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PROG FOLK

A Progressive Rock Sub-genre


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Prog Folk definition

In the wake of the 1960s, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. BOB DYLAN, JOAN BAEZ, WOODY GUTHRIE, JOHN DENVER, BUFFY STE-MARIE, but also the FARINA couple Richard and Mimi for the US and SHIRLEY COLLINS and EWAN McCOLL (mentor of BERT JANSCH, JOHN RENBOURN for the UK and HUGUES AUFRAY in France. In Quebec, there was the "Chansonniers" phenomenon among which CLAUDE LEVEILLE and FELIX LECLERC were the most popular, waking up the sleepy "Belle Province" and stand up for itself from the English rule. The English part of Canada also brought up JONI MITCHELL, LEONARD COHEN (although he was from Montreal) and NEIL YOUNG.

As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity. As DYLAN soon abandoned to style to create Country Rock with his next album, his British equivalent Scotsman DONOVAN stayed true to Folk Rock. In the US, THE BYRDS were the main promoters of the style by now, culminating with the superb "Eight Miles High" track with a lengthy (for the times) guitar solo of almost one minute. But countless other bands on the west coast, such as LOVE, JEFFERSON AIRPLANE (and later its spin-off HOT TUNA), GRATEFUL DEAD, QUICKSILVER MESSENGER SERVICE, PEARLS BEFORE SWINE, and TIM BUCKLEY all started in the folk rock realm. Even San Fran's SANTANA with its Latino traditional music and, on the east coast, NY's THE LOVING SPOONFUL had folk roots. Notwithstanding the immense popularity of SIMON & GARFUNKEL and their delicious harmonies, Folk Rock was appealing only to the rock public as the older generations turned their backs in folkies.

In the UK, following on their countrymen DONOVAN, many Scotsmen were very influent in exploring new grounds for folk rock: INCREDIBLE STRING BAND (led by Scots Palmer and Williamson) with their two highly influential albums "5000 Layers Or The Spirit Of The Onion" & "The Hangman's Beautiful Daughter" and THE PENTANGLE (led by other Scots Renbourn, Jansch and McShee and their superb bassist Danny Thompson) and its incredible fusion of folk, blues and jazz style were very instrumental in developing the style to the same extent as FAIRPORT CONVENTION and STRAWBS who by that time were still more conventional US "west-coast folk rock". The single artistes in folk rock became known as Folk Troubadours were also numerous and often presented a more progressive side of folk: AL STEWART, NICK DRAKE, ROY HARPER, TYRANOSAURUS REX (actually a duo of Steven Took and Marc Bolan) , JOHN MARTYN etc.

However, the real angular album that will lead to further change of Folk Rock is FAIRPORT CONVENTION's "Liege & Lief" album, that proved to be highly influential for another generation of groups: this album concentrated into electrifying seminal English traditional folk and retained that quaint Englishness taste. It is interesting to see that both leaders of FAIRPORT quit the band after this success to go their respective way: Sandy Denny to a solo folk songwriting career and Ashley Hutchings to a very traditional folk rock. By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Groups like THE THIRD EAR BAND and QUINTESSENCE relied on eastern Indian music influences and, sometimes, medieval tones. Other groups like the weird COMUS, TREES, SPIROGYRA, FOREST, the superb JAN DUKES DE GREY but also TRADER HORNE, TUDOR LODGE, FOTHERINGAY, MAGNA CARTA, and TIR NA NOG were out to break new ground but with less commercial success as their predecessor. By 1972, all of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds. Such as HORSLIPS, DANDO SHAFT, STEELEYE SPAN, AMAZING BLONDEL, ALBION DANCE BAND and SPRIGUNS OF TOLGUS. Although JETHRO TULL had some definitive folk roots right from the start, their only albums that can be regarded as Prog Folk are 1977's Songs From The Woods and 1978's Heavy Horses. Ian Anderson (another Scots) was very keen in acoustical traditional songs. Some Folk Troubadours such as TIM BUCKLEY and JOHN MARTYN started turning records more and more axed towards fusing jazz and folk (a bit in what THE PENTANGLE were doing) , others became more and more electric and they started to be referred to as Singer Songwriters especially those with country rock influences.

