would have to be this one. I think the pure craziness of Songs From A Solitary Home give it a slight edge, but by all means, get them all. Heart of Hickory is such an amazing song to anchor this album. I consider the musicianship to be excellent, and a higher level of creativity to create something unlike anything else out there. The closest music to this is more likely in the Alternative rock genre with groups like The The, but the progressive elements are infused into this masterpiece. I am enjoying their entire collection, and look forward to each listen with excitement and anticipation. Songs From A Solitary Home is highly recommended.
 Metamorphosis by PANDORA SNAIL album cover Singles/EPs/Fan Club/Promo, 2016
3.00 | 1 ratings

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Metamorphosis
Pandora Snail Eclectic Prog

Review by admireArt
Prog Reviewer

— First review of this album —
3 stars Pandora Snail through the electronic glass.

Pandora Snail's "Metamorphosis", 2016, makes some gutsy move by letting some of their 2015 "War & Peace" songs go through the electronic remixing process and if anything this turn of events is daring. This alone is plaussible as it is in proportion quiet experimental and ironically will probably turn off most of those who raved over the original versions, thus in itself, it shows a true commitment to their personal evolution, free of any kind of prior attachments or compromises to external factors.

Opposite to what most non-progressive electronic followers and some other kind of prog listeners would expect or immediately assume as a direct route to young electronic dance floor music audiences, this release keeps on a healthy distance away from becoming a sell out route to success on mainstream's radio waves ( unlike, let me set as an example, Tangerine Dream's 80s, 90s and later works or YES' post "Going for the One" works or Steven Wison's popish Blackfield direction). This accomplished (opposite to those examples) by never allowing contemporary trends, their remixing processes and its fashionable gimmicks to interfere nor distort what they have already proposed, but allowing it to be deconstructed and restructured in a different plane focused on highlighting their flexibility and possibilities and not the other way around.

Now, for those original versions enthusiasts, I will hardly think this is the route Pandora Snail will follow in upcoming releases, so they should not take this EP too seriously, but should encourage this kind of uncompromising freedom in their future works.

As for rating this release, as such, I will not overrate nor underrate, therefore a respectful ***3 stars rating is quiet fair.

 Through The Fire by ILLUSION album cover Studio Album, 2001
3.55 | 9 ratings

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Through The Fire
Illusion Eclectic Prog

Review by SteveG

4 stars A wonderful little known album that should be in the possession of every fan of the Mach 1 Renaissance, and band Illusion, featuring Jane Relf as the female voice. This lineup also featured ex Yardbirds Keith Relf (Jane's brother) on guitar and vocals and Jim McCarty on drums and vocals. Filling out this early Renaissance line up was Louis Cennamo on bass and the great John Hawken on piano and keyboards.

All have returned in 2001, save the departed Keith Relf, to help Jim McCarty flesh out this wonderful material that has a deep Renaissance/Illusion spiritual vibe both musically and lyrically. McCarty is the sole songwriter and chief vocalist, with Jane singing warm emotive backing vocals. The star of this album is once again Hawken, who's seems to channel some of the late John Tout's regal touch and excels on piano on every track that features him. Even the two tracks that don't feature Hawkin showoff McCarty's growing skills as pianist, along with his drumming and percussion work on all but one track on this album. Cemanno demonstrates why the Mach 2 Annie Haslam fronted lineup had to be as good or better than the original. The depth of talent, even minus Keith Relf, is so staggering that it makes me wonder why the Mach 1 line up never hit it big in their short time as classical/symphonic proggers.

Guest players handle the mostly acoustic guitar parts admirably and the stand out songs are "One More Turn Of The Wheel" (which probably could have been the title track if it was not so similar sounding tho the Mach 2 group's album tilted Turn Of The Cards), "Good Heart", "Glorious One", "Mystery Of Being", and the album's title track "Through The Fire."

McCarty was an early songwriter for the Mach 2 Renaissance that followed him with songs like "Kiev", "On The Frontier" and "Bound For Infinity", so have no doubts that this album is a must have for fans of both Renaissance and Illusion, as McCarty has crafted a fine album that elegantly bridges the gap between both of those groups.

