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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 December 2017

Current Team as of December 2017

Bob Moore aka ClemofNazareth
Ken Levine aka Kenethlevine
Sean Trane

Prog Folk Top Albums


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

4.63 | 3262 ratings
THICK AS A BRICK
Jethro Tull
4.35 | 2581 ratings
AQUALUNG
Jethro Tull
4.19 | 1389 ratings
SONGS FROM THE WOOD
Jethro Tull
4.22 | 317 ratings
ALTURAS DE MACHU PICCHU
Jaivas, Los
4.38 | 85 ratings
ERWARTUNG
Eden
4.24 | 207 ratings
ST. RADIGUNDS
Spirogyra
4.16 | 624 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.16 | 547 ratings
FIRST UTTERANCE
Comus
4.21 | 215 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.15 | 334 ratings
GRAVE NEW WORLD
Strawbs
4.13 | 337 ratings
HERO AND HEROINE
Strawbs
4.44 | 47 ratings
LUCAS
Araújo, Marco Antônio
4.79 | 22 ratings
DÚLAMÁN
Clannad
4.20 | 100 ratings
I A MOON
North Sea Radio Orchestra
4.16 | 137 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.04 | 1220 ratings
STAND UP
Jethro Tull
4.04 | 1141 ratings
HEAVY HORSES
Jethro Tull
4.03 | 1178 ratings
MINSTREL IN THE GALLERY
Jethro Tull
4.07 | 289 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.03 | 1426 ratings
A PASSION PLAY
Jethro Tull

Prog Folk overlooked and obscure gems albums new


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

SÓLO FUE UN SUEŃO
Omni
FRESH MAGGOTS
Fresh Maggots
THE WATERS OF SWEET SORROW
Midwinter
THROUGH THE GATES OF DEEPER SLUMBER
Smell Of Incense

Latest Prog Folk Music Reviews


 Full Circle by FOREST album cover Studio Album, 1970
3.35 | 37 ratings

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Full Circle
Forest Prog Folk

Review by Psychedelic Paul

3 stars FOREST were a two-album Psych-Folk trio from the fishing town of Grimsby, Lincolnshire on the east coast of England. They released their first self-titled album in 1969 and the album reviewed here, "Full Circle", followed in 1970. Forest's particular brand of acoustic Folk music was a little bit off the beaten track and they never managed to achieve commercial success during their brief time in the spotlight. Their superior second album was listed as one of the Guardian newspaper's "1000 albums to hear before you die". Let's have a listen to the "Full Circle" album now then before it's too late.

The first song "Hawk The Hawker" is a country-tinged tune, which is probably not surprising, considering it's the only song on the album to feature the sound of a steel guitar. There's also a harmonica to be heard too, giving the song the feel of a typical Folk-Rock song that Bob Dylan might have recorded back in his heyday. It's a jolly good bright and happy twangy tune to open the album in buoyant optimistic style. Blossoming into view next is "Bluebell", a pretty Psych-Folk song in the psychedelic garden of earthly delights. The acoustic guitar sounds somewhat akin to a jangling Greek bouzouki, conjuring up images of a traditional plate-smashing spree in a Greek restaurant, although the restaurant owner might be none too pleased. Serf's Up now for "The Midnight Hanging Of A Runaway Serf", a pleasant Folk song that jollies merrily along despite the dark and dismal subject matter of the song. Maybe all the serf wanted to do was runaway and listen to some feudal serf music down at the beach. The next piece of music is dedicated "To Julie", whoever the mysterious Julie is, because it's a jingly-jangly acoustic guitar instrumental. "Gypsy Girl & Rambleway" is next, so you can expect to hear a lively burst of traditional Romany gypsy dance music, and that's exactly what you get. It's a liberating orgy of free-spirited music for cavorting and carousing around the campfire together in a slightly drunken and hedonistic fashion. This chirpy charming tune represents freedom, passion and playfulness.

It's time to put the brolly up now for the Side Two opener: "Do Not Walk In The Rain", a lively piano number that sounds just like a train trundling rhythmically down the tracks, which seems fitting, as the lyrics reveal the song is all about getting on the train to avoid the rain:- "So I'm gonna take you down to the station, And put you upon a train. So please, Do not walk in the rain." ..... All aboard! We're getting all Shakespearian now for "Much Ado About Nothing", which turns out to be a pleasant little ditty, featuring what sounds very much like a plucky mandolin, although a mandolin's not mentioned in the album credits, so maybe it's an electric harpsichord, which IS mentioned in the credits. Anyway, it's an insouciant song that's as blithe and carefree as the song title implies. There are creepy goings-on in the "Graveyard" now, a song that sounds pleasantly pastoral despite the bats in the belfry doom and gloom message contained within the lyrics:- "In a graveyard I have been, A body I have seen, From the sharp burn I have dreamed, That body was me." ..... Oh well, not to worry, it's nowhere near as scary as the dark and disturbing music of Comus, so there's no need to sleep with the lights on tonight. Let us pray for the harvest now, because the next brief tune "Famine Song" is an a capella devotional call to prayer, very much in the style of that well-known dirge "Gaudete" by Steeleye Span. Yes, it really IS that depressing. Never mind though, because the final 6-minute- long "Autumn Childhood" is a lovely sing-along song (despite the dismal lyrics), so rattle those tambourines, shake those tassels, and ring them bells!

This fairly traditional Psych-Folk album is unlikely to appeal to Prog-Rock fans generally because it's not in the remotest bit proggy and it's not rock either, but if you're a fan of the Incredible String Band and other acoustic English Folk bands of that ilk, then this might be just the album for you. "Full Circle" is just one album in a whole Forest of Psych-Folk albums, and there's really nothing new or original on offer here that you haven't heard before. It's not an outstanding album by any means, as there are no stand-out songs on the album. It's just a pleasantly pastoral acoustic Folk diversion to while away an afternoon. "Full Circle" is altogether easy-on-the-ears and it's a good solid three-star album, but no more than that. It's the kind of very agreeable easy listening Folk album that you could buy your dear old auntie for Christmas, safe in the knowledge that nothing's going to jump out of the album and give her a fright like a Comus album undoubtedly would.