In Germany, HOELDERLIN (and their fantastic debut album), EMTIDI, OUGENWEIDE, CAROL OF HARVEST, WITTHUSER & WESTRUPP were exploring German folk while KALACAKRA , SILOAH and EMBRYO were indulging with Indian music. In South America, most notably in Chile, LOS JAIVAS (very bent upon Andean Indian music) and CONGRESO (more Spanish-Latino folklore) were using folk in their rock, so much that some press talked about them referring it with the hateful term Inca Rock. In Quebec, the progressive movement exploded with the cultural identity and the Chansonniers tradition and this was carried out with LES SEGUIN and HARMONIUM and so many more. In France, many groups were out for folk rock such as CATHERINE RIBEIRO AND ALPES, TANGERINE, and ASGARD. In Spain, Flamenco playing a dominant role as well as Basque folk, TRIANA, ITOIZ and HAIZEA were the head of the movement once the Franco regime fell apart after his death.


There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists. Among the UK groups are obviously GRYPHON, GENTLE GIANT and THIRD EAR BAND, in France: MALICORNE and RIPAILLE and in Scandinavia: ALGARNAS TRADGARD and FOLQUE.


Hugues Chantraine
with hyperlinks and updates by Ken Levine begun in December 2017

Current Team as of February 2025

Ken Levine aka Kenethlevine
Sean Trane
Bilal aka Gordy

Prog Folk Top Albums


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

4.64 | 3845 ratings
THICK AS A BRICK
Jethro Tull
4.37 | 3040 ratings
AQUALUNG
Jethro Tull
4.35 | 1508 ratings
SI ON AVAIT BESOIN D'UNE CINQUIČME SAISON
Harmonium
4.21 | 1689 ratings
SONGS FROM THE WOOD
Jethro Tull
4.24 | 379 ratings
ALTURAS DE MACHU PICCHU
Jaivas, Los
4.24 | 252 ratings
ST. RADIGUNDS
Spirogyra
4.45 | 67 ratings
LUCAS
Araújo, Marco Antônio
4.22 | 256 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.16 | 671 ratings
FIRST UTTERANCE
Comus
4.15 | 753 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.15 | 421 ratings
HERO AND HEROINE
Strawbs
4.28 | 106 ratings
ERWARTUNG
Eden
4.15 | 405 ratings
GRAVE NEW WORLD
Strawbs
4.63 | 35 ratings
CHRISTIAN LUCIFER
Leopold, Perry
4.13 | 406 ratings
L'HEPTADE
Harmonium
4.15 | 226 ratings
WITHIN THE REALM OF A DYING SUN
Dead Can Dance
4.52 | 41 ratings
DÚLAMÁN
Clannad
4.18 | 169 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.36 | 61 ratings
THE WARM, DARK CIRCUS
Jack O' The Clock
4.38 | 51 ratings
GUSLIAR
Pesniary (Pesnyary)
4.05 | 1494 ratings
STAND UP
Jethro Tull

Prog Folk overlooked and obscure gems albums new


Random 3 (reload page for new list) | As selected by the Prog Folk experts team

TALES OF THE RIVERBANK
Dancer
SÓLO FUE UN SUEŃO
Omni
MOTHER TWILIGHT
Faun Fables

Latest Prog Folk Music Reviews


 Frippada Andaluza by MALABRIEGA album cover Studio Album, 2025
4.02 | 85 ratings

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Frippada Andaluza
Malabriega Prog Folk

Review by Daledebil

1 stars For some time now, the ratings have been less and less relevant because it seems that only family and friends vote. Otherwise, it is not explained how such an 'average' album like this one gets a high rating. If it weren't for the above, I could give this album 2 stars but I feel compelled to compensate for so much 'family fervor'. In my opinion, this is a rock andaluz album that contributes very little to the dozens of excellent albums of this kind that came out in the late 70s and early 80s. if you don't know this style, there are much more noteworthy examples. if you know it well, then, this is an album for completists and the curious
 Fiction Musicale by SILVESTRE, LOURIVAL album cover Studio Album, 1975
3.00 | 2 ratings