 I Advance Masked (with Andy Summers) by FRIPP, ROBERT album cover Studio Album, 1982
3.54 | 59 ratings

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I Advance Masked (with Andy Summers)
Robert Fripp Eclectic Prog

Review by poito

3 stars The second era by King Crimson beginning in 1981 with the album Discipline marked a totally different creative opportunity for Robert Fripp. But that is history. I did not drink much of Fripp's new obsession with beating rhythms. It certainly provides a hypnotic background that nails one down and gets forced to listen to whatever he wants to throw on top. That sound captured a new audience but not many followers of KC great early production joined. This album with Police's guitar Andy Summers is a side project not much different from KCII. Summers adds little to the overall sound, so outdoing is the beating guitar. Above it, there are some flying riffs which in the most inspired moments, sound much alike Ponty's or Metheny's in those years. In short, easy work for a genius having fun with a friend. Nothing new, No advance, masked or unmasked. Some trakcs I would keep are In the Cloud Forest, New Marimba, Gil on a Swing, even China.
 The Least We Can Do Is Wave To Each Other by VAN DER GRAAF GENERATOR album cover Studio Album, 1970
4.05 | 862 ratings

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

Review by Matti
Prog Reviewer

4 stars As the second album and the first proper [or progressive] work by an extraordinary band on the way of finding its real outstanding essence, this is to VDGG's discography what Trespass is to Genesis, VDGG's labelmates in the newly found Charisma. I have given the latter a full rate here (which I maybe shouldn't have done, on second thought), but to me personally The Least We Can Do doesn't quite have the same aura of a classic criminally overshadowed by the albums that followed it. Nor is the artistic progress from the debut quite as impressive as in the case of Genesis, even if Aerosol Grey Machine was originally intended to be Peter Hammill's solo album. Further similarities with Trespass: both contain six tracks (3+3) and are produced by John Anthony. The Least... was recorded in December 1969 and was released in February 1970, whereas Trespass was recorded in the following summer and released in October.

The long title is adapted from the words "We're all awash in a sea of blood, and the least we can do is wave to each other" by John Minton, a British painter. The apocalyptic theme -- captured also in the cover art -- refers mostly to the final track 'After the Flood', in which Hammill cites Albert Einstein, who was worried about the arms race of Americans and Russians. Quietly starting 'Darkness (11/11)' opens the album effectively. I've always wondered about the '11/11'; Wikipedia says it comes from being written on 11 November 1968. 'Refugees' stands out in the VDGG output as a romantic ballad that Hammill wrote for his ex-flatmates Mike and Susie. It's very accessible also for the vocals, and its slightly sentimental passion is impressive. The mysterious 'White Hammer' was inspired by Medieval witchcraft; genuine VDGG all the way! The whole A side is excellent, but the B side is more uneven.

The title 'Whatever Would Robert Have Said?' refers to Robert J. Van de Graaff, the inventor of the Van de Graaff generator that the group took their name from. This is the least succesful track on this album, I think. 'Out of My Book' is even more tender and "pretty" song than 'Refugees', perhaps a bit lame but beautiful nevertheless, especially for the flute of David Jackson. 'After the Flood' is doubtlessly the most progressive and strongest composition of the six. However, it's not among my favourite epics from VDGG. All in all, what was to follow is SO much more impressive that this deserves "only" four stars.

 Starless And Bible Black by KING CRIMSON album cover Studio Album, 1974
3.92 | 1532 ratings

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Starless And Bible Black
King Crimson Eclectic Prog

Review by DePloy

5 stars The beauty of a young, inquisitive spirit.

Starless and Bible Black was my first introduction to the world of progressive rock outside of the Yes on rock radio and Rush Chronicles. I remembered a quote where Geddy Lee stated he and Lifeson used to pretend they were King Crimson when they first started out when I found a cassette of Starless and Bible Black digging through the crates at a local Big Lots store. I think I was 17.

I'd gone through the heavy metal phase at 14, graduating to led zep and rush and the who et all on rock radio. Was this the next logical listen for my burgeoning prog ears?

Yes and no. Of course I tried Starless right away and thought it was weird. Loud. Creative and abrasive, but even then Starless and Bible Black and Fracture back to back made my jaw drop.

Soon I found the Weirdness of FZ appealed more to me. After thoroughly exploring his razor sharp ideology and absurdist wit I sought other hills to climb and came back to the dollar Starless and Bible Black cassette at university after quickly tiring of Dave Matthews, Phish, and Mighty Mighty Bosstones dreck.

Everyone around me hated it, but I finally got it and loved it double for that. AHA!

Crunchy, haunting, gorgeous, menacing, pastoral, a lot of adjectives can be used to describe the overall sound Fripp and co. display. For young, impressionable ears like mine at age 20, the most authentic descriptors would be influential and mindblowing.

I learned another lesson from this album when I bought it on CD in 1999, how different(better) remastering technology makes these classic analog recordings sound. I didn't listen to many cassettes after starting to make a bit of money.

The verdict is I'll be giving my male children a copy of this prior to enrolling at university (My daughter will get a copy of the first Return to Forever album)

What music is all about

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Eclectic Prog bands/artists list

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