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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 20/06/2017

Rob (Epignosis)
Sagi (Sagichim)
Logan (thellama73)
Kevin (Magnum Vaeltajas)
Ian (Tapfret)

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 | 3748 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.54 | 2954 ratings
RED
King Crimson
4.49 | 1792 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 2522 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.42 | 1903 ratings
PAWN HEARTS
Van Der Graaf Generator
4.36 | 1469 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1439 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.30 | 1683 ratings
OCTOPUS
Gentle Giant
4.30 | 1364 ratings
THE POWER AND THE GLORY
Gentle Giant
4.29 | 1320 ratings
STILL LIFE
Van Der Graaf Generator
4.28 | 1312 ratings
FREE HAND
Gentle Giant
4.31 | 738 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.26 | 1321 ratings
ACQUIRING THE TASTE
Gentle Giant
4.23 | 1232 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.27 | 482 ratings
ANABELAS
Bubu
4.27 | 428 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.26 | 371 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.20 | 649 ratings
SLEEPING IN TRAFFIC - PART TWO
Beardfish
4.12 | 1891 ratings
LIZARD
King Crimson
4.15 | 762 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.11 | 1686 ratings
DISCIPLINE
King Crimson
4.17 | 416 ratings
MOTORPSYCHO AND STĹLE STORLŘKKEN: THE DEATH DEFYING UNICORN
Motorpsycho
4.11 | 1084 ratings
THREE FRIENDS
Gentle Giant
4.19 | 318 ratings
MULTIPURPOSE TRAP
Birds And Buildings
4.21 | 247 ratings
PAMIęć
SBB
4.23 | 217 ratings
SI, PARTIE 1
Nemo
4.24 | 210 ratings
1000 AUTUNNI
Ske
4.17 | 314 ratings
BORIS
Yezda Urfa
4.20 | 258 ratings
COMA
Nemo
4.25 | 189 ratings
SBB [AKA: WOłANIE O BRZęK SZKłA AND SLOVENIAN GIRLS]
SBB
4.10 | 539 ratings
UK
UK
4.14 | 332 ratings
IN CAMERA
Hammill, Peter
4.05 | 914 ratings
THE LEAST WE CAN DO IS WAVE TO EACH OTHER
Van Der Graaf Generator
4.18 | 202 ratings
ZE SłOWEM BIEGNę DO CIEBIE
SBB
4.23 | 151 ratings
DETTA HAR HÄNT
Gösta Berlings Saga
4.13 | 225 ratings
TODD RUNDGREN'S UTOPIA
Utopia
4.05 | 453 ratings
SLEEPING IN TRAFFIC - PART ONE
Beardfish
4.37 | 88 ratings
NIL NOVO SUB SOLE
Nil
4.15 | 193 ratings
DIAGONAL
Diagonal
4.10 | 265 ratings
BARBARES
Nemo
4.10 | 255 ratings
CITY OF THE SUN
Seven Impale
4.24 | 122 ratings
AEROLIT
Niemen, CzesŁaw
4.07 | 317 ratings
LADY LAKE
Gnidrolog
4.30 | 96 ratings
ECHOES OF FALLING STARS
Daal
4.07 | 263 ratings
LAST EPIC
A.C.T
4.20 | 123 ratings
HAIKARA
Haikara
4.06 | 262 ratings
NIGHTINGALES & BOMBERS
Mann's Earth Band, Manfred