 Bells, Boots And Shambles by SPIROGYRA album cover Studio Album, 1973
4.16 | 137 ratings

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Bells, Boots And Shambles
Spirogyra Prog Folk

Review by Psychedelic Paul

5 stars SPIROGYRA (not to be confused with the similarly-named American Jazz-Fusion band, Spyro Gyra) were an English Prog-Folk band from Bolton in Lancashire. They recorded three albums in the early 1970's:- "St. Radigunds" (1971); "Old Boot Wine" (1972); and the album reviewed here, "Bells, Boots and Shambles" (1973) (a witty version of the well-known play "Bell, Book and Candle"). A fourth album was planned for 1974 but it never materialised and the band decided to go their separate ways following poor sales from their third album. After taking a VERY long hiatus, the band reunited again for two comeback albums: "Children's Earth" (2009) and "Spirogyra 5" (2011). The two principal players on the "Bells, Boots and Shambles" album were Barbara Gaskin on vocals and Martin Cockerham on guitar and vocals (who both appeared on the album cover), with a number of guest musicians brought in for the album session. In the mid-1970's, Barbara Gaskin featured as a backing vocalist for Dave Stewart's Canterbury Scene band Hatfield & the North and she later teamed up with him again in 1986 for "It's My Party (And I'll Cry If I Want To)".

There's a tremendous opening to the album with "The Furthest Point". The music is like a lovely walk in the autumnal woodlands, with Martin Cockerham on lead vocals and featuring the sound of a haunting flute, a charming cello and a vibrant acoustic guitar. The music sounds slightly unsettling but it's also hypnotic and hauntingly beautiful at the same time. It's an eight minute folky fantasia of musical magic. The angelic honey-coated vocals of Barbara Gaskin appear halfway through the song and her voice is just heavenly. This is gorgeous music designed to carry you away on a sea of blissful dreams, and we've only just begun our musical adventure together. We have a long way to go before we reach "The Furthest Point" because it's time now to take a swig of some "Old Boot Wine", which just happens to be the title of Spirogyra's second album and the second song on this album. It's a very tasty and intoxicating wine too, despite apparently being made from old boots. Honey- voiced Barbara Gaskin takes the lead on this charming melancholy ballad, featuring a prominent mournful cello and flute accompaniment. It's a gentle tender-hearted melody and Barbara has a voice as sweet as sugar that could melt the hardest of hearts. The next song "Parallel Lines Never Separate" features some lovely harmonising between Martin and Barbara with each taking turns on lead vocals. The music opens as a lively Folk rocker but transposes midway through into the gentlest of romantic Folk songs, sounding like a melodic keyboard masterpiece that Renaissance might have recorded back in their heyday. The sound of Martin Cockerham's voice might sound somewhat nasal to some ears on this song, but that's more than offset by the gorgeous sugar-coated vocals of Barbara Gaskin. Side One draws gently to a close now with the short but sweet flute and acoustic guitar melody, "Spiggly", with Barbara in romantic mood with these charming lyrics:- "Love so easy, Love so fine, Into our lives, The time we always needed, No more to strange shadow, I feel us make it, Hope we make it over." ..... Barbara's crystal-clear vocals on this album are heaven-sent, and they're even more pronounced than ever on this gentle acoustic ballad.

Barbara Gaskin's enchanting vocals weave their magical spell again on "An Everyday Consumption Song". This is the kind of eerie but beautiful ballad that's most evocative of the classic English Psych-Folk sound that we've come to know and love over the years. Yes, the music's a little bit spooky and off-kilter, but not so scary that you'll need to leave the lights on at night for fear of what might lurk in the darkness. It's time now to stand to attention for "The Sergeant Says", a traditional rousing Folk- Rock number where Martin Cockerham takes the lead and gives his best travelling troubadour impression of Bob Dylan. And now we arrive at the sensational suite "In the Western World", to close out the album in magnificent style. The extended suite is split into four parts:- 1. "In the Western World"; 2. "Jungle Lore"; 3. "Coming Back"; & 4. "Western World Reprise". This rip- roaring 13-minute-long suite opens deceptively gently with a peaceful pastoral melody. This is just a harbinger though for "Jungle Lore", a dynamic outburst of rollicking Folk-Rock barrelling along on a sparkling crescendo of cellos, flutes, violins, trumpets and piano. The third part of the suite, "Coming Back", resembles a rousing sea shanty with a rough-voiced sailor, sounding like he's been swigging back a bit too much rum. It's the triumphant anthemic grand finale "Western World Reprise" that represents the ultimate dramatic highlight of this superb album though. This is a tremendously uplifting piece of music with all of the grandiose pomp and majestic splendour of the best Symphonic Prog, which might just surprise and delight you if you were expecting a gentle Prog-Folk album.

SpiroGyra have really reached the heights of musical glory and sweet perfection with their stunning third album. They've extended their diverse musical tendrils to deliver a gorgeous mixture of hauntingly beautiful ballads and rousing Folk-Rock songs and a very surprising symphonic epic for the magnificent grand conclusion. Barbara Gaskin truly has the voice of an angel and this stellar album represents a timeless Prog-Folk masterpiece to treasure for all eternity!