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Fiction Musicale
Lourival Silvestre Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars I suppose I have to give some kudos to the risible Simian sounds that lash out from the grooves of this LP-only one-off, as I cannot tell if they represent an uncredited and exploited primate, a fretted or laryngeal turn by Lourival himself, or the show-stealing flute of Silvia Beraldo which he foolishly handed to a first time flautist who was unfortunately able to produce sounds from the get go. But, apart from this, I profess to enjoying much of "Fiction Musicale", a woodwind and acoustic guitar driven oeuvre of surprisingly mature psych folk that isn't especially concerned with structure or melody, but with moods and sounds. It doesn't get better than the amalgam of THIRD EAR BAND, CAN, BAYON and MAGMA (Argentina) on the opening number, but it doesn't get all that much worse either. Recommended if this sounds like it's in your wheelhouse, especially if you like to hear monkeys more than see them.
 Tales of the Shadowland (as Bruno Maia) by BRAIA album cover Studio Album, 2022
3.00 | 1 ratings

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Tales of the Shadowland (as Bruno Maia)
Braia Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

— First review of this album —
3 stars For the main man behind the Brazilian faux folk metal of TUATHA DE DANAAN, BRUNO MAIA has been at the helm of a surprisingly more acoustic and serious outfit BRAIA since the mid 2000's, and in 2024 released this album simply as himself. Apart from the stark difference with the mother group, "Tales of the Shadowland" is a bit more wind oriented than the BRAIA output, with comparisons to a more intense BLACKMORE's NIGHT, YOKESHIRE, TOBIAS TAG, FAVNI, and the German GALAHAD, but a bit more straightforward than most of these. My pick would be the eerie and proggy "Dreya", but it's all of good quality.

Male and female voices, likely the same as on the BRAIA releases, harmonize wonderfully and conjure a forested soundscape rather than the windswept moors of BRAIA. Luckily it's song oriented so interminable jigs and fiddle jams are absent, which is a good thing because the totality is barely 26 minutes. But that same limitation makes this less of an immersive experience and more of a snippet of someone's weekend hobby, with their hope that you will return next weekend and evaluate the improvements or additions. I'm not sure I will, but Maia easily deserves 3 stars for some unique wood cuts.

 Frippada Andaluza by MALABRIEGA album cover Studio Album, 2025
4.02 | 85 ratings

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Frippada Andaluza
Malabriega Prog Folk

Review by ProgfanJP

5 stars From Andalusia! Featuring Juan Castro (vocals) and his high-pitched, androgynous voice, this progressive rock band from Seville, the capital of Andalusia, Spain, possesses a passionate sound that blends progressive, post-rock, and flamenco from a unique perspective.

As evidenced by "Frippada Andaluza (La mar limpia)," which combines math rock and post-rock reminiscent of Pelagic Records/RAIG works with pan-Mediterranean acoustic guitar and crisp vocals, this album is a fresh take on new-generation Andalusian rock, combining artistic and modern arrangements with thoughtful intelligence, flamenco influences native to Andalusia, and passion and melancholy in their purest form.

A must for lovers of Spanish progressive rock, this magnificent and essential album follows in the footsteps of predecessors like Triana/Medina Azahara and builds its own uniqueness.

 Gathering of Souls by GUILDMASTER, THE album cover Studio Album, 2025
4.56 | 14 ratings

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Gathering of Souls
The Guildmaster Prog Folk

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars As they may say in the prog butcher shop, "let us not mince words" , so I won't. Bluntness can be wonderfully rewarding ,I just love Rafael Pacha's music and his incredible talent. Alessandro di Benedetti (Mad Crayon, Inner Prospekt) is not only a genius but also a friend, Marco & Kimmo are both prolific and exceptional with the Samurai of Prog . That being said, for the record (pun intended), The Guildmaster is a progressive medieval rock style that I ADORE. Of course, it helps that I was raised as a young teenager on baroque and classical music, infusing the Beatles and rock and roll for some added pleasure , so it should come as no surprise that the combination would signal the road towards the hallowed gates of Prog! In 2020, I fell in love head over heels with this band's debut "The Knight & the Ghost" , which I had the honour to review glowingly. Two years later, "Liber de Dictis" appeared and made me genuflect in manifest adoration. Now comes the third instalment, and what a priceless masterpiece this is! "Gathering of Souls" is a staggering package with impeccable artwork from the great Ed Unitsky, stellar production and melodies, displaying technical talent that dazzles and a timeless feel, as if wondering back in the distant adventures of hallowed time.

With the heady aromas reminiscent of Concierto de Aranjuez by fellow Spaniard Joaquin Rodrigo, Rafael Pacha introduces the "The Crusade of Earl Birger", utilizing krumhorns , recorders as well as acoustic and electric guitars, aided by the tight rhythmic contribution from Marco and Kimmo, and subtle piano and synth work from Alessandro. It recalls a Swedish military campaign to fight the pagan Hame people in Finland, in the 1320s. Hame Castle can be visited today, between the cities of Tampere and Helsinki. It's just a majestic piece of music.