4.15 | 149 ratings
SNAFU
East Of Eden
4.07 | 232 ratings
DODECAHEDRON
Daal
4.03 | 310 ratings
CHAMELEON IN THE SHADOW OF THE NIGHT
Hammill, Peter
4.06 | 239 ratings
IN EXTREMIS
Days Between Stations
3.95 | 1061 ratings
THE POWER TO BELIEVE
King Crimson
4.04 | 267 ratings
THE LOW SPARK OF HIGH HEELED BOYS
Traffic
4.02 | 313 ratings
THE MUSIC THAT DIED ALONE
Tangent, The
3.97 | 563 ratings
MAMMOTH
Beardfish
4.13 | 139 ratings
PICTURES
Island
4.01 | 292 ratings
SOLAR FIRE
Mann's Earth Band, Manfred
3.92 | 1605 ratings
STARLESS AND BIBLE BLACK
King Crimson
4.12 | 137 ratings
THE SLOW RUST OF FORGOTTEN MACHINERY
Tangent, The
3.97 | 413 ratings
DESTINED SOLITAIRE
Beardfish
4.19 | 101 ratings
ET CETERA
Et Cetera
3.99 | 281 ratings
LE VER DANS LE FRUIT
Nemo
3.96 | 418 ratings
+4626 - COMFORTZONE
Beardfish
4.05 | 176 ratings
DANCES OF THE DRASTIC NAVELS
Daal
3.97 | 324 ratings
LE SACRE DU TRAVAIL
Tangent, The
3.91 | 1061 ratings
GENTLE GIANT
Gentle Giant
4.00 | 241 ratings
THE SANE DAY
Beardfish
4.36 | 59 ratings
SHESHET
Sheshet
4.03 | 191 ratings
NOT A GOOD SIGN
Not A Good Sign
4.42 | 51 ratings
ONDE, QUANDO, COMO, PORQUĘ, CANTAMOS PESSOAS VIVAS
Quarteto 1111
4.14 | 105 ratings
MOVIN' ON
Circus
3.97 | 285 ratings
BEHIND THE SUN
Motorpsycho
4.10 | 125 ratings
SKYMIND
Taal
4.07 | 141 ratings
IMAGINARY FRIENDS
A.C.T
4.17 | 94 ratings
PHANEROTHYME
Motorpsycho
4.18 | 88 ratings
THE APOCALYPSE INSIDE OF AN ORANGE
Rodriguez-Lopez, Omar
4.20 | 82 ratings
MARIONETKI
Niemen, CzesŁaw
4.05 | 152 ratings
SI, PARTIE II - L'HOMME IDÉAL
Nemo
3.96 | 295 ratings
OVER
Hammill, Peter
4.07 | 130 ratings
EVER AFTER
Sanhedrin
4.29 | 63 ratings
SEN BALıK DEğILSIN KI
Gevende
4.06 | 128 ratings
MERCATOR PROJECTED
East Of Eden
4.14 | 91 ratings
OF THINGS THAT NEVER WERE
Worm Ouroboros, The
4.13 | 94 ratings
STRANGE IS THIS WORLD
Niemen, CzesŁaw
4.54 | 38 ratings
PLAT DU JOUR
Plat Du Jour
4.04 | 131 ratings
ENIGMATIC
Niemen, CzesŁaw
4.07 | 113 ratings
SODOM & GOMORRAH
From.uz
4.12 | 91 ratings
SENNA
Mahogany Frog
3.97 | 196 ratings
REWOTOWER
Profusion
4.23 | 65 ratings
KOROWOD
Grechuta, Marek
4.14 | 83 ratings
THE TOWER
Motorpsycho
3.94 | 238 ratings
THE FINEST OF MIRACLES
Ciccada
3.99 | 146 ratings
IN CASE OF LOSS..
Areknamés
4.01 | 127 ratings
THE SECOND MECHANISM
Diagonal
3.97 | 162 ratings
IN SPITE OF HARRY'S TOENAIL
Gnidrolog
4.17 | 68 ratings
DIALOG S VESMÍREM
Progres 2
4.18 | 67 ratings
MOTORPSYCHO + JAGA JAZZIST HORNS: IN THE FISHTANK 10
Motorpsycho
3.83 | 1868 ratings
IN THE WAKE OF POSEIDON
King Crimson
3.90 | 298 ratings
JOHN BARLEYCORN MUST DIE
Traffic
4.04 | 105 ratings
PRÉLUDE Ŕ LA RUINE
Nemo