 Morning Way by TRADER HORNE album cover Studio Album, 1970
3.68 | 26 ratings

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Morning Way
Trader Horne Prog Folk

Review by Psychedelic Paul

4 stars TRADER HORNE were a short-lived British Prog-Folk duo consisting of Jackie McAuley (formerly of Them) on vocals, keyboards and guitars, and Judy Dyble (ex-Fairport Convention) on vocals, electric autoharp, recorder and glockenspiel. Their one and only album "Morning Way" was released on Pye Records in 1970 but didn't make much of an impact on the record-buying public at the time, but the album has since become a legendary lost classic and a real collectors item. The original LP album has been known to fetch incredibly high prices. It was subsequently re-issued on CD in 2008 with two bonus tracks added to the original thirteen songs on the album.

The album opens with "Jenny May", a lovely acoustic Folk ballad with Judy Dyble's gorgeous honeyed vocals floating like a warm summer breeze over the gentle bucolic melody. Altogether now, "Summer breeze, makes me feel fine, blowing through the jasmine in my mind." ..... This quaint sunny Folk tune does indeed make you feel fine and it sounds as quintessentially English as a game of cricket on the village green. The next song sounds very reminiscent of the old Christmas carol, "We Three Kings of Orient Are", which just happens to rhyme with the song title, "Children Of Oare". One of the charming things about this album is each song concludes with a brief but beautiful pastoral flute melody to interlink all of the songs together. The next exquisite piece of music "Three Rings for Elven Kings" is a soft and gentle instrumental number for flute and autoharp, with the autoharp resembling the sound of a harpsichord. Next up is "Growing Man", featuring Judy Dyble's delightful vocals right at the forefront with Jackie McAuley on backing vocals. The music sounds semi-classical, featuring a mini woodwind orchestra, and it's a song that could have had pride of place on an early Fairport Convention album, especially bearing in mind that Judy Dyble was the lead singer on their debut album. It's time now for some "Down and Out Blues", which is just what it says on the label - a mournful bluesy number where Judy Dyble does indeed sound down and out and penniless with these heart-felt lyrics:- "No nobody wants you, When you're down and out, In your pocket's not one penny, And all your pretty friends, You haven't any." ..... Cheer up Judy because the next song "The Mixed-Up Kind" is an altogether jollier tune which sounds like a lost classic which could have come right off Fairport Convention's illustrious first album. It's a truly beautiful melody carried along by the mellifluous strings of the autoharp with Judy Dyble's crystal-clear vocals sounding at their absolute best here. This tremendously appealing song represents the stunning highlight of the album so far and it's also by far the longest song on the album at over six minutes in duration. This song is six minutes of sheer beauty and joyous delight. It's as good as, if not better than anything Fairport Convention have ever done.

Side Two opens cheerfully with "Better Than Today", and what could be better than listening to this charming pastoral Folk melody today, or any day come to that. There's some truly beautiful harmonising between Judy Dyble and Jackie McAuley on this lovely Folk song. The next song "In My Loneliness" is a mournful ballad (just as the song title implies) featuring weeping violins and with Judy Dyble sounding at her most imploringly passionate best here. There's a change of pace for "Sheena", an up-tempo and uplifting melody that swings along exuberantly on a wave of eternal optimism, in the style of some of the best music from the sunshine state of California. In contrast to Side One, where all of the songs concluded with a brief pastoral flute melody, all of the songs on Side Two conclude with a brief tinkling of the ivories. The next song "The Mutant" is a doleful melancholy ballad with Jackie McAuley taking lead vocal duties for a change. And now we come to the title track "Morning Way", a song with trippy lyrics which probably comes closest to the Psych-Folk that Trader Horne are sometimes labelled as. Again, there's some gorgeous multi-tracked harmonising to be heard on this four and a half minutes of musical magic. It's time now for "Velvet to Atone", a solo piano piece with Judy Dyble's crystal-clear vocals gleaming with all of the sparkling beauty of a crystal chandelier. The album concludes with "Luke That Never Was", which opens to the sound of a solemn church organ, although this is just a prelude to a good old-fashioned happy-clappy tambourine song to sing along to in church. If only they really DID sing rousing spiritual songs as good as this in the local parish church, the vicar would surely approve.

"Morning Way" is a charmingly beautiful, one-off gem of a Folk album that we can all treasure for posterity half a century on from it's initial release. Trader Horne's marvellous album is a very pleasant reminder of why we just love those bygone halcyon days of the 1970's, which often brings to mind the poignant refrain, "They don't make music like this any more." ..... which is a shame. Trader Horne are sometimes labelled as Prog-Folk and occasionally as Psych-Folk, but it's basically just an all-round good English Folk album with no strings (or labels) attached.

 Blurring Into Motion by CAWOOD, CHARLIE album cover Studio Album, 2019
4.87 | 4 ratings

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Blurring Into Motion
Charlie Cawood Prog Folk

Review by kev rowland
Special Collaborator Crossover Team

5 stars Multi-instrumentalist Charlie Cawood is back with his second solo album. I'm pretty sure there isn't a stringed instrument he hasn't been able to master, but here he restricts himself to just different types of acoustic, classical and electrical guitars and various basses, and bringing in a whole host of guests to provide the orchestration. Charlie is a veteran of the London music scene, best known as bassist of critically acclaimed psychedelic octet Knifeworld, and instrumentalist/co-arranger for Emmy-nominated classical choir Medićval Bćbes. If that isn't enough he is also a member of three other bands, Lost Crowns, My Tricksy Spirit, and Tonochrome. Most of the album is instrumental, but one of the guests involved this time around is iamthemorning's Marjana Semkina, who contributes vocals and lyrics to two tracks.

