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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

4.61 | 3504 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.53 | 2754 ratings
RED
King Crimson
4.49 | 1646 ratings
GODBLUFF
Van Der Graaf Generator
4.41 | 2335 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.42 | 1754 ratings
PAWN HEARTS
Van Der Graaf Generator
4.36 | 1356 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1332 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.33 | 688 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.30 | 1215 ratings
STILL LIFE
Van Der Graaf Generator
4.28 | 1558 ratings
OCTOPUS
Gentle Giant
4.29 | 1256 ratings
THE POWER AND THE GLORY
Gentle Giant
4.28 | 1209 ratings
FREE HAND
Gentle Giant
4.24 | 1216 ratings
ACQUIRING THE TASTE
Gentle Giant
4.22 | 1124 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.26 | 419 ratings
ANABELAS
Bubu
4.25 | 376 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.26 | 343 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.20 | 617 ratings
SLEEPING IN TRAFFIC: PART TWO
Beardfish
4.16 | 698 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.31 | 191 ratings
1000 AUTUNNI
Ske
4.12 | 1563 ratings
DISCIPLINE
King Crimson
4.10 | 1750 ratings
LIZARD
King Crimson
4.11 | 1011 ratings
THREE FRIENDS
Gentle Giant
4.21 | 287 ratings
MULTIPURPOSE TRAP
Birds And Buildings
4.20 | 298 ratings
BORIS
Yezda Urfa
4.24 | 207 ratings
SI PARTIE 1
Nemo
4.20 | 223 ratings
PAMIęć
SBB
4.13 | 380 ratings
MOTORPSYCHO AND STĹLE STORLŘKKEN: THE DEATH DEFYING UNICORN
Motorpsycho
4.26 | 166 ratings
SBB [AKA: WOłANIE O BRZęK SZKłA AND SLOVENIAN GIRLS]
SBB
4.13 | 311 ratings
IN CAMERA
Hammill, Peter
4.09 | 486 ratings
UK
UK
4.05 | 832 ratings
THE LEAST WE CAN DO IS WAVE TO EACH OTHER
Van Der Graaf Generator
4.18 | 202 ratings
COMA
Nemo
4.25 | 130 ratings
DETTA HAR HÄNT
Gösta Berlings Saga
4.18 | 178 ratings
ZE SłOWEM BIEGNę DO CIEBIE
SBB
4.10 | 255 ratings
BARBARES
Nemo
4.10 | 249 ratings
LAST EPIC
A.C.T
4.05 | 422 ratings
SLEEPING IN TRAFFIC: PART ONE
Beardfish
4.15 | 181 ratings
DIAGONAL
Diagonal
4.12 | 215 ratings
CITY OF THE SUN
Seven Impale
4.38 | 76 ratings
NIL NOVO SUB SOLE
Nil
4.25 | 109 ratings
AEROLIT
Niemen, CzesŁaw
4.11 | 207 ratings
TODD RUNDGREN'S UTOPIA
Utopia
4.21 | 112 ratings
HAIKARA
Haikara
4.08 | 215 ratings
DODECAHEDRON
Daal
4.05 | 254 ratings
BEHIND THE SUN
Motorpsycho
3.96 | 980 ratings
THE POWER TO BELIEVE
King Crimson
4.05 | 249 ratings
NIGHTINGALES & BOMBERS
Mann's Earth Band, Manfred
4.03 | 294 ratings
CHAMELEON IN THE SHADOW OF THE NIGHT
Hammill, Peter
4.03 | 290 ratings
LADY LAKE
Gnidrolog
4.05 | 224 ratings
IN EXTREMIS
Days Between Stations
4.04 | 247 ratings
THE LOW SPARK OF HIGH HEELED BOYS
Traffic
3.97 | 530 ratings
MAMMOTH
Beardfish
4.02 | 282 ratings
THE MUSIC THAT DIED ALONE
Tangent, The
4.14 | 128 ratings
SNAFU
East Of Eden
4.01 | 278 ratings
SOLAR FIRE
Mann's Earth Band, Manfred
4.22 | 88 ratings
ECHOES OF FALLING STARS
Daal
4.06 | 177 ratings
NOT A GOOD SIGN
Not A Good Sign
4.15 | 113 ratings
PICTURES
Island
3.97 | 365 ratings
+4626 - COMFORTZONE
Beardfish
4.00 | 263 ratings
LE VER DANS LE FRUIT
Nemo
4.20 | 89 ratings
ET CETERA
Et Cetera
3.91 | 1476 ratings
STARLESS AND BIBLE BLACK
King Crimson
4.07 | 151 ratings
DANCES OF THE DRASTIC NAVELS
Daal
4.01 | 224 ratings
THE SANE DAY
Beardfish
3.95 | 390 ratings
DESTINED SOLITAIRE
Beardfish
3.97 | 296 ratings
LE SACRE DU TRAVAIL
Tangent, The
4.46 | 46 ratings
SEN BALıK DEğILSIN KI
Gevende
4.20 | 82 ratings
THE APOCALYPSE INSIDE OF AN ORANGE
Rodriguez-Lopez, Omar
4.00 | 203 ratings
THE FINEST OF MIRACLES
Ciccada
4.15 | 94 ratings
MOVIN' ON
Circus
4.09 | 121 ratings
SKYMIND
Taal
4.07 | 134 ratings
IMAGINARY FRIENDS
A.C.T
4.05 | 141 ratings
SI PARTIE II - L'HOMME IDÉAL
Nemo
3.89 | 981 ratings
GENTLE GIANT
Gentle Giant
4.18 | 82 ratings
SENNA
Mahogany Frog
3.96 | 275 ratings
OVER
Hammill, Peter
4.35 | 53 ratings
SHESHET
Sheshet
4.20 | 76 ratings
OF THINGS THAT NEVER WERE
Worm Ouroboros, The
4.07 | 120 ratings
ENIGMATIC
Niemen, CzesŁaw
4.06 | 124 ratings
EVER AFTER
Sanhedrin
4.28 | 59 ratings
KOROWOD
Grechuta, Marek
4.04 | 128 ratings
IN CASE OF LOSS..
Areknamés
3.97 | 188 ratings
REWOTOWER
Profusion
4.03 | 129 ratings
THE TIME IT TAKES
Nice Beaver
4.36 | 46 ratings
ONDE, QUANDO, COMO, PORQUĘ, CANTAMOS PESSOAS VIVAS
Quarteto 1111
4.08 | 101 ratings
SODOM & GOMORRAH
From.uz
4.28 | 54 ratings
BIGORNA
Cartoon
3.89 | 432 ratings
GENESIS REVISITED II
Hackett, Steve
4.03 | 114 ratings
MERCATOR PROJECTED
East Of Eden
4.14 | 74 ratings
MARIONETKI
Niemen, CzesŁaw
4.19 | 63 ratings
DIALOG S VESMÍREM
Progres 2
4.09 | 88 ratings
STRANGE IS THIS WORLD
Niemen, CzesŁaw
4.05 | 99 ratings
BELIEVERS & DECEIVERS
Brighteye Brison
4.10 | 81 ratings
PHANEROTHYME
Motorpsycho
3.90 | 280 ratings
JOHN BARLEYCORN MUST DIE
Traffic
3.96 | 154 ratings
2ND HANDS
Gourishankar, The
3.88 | 331 ratings
NOT AS GOOD AS THE BOOK
Tangent, The
3.82 | 1736 ratings
IN THE WAKE OF POSEIDON
King Crimson
3.92 | 194 ratings
A BLACK BOX
Hammill, Peter