Eclectic Prog overlooked and obscure gems albums new


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

NOT OF SOUND MIND
Zapotec
SNAFU
East Of Eden
AEROLIT
Niemen, CzesŁaw
KRYWAN, KRYWAN
Skaldowie

Latest Eclectic Prog Music Reviews


 Esprit D'Amor  by MINIMUM VITAL album cover Studio Album, 1997
3.75 | 40 ratings

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Esprit D'Amor
Minimum Vital Eclectic Prog

Review by Booba Kastorsky

5 stars I love this album! The songs are melodic and infectious, and warm vocal of their singer Sonia made them simply irresistible. This is very close to pop, but clever and inventive arrangement that mixes a few styles, from folk to jazz or samba (?), along with inventive guitar solos strategically placed here and there make this record highly recommended. Prog or not really prog, I don't care. This is not "a masterpiece of progressive rock music" for sure, but I gave it 5 starts. For me personally this is my Top 20, and if I need to put myself in good mood, I play it. Don't miss it!
 Lizard by KING CRIMSON album cover Studio Album, 1970
4.12 | 1891 ratings

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Lizard
King Crimson Eclectic Prog

Review by Luqueasaur

5 stars Planned spontaneity: 10/10

Clown, juggler, acrobat, sword swallower, lion tamer, it can only mean one thing... the circus has come to town! For their upcoming show, they have brought along a special guest: the iconoclastic and now jazzy KING CRIMSON, featuring Robert Fripp, Gordon Haskell, Mel Collins, Andy McCulloch, Keith Tippet, Robin Miller, Mark Charig, Nick Evans. The purpose of this unconventional partnership is to present tonight's theatrically bombastic show, the conceptual piece called LIZARD.

"People, oh all good people," says the announcer (who is actually Jon Anderson with a mustache. Boy, I wonder why is he hiding his identity), "This will be a unique experience! It will take you to lands so eerie you would never expect to visit!". Fripp, with a cold smile, continues. "I can guarantee you: this will be unlike anything ever seen."

LIZARD is... strange. Here, KING CRIMSON plays an in-between of free jazz and jazz fusion. Nowhere nearly as accessible or straightforwardly technical as MAHAVISHNU ORCHESTRA, but also hardly grasping the absolute unorthodoxy of oddities like BITCHES BREW, LIZARD can be described at best as "free jazz with structure", something that sounds like an absurd oxymoron, but isn't. The jazz is improvisational, however, with limits demarked by the songs' skeletal chords and rhythm. Basically, the musicians perform a controlled experiment. It ends up sounding bizarre, unpredictable, but not really alienating.

Sadly, LIZARD's status as "not this nor that", its inhabitation in that grey area makes it underrated (rather than accessed) by both extremities. At one tip, settled by a demanding minority of bold avant-jazz lovers who expect nothing less than deranged subversiveness, it's not adventurous enough. To the numerous jazz fusion fans on the opposite hemisphere, it's too weird, too chaotic, and most importantly, it doesn't sound like 21st Century Schizoid Man. It doesn't sound like anything that resembles the first incarnation of KING CRIMSON at all, actually. "Jesus, dude. IN THE WAKE OF POSEIDON was such a great followup... why did you need to do... this?"

I'll give them a break, it must have been a shocker. In the dawn of 1970 KING CRIMSON was playing mellow and atmospheric symphonic prog but only a few months later they changed their style completely. Now, they're playing weird jazz. Weirder than 21st Century Schizoid Man (which isn't even weird, to begin with). This is visible since the opener: LIZARD begins with a somber tone, brought by Cirkus. Right away, KING CRIMSON's new incarnation brings solid musicianship through an organized polyphonic instrumental jamming (under Haskell's rude vocals). Although the track seems to indicate a certain conceptual (or atmospheric) seriousness, this is an erroneous assumption, promptly corrected on the next track. Indoor Games' brass melody has an air of mockery and Gordon Haskell's reverbed vocals sound cheerful in a rather... mischievous way. Happy Family continues with this frolic mood. But it is also the most inaccessible and anarchical song. Everything: the guitars, the keyboards, the Mellotron, the flute, the oboe; they all together jam with autonomy, absolutely disconnected, almost cacophonically. Starkly contrasting with this madness, Lady of the Dancing Water is warm and delicate, like a lullaby. Fripp gentle strums the guitar, Collins calmly blows the flute. Images of a lake come to your mind. Well, if it didn't before, I hope it does now you've read this.

The big boy occupies the second side. LIZARD . The eponymous track. From the Old French lesarde. (Aren't them beautiful words? Both lizard and lesarde.) Dynamic, medievalesque, ever-changing and spectacularly composed and played (even if somewhat disjunct), it brings up a notch the already formidable songwriting. The abstract lyrics construct imageries of a whimsical world dwelled by sentient lizards and brave princes (which so happen to be the name of coastal Canadian cities) who participate in poetic battles of symbolic proportions and cryptical significances. Or... something like that, I guess. It's a beautiful, powerful and boldly creative song and deservedly hailed as one of KING CRIMSON's finest pieces. It features Jon Anderson (the main vocalist of YES). By the way, that's the reason Anderson was hiding his identity. He didn't want to spoil the surprise. Seriously, when I spontaneously discovered it was him (I was listening to this at school) I giggled like a fan girl "It's Jon Anderson, oh my god". Luckily, no one was around.