In many ways this feels far more like a modern classical romantic album than anything else: it is lush, it is beautiful, relaxing, delicate, complex and complicated, but beguiling and inviting all at the same time. It is one of those albums which I just don't want to end as it takes me to a magical mystical place, deep in a forest with the sun coming through the canopy, walking through the leaf clutter with deer and rabbits visible in the near distance while there is a stream babbling and glistening in the dappled sunlight. It makes me want to sit down and rest for a while, just relax and take in the sounds and surroundings, slow the world and just take a minute away from the always connected always "on" mentality. This is music for the soul, with strings, flute, bodhrans, glockenspiels, brass, woodwind, harp and even some MiniMoog when the time is right. It is hard to describe just how filled with joy I am just from playing this, with melodies and counter melodies taking me to a place I never want to leave. At times there is darkness and even some atonal sounds, but it is important to have these contrasts so it is easier to appreciate the sense of wonder when it evaporates.

Written in just three months, although it then took a year to orchestrate, this is a compelling and wondrous piece of work. The title is taken from a quote by writer Russell Hoban, about the blurring together of the moments and thoughts that constitute a life, and here Charlie is taking us to a pastoral world and lifestyle sadly not often found these days. I can happily play this all day, and is essential listening to all those who want to hear something very special indeed.

 Ajan Peili by KOSMOS album cover Studio Album, 2019
3.00 | 1 ratings

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Ajan Peili
Kosmos Prog Folk

Review by Matti
Prog Reviewer

— First review of this album —
3 stars KOSMOS is a Finnish psych-folk group with a female vocalist who sings in Finnish. Their rather peaceful and mellow sound is acoustically oriented and features Mellotron. The debut album Tarinoita Voimasta (= 'Stories of the Force', 2005) was followed, at first in a steady two-year pace, by Polku (= 'The Path') and Vieraan Taivaan Alla (= 'Under an Unknown Sky'). The fourth album Salattu Maailma (= 'Secret World') came out in 2013, and a couple of months ago this fifth album was released. Ajan Peili means 'The Mirror of Time'. I translated the album titles in order to give an idea of the esoteric nature of the band's music and lyrics. The CD contains the lyrics and also their English translations.

If you're familiar with the earlier output, Ajan Peili offers no big surprises. In fact, it's so similar to their other albums that the basic constancy of the style is starting to affect negatively to the listener. Of course, sometimes a band or artist sticks firmly to the chosen style and makes it work better and better with each release. However, I'm afraid I don't have any plain reason to say Ajan Peili would be an improvement of its precursor. On the other hand, if you have heard some of the music of this band and want to get an album, you might just as well purchase this one and be satisfied.

The opening title track is a calm and slow-paced song, and a very typical Kosmos song at that. The delicate arrangement is beautiful and nuanced: at times the acoustic guitar is on the focus, at one moment Päivi Kylmänen's small-scale alto(?) voice is multi-layered, and the sound is finished with hazy Mellotron washes and violin. 'Eilinen' is a brighter, lighter little folk-rock song, not so far from what FAIRPORT CONVENTION did in 1969. The hazier approach dominates the rest of the album. I'd mention early 70's British acts such as FOREST, TRADER HORNE, MARY CELESTE and TREES as stylistic references.

Here and there the arrangements offer nice details. 'Aina lähellä' features xylophone. And as before, Kosmos incorporates slight Eastern flavour (in percussion, for example) to underline the psychedelic essence. Many of the songs themselves are rather mediocre, when speaking of song-writing instead of arrangement. After the fine opener, it's the sixth track 'Salainen oppi' (dedicated to madame Blavatsky) that impresses me as a whole. The piano backing, already atmospheric in itself, is accompanied by Mellotron and soprano saxophone in a charming way. The two remaining tracks feature the reading by Juha Kulmala. His monotonous voice was heard in the preceding album too, and now this extra ingredient tastes a bit like old wine to me. The 12-minute 'Minä olen' (= I Am) is nevertheless a highlight, a perfect example of the band's ability to weave esoteric atmospheres and progressive rock flavour. Wish they made more tracks like this, with wider dynamics. All in all, this is a representative album from Kosmos.

 The Amazing Blondel & A Few Faces by AMAZING BLONDEL album cover Studio Album, 1970
3.05 | 29 ratings

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The Amazing Blondel & A Few Faces
Amazing Blondel Prog Folk

Review by Psychedelic Paul

4 stars AMAZING BLONDEL are an English Prog-Folk band who've released ten albums throughout their long career. Their particular speciality is a reinvention of medieval Renaissance music, featuring pavanes, galliards and madrigals. They've released a whole string of albums during the 1970's, starting with the album reviewed here, "The Amazing Blondel (and a Few Faces)" (1970). They recorded four early 1970's albums on Island Records:- "Evensong" (1970); "Fantasia Lindum" (1971); "England" (1972); and "Blondel" (1973); and three albums on the D.J.M. Records label: "Mulgrave Street" (1974); "Inspiration" (1975); and "Bad Dreams" (1976). The band then took a long sabbatical before making a comeback with "Restoration" (1997) and "The Amazing Elsie Emerald" (2010). Let's have a listen to Amazing Blondel's first album now and find out if the band really ARE as Amazing as their name implies.

The quaint Renaissance Folk of the opening song "Saxon Lady" sounds quintessentially English, but if you listen carefully, you can also hear the sound of an Indian sitar, giving the song a faintly exotic eastern ambience. You can almost picture the scene of English folks prancing merrily around the maypole to this music, dressed in garters and gaiters and gaily shaking their tassels and rattling their bell pads - and that's just the men! We're on a mission next with the "Bethel Town Mission", a rambunctious burst of rabble-rousing Folk Rock which sounds like the kind of stirring sing-along-song anyone could join in with on a pub karaoke night, having downed a few bevies of beer beforehand. 'Tis "The Season of the Year" next, a brief pastoral flute and guitar etude, in the style of a jolly Renaissance madrigal, which sounds charming at any time of the year. Jollying things along now comes "Canaan", an inspirational and devotional song of praise which has a spiritual gospel feel to it. If only they played music as rousing and inspirational as this in English church services, the parishioners would be flocking back to church on Sunday in their droves. It's time to round up the sheep now for "Shepherd's Song", a merry Olde Englishe Folke song that sounds as traditionally English as a ploughman's lunch and a pint of beer in an oak-beamed tavern with a thatched roof in the Cotswolds.

