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ECLECTIC PROG

A Progressive Rock Sub-genre


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Eclectic Prog definition

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

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

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

- written by Ricochet (Victor)

Current Team as at 12/31/2013

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

Eclectic Prog Top Albums


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

4.60 | 3234 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.53 | 2526 ratings
RED
King Crimson
4.48 | 1509 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 1611 ratings
PAWN HEARTS
Van Der Graaf Generator
4.41 | 2132 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.36 | 1239 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1225 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.35 | 623 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.28 | 1119 ratings
STILL LIFE
Van Der Graaf Generator
4.28 | 1110 ratings
FREE HAND
Gentle Giant
4.26 | 1415 ratings
OCTOPUS
Gentle Giant
4.26 | 1138 ratings
THE POWER AND THE GLORY
Gentle Giant
4.24 | 1111 ratings
ACQUIRING THE TASTE
Gentle Giant
4.22 | 1022 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.26 | 370 ratings
ANABELAS
Bubu
4.27 | 303 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.20 | 578 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.24 | 347 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.36 | 158 ratings
1000 AUTUNNI
Ske
4.16 | 638 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.12 | 1442 ratings
DISCIPLINE
King Crimson
4.09 | 1610 ratings
LIZARD
King Crimson
4.20 | 284 ratings
BORIS
Yezda Urfa
4.10 | 934 ratings
THREE FRIENDS
Gentle Giant
4.29 | 153 ratings
SBB (WOłANIE O BRZęK SZKłA AKA SLOVENIAN GIRLS)
SBB
4.24 | 183 ratings
SI PARTIE 1
Nemo
4.14 | 349 ratings
MOTORPSYCHO AND STĹLE STORLŘKKEN: THE DEATH DEFYING UNICORN
Motorpsycho
4.16 | 257 ratings
MULTIPURPOSE TRAP
Birds And Buildings
4.19 | 204 ratings
PAMIęć
SBB
4.06 | 759 ratings
THE LEAST WE CAN DO IS WAVE TO EACH OTHER
Van Der Graaf Generator
4.08 | 455 ratings
UK
UK
4.12 | 289 ratings
IN CAMERA
Hammill, Peter
4.13 | 237 ratings
BARBARES
Nemo
4.18 | 167 ratings
ZE SłOWEM BIEGNę DO CIEBIE
SBB
4.29 | 101 ratings
AEROLIT
Niemen, CzesŁaw
4.24 | 121 ratings
DETTA HAR HÄNT
Gösta Berlings Saga
4.11 | 231 ratings
LAST EPIC
A.C.T
4.15 | 170 ratings
CITY OF THE SUN
Seven Impale
4.04 | 396 ratings
SLEEPING IN TRAFFIC: PART ONE
Beardfish
4.14 | 169 ratings
DIAGONAL
Diagonal
4.10 | 204 ratings
BEHIND THE SUN
Motorpsycho
4.06 | 273 ratings
LADY LAKE
Gnidrolog
4.10 | 197 ratings
TODD RUNDGREN'S UTOPIA
Utopia
3.97 | 911 ratings
THE POWER TO BELIEVE
King Crimson