Big Top is the [song and album's] outro. A circus-esque melody begins at the right speaker and fades from the left, simulating the passage a musical act right in front of the listener. And thus the show is over. The circus left town with its fanciful world of adventures and eclectic improvisational jazz fusion. Some who experienced LIZARD deems it as bland, boring, disconnected, too coldly calculated, too inaccessible, or directionless. Others, like me, call it inspirational, superb, breathtaking, yadda yadda yadda. It's all a matter of perspective. For anyone willing to give a shot at a slightly weird and unorthodox jazz, but only slightly, LIZARD's at your service. The circus is willing to play their show again, and again, and again... if you're willing to listen to it.

 The Slow Rust Of Forgotten Machinery by TANGENT, THE album cover Studio Album, 2017
4.12 | 137 ratings

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The Slow Rust Of Forgotten Machinery
The Tangent Eclectic Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

4 stars Review originally published in www.therocktologist.com

Wonderful!

Since The Tangent's early days I've been fan of their music, they know how to create challenging music with lots of changes, instrumental and vocal passages, vertiginous moments and calm tracks, they also bring a rollercoaster of emotions that touches the symphonic, Canterbury an even heavy side of prog. Andy Tillison and co. are now back this 2017 with an extraordinary album that once again shows their inherent and endless talent, an ambitious 6-track release with 4 long epics and 2 short tracks that will make you have over an hour of great prog rock. I must say that I personally have a bit trouble with albums this long, I always prefer a length minus 50 minutes, but with The Tangent I can let that rule slip away.

The album opens with "Two Rope Swings" which has a delicate sound, sweet vocals and a beautiful piano. Little by little more instruments join, calm flute, acoustic guitar, soft bass and drums. The sound is really gentle, easy to dig and easy to make you feel comfortable. Then at minute 2:30 keyboards appear so does the symphonic sound, so you have to be prepared to start a great journey and leave The Tangent guide you. "Doctor Livingstone (I Presume)" is the first (and shortest, by the way) epic of the album. The musicians have nothing to prove; we all know they are amazing, so in every single minute of the song (and album) we will feel satisfied. When asked what progressive rock is, I could easily play a The Tangent song, this instrumental one might be a great example, due to its great passages, the changes in time and mood, the use of symphonic, jazzy and classical elements, and much more. The song runs so gentle that in a blink of an eye it has already finished. The Canterbury-esque essence is provided here at its best.

Man, what a long and amazing track "Slow Rust" is, Tillison, Reingold, Travis and co have done one hell of a track (and an album). Vocals return here in an incredible labyrinth of emotions, tricks and dungeons where our ears and soul will be trapped for over 20-minutes, and let me say that you will not wish to find the exit, you will happily accept the musical seclusion. Lush keyboards and great bass lines can be found here; it is like a TV series with its chapters, the music is changing and creating different passages that naturally match with its predecessor. There are no weak moments, of course there are ones I enjoy more but I cannot ask for more. "The Sad Story of Lead and Astatine" continues with these examples of challenging compositions full of a cascade of changes, textures and nuances. The work of Travis here is beautiful and of course, Reingold always (but really, always) create the best bass lines for what the music needs.

"A Few Steps Down The Wrong Road" opens with a calm minute but then all of a sudden it explodes and becomes rockier and a bit heavier. The intensity increases and a sense of tension can be felt while a powerful symphonic sound surrounds us. As usual the song has different changes so we then listen to calm passages and minutes later it returns with more intensity. Great! The album finishes with "Basildonxit" which is the shortest composition here. As you can notice by my words, The Tangent has not let us down and I can actually say this this is my favorite release of their from this current decade, hands down. This last track is very different; it includes electronics sounds made by a DJ while keyboards work normally creating nuances. Then the symphonic explosion comes, strings, drums and keys work together in a wonderful work of art with some Floydian guitar, a jazzy funky sound and that great use of electronic background. A great way to finish a magnificent album!

The Tangent is of course, one of the bands I want to see the most on stage, and if everything goes normal, I would be able to do so next Progtoberfest at Chicago.