Opening Side Two is the BIG bluesy ballad, "Though You Don't Want My Love", a rousing romantic refrain that's guaranteed to raise the spirits up to the rafters, and continuing with the romantic mood comes "Love Sonnet", a beautiful pastoral melody that's positively overflowing with love and passion, although the lyrics reveal a sad tale of lost love:- "Oh my darling you cannot hide, The love you once had for me has died." ..... It's a charming bittersweet tale of a young English gentleman wistfully hoping to rekindle the flame of a lost love affair with his fair maiden, so keep a hanky at the ready. We're off to sunny Spain next for "Spanish Lace", an upbeat and uplifting Folk-Pop song with a bright and sunny disposition, imbued with all of the warmth and happiness of a bright ray of sunshine breaking through the clouds. There's a change of pace for "Minstrel's Song", a mournful madrigal floating on a serenade of strings, which leads us into the rather rude and impolite- sounding "Bastard Song", which turns out to be a rousing Folk-Rock song to sing around the campfire together. It's a spirited song instilled with all of the vim and vigour of "Kumbaya" and more besides.

Amazing Blondel have made quite a dramatic entrance with their debut album of charming English Folk. It's a traditional English Renaissance world of merry minstrels and melodic madrigals. This pastoral Folk album isn't likely to take the Prog- Rock world by storm, but if you're in the mood for some sweet vocal harmonies and lovely folky melodies bathed in a sea of sensational strings, then this could be the album for you.

 Mice And Rats In The Loft by JAN DUKES DE GREY album cover Studio Album, 1971
4.21 | 215 ratings

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Mice And Rats In The Loft
Jan Dukes De Grey Prog Folk

Review by Psychedelic Paul

4 stars JAN DUKES DE GREY sounds like a French nobleman, but they were actually a short-lived Prog/Psych-Folk band from Leeds in northern England. Their first album "Sorcerers" (1970) passed by virtually unnoticed at the time of its release, but their second album "Mice and Rats in the Loft" (1971) will be much more familiar to Prog/Psych-Folk fans. Both albums have since become real collectors items. They recorded a third album "Strange Terrain" in 1977, but that long-lost album wouldn't see the light of day until 2010/11. The "Mice and Rats in the Loft" album reviewed here, consists of three extended songs of improvisational acid-drenched Folk:- 1. "Sun Symphonica" (18:58); 2. "Call of the Wild" (12:48); & 3. "Mice and Rats in the Loft" (8:19).

The outlook for "Sun Symphonica" is for bright and sunny spells of long pastoral flute passages with occasional outbreaks of classically-inspired orchestral showers. Just as the song title implies, "Sun Symphonica" is a radiant sunburst symphony of sound, featuring flutes, clarinets, saxophones, harmonicas, violins and hyperactive percussion in abundance. It's very bold and brassy, but it's also very sophisticated and classy, mainly due to the ornate chamber music from the orchestra. Some of the exotic musical passages sound faintly middle eastern, conjuring up bizarre images of a Turkish bazaar where one is expected to haggle over the price of a carpet, whilst the vendor puffs away calmly on a hookah pipe. The music is a veritable potpourri of musical styles, combining pleasant strolls through golden meadows of woodwinds amidst glorious showers of lush strings and vibrant percussion. The song as a whole is a very pleasant confection that's as sweet and exotic as a box of Turkish Delights.

The next song "Call of the Wild" is nothing to do with wolves barking at the moon. No, this is more of a call of the wild in human terms with the lyrics apparently advocating free love and a freeing of the spirit:- "I will be free to sleep where I want and with who and what I will." ..... If the promiscuous lyrics are anything to go by, the northern town of Leeds in the seventies was just as footloose and fancy free as proverbial swinging London in the sixties, so maybe it's not so grim up north after all. The music is pretty wild and swinging too, consisting mainly of lively bursts of infectious fluty Folk blended together with a liberal dose of saxophonic jazz in a musical tour de force. Think of Jethro Tull combined with Soft Machine, and that's the kind of Jazzy Psych-Folk you have here.

And now we come to the title track: "Mice and Rats in the Loft". If you really DO have mice in the loft, here's a handy hint: mice absolutely love chocolate, far more than cheese, so if you want to catch mice humanely, just bait the walk-in trap with some hot chocolate powder and they'll be queuing up to get into the trap and the trapdoor will close behind them. You can then let them out later in a rodents version of the "Catch and Release" program. Anyway, back to the music after that brief digression. This is where the musicians really get to let their hair down and go off on an improvisational free-for-all. The wacky over-the-top singer sounds like he's on a mad LSD trip here and the weird psychedelic Jazz sounds as wild and crazy as bats in the belfry, or mice and rats scampering about in the loft.

Jan Dukes de Grey appear to have invented a whole new genre of music with their unique "Mice and Rats in the Loft" album. The music can best be described as Psychedelic Jazz-Folk. Sometimes, the music is rousing and spectacular, and sometimes it's pleasant and pastoral, and maybe it's even weird and wonderfully zany at times too, but it's NEVER dull.