On the sprawling sonic tapestry that is the colossal 10 minute and change "Where Are You?", a forlorn Oldfieldian vibe rules the airwaves, also offers an exquisite female vocal spot from Paula Porsti. Rafael inserts bouzouki, bodhran, mandolin, zither, electric violin and keyboards to his arsenal, in creating a cinematic soundtrack for a lost friend or cherished one. The Celtic overtones are remarkably proficient in recreating a reflective mood, cyclical repetitions that enchant and captivate from the get-go. When the pulse thickens , we reach the musical highlands, overlooking the fog bound valleys, where the morning dew maintains its wet freshness in undisturbed solitude. Rafael peels off a blistering solo that scours, escalating to the misty mountain tops, searching for the answer to the title's question. The rustling organ tempest is a sheer joy to behold, as the storm increases in depth and volume. A wondrous fairytale instrumental. The swaying "Omnis Saltat ad Solem" is a running leap towards the sun, an acrobatic circular solar dance ,the elders interacting with the common folk , where individualism is replaced by human interaction, all as one. Here, Pacha incorporates Hulusi (type of Asian flute), Cuatro (kind of 4 string acoustic guitar popular in Venezuela) and Nyckelharpa (a medieval Swedish instrument similar to combination of violin and hurdy-gurdy). We arrive to another level altogether, as the mercurial Alessandro di Benedetti shines brightly on the epic "Blood and Oblivion" , his shimmering piano work serves to expand the spotlight on RPWL's Yogi Lang and his soft vocal cameo. As the guitar enters the arrangement, there is a definite transition to a jazzier feel, both in the rhythmic tempo, and the crisp guitar lines and the monster synthesizer foray, building up into heady symphonics and a full prog blow out! When Paula releases her choral aria, it's beyond the edges of sublime. When Rafael reignites the jazz guitar musings , it morphs into outright heaven. The ambient beauty displayed is colossal, full of emotional restraint and penitence , as the story focuses on the criminal mind, sung with poignant words like 'The more I search the light, the more there's darkness deep inside". A magnum opus.

"Lo Prometido es Deuda", translated as "A Promise Is a Debt", a serene melodic pilgrimage that highlights the spirituality of every step one takes in a lifetime, a progression towards a goal, whether fully defined or impulse-drive. Here, the onus is on the dulcimer and viola di gamba, two famed medieval instruments that exert a gentle trait, so naturally, the contrast of a stirring pipe organ flurry is selected as the perfect foil. When the elegant piano settles the urgency, a sense of purpose returns full force. And back and forth, it goes, just like the meanderings of a long journey.

Epic track number 3 is the heavily vocalized "Mary the Jewess", the microphone being handed to Nick Markham (who also wrote the words), recalling the story of Maria, becoming a prominent reference for alchemy and hence, science. The arrangement sits more in the conventional prog-rock channel, the viola di gamba and recorders still in the spotlight, though the uplifting lead guitar solo is a definite highlight. When the majestic keyboard barrage finale enters the fray, the Genesis influence cracks through the shell, as Alessandro di Benedetti does his Banks thingy perfectly (The first Inner Prospekt album was Dreaming Tony Banks, recently remixed).

From the land of a thousand lakes and forests , "Luonto Puhuu" naturally relates to the importance of nature in the Suomi mindset and culture. The lyrics and vocals are all in Finnish, (Pirkko and Paula Porsti respectively ), while the instrumental side showcases the Chapman stick technique of guest Alfonso Romero, some deft drumming from Kimmo and some cool guitar licks. A lovely distraction.

Keeping the pace constantly evolving, finishing off the album with a simple neo-prog tinged track, "Sea and Sky" features vocalist John Wilkinson (Ellesmere, Random Option, The Swan Chorus, The Samurai of Prog and Bill Bressler) among many others, guitarist Tony Riveryman and flutist Giovanni Mazzotti. There was more than enough adventure and exploration on the all the previous tracks, so a humble little track to end the fanfare on a light note was most welcome. A feelgood piece about 'Eternal Union'.