Enjoy it!

 Kirinardi by GEVENDE album cover Studio Album, 2017
3.95 | 13 ratings

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Kirinardi
Gevende Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars GEVENDE and SIDDHARTHA are my two favourite bands out of Turkey. GEVENDE's previous album "Sen Balik Degilsin Ki" is a top ten record for me for 2011 while SIDDHARTHA's 1998 psychedelic beauty is a top ten for me for that year. As on their two previous albums GEVENDE once again features trumpet and viola but this time around we have guests adding sax, violin, viola, violincello plus the trumpet player of GEVENDE also plays flugelhorn now. In other words we get what sounds like orchestral music to my ears. The multi strings and horns are normally something I'm not into but it works here. I like the singer's voice as it's always familiar sounding in a good way. The music is almost always pleasant and while I consider how I'm describing the music I'm realizing this isn't music I'd normally be into but I'm so into this album. It's fairly straightforward as well as I liked it from the first spin while their debut took me many listens before I finally grasped the sound.

"Omelas" opens with these intricate sounds that come and go. Drums kick in before a minute and dominate the sound but soon it's fuller and vocals arrive around 1 1/2 minutes. Catchy stuff that becomes impressive instrumentally before 3 minutes as the vocals step aside until they return at 3 1/2 minutes. Not a bad opener, quite pleasant. "Tophane'de Gunesli Gunier" has relaxed horns and not much else to start but then synths take over after a minute then intricate guitar with bass. It turns orchestral with strings and horns. It does turn more powerful before 5 minutes as the horns and strings continue.

"Sossiz Gibi Bir Yea" is uptempo and drum led with vocals. Horns, guitar, strings and more help out. Again pleasant is the word. A calm before 4 minutes with piano before it starts to build but then smooth horns end it. "Kirinardi" is one of my favourites on here for the emotion I feel when listening to it. Picked guitar as the vocals join in. Love the sound here. Violin and horns after 1 1/2 minutes as the vocals step aside. They return after 2 minutes. "Saroyan" is uptempo with drums and horns leading the way. Soon smooth horns take the lead. Nice.

"Aglaya Aglaya" has this beautifully picked guitar with bass as strings and vocals join in. Gorgeous sound to this one and the atmosphere helps. Sax before 3 1/2 minutes as the picked guitar and bass continue. Great song! "Ters Okyanus" is different as we get some tension with the forced drumming, atmosphere and other sounds that come and go until it all kicks in beautifully just before a minute. Vocals 1 1/2 minutes in and horns follow. Guitar to the fore after 3 1/2 minutes as the vocals step aside. Love how it builds almost to the end.

"Domino"opens with picked guitar? and then we're hit with a full sound that is quite powerful and catchy. Vocals a minute in and they sound treated. Nice driving rhythm here and we get synths as well before 2 1/2 minutes. Then it's the guitar standing out. "Vertigo" opens with drums and there's some depth to the sound here as the tempo picks up. This is surprisingly heavy then the horns kick in. Growly guitar replaces the horns but then the horns are back 2 minutes in. Then these theatrical spoken vocals arrive. Interesting stuff.

The music has changes from album to album but this is such a talented band. The music here is a bit of a paradox for me but I like it anyways. Wait a minute...

 The Night Siren by HACKETT, STEVE album cover Studio Album, 2017
3.73 | 102 ratings

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The Night Siren
Steve Hackett Eclectic Prog