Eclectic Prog overlooked and obscure gems albums new


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

ASTRID PRÖLL
Astrid Pröll
CLOSE GRIP
Gourishankar, The
SNAFU
East Of Eden
KRYWAN, KRYWAN
Skaldowie

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Latest Eclectic Prog Music Reviews


 Nothing To Lose by UK album cover Singles/EPs/Fan Club/Promo, 1979
2.95 | 2 ratings

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Nothing To Lose
UK Eclectic Prog

Review by Guillermo
Prog Reviewer

3 stars U.K. split in 1980 mainly because the main songwriters of the band (Eddie Jobson and John Wetton) had some conflicts about the musical direction of the band, with Jobson still wanting to compose long Prog Rock songs "more in Seventies terms" (like Wetton later said in some interviews) while Wetton wanted to compose shorter Pop Rock songs.

"Nothing to Lose", which was released in the Side 1 of this single, reflects more the then new Pop Rock musical influences from Wetton, but still having some Prog rock inlfuences from Jobson with the very good use of electric piano, organ and synthesisers, and also having a very good electric violin solo. The lyrics are simple and very influenced by Pop Rock music. It is a good song with very good arrangements, very good lead backing vocals, and very good drums playing. I don't know if this song was played in the Radio then, but it sounds very well like it could have been a Hit Single. In fact, the version which was released in this single is not the same version from the "Danger Money" album, but an edit of the song which lacks a few bars in some instrumental sections. I prefer the original studio version, but this single edit still sounds well. There is a video of this song in youtube on which the band appears doing a playback of this edited single version.

In the Side 2 of this single there is a then new studio recording (for 1979) of "In the Dead of Night", a song which was previously recorded for their self-titled album from 1978 (with Bill Bruford and Allan Holdsworth). This 1979 version, which was also released in the Side 2 of the "Rendezvous 6:02" single, was recorded with Terry Bozzio, and it is shorter than the 1978 version, and it sounds very similar to the live version which was later released in their "Night After Night" album from 1979. The main difference is that this 1979 studio recording sounds more like an edit of the song, lacking some parts of the song.

 Rendezvous 6:02 by UK album cover Singles/EPs/Fan Club/Promo, 1979
3.00 | 3 ratings

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Rendezvous 6:02
UK Eclectic Prog

Review by Guillermo
Prog Reviewer

3 stars U.K.'s "Danger Money" (1979) was the first album of the band that I bought and listened to in June 1980. It was released in my country in 1980. At that time I knew very little about this band apart from reading earlier in the same year a review in a Rock magazine from 1978 about their self-titled album from 1978 which was recorded with Bill Bruford and Allan Holdsworth in the line-up. But also later in 1980 in a Rock magazine I read about the split of U.K. which was mentioned in a review about YES's "Drama" album. That review also commented on how some Prog Rock bands were changing then their line-ups and musical styles (Genesis, YES, PFM, etc,) or were in fact ending their existence then, like U.K. In fact, the end of U.K. was originally announced to the international press in mid 1980 (a thing that I didn't know until some months later). Some years later (1983-84) a cousin said to me that he was very lucky because he had the chance to see and to listen to the band playing in concert in San Diego (USA) in 1979 , supporting JETHRO TULL, the band which Jobson later joined in 1980-81 as a "special guest" for their "A" album and tour.