In a frenzied world of endless confusion, needless stress and constant data overkill, escapism in the form of music and progressive rock particularly, should be the ultimate panacea. Its side-effect free, perhaps addictive, inexpensive, eternal and guaranteed to cure ailments both physical and psychological. Get this before Big Pharma gets in the way and cancels this review.

Already on the podium of finalists for 2025. 5 Shining skies

 Seawater by MOSTLY AUTUMN album cover Studio Album, 2025
3.77 | 66 ratings

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Seawater
Mostly Autumn Prog Folk

Review by alainPP

4 stars "Let's Take a Walk" with Troy working on Nightwish, a latent, very serious Celtic folk intro. Bryan's deep vocals arrive late; it starts with a metronomic melodic piece, the imposing bass bringing out the Floydian acoustic break. Hammond and the female choir in the background. A bagpipe solo before the melodic finale and the captivating guitar. "Remember All The Rain" with Olivia, the voice of the group; a ballad between dreamlike and atmospheric with the joyful solo and these typical pipes of Troy, the Irish, Scottish air, eyeing Iona and McKennitt, two very folk titles. "Be Something" Bryan and Olivia in duet on an acoustic nursery rhyme where the influence of Pink Floyd is strong; the rise is agreed before the eternal solo. "When We Ran" for the solemn piano opening with the gripping vocal, suddenly the synth reverberates on a Jean-Michel Jarre sound before the electro-dance rhythm, a height. Slow, calm rise veering towards ambient country folk. The finale is worth it for the vocal duet and the endless guitar solo, what else in the end? "If Only for a Day" with the piano and Olivia a cappella on it, sensitive, fragile, her voice quickly pushing into the treble, vibrating in the fans' hairs. A slow, heart-wrenching, captivating rise with the programmed explosion; the title to listen to in concert to verify the quality of this violent crescendo. Gilmourian guitar solo with its dose of "frying nuggets" notes bringing us back to the ideal temperature, and devastating solo. "When Nations Collide" Olivia on the Floydian acoustic "Wish You"; melancholic melody of great beauty, consensual. Solo and choir in the distance with the melting organ.

"My Home" with the echo of the first track in my ears, to the point where I thought it was a radio edit. "Mars" for the solemn ascent to Olympus with the organ; Waters-esque vocals with Olivia saving this track with this crescendo and the Dantesque solo. "Future Is a Child" opens acoustically, flirting with the latest Anathema, a typical latent monotonous air, again with a Wallian flavor. The chorus explodes on a repetitive tune. Angela's beautiful flute solo followed by Josh's furious one. "Seawater" ends the album with the epic prog title; a consensual melodic progression with a stormy break at the 5-minute mark; the tone becomes religious, cinematic, a disturbing siren, prog latency leading to the metronomic decline filled with naiads in the distance. Olivia returns, delivers her verses, and tries her hand at phrasing; Iain's divine, fat break; the whole band has been together for 20 years except for the drummer, demonstrating great cohesion. Another gust of wind and acoustics for the bucolic, elegiac, contemplative, neoclassical finale. Simple but grandiose, with a delicate, rustic outro.

Mostly Autumn releases this new album in a predictable but very well-crafted style. There's little new in this under-appreciated band, which reworks the clichés of Gilmour's solos. A shorter album would have been better received due to a certain amount of repetition. (3.75) Origine on progcensor.

 Jae by ILIENSES album cover Studio Album, 2024
3.90 | 2 ratings

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Jae
Ilienses Prog Folk

Review by Finnforest
Special Collaborator Honorary Collaborator

4 stars A Search for Origin

A fascinating release. Ilienses is the collaboration of Mauro Medde and Natascia Talloru, their name taken from the tribes who lived in the heart of Sardinia in Barbagia during the Nuragic Era. They play the contemporary and traditional instruments of Barbagia as well as some they constructed themselves. They sing in Sardinian language and make use of "a tenore" chant, a Sardinian autochthon kind of throat singing. They describe their music as "ritualistic, thickly atmospheric, and deeply evocative of Barbagia's mysteries and spirits." To merge their creative efforts to searching through time for ancient roots, they find that our matter is that of the cosmos and subject to communication. "We tried to understand how the forms that make us up also make up earth, water, fire and stars, and how they reach us through an audible and silent language. We recognize their vibrations but not their location in our mind, and hence the need to find the key, the 'Jae' of the mystery that opens hidden portals."