4.35 | 71 ratings
NIL NOVO SUB SOLE
Nil
4.06 | 213 ratings
IN EXTREMIS
Days Between Stations
4.05 | 230 ratings
NIGHTINGALES & BOMBERS
Manfred Mann's Earth Band
4.06 | 201 ratings
DODECAHEDRON
Daal
4.02 | 267 ratings
CHAMELEON IN THE SHADOW OF THE NIGHT
Hammill, Peter
4.03 | 235 ratings
THE LOW SPARK OF HIGH HEELED BOYS
Traffic
3.97 | 499 ratings
MAMMOTH
Beardfish
4.01 | 273 ratings
THE MUSIC THAT DIED ALONE
Tangent, The
4.25 | 78 ratings
ECHOES OF FALLING STARS
Daal
4.00 | 259 ratings
SOLAR FIRE
Manfred Mann's Earth Band
4.16 | 100 ratings
PICTURES
Island
4.21 | 83 ratings
THE APOCALYPSE INSIDE OF AN ORANGE
Rodriguez-Lopez, Omar
4.09 | 129 ratings
DANCES OF THE DRASTIC NAVELS
Daal
4.15 | 101 ratings
HAIKARA
Haikara
3.91 | 1356 ratings
STARLESS AND BIBLE BLACK
King Crimson
3.98 | 277 ratings
LE SACRE DU TRAVAIL
Tangent, The
3.95 | 376 ratings
DESTINED SOLITAIRE
Beardfish
4.21 | 79 ratings
ET CETERA
Et Cetera
4.07 | 134 ratings
THE FINEST OF MIRACLES
Ciccada
3.99 | 233 ratings
LE VER DANS LE FRUIT
Nemo
4.80 | 28 ratings
SEN BALıK DEğILSIN KI
Gevende
4.00 | 206 ratings
THE SANE DAY
Beardfish
4.04 | 153 ratings
NOT A GOOD SIGN
Not A Good Sign
4.08 | 120 ratings
EVER AFTER
Sanhedrin
4.31 | 58 ratings
OF THINGS THAT NEVER WERE
Worm Ouroboros, The
4.23 | 70 ratings
SENNA
Mahogany Frog
4.06 | 127 ratings
IMAGINARY FRIENDS
A.C.T
4.08 | 117 ratings
SKYMIND
Taal
3.96 | 257 ratings
OVER
Hammill, Peter
4.15 | 85 ratings
MOVIN' ON
Circus
4.29 | 56 ratings
KOROWOD
Grechuta, Marek
3.96 | 228 ratings
WOLFLIGHT
Hackett, Steve
4.37 | 47 ratings
SHESHET
Sheshet
4.15 | 82 ratings
STRANGE IS THIS WORLD
Niemen, CzesŁaw
3.87 | 903 ratings
GENTLE GIANT
Gentle Giant
4.06 | 110 ratings
SNAFU
East Of Eden
3.93 | 268 ratings
+4626 - COMFORTZONE
Beardfish
4.11 | 88 ratings
SODOM & GOMORRAH
From.uz
4.02 | 130 ratings
SI PARTIE II - L'HOMME IDÉAL
Nemo
3.97 | 180 ratings
REWOTOWER
Profusion
4.05 | 106 ratings
ENIGMATIC
Niemen, CzesŁaw
4.03 | 117 ratings
IN CASE OF LOSS..
Areknamés
3.98 | 149 ratings
A SPARK IN THE AETHER - THE MUSIC THAT DIED ALONE: VOLUME TWO
Tangent, The
4.22 | 58 ratings
ZALMOXE
Sfinx
4.06 | 96 ratings
BELIEVERS & DECEIVERS
Brighteye Brison
4.16 | 67 ratings
MARIONETKI
Niemen, CzesŁaw
4.21 | 58 ratings
DIALOG S VESMÍREM
Progres 2
3.88 | 394 ratings
GENESIS REVISITED II
Hackett, Steve
4.30 | 46 ratings
ONDE, QUANDO, COMO, PORQUĘ, CANTAMOS PESSOAS VIVAS
Quarteto 1111
4.33 | 43 ratings
ESTIRPE LÍTICA
Homínido
3.89 | 262 ratings
JOHN BARLEYCORN MUST DIE
Traffic
4.29 | 45 ratings
SONGS FROM A SOLITARY HOME
Major Parkinson
4.02 | 101 ratings
MERCATOR PROJECTED
East Of Eden
3.87 | 319 ratings
NOT AS GOOD AS THE BOOK
Tangent, The
3.95 | 146 ratings
2ND HANDS
Gourishankar, The
3.86 | 346 ratings
BEYOND THE SHROUDED HORIZON
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