"Rendezvous 6.02", released on the Side 1 of this single, was taken from the "Danger Money" album. It is a very good Prog Rock song, played with Electric Piano and Synthesisers (by Eddie Jobson), Bass guitar and vocals (by John Wetton), and drums and triangle (by Terry Bozzio, who replaced Bill Bruford in late 1978; guitarist Allan Holdsworth was not replaced). It has a very interesting electric piano part with a very characteristic riff and very good synthesiser solos in the instrumental section of the song. The "mysterious" lyrics (I think) maybe are about "the spirit or ghost of an old soldier which was seen in Waterloo Station" one evening by the writer and singer of the lyrics (Wetton; lyrics with a very British theme, I think). The song has very good musical atmospheres which reflect very well the content of the lyrics. A "dark" song in content. Some years ago in youtube I watched to a video of the band doing a playback of this song. Also very "dark" in content, but with the band very clearly doing a playback to the original album version. Maybe it is still available to be watched to in youtube.

In the Side 2 of this single there is a then new studio recording (for 1979) of "In the Dead of Night", a song which was previously recorded for their self-titled album from 1978 (with Bruford and Holdsworth). This 1979 version, recorded with Terry Bozzio, is shorter than the 1978 version, and it sounds very similar to the live version which was later released in their "Night After Night" album from 1979. The main difference is that this 1979 studio recording sounds more like an edit of the song, lacking some parts of the song.

 In The Court Of The Crimson King by KING CRIMSON album cover Studio Album, 1969
4.61 | 3504 ratings

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In The Court Of The Crimson King
King Crimson Eclectic Prog

Review by Scorpius

5 stars Considered one of the first prog records ever, I would be lying if I said it wasn't one of the greatest. The rest of King Crimson's discography is definitely overshadowed by this record, but it more than deserves all the praise it gets. It is one of the most complex recordings ever, and definitely not for beginning prog listeners.

21st century schizoid man is one of the craziest prog songs ever, and has some killer vocals and guitar solos. the intro is the most epic thing ive ever heard. A full orchestra blares along to a classic Fripp riff, whats better than that?

Track rating - 10/10

I talk to the wind slows things down a lot after such a crazy intro. Beautiful vocals from Greg lake and a calming melody make this song pleasing and calming. Be prepared for the greatness that follows.

Track rating - 8/10

Epitaph is no doubt the greatest song on the album, and one of the greatest prog songs ever. Soaring and haunting vocals from Lake send chills down my spine every time I listen. The musicianship and instrumentation on this track is unparalleled anywhere else. One of the greatest moments of my life was hearing this track for the first time.

track rating - 11/10

Moonchild is a bit of a weird one. Its starts out fine, with some really beautiful lyrics and melodies. 3 minutes later it transitions to something else that can only be described as a free-form jam session on drugs. This will either make or break the track for you. For me, it calmed me down and prepared me for what follows afterwards, but I know some listeners really don't like 9 minutes of weird sounds coming from instruments.

Track rating - 7/10 (personally 9/10 because i like the jam out session)

In the court of the crimson king is the title track that finishes the album. It is the perfect finish to a near perfect album, Greg Lakes vocals on the one line "In the court of the crimson kiiiiiiiing" get me every time. The instrumentation and the use of a symphony make this song a classic.

Track rating - 10/10

Overall, this is an absolute classic and one of the greatest albums of all time. If you haven't already, do yourself a favor and pick this one up. Its worth the price of admission.

 Octopus by GENTLE GIANT album cover Studio Album, 1972
4.28 | 1558 ratings

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Octopus
Gentle Giant Eclectic Prog

Review by Scorpius

5 stars At the time of my first run-through of this album, I hadn't ever heard anything nearly as complex as Octopus. Songs like "Knots" left me confused yet satisfied. After several listens, I can state with confidence that this album is a must- have for every prog fan out there. Gentle Giant is one of the most underrated prog bands, and one of the most talented too. This album is the apex of the bands talents and creativity. Every track is an instant classic. "The Advent of Panurge", "The Boy's in the Band", and "Rivers" should all be regarded as some of the best prog tracks ever recorded.
 Ao Vivo by VELUDO album cover Live, 1994
3.00 | 8 ratings

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Ao Vivo
Veludo Eclectic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars Veludo was one of the most important underground bands from Brazil during the difficult 70´s. Several important musicians played in this band and it was not easy to maintain a stable line up. And although their concerts were quite famous and the band cut a big name with the youth, they never released anything during their time, Legend says fans took tape recorders to some of their shows and recorded the basis for this live album. According to the same story, a fan would had pressed 2000 copies of this album in 1975. A nice tale, but unfortunately it seems that someone made it up, since all the official information I got from all the sources I could find (including their own site) tells that those songs were recorded on a cassette direct from the mixing board and only resurfaced in 1985. The first ever release of these tapes came in 1994, when it was released on CD, by bassist Nelson Laranjeiras.

The show was recorded in 1975 during a prog festival called Banana Progressiva. Here we can hear for the first time their music. Obviously the sound quality is not great, but acceptable for the times and circumstances (but a good remastering with available technology would make it much better). Their songs are a complex mix of late 60´s psychedelia, hard rock and symphonic prog plus a few braziian rhythms throw in for good measure. Long instrumental passages are a must with a lot of improvisations and solos, as it was a kind of norm at the period. Clearly not the kind of music the recording companies saw as "marketable". The keyboards parts are the best feature , although some guitar lines are also creative and interesting. The vocals remind of O Terço and Mutantes were doing at that time.