 The Serpent's Egg by DEAD CAN DANCE album cover Studio Album, 1988
3.81 | 147 ratings

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The Serpent's Egg
Dead Can Dance Prog Folk

Review by NickCrimsonII

2 stars 'The Serpent's Egg' was released in 1988 and serves as the third and final installment of the band's trilogy that features also the previous two records. The trilogy would, of course, shape the band's sound and would help them build their identity and the sound they are known for. However, 'The Serpent's Egg' is the most disappointing of the tree, it sounds uninspired, overly minimalist and austere. It lacks the compelling soundscapes of the two preceding albums, the rhythms that made some of the songs addictive and memorable. Lisa Gerrard's vocals are prevalent on the record and this is one of the reasons for which, I believe, the album fails to excite me at all. It is an obvious shift from the rest of the trilogy towards a more chant-oriented songs which is another reason why the albums is wreathed in humdrum. Most of the songs feel like a painful dragging and are barely listenable with the only decent track being 'Severance'. It is a poor record that, I guess, could be enjoyed only by the diehard fans of Dead Can Dance. 2/5
 Within The Realm Of A Dying Sun by DEAD CAN DANCE album cover Studio Album, 1987
4.10 | 179 ratings

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Within The Realm Of A Dying Sun
Dead Can Dance Prog Folk

Review by NickCrimsonII

4 stars Dead Can Dance's third studio album 'Within The Realm of a Dying Sun' was released on the 27 July 1987. It is the follow-up to the excellent 'Spleen and Ideal', and is the second installment in what is considered to be the band's trilogy of ethereal and dark masterpieces (including also 1988's 'Serpent's Egg'). And sonically, this album really feels like the logical continuation of its precedent. It is once again compelling, overly dark and spiritual, mantric, and dismal. This time, however, the album is vocally split, with Perry's vocals dominating the first four tracks, and Gerrard's vocals being prominent in the remaining four. In a way, drawing an invisible line between the division of the two beginnings - the male and the female, denoting somewhat of difference between the two soundscapes that could possibly envelop the two halves. 'Anywhere Out of the World' is the first track of the album and feels like it was exactly taken from 'Spleen and Ideal'. It is the perfect and adequate opener for this album, setting the mood that is prevalent in all of the trilogy. 'Windfall' is an entirely instrumental track that is quite mysterious in a sublime manner. 'In The Wake of Adversity' is another gripping song, slower and neat, more on the mantric spectrum of the Dead Can Dance sound palette. 'Xavier' is the most folky and spiritual sounding track of the ones featuring Perry's vocals. It finishes off his part of the record in a rigorous but captivating spirit. 'Dawn of the Iconoclast' is the 2-minute grandiose opener of the second part of the album, with the recognisable prayer-like vocal style of Lisa Gerrard on display. 'Cantara' seems to follow the mysterious fashion of 'Windfall', kind of creating a mirrored image of what the first half of the album was in terms of sound. The same applies for the next song, 'Summoning of the Muse'. However, it is not as compelling as it counterpart from the first half of the album. The last track is 'Persephone' and it solidifies the impression I get of the second part of the record - of being the more ambient and minimalist side of Dead Can Dance. Still, it is a really solid album that continues what 'Spleen and Ideal' set as a sonic model and what would be the unmistakable sound of the duo. It is also an album that takes its time to consume. 3.75/5
 Spleen And Ideal by DEAD CAN DANCE album cover Studio Album, 1985
3.63 | 111 ratings

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Spleen And Ideal
Dead Can Dance Prog Folk

Review by NickCrimsonII

4 stars Spleen and Ideal is the second album by Australian atmospheric art rock duo Dead Can Dance, released in 1985. It is in contrast with their post-punk debut album. Spleen and Ideal is a very masterful, atmospheric, and dark piece of music, combining interesting influences - neoclassical darkwave (which is what the band is generally described as, despite the fact that neoclassical darkwave means almost nothing), art rock, ambient, and folk music, draping their sound in "constructed soundscapes of mesmerising grandeur and solemn beauty" (in this case, this seems to be the perfect description of what they sound like), but also creating chant- and mantra-like pieces. Some sounding like they were made for a dark psycho-horror movie, and others sounding like religious pieces, or even prayers. The duo consists of Lisa Gerrard and Brendan Perry which do all the vocals and almost all of the instrumentation. The album contains many interesting tracks, and the ones that definitely grabbed my attention and had me hooked (even addicted) are 'Ascension', 'The Cardinal Sin', 'Advent', 'Indoctrination'. It is one of the most haunting and audacious albums I've ever heard, it has a very distinct "face", some kind of a very attractive character - dark, beautiful, calm, and yet disturbing, powerful, and elegiac, and still, one cannot easily and clearly describe its style or why it is so alluring. I believe this album is a great addition to any prog rock collection whether one is into such dark music, or not. 4.5/5, it is merely mesmerising how this was released in '85. It feels like one of these timeless records that will shine on brightly with excellence for ages.
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Prog Folk bands/artists list