ERIS
Baku Llama
MARIONETKI
Niemen, CzesŁaw
NOT OF SOUND MIND
Zapotec
KRYWAN, KRYWAN
Skaldowie

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Latest Eclectic Prog Music Reviews


 Continente Perdido by TELLAH album cover Studio Album, 1980
3.50 | 12 ratings

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Continente Perdido
Tellah Eclectic Prog

Review by GKR

4 stars Great album of a fairly unknown Brazilian band. A bit different of the rest of the groups, that appear and dissapear from 1974-1978 (before more like psychdelic, after more like new wave and pop). The difference may come from the fact that they are a lot more isolated of the great musical scene that was Rio de Janeiro and SĂŁo Paulo (they're from Brasília), or may be for the fact that the recording of the album was already in 1980 (quite uncommon for such a "classic" sound a late date).

Whatever the cases, they shared virtuosity of guitar and keyboards in some parts as good as any Yes album, but differ in a little heavy weight sound in the arreanging especially when they thrown a difficult changes in tempo and mood of the songs and in the most instrumental passages. The melodic vocals reminds most the late Camel and a male version of Bacamarte and are not the strong point, but the guitar (as said, truly virtue displayed) remind me again of Bacamarte, as well as a little bit of Rush's Farewell to Kings.

Recomended for Brazilian seeking good references of music in their own country.

Its a solid 3.5, and as I have a too much soft heart, I always round the rate up: 4 stars.

 Continente Perdido by TELLAH album cover Studio Album, 1980
3.50 | 12 ratings

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Continente Perdido
Tellah Eclectic Prog

Review by Hippocamp Armorial

5 stars Tellah and their incredible "Continente Perdido" (Lost Continent) are a perfect mark of the ecletic progressive music of Brazil. Even when they follow the brazilian tradition of didnt achieved to construct a whole carrier from music - perhaps the reason for being more paradigmatic (the other major example the monstruos BACAMARTE).

The vocals in chorus are present, as in all other brazilian groups, what distinguishes Tellah is the virtuosissimo guitarrist and the extremely crafted keyboards, putting new dimension in absolutely all melodies and forms. The most instrumental shows changes in tempo absolutely scient of its own existence.

To be placed among the finest examples of brazilian progressive rock, as an isolated act and as a collective constructed genre.

 Rewotower by PROFUSION album cover Studio Album, 2012
3.97 | 180 ratings

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Rewotower
Profusion Eclectic Prog

Review by andrea
Prog Reviewer

4 stars Hailing from Colle Val d'Elsa, a small town in the province of Siena, Profusion began life as a trio in 2001 under the name Mardi Gras Experience, influenced by the American prog scene of the nineties and by bands such as Planet X and Spock's Beard. In 2002 they changed their name into the current one combining the words "Progressive" and "Fusion" and four years later they self-released an interesting debut album entitled One Piece Puzzle. After a good live activity on the local scene and some personnel changes, in 2012 Profusion released their second full length work, RewoToweR, on the independent label ProgRock Records with a renewed line up featuring along with founding members Vladimer Lado Sichinava (drums) and Gionatan Caradonna (keyboards) also Luca Cambi (bass), Thomas Laguzzi (guitars) and Luca Latini (vocals) plus some guests such as Simon Hosford (guitar), Titta Nesti (vocals), Andrea Beninati (cello, percussion) and Andrea Libero Cito (violin). The overall sound on this album is rich and full of energy, the songwriting is good and mixes different influences ranging from metal to world music. According to the band, their music is a spiral of genres, tones and rhythms, melted and tangled together that tries to convey an original message dealing with musical flexibility and research while the album is conceived as a path that guides the listener into a tower and where each song reveals a new plan, a new step that allows you to reach the top. An ambitious project indeed, anyway there's no real storyline and the meaning of this conceptual work remains a bit foggy and open to various interpretations and sensibilities...

The nervous opener "Ghost House" conjures up in music and lyrics a nightmarish mansion on a hill overlooking an American town. It was built long time ago by a mysterious man coming out of the blue who, since then, has always been locked in, like a ghost. Rumours, imagination, fantasy, fear, rage... Eventually the town's folk try to break in the house to see what's hidden in its dark rooms but what they find there is nothing but a surreal vision of their own lives under the light of the moon. Here the atmosphere reminds me of some stories by H.P. Lovecraft or Stephen King such a The Dreams In The Witch House or Salem's Lot...

Next comes "The Taste Of Colours" that is divided into two parts and tells of the personal crisis of man who has lost his identity. It starts softly, with piano a vocals. The protagonist of this piece seems condemned to live all his life in black and white but when he's alone he's still able to see the colours that shine inside his soul and he can break through the dull sense of apathy that's hanging all over him, diving in the inner light his of self consciousness to paint a secret place where to live in peace and harmony...

On the following "Treasure Island" the borders between dream and reality are blurred while the lyrics quote Robert Louis Stevenson and evoke a ghostly sea song and fifteen drunken men dancing on a dead man's chest with a bottle of rum. A man is sailing across an unknown ocean of hopes and doubts, he can't find the right course and he feels like a damned fool at the mercy of the waves, deeply falling into nonsense... Then comes "So Close But Alone", a piece that starts just by piano and vocals before veering to exotic islands and spiced atmospheres built upon Latin rhythms and flamenco sketches while the lyrics evoke the painful memories of a betrayed love...