The bonus track . Suite As X Fases Do Homem Comum is very interesting: it´s the only studio song on this album and was recorded some three years later, in 1978, with a completely different line up when it was made. Only Paulinho Laranjeiras and Paul De Castro remained from the original members. At that time they were incorporating folk. latin and and MPB elements to the music. the piece is divided in ten parts and features some guests on vocals and trumpet. Although very different and experimental, it had fine original, creative moments and makes us all speculate how far this band would go if they had indeed released a studio album with that personnel.

All in all I found this record an important document from the brazilian prog scene of the 70´s. I t showed that we had many unsung heroes around and I´m glad their voices finally found a way to be heard at last.

 Komara by KOMARA album cover Studio Album, 2015
3.77 | 65 ratings

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Komara
Komara Eclectic Prog

Review by poito

1 stars Komara is one of those experimental blendy-bands following the tradition of underground hippie music in the sixties, assembling a weird collection of instruments to stay as far as possible of mainstream, maybe out of some acid-trip. Personally, I don't care much about experimenting with sounds, it's OK, but I don't see why it should be recorded. It is music for the players and their muse. I have approached every now and then to these soundmakers, once I bought several CDs by Eno hoping to find some hidden jewel, but I listened to them just twice (in case I missed something the first time) and they are growing dust for 20 years now in my shelves along with others of the like, the same place where this Komara will inhabit from now on. I also used to hypnotize myself playing weird guitar chords, but I would never let anyone to listen to them. Unless you want to analyze how others explore music, you better use your time to explore yourself something else. Not even as sound-makers this Komara is original. You'll find more and better inspiring moments in free admission 24 hours jam sessions of jazz players. My advice: don't let yourself be impressed by the five stars sound-analyzers. This is for completionists.
 Terreno Baldio by TERRENO BALDIO album cover Studio Album, 1975
4.01 | 50 ratings

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Terreno Baldio
Terreno Baldio Eclectic Prog

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

4 stars Early Seventies band Terreno Baldio released an unpredictable and eclectic prog album with their self-titled debut `Terreno Baldio' in 1976, and while they're often referred to as the `Brazilian Gentle Giant', the group were not quite as easy to pigeon-hole as that, therefore dismissing them as an outright clone band would be doing them a complete disservice. While they share many of the quirkier elements, crafty direction changes and rich vocal arrangements of that band, they also had some rougher qualities so weren't quite as fancy, and many other moments on their debut calls to mind the warm symphonic synth and guitar soloing of Camel, jazz/fusion fire and even the romance of some of the Italian prog groups of the time.

Briefly touching on some of the highlights (mentioning the frequent Gentle Giant-esque passages that pop up throughout most of the tracks would become redundant very quickly!), `Passaro Azul' is a warm and pleasant opener with a sweetly crooning falsetto vocal over piano and nimble fiery electric guitar licks emerging around bristles of Hammond organ. `Loucuras de Amor' is a dignified and mellow tune with frequent Camel-like chiming lead guitar, restrained wisps of synths in the background and a stirring vocal finale, and the jazz-fusion/funk-tinged `Despertas' is full of slinking subtle grooves woven into twisting-turning rollicking guitar lines, buoyant bass and peppy drumming. Joao Kurk `Fusa's vocals move between early Jon Anderson-like gentle innocence and hearty RPI-throated theatrical bellowing, as loopy Moog spirals dash over runaway piano and rough guitar grinding alongside.

`Agua Que Corre' mixes droning electronics, early A.M-hours piano coolness, strolling bass ruminations that grow mud-thick and almost Zeuhl-like jazzy flights. `A Volta' holds jazzy smoothness with organ-fuelled symphonic bursts, `Quando as Coiasas Ganham Vida' is a spirited multi-part vocal interlude, and `Este e o Lugar' has plenty of keyboard dazzle. But it's closer `Grite' that turns out to be one of the absolute standout moments of the LP, a melancholic and powerful tune with a weary wailing vocal that almost reminds of Italian band Banco del Mutuo Soccorsso.

If you're looking into this album, be sure you're getting the new 2015 reissue of the original version, as a complete re-recording of the album in English was released back in 1993. Although that likely has its own merits, the original is the one you really want, as `Terreno Baldio' remains one of the standout Brazilian prog albums alongside Casa das Marquinas' `Lar de Maravilhas'. While it's easy to enjoy the Gentle Giant-inspired parts, there's really so much more going for the album than that, and it makes for another fine addition for anyone with a large progressive music collection looking to add more of those obscure titles and bands.

Four stars.

 A Re-Volta by VELUDO album cover Studio Album, 2002
3.00 | 1 ratings

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A Re-Volta
Veludo Eclectic Prog

Review by Tarcisio Moura
Prog Reviewer

— First review of this album —
3 stars Veludo was one of the most important underground bands in Brazil during the 70´s, but never released anything during that time. The only CD available of that period is a live album recorded during a festival in Rio, released some twenty years after the event (although it is erroneously cited as 1975, the effective year of that show). In 2002 founder member Elias Mizrahi (keyboards, guitars and vocals) joined forces with original member Gustavo Schroeter (drums and percussion) and newcomer Lincoln Bittencourt (bass) to record and album under the Veludo banner. The title is a word game with revolta (revolt) and re-volta (re-turn). It went largely unnoticed and only recently I came to know of its existence.