Bands/Artists Country
0.720 ALEACION Mexico
3 DAFT MONKEYS United Kingdom
AALTO Finland
RABIH ABOU-KHALIL Lebanon
ACCOLADE United Kingdom
ACCOLADE United States
ADARO Germany
AFFORESTED United Kingdom
AFION Croatia
AGAPE Canada
AGINCOURT United Kingdom
AIGUES VIVES Germany
AKTUALA Italy
NICU ALIFANTIS Romania
ALMÔNDEGAS Brazil
ALVA Multi-National
AMANITA Italy
AMAROK Spain
AMAZING BLONDEL United Kingdom
AMBER United Kingdom
AN DRO Germany
ANACRUSA Argentina
IAN ANDERSON United Kingdom
THE ANGELS OF LIGHT United States
ANNAMY Sweden
APARECIDOS Multi-National
AQUAPLAN Finland
AQUARIUM Russia
MARCO ANTÔNIO ARAÚJO Brazil
DAN ARBORISE United Kingdom
THE ARBORISTS Canada
ARIA PALEA Italy
ARMY OF BRIARS United Kingdom
ARTSRUNI Armenia
ASGARD France
ASHADA Japan
ASHTAR Brazil
ASI SOMOS Puerto Rico
ATMAN Poland
AUCAN Argentina
AVALANCHE Netherlands
AVE SANGRIA Brazil
AZAHAR Spain
BABADAG Poland
BABY WHALE Multi-National
BAMBIR / THE BAMBIR Armenia
BANDA DO CASACO Portugal
A BARCA DO SOL Brazil
BARR Sweden
TOMAS BATISTA Argentina
BAYON Germany
BEAT CIRCUS United States
BEDEDEUM Italy
BERNARD BENOIT France
BIG LOST RAINBOW United States
BLACKMORE'S NIGHT United Kingdom
BLOPS Chile
BLUEHORSES United Kingdom
BOULE DE SON Canada
BRAN (BRÂN) United Kingdom
DAN AR BRAZ France
BREAD LOVE AND DREAMS United Kingdom
BRECHE Canada
PAUL BRETT United Kingdom
BRÖSELMASCHINE Germany
BUCIUM Romania
TIM BUCKLEY United States
VASHTI BUNYAN United Kingdom
C.O.B. United Kingdom
CAEDMON United Kingdom
CALIBAN United States
CÁLIX Brazil
CAMELIAS GARDEN Italy
CAN AM DES PUIG Multi-National
CANDIDATE United Kingdom
CANO Canada
CANZONIERE DEL LAZIO Italy
MARCELLO CAPRA Italy
CARMEN United Kingdom
CARNASCIALIA Italy
CAROL OF HARVEST Germany
GIAN CASTELLO Italy
PHILIPPE CAUVIN France
CHARLIE CAWOOD United Kingdom
CHAC MOOL Mexico
CHALIBAUDE France
CHERCHE-LUNE France
CHIMERA Netherlands
CHRYSALIDE France
CIRCULUS United Kingdom
CLANNAD Ireland
CLOGS Multi-National
COMUS United Kingdom
CONGREGACION Chile
CONGRESO Chile
CONNIVENCE Canada
CONSTANTINE United States
CONTRALUZ Argentina
CONVENTUM Canada
CORDE OBLIQUE Italy
DAVE COUSINS United Kingdom
CREMATORIUM Russia
CRYSTAL PHOENIX Italy
CRYSTAL THOUGHTS Greece
CURRENT 93 United Kingdom
DAEMONIA NYMPHE Greece
DANCER United Kingdom
DARNAKES Greece
DAWNWIND United Kingdom
DEAD CAN DANCE Australia
DECAMERON United Kingdom
THE DECEMBERISTS United States
DEMI-HEURE Canada
DETEKTIVBYRĹN Sweden
DIEGO DE MORON Spain
DODSON AND FOGG United Kingdom
DR. STRANGELY STRANGE Ireland
DULCIMER United Kingdom
DUN AENGHUS Multi-National
DUNWICH Italy
JUDY DYBLE United Kingdom
EDEN Germany
ELANE Germany
ELECTRIC DESERT Israel
ELFONÍA Mexico
NANCY ELIZABETH United Kingdom
ÉMERAUDE France
EMTIDI Germany
ENBOR Spain
ENGEL (MIGUEL ANGEL DE LA LLAVE JIMENEZ) Spain
L' ENGOULEVENT Canada
RÓBERT ERDÉSZ Hungary
ERGO SUM Chile
ERROBI Spain
ESPERS United States
ETERNIDAD Argentina
LA FAMIGLIA DEGLI ORTEGA Italy
FARAWAY FOLK United Kingdom
FARPOINT United States
FAUN Germany
FAUN FABLES United States
FAVERAVOLA Italy
FAVNI (FAUNS) Germany
FEATHERS United States
THE FELLOWSHIP Italy
FERN KNIGHT United States
FIABA Italy
FIELDS BURNING United States
SERGE FIORI Canada
FIORI-SÉGUIN Canada
FLAIRCK Netherlands
FLIBBERTIGIBBET South Africa
FLOR DE LOTO Peru
FOLKLORE Australia
I FOLLI DI DIO Italy
FOLQUE Norway
FORENINGEN TIL LIVETS BESKYTTELSE Denmark
FOREST United Kingdom
FORSETI Germany
FRACTAL (CHILE) Chile
FRAGUA Spain
FRED United States
FRESH MAGGOTS United Kingdom
FUCHSIA United Kingdom
FUREKĹBEN Denmark
GAIA CONSORT United States
GALADRIEL Australia
GALAHAD Germany
GALLERY United Kingdom
GALLEY BEGGAR United Kingdom
GARMARNA Sweden
GAROLOU Canada
GENESIS DE COLOMBIA Colombia
THE GENTLE SOUL United States
THE GHOST United Kingdom
GJALLARHORN Finland
GLAZ France
GORGO Ukraine
GRAAL France
THE GREEN CHILDREN Italy
LARKIN GRIMM United States
GROVJOBB Sweden
GROWING DREAM Canada
GRYPHON United Kingdom
GUALBERTO Spain
GURNEMANZ Germany
GWERZ France
HAIZEA Spain
ROY HARPER United Kingdom
HAWK South Africa
HAZARI Yugoslavia
HEAVEN & EARTH United States
L' HERBA D'HAMELÍ Spain
CARY HEUCHERT Canada
HEXVESSEL Finland
HOELDERLIN Germany
HORIZONTE Argentina
HORSLIPS Ireland
IBIO Spain
ILL WICKER Sweden
ILOUS & DECUYPER France
BRIAN IMIG United States
IN THE LABYRINTH Sweden