The short instrumental "Tkeshi" features a strong ethnic flavour. The title is a Georgian word that means "Into The Woods" and introduces the following "Chuta Chani", a wonderful traditional Caucasian lullaby from Georgia re-elaborated and transformed into something unusual and new with sudden bursts of energy and even tarantella passages. After all, the drummer Vladimer Lado Sichinava was born in Tbilisi and he's proud of his roots: just take the time to compare Profusion's version with the one by Lela Tsurtsumia...

"The Tower" is a complex track divided into two parts that tells about a man obsessed by the dream of building a tower to reach the sky. Every night his sleep is haunted by sounds of iron work and images of incomplete shapes and incomplete walls. Eventually that tower will be buried and from the top of its ruins he will start to fly... A nice track that in some way reminds me of some atmospheres from Stephen King's Dark Tower saga

"Turned To Gold" is a romantic, melodic ballad that tells in music and words of the cathartic effects of a new relationship with someone that seems to understand you and complete your soul... It leads to the closer "Dedalus", a long, complex track about the mysterious architect who planned to build the metaphorical, labyrinthine tower that marks this strange concept album: a living building where he's imprisoned for the eternity, a building that irepreents in the meantime the wonderful fruit his creative work and his damnation. In the end a reprise of the first track closes the circle inviting you to listen to the album again, reflecting about time and dreams, hopes and old fears... You can listen to the complete album on bandcamp: have a try!

 City Of The Sun by SEVEN IMPALE album cover Studio Album, 2014
4.15 | 170 ratings

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City Of The Sun
Seven Impale Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Norway seems to be churning out the bands these days and SEVEN IMPALE is another new band who have received a lot of adoration by Prog fans world-wide. In fact on PA here their "City Of The Sun" album was voted the third best recording of 2014 which is very impressive. I almost feel like I have to explain why i'm not giving this five stars despite being very impressed with it overall. For me it's the blasting sax. And it's not that it turns me off per se but it just really isn't my thing. "21st Century Schizoid Man" is an example of blasting horns and while I appreciate that track and gave the album 5 stars that song just doesn't resonate with me. And I love horns too but just not the blasting style. Okay I think i've made my point. Just my tastes that's all.

This is a six piece band with two guitarists, one being the vocalist along with bass, drums, keyboards and sax. They are a young band with varied influences who have come up with a beauty here in "City Of The Sun" which is a great title, and I dig the album art as well. They really do the bombast versus mellow sections really well and I have to say the final track "God Left Us For A Black-Dressed Woman" has to be one of the best songs of 2014.

"Oh, My Gravity!" opens with the sax gently honking as other instruments join in gradually. It settles in after a minute then builds in intensity. A change follows as we get a guitar/keyboard section before the vocals, drums and sax return. A calm 4 minutes in as the vocals and a mellow sound take over including organ. It kicks back in and man this is intense. The sax is blasting again then we get some ripping guitar after 6 minutes. A killer instrumental section arrives 7 minutes in and vocals return a minute later. Some great sounding sax before 9 minutes. "Wind Shears" opens with a relaxed sound as reserved vocals join in. I really like this. Sax and a jazzy sound arrive as the vocals step aside. Vocals are back before 3 minutes then they stop as it kicks into gear heavily. Another calm arrives as contrasts continue.

"Eschaton Horo" opens with keyboards that are followed quickly by a full sound. A calm a minute in as fragile vocals join in. Some lazy sax excursions before 2 minutes as it stays mellow. By the 3 minute mark the intensity kicks in as we get outbursts of power. It turns even heavier before 5 minutes and there's some cool sounding guitar here. It all stops as the band yells at 6 minutes then it kicks back in. Another calm from 7 minutes to the end. "Extraction" is fairly bluesy and we get an all out blitz early on with drums, guitar and organ leading the way. It settles back as the sax arrives then these passionate vocals almost shout the lyrics as the music becomes more powerful. It settles back again as the vocals continue but in a more laid back fashion. Themes are repeated.

"God Left Us For A Black-Dressed Woman" is my favourite track and it's almost 15 minutes in length. Picked guitar to start as the sax and liquid keys take over. Drums and more follow. I love the deep sounds before 2 minutes then it starts to pick up. So good. A calm before 2 1/2 minutes as the vocals arrive. Man this is good. Then the tempo and mood begins to shift at will. An experimental section arrives before 7 1/2 minutes then we get outbursts of power until it calms right down with sax and more. Reserved vocals are back. It's heavy again at 9 1/2 minutes before it settles in with vocals. Love the keyboards and guitar. It's so uplifting 13 minutes in then we get a big finish.