I was not quite happy to see this band coming up as a trio. I wish they had come back as a full band and less like a Elias Mizrahi solo record using the famous name. Certainly the CD has an overall band feeling, but it is also clear that he is is calling all the shots here. Veludo had two distinctive phases during their lifetime: a more straight ahead hard rock;/progressive combo at the first half of the 70´s and a more prog folk outfit after 1975 . Re-volta is more of the first, with generous doses of brazilian popular music and a few jazz rock/fusion leanings added here and there. It´s almost totally keyboards driven, although veteran guitarist/producer Marcelo Sussekind does add guitars on a couple of tracks. The music here in general is good, not too much noodling, all tracks are relatively short. There are a lot of instrumentals, but with Mizhari sounding surprisingly good as the lead singer on the vocal tracks. Sometimes the influences of ELP are obvious (Imperio Romano), but most of the time it sounds like a good mix of brazilian fusion with some progressive moments. It is quite varied and pleasant enough. Nothing to write home about it, but very good and interesting anyway. The best track is the instrumental La Sonata Claríssima (with a very nice guitar solo from Sussekind). Production is also good, but not spectacular.

Overall a nice effort, although not the Veludo I heard of in the 70´s. This is more like a solo album from Elias Mizrahi, and in this vein, quite convincing. Despite of not being what I wanted to hear from them, I was glad to find this CD and it is worth a listen. Final rating: 3.5 stars.

 The Silent Moonchild by GOAD album cover Studio Album, 2015
4.04 | 7 ratings

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The Silent Moonchild
Goad Eclectic Prog

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

4 stars Formed in Florence in the mid Seventies by brothers Gianni and Maurilio Rossi, Goad holds a reputation that somewhat aligns them with the darker Italian projects such as Antonius Rex, Devil Doll and Goblin among numerous others. Offering a string of varied recordings over the decades (some which actually remain unreleased) and often based around the gothic works of writers such as Edgar Allan Poe, H.P Lovecraft and Edgar Lee Masters, as well as cover interpretations of King Crimson and Moody Blues tracks, 2015's `The Silent Moonchild' delivers the expected sludgy hard- rock full of organ, Mellotron and vintage synths associated with the group, where Maurilio's moaning voice slurs and groans appropriately. But this time around (and surprisingly most welcome!) the arrangements to all the doom and gloom are grandly symphonic and more melodic and sophisticated than ever before, and contributions from Italian prog notables such as Delirium's Martin Grice on sax, Circus 2000's Silvana Aliotta on vocals and Guido Wassermann of Alphataurus on guitar are very welcome too.

Looking at many of the highlights, `Except Hate' sets a dramatic template for the rest of the album, with thick heavy organ, plodding drumming, darting flute, Grice's murky Van der Graaf Generator- styled sax and Maurilio's wickedly theatrical and deranged purr coming close to the flamboyance of Devil Doll's Mr Doctor. Pompous and strangled symphonic intensity rises in `For You' by way of droning sax and Mellotron slivers, and Maurillo croaks despairingly "Give my life the whisper of a magic time, just tell me you'll be here' throughout `Here with Me' with a sublime vintage synth and Mellotron-fuelled instrumental second half that could soundtrack a gothic fairytale. Drowsy slide guitar weaving in and out of the maddening `Clay Masks' reminds of the acid daze of the early Pink Floyd albums before a spiralling Moog run in the climax, and the first two parts of the title-track are full of romantic longing before an extended instrumental passage of slow-burn electric guitar and ghostly piano delivers a dazzling theme that reminds of Goblin.

The bombastic organ dominated `Ballad in the Moonlight' comes the closest to a grander symphonic Le Orme-like take on RPI, and `The Book of Time' is a hard-driving up-tempo rocker with male and female vocals singing in unison, making it a nice diversion from the pieces on either side of it. The 8-minute third section of the title track `The Silent Moonchild' and `Moonchild End' are the most extravagant and ambitious moments of the album, presenting everything from ethereal floating synths, ghostly Mellotron choirs, fanfare pomp, triumphant violin and confident electric guitars giving flight to the uplifting lyric before closing the album on sweeping symphonic fancy.

The album is perhaps just a little too long at 53 minutes, and if this were to be your first Goad album, be aware that Maurilio Rossi's scratchy and pained voice will be an acquired taste, but `The Silent Moonchild' is the most varied, focused and approachable Goad disc to date. Lyrically dark, hopeful and romantic in equal measure and full of lavish symphonic flair, those Italian prog fans that like to walk in the dark side and drink in the shadows may be very pleasantly surprised by what they discover here.

Four stars, and a high point in the career of Goad.

 Atlantide by ATLANTIDE album cover Studio Album, 1976
3.20 | 21 ratings

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Atlantide
Atlantide Eclectic Prog

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

3 stars More a studio project comprised essentially of session players for French producer and musical engineer Jean-Pierre Massiera than a full-fledged band, Atlantide released a reliable self-titled symphonic-prog album in 1976, but unfortunately, for all the skill offered by the musicians involved, the album holds a somewhat negative reputation for being a frequently blatant Yes imitation, something instantly noticeable right from the first play. Careful listening reveals some teasing little original ideas of dreamy interludes, warm male/female vocals, hard-rocking intensity and psychedelic spacey passages a world away from the more well-known prog band, but they are frustratingly fleeting compared to the hero-worship on display throughout the majority of the disc.