Review by Booba Kastorsky

3 stars I'm not a kind of Steve's fan that loves everything he does. So, I'm far from being auto-buyer of Steve's albums. I bought this album after reading a long list of cool collaborators, samples on YouTube, some reviews and in anticipation of a great 5.1 Blu-Ray sound. Yes, I'm 5.1 sucker and collector! :) I was really disappointed! I don't want to write too much about music: other people here did it already. I just want to say I liked it more than I expected. However, the sound and mix SUCK, big time! This so-called "Blu-Ray" "DTS-HD 5.1 Master Audio" sounds worse than miserable Dolby Digital DVDs from 1990! Drums virtually non-exists! They are barely audible, and what you hear deep beneath layers of vocals, guitar and keys sounds like kids play on toy drums. Slapping and hissing. Bass guitar is also not there. The only good news is vocals, guitar and keyboard parts are audible. Overall mix sounds like some bad troll grabbed the master tape before it was transferred to DVD and CD and cut all low and high frequencies. Sorry, maybe this is just me, but I can't fully enjoy music that sounds that miserable! As of 5.1, I noticed some sound was coming from rare speakers just a couple of times. Channel separation is poor: instrument parts scattered among channels , everything comes from all channels most of the time, including voice that supposed to come from the center. If you don't trust me, just spin anything else, like, for instance latest The Tangent opus (which is not exactly audiophile quality, but much better sounding!), to hear the big difference! Did Steve listen to this product before releasing it? Probably not, because, according to reviews, people don't give a damn about it. :( Overall: Music: - 4. One of the best Steve's albums with a lot of good tunes, details and nuances. Sound: - 2. The bad mix killed this excellent alum!
 Three Friends by GENTLE GIANT album cover Studio Album, 1972
4.11 | 1084 ratings

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Three Friends
Gentle Giant Eclectic Prog

Review by Luqueasaur

4 stars An immature but still amazing Gentle Giant: 8/10

After the successful experiment of ACQUIRING THE TASTE, which denoted that the prog crowd would warmly embrace GENTLE GIANT's peculiar music and acquired the taste for it (that's the pun and objective of the album's title after all), there was no barrier that discouraged the band from further exploring their potential and wildest ideas. GENTLE GIANT wanted to try something new, namely, a concept album, and their first bid was THREE FRIENDS. Its concept is based on, well... three friends; as they grew older they grew further apart socially and even ideologically (for instance, the first friend values physical work while the latter prefers intellectual, leadership roles). There's no doubt the storyline is weak and feebly constructed, but it was more an experiment on how to create a concept album rather than trying to output a masterpiece. This is visible as the concept is barely linked to the music. Subsequent efforts (IN A GLASS HOUSE, THE POWER AND THE GLORY) would depict heavy interconnection between them both, creating a conceptuality that would transcend the "lyrical plane" and be perfectly reflected in the song structure and its instrumental interludes. To make it shorter, the "concept" part of THREE FRIENDS is crude, rudimentary. That detail is crucial to understand why THREE FRIENDS didn't achieve, for me, the status of a masterpiece.

But, in terms of enjoyability, all that stuff really doesn't matter. THREE FRIENDS is still a GENTLE GIANT album, and although I'm not sure whether it is an evolution or regression compared to ACQUIRING THE TASTE, it's pretty fun still. The tracks offer several multilayered solos - just like GENTLE GIANT always does, after all - focused on the keyboards; more precisely, on the organs (heck, never before I have listened to a GENTLE GIANT album with SO MUCH organs). It's eclectic as you'd expect, with some highly dynamic instrumental parts, but there's also a lot of calmer moments (not bad, but I'd rather have more of their typical complex and amusing technical jams). GENTLE GIANT is, apparently, not fully matured - at least from a progressive perspective - as there is still a big influence from blues and hard rock in their music in counterpart to their emblematic "genre neutral" style that would later become the norm. The blues is especially visible on the first part of Working All Day and the hard rocking Peel the Paint, which features four minutes of Gary Green freestyle-soloing a la Jimi Hendrix. Of course, this isn't a complaint, neither a reason why this isn't proggy because duh it's GENTLE GIANT and they are, by default, proggy (at least until FREE HAND).

Overall, it's a great album, not their best, but definitely far from their worst, or from being universally bad for any matter. Bluesy, hard-rockin'. A sturdy album.

 War and Peace by PANDORA SNAIL album cover Studio Album, 2015
3.92 | 117 ratings

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War and Peace
Pandora Snail Eclectic Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

Having really enjoyed the Russian band's live album from last year, I have now finally come across their debut studio album from 2015. Yet again I am amazed at the quality of the music and just how enjoyable this is the very first time I played it, growing to love it even more with each repeated play. Virtually instrumental, the band that one immediately starts to compare them with is Kansas due to the way that the violin is often taking the lead role, but they are influenced by way more than just one band and acts as diverse as King Crimson, Art Zoyd and Frank Zappa have all had their part to play with this album. It is complex and highly structured, with melodies and counter melodies repeated on different instruments (always nice to hear pure piano take a lead role), yet there is a vitality and breath of life through the whole piece. It is music that in some ways does take a lot of listening to, to gain the most benefit, yet at the same time is also immediate and transparent.