A very solid 4 stars and the future certainly is very bright for this young band.

 Traffic by TRAFFIC album cover Studio Album, 1968
3.41 | 101 ratings

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Traffic
Traffic Eclectic Prog

Review by aglasshouse

4 stars While 1967's Mr. Fantasy was inspired by the psychedelic bands of the time, Traffic evolved rapidly and suddenly with the release of their second album the coming year. Folk rock entered the stage in a much more prominent role, mostly carried by Mason's song writing. What came from the self titled was doubtlessly more structured than the prior, and acclaimed similar positive critical reception.

Traffic takes a different approach on the composition, with a theme of split sides; one being the bouncy, folk Mason end where all songs are catchy and sing-song. The opposite end is led by the haunting Winwood, whose writing I've always preferred due to it's stylistic nature of more prominent coinciding elements. The music especially from Winwood ages much better than the 60's-born folk that Mason wrote. I won't deny that Mason struck gold a few times, although songs like the slightly annoying 'You Can All Join In', mostly meant as a sort of sing-a-long (living truly up to it's name) tone, can get degrading the more times you cycle through the album.

As for instrumentation, consistency is something the album does best. Sometimes vocals from Mason, Winwood and Capaldi can get a little strained to match the pitch of the song, but the actually instruments maintain the beat steadily and don't find much issue in jumping back and forth across the different styles presented each track.

This self titled from the late 60s is of course emblazoned with the stamp of the decade, but is less of a product of the times as Mr. Fantasy unduly was. Unique variation is something that is found in large amount with all of the tracks. Anyone, prog fan or not, could find this enjoyable in some way. Fun for the whole family!

 The Bremen Broadcast - Musikladen 8th November 1978 by HACKETT, STEVE album cover DVD/Video, 2013
3.95 | 3 ratings

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The Bremen Broadcast - Musikladen 8th November 1978
Steve Hackett Eclectic Prog

Review by Matti
Collaborator Neo-Prog Team

4 stars Originally broadcast in the German TV early in 1979, this small-sized gig captures the ex-GENESIS guitarist at the very early stage of his live solo performing career. Despite that fact, there are material from three different albums; Spectral Mornings hadn't yet come out at the time. To many these first three albums are the best ones too. So the track list is really fine! One could almost say, too fine for this sextet. I'm referring to the songs that originally featured guest vocalists (Steve Walsh of KANSAS, Sally Oldfield, Phil Collins) and are now sung by Pete Hicks. He manages to sound quite a lot like Walsh on 'Racing in A' and 'Narnia', but his high, falsetto-approaching vocal performance on 'Shadow of Hierophant' is a rather disturbing mockery of Sally Oldfield's soprano excellence.

That's about the only fault I can find in this set. The playing is energetic, highlighting Hackett's versatile guitar technics. Brother John's flute graces several tracks, and Nick Magnus is great on keyboards. Mellotron on 'Hierophant', wow! The camera work and sonic quality are both fairly good.

There are two previously unreleased bonuses from the same gig: 'Carry On Up the Vicarage' (I wonder how Hackett makes himself sound like a little squirrel), and 'Star of Sirius', in which the vocal parts sound a bit blurry. Despite some tiny minuses, this is a totally recommendable release for all Hackett fans.

 Snegs by SOM NOSSO DE CADA DIA album cover Studio Album, 1974
3.93 | 44 ratings

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Snegs
Som Nosso de Cada Dia Eclectic Prog

Review by GKR

4 stars Great cohesive and ecletic sound from Som Nosso de Cada Dia. The band take their name, apparently, from the Secos & Molhados song "O Patrăo Nosso de cada dia" (Our Daily Boss, or something like that).

Snegs mark another album on a great year for progressive music in Brazil. Their sound is more tighter and together than Terreno Baldio and the great achievement is to have few band members playing a lot of instruments, which made the "guest" appearances of violin and others a complement.

Sadly, the vocals are a little too simple, in comparison, for example, with Terreno Baldio more ecletic and poetic approach. Nevertheless, a great album, full of lot good melodies and arreangements.

Solid 4 stars.

 Alem Das Lendas Brasileiras  by TERRENO BALDIO album cover Studio Album, 1977
3.69 | 19 ratings

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Alem Das Lendas Brasileiras
Terreno Baldio Eclectic Prog

Review by GKR

5 stars This album reach every soft spot of mine. EVERY SINGLE ONE OF THEM.