Running a lean 32 minutes and sung in French, the album opens with the title-track `Atlantide' that instantly calls to mind Yes from the very first second, a blistering bass and guitar line that almost completely rips off their classic opening attack from `Heart of the Sunrise'. Thankfully vocalist Patrick Attali's voice has its own distinct charm, and there's also some delicate middle-eastern percussive flavours and restrained sitar droning woven to the first half as well. Despite a melody that drifts a little close to the verses of `I've Seen All Good People', `Le Regard Des Dieux' is a lovely ballad with gentle male/female voices singing in unison, it's just a tragedy that the piece stops dead at just before the three minute mark when it could have done with an additional verse or even a closing solo. `Images', a solo acoustic piece, ends the first side, serving exactly the same purpose as those charming Steve Howe performed interludes do on so many Yes albums, and despite sounding alarmingly like `Mood for a Day' in a few spots, it's still a skilfully performed track.

The twelve minute `Soleil Noir' opens the second side and is the showcase piece of the album. Look past the opening stolen `Relayer' moments and chiming guitars playing the melody of a section of `Yours is No Disgrace' and listen out for the dramatic thrashing drumming, murky murmuring bass and a melancholic yet romantic lead vocal. But best of all, and it's absolutely the best part of the album, an instrumental break in the middle unleashes a battery of pummelling mucky guitars that wouldn't have been out of place on the dirtier RPI albums, leading to a splintering spacey passage that sounds like a cross between the more jagged King Crimson moments and the classic albums of fellow French band Pulsar. The reverberating opening of `Reverie' that will make every single listener straight away think of Yes' `Roundabout' introduction proves to be a distraction from an eerily shimmering acoustic acid folk lament, which thankfully ends the album on a more original note (with an echoing fragility not unlike Pulsar again), but it's also tragically brief and seems incomplete.

Some Seventies groups like Blakulla and Chameleon had undeniable traces of Yes-like sounds, while more blatant bands such as Starcastle are often instantly dismissed as being an outright clone of the defining symphonic band. With Atlantide, we have another of the latter kind, a band you'll have to decide whether you can simply enjoy, influences and all, or whether you think they might not be worth the time. There's undeniable talent involved in the album, but it's a little disappointing that the hints of original ideas and styles are mostly pushed to the background in favour of Yes-like sounds, making it something of a missed opportunity. Still, it's convincingly performed, well composed and easy to enjoy with lovely vocals, so maybe that's enough?

Three stars.