As I said, fascinating stuff. This is unlike anything I've heard in quite some time. It was an adventure. It was exploration. It was the musical equivalent of an architectural dig and way beyond the convenience of usual genre descriptors like folk or psych or raga or drone, though it certainly crosses into each realm at different times. It is another prime example of the divergence of progressive rock from progressive music, falling completely into the latter camp. This is not rock. Each of the seven tracks are a feast for the senses and put you right there at the campfire with the musicians, under a jet black sky deep in a Sardinian night. During their searching, they claim to have come across some "esoteric figures, some appealing and some ominous," and you are right there with them, a testament to the vision and ultimately the execution of Jae. It feels complete and authentic to me in a way that much of what is sold as "world music" never comes close to.

The songs build up around what feels like bizarre tribal ritual of sorts with hand drumming, drone-like strings or stringed-sounding instruments, and chanting/singing. The volume and densities increase, creating oftentimes a feeling of anxiety and hallucinogenic, out-of-body experience, but also at times serenity. To offer musical comparisons, one could struggle to find appropriate examples. One that I might offer up is what Peter Gabriel did with his soundtrack for the Passion film, in terms of both breadth and sometimes sound. To a lesser degree, moments from Popol Vuh, Third Ear Band, Voice of Eye, and even Antonius Rex come to mind. Vocally speaking, the singing at times reminded me of the experimentation and unique styling that Bjork undertook on her incredible Medulla album. But these examples only give an idea of proximities because this is a completely original work. Despite the foreboding and the warring factions of chaos and order inherent to the material, I was most moved when that fell away a bit into sections of softer beauty that allowed some melody to come through. It is there, but it is sometimes buried in the drama. The CD version comes with a 20-page booklet. Truly an impressive project. 9/10

 The Weed Tree by ESPERS album cover Studio Album, 2005
3.42 | 17 ratings

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The Weed Tree
Espers Prog Folk

Review by Novalarke

5 stars One of my favourite albums of all time. I discovered it in October 2005 as I was driving on US1 in New Brunswick NJ. I tuned in to the Rutgers Radio station, and this moody folky song was playing. It grew in intensity and an electric guitar came in howling. It got louder and more avant garde with a squealing cello, strong but dusty drums, solid bass - I was hooked. When the song was over I was stuck at a light and called the station asking what song with that wild scary guitar work. The DJ was "huh"? I described it more and he asked what the vocals were, and I said I didn't remember any vocals, just this long noisy crescendo that started folky and creepy and turned into this psychedelic proggy howlfest. He recognised it and said "Yeah - that was Espers. They're from Philly. That song is called "Flaming Telepaths". I thanked him and bought the CD the next day.

It's brilliant. It's mostly an album of covers, but a very imaginative collection of covers. Normally, people will cover things that are roughly in their wheelhouse of sound. Not this bunch. The singer and acoustic guitarist, Meg Baird, sings like an angel. A very depressed angel. She's also a fine guitarist, and studied with Burt Jansch. Greg Weeks plays electric guitar and synth and sings. Brooke Sietinsons played acoustic rhythm guitar, and is also very good. The cello is played by Helena Espvall who has done a lot of avant garde music since then, including with free jazz people like Alan Sondheim.

"Rosemary Lane" (traditional; arrangement influenced by Bert Jansch) Excellent version of a trad folk song, as it restores some of the darker lyrics that are often left out in more sanitised versions. Meg Baird's vocals shine through this bringing a delicacy to this profoundly sad and bleak trad folk tale of power imbalance, sex, and resignation to a horrible fate.

"Tomorrow" (Vini Reilly; originally by The Durutti Column) The Durutti Column are a whole thing unto themselves and to cover them in this raw folky way is remarkable. Again, Meg's voice is a beautiful thing. A song of longing for different outcomes and alienation of affections.

"Black Is the Color" (traditional; arrangement influenced by The Famous Jug Band) Another trad folk song. This one was covered by Nina Simone decades ago, and is the version I was most familiar. No shade to Nina's genius, but I rather prefer this version. There's something deeply spiritual and yet utterly disquieting about this. Brilliant. Weeks sings some fine and oddly complex harmony here.

"Afraid" (Nico) So, it was trad folk, Durutti Column, trad folk - how do you follow that? With a gloomy goth tune by Nico OF COURSE. The song sounds like a toy - gentle guitars, xylophone, cello - sweet, and yet: Nico's lyrics are just open despair. A wonderful counter to the arrangement.