From the well made fusion between the best of progressive rock in the same vein of Gentle Giant with brailian folk music to a marvelous cover version of Chico Buarque, "Passaredo" (and thats not a easy task, must be said), the music itself is very criative, fluid and variated, showing the best of Brazilian Progressive Music.

The choise to sing the most know brazilian legends was a ambitious task. Not only because Brazil have a lot of, and, being the size it is, but because even the most common ones have a thousand of changes bewteen them. But the lyrics achieved to highlight the intersection points of this stories (and the vocals work, especially when accompanied with flutes). Flutes, by the way, that emulates the brazilian birds in "Iara" in a magnificent track.

My mind says 4 stars, my heart go with 5.

 Terreno Baldio by TERRENO BALDIO album cover Studio Album, 1975
4.00 | 44 ratings

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Terreno Baldio
Terreno Baldio Eclectic Prog

Review by GKR

5 stars I dont know exactly what Terreno Baldio would count as their musical influences (I dont even know what records were avaible in Brazil in 1975/1976, since it delayed some years to some records got here), but one thing I do know: they easily manage to not sound like ANYTHING ELSE from the same period.

Maybe, MAYBE, we should see them as a sort of Chico Buarque of the progressive rock, for the complex arreangements and beautifull melodies. I have a specific taste for albums that closes with the strongest tracks, and certainly the last three are key tracks: "Quando as coisas ganham vida", "Este é o Lugar" and "grite", not only embrace you with their style and good musicianship as left you wonder of some kind of concept turning around the empty lot and the flow of life in general.

I dont think that Terreno Baldio should feature in the bottom half of brazilian progressive bands, they certainly deserve to be among the great.

 Red by KING CRIMSON album cover Studio Album, 1974
4.53 | 2526 ratings

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Red
King Crimson Eclectic Prog

Review by aglasshouse

4 stars King Crimson: a pool of ever-changing talent rarely ceases to amaze. Most of the time I disagree with Mr. Fripp's ideas of the structure of his band, however I like to forget background information of something and just listen to the music sometimes. Red was one of these instances, and without thoughts of the details the music simply sounded better.

1974 was the year were metal was starting to spring up all over the place. Much credit was due to King Crimson for their early work to the creation of the genre, however by this time they seemed to be more of another hard prog band.While other bands like Scorpions, Sabbath, and Judas Priest all started experimenting with this newly founded genre, King Crimson continued to write elaborate compositions with much flare and musical brilliance. I will admit that I disliked much of their pre-Red content, but when this album came around everything changed. It was less about being art for arts sake and more about playing what they willed. Mind you, changes were still made and lineups were constantly fixed and re- ordered, so much chaos still happened there. The beauty about Red however is none of that translates to the music. In the recording studio, all was forgotten.

The title track is a wonderful opening, probably one of the more themed tracks as opposed to jamming, but it's utilization of ambiance and heavy guitar with no vocals bogging it down (one of the few songs where I feel like it would). 'Fallen Angel' translates to me more of a ballad, and marks one of the weaker points of the album. Fripp intended it to be more "emotional", but I found it to be rather weak in comparison to the rest of the album. One thing that never really changes is Wetton's amazing vocalizations which seem to fit into every musical circumstance. He is definitely a singer that brightened up any weak part the album has. 'One More Red Nightmare' is one of the aforementioned jams. Although the term 'jam' may not be exactly fitting, the song's length does lead to many tangents that the band members expound on briefly. Much like 'Red', this song has some fantastic riffing and great clear drumming from Bruford. Wetton's vocal skills are probably on peak at this point, along with his bass-work. Violins bring in the next track, 'Providence', most of which is much adventurous work of different instrumentations that come in at different parts. Slightly uncomfortable due to it's erratic nature; very reminiscent to Ummagumma-esque Floyd if you enjoy that sort of music. 'Starless' is a fantastic mix of everything you've heard prior in an orchestral style all in a clean twelve minutes. Shifting constantly, it never ceases to lose your attention and also does a great job closing shop.

As a final verdict, Red is undeniably wonderful. Wouldn't exactly call it a masterpiece due to some of the weaker aspects but it still shines wonderfully with what it does well and I applaud Crimson for being able to accomplish it. I think a healthy 4-4.5 stars is fitting.

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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
COSTE APETREA Sweden
APPLE BELLS Poland
ARBATEL Mexico
ARDO DOMBEC Germany
AREKNAMÉS Italy
ART AND ILLUSION Italy
ARTCANE France
PETER ASHBY United Kingdom
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