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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
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
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
BRIGHTEYE BRISON Sweden
BUBBLEMATH United States
BUBU Argentina
JEAN-LOUIS BUCCHI France
BUDKA SUFLERA Poland
C & K VOCAL Czech Republic
CABEZAS DE CERA Mexico
CALLE DEBAUCHE United States
CAMERA CHIARA Italy
NEIL CAMPBELL COLLECTIVE United Kingdom
CANGACEIRO Chile
JOSE CARBALLIDO Spain
CARPE DIEM France
CARPET Germany
CARTOON Brazil
CASTLE FUSION Italy
CATAPILLA United Kingdom
CENTENAIRE France
CHAMELEON United States
CICCADA Greece
CIRCLES END Norway
CIRCUS Switzerland
CIRKUS United Kingdom
BARRY CLEVELAND United States
CLOUDS ON STRINGS United States
CMU United Kingdom
COLONEL CLAYPOOL'S BUCKET OF BERNIE BRAINS United States
CONSIDER THE SOURCE United States
THE COWBOYS FROM HELL Switzerland
CRIME IN CHOIR United States
CRÓ! Spain
THE CRYSTAL SUN United Kingdom
CULPEPER'S ORCHARD Denmark
CURVED AIR United Kingdom
CZAR United Kingdom
DAAL Italy
THE DAEDALUS SPIRIT ORCHESTRA France
DAGMÄHR Canada
DALTONIA Chile
DARK AETHER PROJECT United States
DAYS BETWEEN STATIONS United States
GUILLAUME DE LA PILIERE France
DEBOCO France
DIAGONAL United Kingdom
DICE Sweden
DIONYSOS Canada
DISCORDIA Finland
DISEN GAGE Russia
DISTINGUISHED PANEL OF EXPERTS Multi-National
DJAM KARET United States
JULIUS DOBOS Hungary
WILLIAM D. DRAKE United Kingdom
DREADNAUGHT United States
DREADNOUGHT United States
DRIFT United States
EARTH SIZE DIAMONDS United States
EAST OF EDEN United Kingdom
ECHOES France
EDENSONG United States
EFECTO Chile
EKSEPTION Netherlands
ELEKTRYK BESTIA United States
EMPTY SPACE ORCHESTRA United States
EPIDERMIS Germany
ERE G Canada
ERIK BARON & D-ZAKORD France
ESPERANTO Multi-National
ESTHEMA United States
ET CETERA Canada
EXCLUSIVE RAJA France
EXPERIMENTAL Chile
EXPERIMENTAL QUINTET Romania
FAMILY United Kingdom
FANTASIA Finland
FETUS MAXIMUS Finland
OLIVIER FEUILLERAT France
FINNEUS GAUGE United States
FLASH United Kingdom
FLÄSKET BRINNER Sweden
FLIGHT United States
THE FLOCK United States
HUGO FLORES Portugal
FOND OF TIGERS Canada
FONDERIA Italy
FOXTROT Norway
FRAMUS 5 Czech Republic
FRATERNITY Australia
FRIENDSHIP TIME Sweden
ROBERT FRIPP United Kingdom
FROM.UZ Uzbekistan
FRUMPY Germany
FUN MACHINE United States
FUSIOON Spain
THE GAK OMEK United States
GALAAD Switzerland
GARDENIA Argentina
GARGAMEL Norway
GAYLORD United States
GECKO'S TEAR Italy
RON GEESIN United Kingdom
GENTLE GIANT United Kingdom
GESTALT Japan
JANE GETTER United States
GEVENDE Turkey
GEYSIR Germany
GLAZZ Spain
GLOBALYS Belgium
GNIDROLOG United Kingdom
GOAD Italy
GOMA Spain
GOOD NIGHTOWL United States
GÖSTA BERLINGS SAGA Sweden
JEAN-PHILIPPE GOUDE France
THE GOURISHANKAR Russia
SÉBASTIEN GRAMOND France
THE GRAND ASTORIA Russia
GRATTO United States
THE GREATEST SHOW ON EARTH United Kingdom
MAREK GRECHUTA Poland
GREYLYNG United States
GROOVECTOR Finland
THE GUARDIAN'S OFFICE Norway
GUERNICA Japan
TREY GUNN United States
GUNS AND BUTTER United States
GURUH GIPSY Indonesia
GUZZLEMUG United States
GYPSY United States
H7G Costa Rica
STEVE HACKETT United Kingdom
HAIKARA Finland
BRENDAN HAINS Australia
HALF PAST FOUR Canada
HAMADRYAD Canada
PETER HAMMILL United Kingdom
HAPPY THE MAN United States
GAVIN HARRISON & 05RIC United Kingdom
STEVE HART United Kingdom
HEADSHEAR United States
HERD OF INSTINCT United States
HOBO Yugoslavia
HOBSON'S CHOICE United States
HOKR Czech Republic
HOME United Kingdom
HOMÍNIDO Chile
HOUSE OF USHER United States
HUNE Canada
ICED INK United States
IKARUS Germany
ILLŔCHIME QUARTET Italy
ILLUSION United Kingdom
INNER LIGHT ORCHESTRA Finland
INTERFACE Japan
INTERPOSE+ Japan
ISKANDER Germany
ISLAND Switzerland
IT United States
IT'S THE END Norway
IX Venezuela
IXT ADUX United States
JANOS VÁRGA PROJECT Hungary
JEAVESTONE Finland
JOY UNLIMITED Germany
JULIAN'S TREATMENT United Kingdom
JUNE CLEAVER AND THE STEAK KNIVES United States
KARMABLUE Italy
KATAYA Finland
KHARMINA BURANNA Peru
KIDS EAT CRAYONS Canada
KING CRIMSON United Kingdom
KLOTET Sweden
KOIAK Chile
KOLORS OF ZOUND Austria
KOMARA Multi-National
KORPUS 2 (Корпус 2) Russia
KRACQ Netherlands
KRAKEN IN THE MAELSTROM Italy
KROMLECH Mexico
KTU Multi-National
KTZAT ACHERET Israel
KULTIVATOR Sweden
KWADRAT Poland
KYTAJA Finland
LAPLACE Argentina
LALLE LARSSON Sweden
LASER PACE United States
THE LAZE United Kingdom
LAZULI France
LEMURYA France
LETHEAN Italy
BJORN J:SON LINDH Sweden
LIZARD Poland
LOBSTER NEWBERG United States
LOCOMOTIV GT Hungary
THE LONG HELLO United Kingdom
LUARVIK LUARVIK Estonia
LUCIFER WAS Norway
MA BANLIEUE FLASQUE France
MACHIAVEL Belgium
MAGICAL PLANETS United States
MAHOGANY FROG Canada
MAJOR PARKINSON Norway