"Blue Mountain" (Michael Hurley) This song by Michael Hurley is from 1965, and is a classic singer songwriter folk song from that time. Only in the hands of the Espers it is vastly more psychedelic and richer. Weeks sings the lead in this and his vocals are OK, certainly no worse than Hurley's, and Baird's harmonies really make this swing.

"Flaming Telepaths" (originally by Blue Öyster Cult) The centrepiece of the album. Stunning. especially as the original is about as unfolky as a song can get, being a brassy loud track from the Hard Rock band Blue Oyster Cult. Love it. 10 out of 10.

"Dead King" (Espers original) This is the only original on the album, and another version was released on Espers 2. Frankly, I think this version is better - it's a bit more open and direct.

This (and Espers 2) while not technically Prog Rock, is a Top Album in my world - required listening, period.

Band members: Greg Weeks Meg Baird Brooke Sietinsons Otto Hauser Helena Espvall Chris Smith.

 Gathering of Souls by GUILDMASTER, THE album cover Studio Album, 2025
4.56 | 14 ratings

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Gathering of Souls
The Guildmaster Prog Folk

Review by Matti
Prog Reviewer

5 stars The Guildmaster could be seen as a folk-spirited little sibling of The Samurai Of Prog, likewise an international progressive rock project by mostly the same production team, but (unlike TSOP) relying on the original compositions of its core members. They are, since the second album Liber de Dictis (2022), Spanish folk expert Rafael Pacha, Finnish drummer Kimmo Pörsti, Italian-livng-in-Finland bassist Marco Bernard and Italian keyboardist Alessandro Di Benedetti.

With the preceding albums I occasionally felt that the Medieval/folk elements and the modern prog rock production were having a tug of war, making me wish for a purer folk approach on some pieces. Now everything is more coherent and unified, rooted on the symphonic prog -- with the blessing of the rich, folky sonic pallette due to the various folk instruments played by Pacha. But what really makes this album my fave of the three is the excellent level of compositions. Being almost as lengthy (64:20) as the 12-track Liber de Dictis, Gathering of Souls has eight tracks, four of them a bit longer.

Pörsti's opening instrumental 'The Crusade of Earl Birger' is inspired by the historic events that took place in the Finnish soil in the mid-13th century and it has a wonderfully dynamic and colourful arrangement. Pacha's long instrumental 'Where Are You?' still improves from that. One moment you may think of Ommadawn-era Oldfield, the next moment has a Wakemanesque synth run, and the cherry on the top is the beautiful wordless singing of Paula Pörsti. Also the third piece is a colourful folk prog instrumental, composed by Pacha.

Di Benedetti's sole composition, epic 'Blood and Oblivion' is an outstanding emotional highlight sung by Yogi Lang of RPWL. Then one more fine Pacha instrumental, after which the album takes a bit more vocal oriented course. Nick Markham (neverheard) sings with his smoky voice the ambitiously proggy 'Mary the Jewess' which however is not among my highlights. Also composed by Pacha is 'Luonto puhuu' where Paula sings in Finnish. This piece has a peculiar atmosphere. Pörsti's second composition 'Sea and Sky' features the mid-70's Phil Collins reminding vocals of John Wilkinson, and a lovely flute contribution of Giovanni Mazzotti.

Now I only need to decide how to round my 4,5 stars. Ok, let's round it up because, as I said, this is the most solid and symphonic Guildmaster album this far. Hats of especially to Rafael Pacha who's at his strongest here.

 Curious Ruminant by JETHRO TULL album cover Studio Album, 2025
3.40 | 104 ratings

BUY
Curious Ruminant
Jethro Tull Prog Folk

Review by Etherea

3 stars 'Curious Ruminant' finds Jethro Tull's Ian Anderson yet again floating on a cloud of neo-classical massage parlour music. This one however is a solid set of melodic, flute-tinged rock in the style of the group's late 70s Folk-themed albums like 'Heavy Horses' and 'Songs From the Wood'. In slight contrast to the previous two studio releases, this 9 track album is somewhat more concise and accessible- the only cons being Anderson's failing stage whispers and the lightweight production which undermine the muscularity of the band- particularly the guitars. This sameness of approach does not serve Ian Anderson well and I strongly believe that a different producer with a younger set of ears would energise the Tull sound next time. Having said that, this third album in as many years is a step above the previous two.
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