This album certainly never comes across as a debut, and I have heard that it took five years from the recording for it to see the light of day, and if that is the case then that is nothing short of travesty and tragedy as this is a super piece of work. There are a great many bands coming out of Russia at present, and Pandora Snail should be viewed as being at the vanguard of the progressive rock movement as this is superb on just so many levels. I can only hope that given the reviews I have seen over both this and the live album that they soon follow up with another visit to the studio.

 In A Glass House by GENTLE GIANT album cover Studio Album, 1973
4.36 | 1469 ratings

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In A Glass House
Gentle Giant Eclectic Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nş 135

'In A Glass House' is the fifth studio album of Gentle Giant and was released in 1973. It became with 'Octopus' as one of Gentle Giant's most popular albums. 'In A Glass House' is another conceptual album. Its concept is very original and strange and is allegedly based around the idea that people who live in glass houses shouldn't throw stones. Curiously, the album begins and ends with the sound of breaking some glasses. It was the band's most directly and psychological effort ever. 'In A Glass House' is probably their most ambitious work, with four lengthy songs as 'The Runaway', 'Way Of Life', 'Experience' and 'In A Glass House'. With it, they delivered another masterful work.

'In A Glass House' represents a very important landmark in Gentle Giant's musical career because it marks the definite departure of one of the three Shulman brothers and former member Phil Shulman. He left the group because he was burnt out and discouraged after some problems with the public, especially after the difficult live concerts done by the band when they supported a live tour of Black Sabbath, and so, he had realised that the lifestyle of a touring musician was damaging his family life. Instead of finding a replacement, the remaining band members decided to continue just as they were. So, 'In A Glass House' became the first Gentle Giant's album released by the group after the departure of Phil Shulman. John Weathers even sustained that they became a stronger band after Phil left Gentle Giant.

The line up is Gary Green (6 and 12 string guitars, mandolin, percussion and alto recorder), Kerry Minnear (vocals, keyboards, tuned percussion and recorder), Derek Shulman (vocals, alto and soprano saxophones and recorder), Ray Shulman (vocals, bass, acoustic guitars, violin, trumpet and percussion) and John Weathers (drums and percussion).

'In a Glass House' has six tracks. The first track 'The Runaway' written by Kerry Minnear, Derek Shulman and Ray Shulman is a song with an extraordinary and surprising beginning where the band seems to break some glasses. This is a very rich song with rich varieties of styles and textures, extremely melodic but is also at the same time complex and very creative. This is an extraordinary track, one of the best tracks ever released by them and a perfect way to open the album. The second track 'An Inmate's Lullaby' written by Kerry Minnear and Ray Shulman is a completely different song from its previous track. It's an avant-garde and strange song especially performed by drums, xylophone and vocals. This is probably the most experimental song on the album, it isn't particularly melodic and we need some time to be familiarized with it. The third track 'Way Of Life' written by Kerry Minnear, Derek Shulman and Ray Shulman is a song with driving rhythm, fast tempo and tempo changes all over the track. We may say that this is another progressive experimental song with some extremely beautiful and melodic moments and at the same time it has also some strange musical parts. It's a very solid and variable song with melody and improvisation at the same time. This is a truly Gentle Giant's track. The fourth track 'Experience' written by Kerry Minnear, Derek Shulman and Ray Shulman is another extraordinary song, very inventive and with a very complex musical structure. Basically, this is a perfect example of Gentle Giant's medieval complex sound, but the song comprises also many others and varied forms of music. The song is also rich of wonderful vocal harmonies. This is probably the most complex track on the album. The fifth track 'A Reunion' written by Kerry Minnear and Ray Shulman is the smallest, simplest and most calm song on the album. It's basically a soft acoustic ballad that reminds me a quartet in the classical music. It's a fine and emotional song with beautiful melody, but it seems be dislocated on this album and is probably the weakest track on it, despite its beauty. The sixth and last track is the title track. 'In A Glass House' was written by Kerry Minnear and Ray Shulman and is the lengthiest song on the album. It's another excellent composition with great harmony between all musical instruments. The chorus performed by the four singers is also of superior quality. It has also a hard rock section with a memorable guitar riff, in the second part of the song. This is a great track that closes magnificently this amazing piece of music.