MAKAJODAMA Sweden
MAKKIWHIPDIES United States
MAMMUT Germany
MAN ON FIRE United States
MANFRED MANN'S EARTH BAND United Kingdom
MANNING United Kingdom
MAQAMA Israel
MARSUPILAMI United Kingdom
MASTERMIND United States
ME EL-MA Israel
THE MEDICINE CABINET United States
HAI MEIRZADH Israel
MEN OF LAKE Italy
METROGNOM Norway
MICHIRU Japan
JOHN MINER United States
MINI (TÖRÖK ÁDÁM & MINI) Hungary
MINIMUM VITAL France
MIRTHRANDIR United States
KIMIO MIZUTANI Japan
MOJO POJO Venezuela
MORAINE United States
MÖRGLBL France
STEVE MORSE BAND United States
MOSER WOODS United States
MOTORPSYCHO Norway
MOUTH Germany
MR. EUPHORIA United States
MR. HYDE Chile
DOMINIK MÜLLER Germany
MUSICA FICTA Israel
N.Y.X Italy
NAPRA Hungary
NARAJAMA Czech Republic
NARANJA MECANICA Cuba
NARR France
THE NATURAL MYSTIC Italy
NECROMONKEY Sweden
NEMO France
NEMO France
NÉODYME Canada
NEOGRASS Norway
NEUTRONS United Kingdom
NEWCROSS United States
NICE BEAVER Netherlands
CZESŁAW NIEMEN Poland
NIL France
NOT A GOOD SIGN Italy
NOVA Finland
NURT Poland
OBLIVION SUN United States
OCTOHPERA Brazil
ODYSSEE Germany
RYO OKUMOTO Japan
THE OPEN WINDOW United States
OPERATION: MILKSNATCH United States
ORGIYA PRAVEDNIKOV Russia
ORIGINS United States
ORNE Finland
OS MUNDI Germany
THE OTHELLO SYNDROME United Kingdom
OUT OF THE BEARDSPACE United States
PALEY'S WATCH United Kingdom
PANDORA SNAIL Russia
HET PANDORRA ENSEMBLE Netherlands
PANGÉE Canada
PEANUT BRITTLE SATELLITE United States
THE PENGUIN CAFE ORCHESTRA United Kingdom
PENTWATER United States
THE PEROTIC THEATRE Germany
PHILHARMONIE France
PINGVINORKESTERN Sweden
BRUNO PITCH France
THE PITTS MINNEMANN PROJECT United States
PLAMP Switzerland
PLAT DU JOUR France
PLATURNO Chile
POETICA IN SILENTIO Netherlands
LAURI PORRA Finland
JEAN-PAUL PRAT France
PRAXIS Mexico
PRAZSKY VYBER Czech Republic
PROCOSMIAN FANNYFIDDLERS Norway
PROFIL Germany
PROFUSION Italy
PROGRES 2 Czech Republic
PROMETHEAN Finland
PSI VOJACI Czech Republic
PSICOTROPIA Spain
LA PURA REALIDAD Mexico
PURGE SOLENOID United States
QUAKER Argentina
QUARTETO 1111 Portugal
QUILT Canada
QUODIA United States
RACHEL'S BIRTHDAY Germany
SIMON RAILTON United Kingdom
RAW MATERIAL United Kingdom
REDD Argentina
THE REDZEN Italy
THE REFORMATION United States
EL RELOJ Argentina
REPLIKAS Turkey
RITRATTO DI UN MATTINO Italy
OMAR RODRIGUEZ-LOPEZ Puerto Rico
ROOTS OF CONSCIOUSNESS United States
LA ROSSA France
ANDRES RUIZ Argentina
THE RUNNING MAN United Kingdom
SACCHARINE TRUST United States
SAHARA Germany
SANHEDRIN Israel
SBB Poland
LUCA SCHERANI Italy
SCHIZOFRANTIK Germany
SCYTHE Germany
SEAMUS France
THE SEASON STANDARD Germany
SENOGUL Spain
SEVEN IMPALE Norway
SFILTROM Slovenia
SFINX Romania
SHESHET Israel
SHINSEKAI Japan
SINATLIS TSELITSADI Georgia
RIKARD SJÖBLOM Sweden
SKALDOWIE Poland
SKE Italy
JÓZEF SKRZEK Poland
SKY United Kingdom
SLEEPY PEOPLE United Kingdom
JULIE SLICK United States
SIGMUND SNOPEK III United States
SOLUS3 United Kingdom
SOM NOSSO DE CADA DIA Brazil
SOMA PLANET Spain
SOPHISTREE Germany
SOUL ENEMA Israel
SPECIMEN13 Canada
SPEKTAKEL Germany
SPIROSFERA Italy
SPRING United Kingdom
STA IMA? Croatia
STAR PERIOD STAR United States
STELLA LEE JONES Japan
STICK MEN United States
JEREMY STORCH United States
STORM CORROSION Multi-National
STRINGPURÉE BAND Finland
JAMES SUDAKOW United States
SUMO ELEVATOR Israel
SUPERLUMINAL PACHYDERM United States
SYLBAT France
SYLVIA BLISS United States
SYNKOPY Czech Republic
SYRIUS Hungary
TAAL France
TAGYERIT United States
THE TANGENT Multi-National
TÁNGER Argentina
TCP United States
TELIOF Israel
TELLAH Brazil
TERRENO BALDIO Brazil
THIEVES' KITCHEN United Kingdom
TIME United Kingdom
TIN SCRIBBLE United States
TMN Switzerland
TOOTSCATS Russia
TOWNSCREAM Hungary
TRAFFIC United Kingdom
I TRENI ALL'ALBA Italy
TRIODE France
TRIPCYCLE Serbia
TROYA Germany
TU United States
TULLY Australia
UK United Kingdom
UMLÄUT Australia
THE UNDERGROUND RAILROAD United States
UTOPIA United States
VAN DER GRAAF GENERATOR United Kingdom
LAURENCE VANAY France
JEAN-CLAUDE VANNIER France
VELUDO Brazil
VISITOR 2035 United Kingdom
VISITORS France
VISOKOSNOE LETO Russia
VITA NOVA Multi-National
VITAL DUO France
VITKASTE Finland
VOX NOSTRA France
VU METERS Italy
VULGAR UNICORN United Kingdom
VY Puerto Rico
WALPURGIS Germany
WEJAH Brazil
WLUD France
WOOLLY WOLSTENHOLME'S MAESTOSO United Kingdom
WOMEGA Belgium
THE WORM OUROBOROS Belarus
ALEX WROTEN United States
WRUPK UREI Estonia
XENOGRAFT Australia
XL Finland
YEAR ONE United States
YEZDA URFA United States
YGGDRASIL Faroe Islands
YOLE France
YONIN BAYASHI Japan
ZAPOTEC United States
ZECHS MARQUISE United States
ZEROESQUE United States
ZIP TANG United States
ZITA ENSEMBLE Italy
ZOMB France
ZWEITON Germany

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