Conclusion: 'In A Glass House' is a very important album after their two great masterpieces 'Acquiring The Taste' and 'Octopus'. 'In A Glass House' is also a very important album because it was their first album without the participation of one of the Shulman brothers. Phil was one of the main composers of the band. It's interesting to note that the quality of the music performed by them hadn't lost nothing and probably even improved a bit. Probably, I agree with them when they said that Gentle Giant continued with Kerry Minnear and Ray Shulman writing great stuff and that probably they became a stronger band after the departure of Phil Shulman. So, 'In A Glass House' is without any doubt one of the greatest prog rock albums from the 70's. It's with 'Acquiring The Taste', 'Octopus', 'The Power And The Glory' and 'Free Hand' one of their best works, and all of them are some of the best prog rock albums ever made too.

Prog is my Ferrari. Jem Godfrey (Frost*)

 De l'Autre Côté du Monde by HUNE album cover Studio Album, 2009
4.23 | 24 ratings

BUY
De l'Autre Côté du Monde
Hune Eclectic Prog

Review by maryes

4 stars Very good album from Canada ! You realy can find various prog rock styles in ""De l'Autre Côté du Monde" something Space Psychedelic Prog in Pink Floyd, Nektar, Eloy musical line something Jazz Prog: Sloche,Octobre, Morse Code ( also Canadian bands), something from Symphonic Prog : Memoriance etc... The first track "De l'Autre Côté du Monde" have a strong Pink Floyd "flavour" specially after 13 min which reminds me "Shine on You Crazy Diamond" . The track 2 "Citadelle" brings some jazzy/heavy moments like Morse Code and Sloche mix. the track 3 "La Lettre de Marque" is the most "heavy" song in whole album ( a Morse Code/Eloy "meeting" with great guitar/keyboards solos and exciting rhythmic section, in my opinion one of best moments. The track 4 "Le Revers de la Médaille" in some moments shows an approximation with GG or Etcetera, another great moment. The track 5 "Mission en Mer" is the more Psychedelic moment and again follow Pink Floyd and Eloy "footprints" and is the weak point in ralation to other tracks. My rate is 4 stars !!!
 The Slow Rust Of Forgotten Machinery by TANGENT, THE album cover Studio Album, 2017
4.12 | 137 ratings

BUY
The Slow Rust Of Forgotten Machinery
The Tangent Eclectic Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Back then the Canterbury homage 'The Music That Died Alone' hit me like lightning, I also thought 'COMM' to be another very recommended album, and now this one convinces right from the first listening session. When recovering from a heart attack in 2015 Andy Tillison's songwriting efforts understandably took a backseat for a while. But as somebody who's focussed on developing and playing sophisticated rock music as no other, he rebounded soon. And obviously felt challenged later on by the political development in Europe. Especially this Brexit affair, a quite exemplary result when some politicians, parties and even complete governments subtly and gradually are encouraging hate and nationalism.

How not to repeat yourself after so much prolific albums since 2002? Firstly, this is a very political album, A Few Steps Down The Wrong Road marks a strong statement due to his recitative. This may not meet everybody's taste. But at least music-wise it's definitely a top-notch result, and very jazz drenched stuff right here again. Furthermore he's effectually flirting with other styles on his albums, for example be it the excellent Pink Floyd oriented 'Aftereugene'. Alternatively, on this occasion, it's definitely Basildonxit, which opens very Lounge/2Step drenched. Well, and he surprisingly even goes the extra mile now when, for what reason ever, dealing with the percussion duties. I'm not sure, be it acoustic, electronic or via keys most likely. Presumably a little of each.

Apart from that Andy has some wellknown compagnions at his side, speaking of Theo Travis, Luke Machin and Jonas Reingold of course, my hero, when it comes to the bass guitar at least! As I'm not really fond of his work with the band Maschine, so much the more I adore Machin's contributions here, also being very present and virtuoso with a range from Gary Boyle to Santana and John Petrucci. If somebody is going to advertise a 2017 award for exceptional songwriting, here we have a strong aspirant waiting for. Another very personal statement, nothing to complain though, as this is always the fact, more or less. Groove, catchiness, complexity, sophistication, meaningfulness, experimentalism - all attributes will apply regarding this album. Is there any more of it?

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DISTINGUISHED PANEL OF EXPERTS Multi-National
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INTERPOSE+ Japan
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IT United States
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IX Venezuela
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