THE INCREDIBLE STRING BAND United Kingdom
INDACO Italy
IONA United Kingdom
IRAKLIS Greece
ITHACA United Kingdom
ITOIZ Spain
ITZIAR Spain
IZUKAITZ Spain
JACK O' THE CLOCK United States
LOS JAIVAS Chile
JAN DUKES DE GREY United Kingdom
JESTER United Kingdom
THE JESTERDAYS Greece
JETHRO TULL United Kingdom
NIGEL MAZLYN JONES United Kingdom
JOX France
JUSTINE Multi-National
KAAMOS Finland
KADWALADYR France
KARNATAKA United Kingdom
CHRIS KARRER Germany
KATALENA Slovenia
KEBNEKAJSE Sweden
KERRS PINK Norway
KING FISH CROW United States
KLADIVO KONJ IN VODA Slovenia
KOLIBRI Germany
KOLINDA Hungary
ATTILA KOLLÁR Hungary
KONTRABURGER Poland
KORMORÁN Hungary
KOSMOS Finland
JUHA KUJANPAA Finland
BRUCE LAMONT United States
JÉROME LANGLOIS Canada
LAURELIE Belgium
LEAFBLADE United Kingdom
PERRY LEOPOLD United States
BENITO LERTXUNDI Spain
LI TROUBAIRES DE COUMBOSCURO Italy
LILY & MARIA United States
LISA O PIU Sweden
LISKER Spain
LONG LIVE DEATH United States
LOT LORIEN Bulgaria
LOUDEST WHISPER Ireland
CLARE LOUISE France
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LUMSK Norway
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MAJA DE RADO & PORODICNA MANUFAKTURA CRNOG HLEBA Yugoslavia
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LE MATCH Canada
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ME AND MY KITES Sweden
MELIMELUM Argentina
MELLOW CANDLE Ireland
THE MERLIN BIRD Australia
MESSENGER United Kingdom
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DRAGO MLINAREC Yugoslavia
MOĞOLLAR Turkey
COLIN MOLD United Kingdom
MONSEIGNEUR Switzerland
MONTREAL Canada
MOONSTONE Canada
MORMOS United States
THE MORRIGAN United Kingdom
MOSTLY AUTUMN United Kingdom
MOTIS France
MOULETTES United Kingdom
MOURNING PHASE United Kingdom
MOVING HEARTS Ireland
MR. BROWN Sweden
MR. TOAD Israel
MUNDI DOMINI Canada
MUSHROOM Ireland
NIRGAL VALLIS Mexico
THE NOCTURNES United States
NOMADS OF HOPE Sweden
MICHEL NORMANDEAU Canada
NORTH SEA RADIO ORCHESTRA United Kingdom
THE NOVA PROJECT United States
NUEVO MEXICO Mexico
NUIT CALINE A LA VILLA MON REVE Belgium
NYA LJUDBOLAGET Sweden
GAVIN O'LOGHLEN & COTTERS BEQUEST Australia
OBERON United Kingdom
OCTOBER PROJECT United States
OF WONDROUS LEGENDS (O.W.L.) United States
OFFA REX Various
OLOFERNE Italy
OMNI Spain
OPEN EYE BAND Finland
ORFANADO Italy
ORPHEUS GHOSTSONG United Kingdom
ORYZHEIN Canada
OUGENWEIDE Germany
P. G. SIX United States
PAGAN HARVEST United Kingdom
PAN-RA Germany
PARADOX Poland
EMMANUELLE PARRENIN France
PARZIVAL Germany
PASTORAL Argentina
PATANGA Germany
JEAN LUC PAYSSAN France
PEARLS BEFORE SWINE United States
THE PENTANGLE United Kingdom
PERERIN United Kingdom
LINDA PERHACS United States
PESNIARY (PESNYARY) Belarus
PHOENIX Romania
PIERROT LUNAIRE Italy
PIIRPAUKE Finland
PLANKTON WAT United States
POSITIVE WAVE Finland
A PRESENÇA DAS FORMIGAS Portugal
PRINCIPAL EDWARDS MAGIC THEATRE United Kingdom
PROVIDENCE United States
PRUDENCE Norway
PTARMIGAN Canada
THE PUDDLE JUMPERS United States
QUICKSAND United Kingdom
QUINTAL DE CLOROFILA Brazil
QUINTETO ARMORIAL Brazil
RABBIT RABBIT (CARLA KIHLSTEDT & MATTHIAS BOSSI) United States
RAD ORCHESTRA United Kingdom
RADA & TERNOVNIK (THE BLACKTHORN) Russia
RAGNARÖK Sweden
RAMASES United Kingdom
RASPUTINA United States
REBEKKA Germany
RED JASPER United Kingdom
REIFROCK Germany
REVERIE Italy
RIPAILLE France
RISE (TALITHA RISE) United Kingdom
RITMIA Italy
ROGER RODIER Canada
BERNARDO RUBAJA Argentina
KARI RUESLATTEN Norway
RUJA Estonia
S VREMENA NA VREME Yugoslavia
ILPO SAASTAMOINEN Finland
SAD MINSTREL Italy
SAGA DE RAGNAR LODBROCK France
SAINT JUST Italy
SAKRE Spain
THE SALLYANGIE United Kingdom
SANGRE DE MUERDAGO Spain
SCAPA FLOW Finland
SCARLET THREAD Finland
NATE SCOBLE United States
SECOS & MOLHADOS Brazil
SECRET GREEN United Kingdom
SEDMINA Yugoslavia
SERPENTYNE United Kingdom
GILLES SERVAT France
SHANNON France
SHAVE THE MONKEY United Kingdom
SHIDE & ACORN United Kingdom
SHINE DIÓN Norway
SILMARIL United States
SINDELFINGEN United Kingdom
SINTESIS Cuba
JIMI SLEVIN Ireland
SMELL OF INCENSE Norway
SOFT HEARTED SCIENTISTS United Kingdom
SORNE United States
SPARIFANKAL Germany
SPIRES THAT IN THE SUNSET RISE United States
SPIROGYRA United Kingdom
SPRIGUNS (OF TOLGUS) United Kingdom
STACKRIDGE United Kingdom
VLATKO STEFANOVSKI Macedonia
ALAN STIVELL France
STONE ANGEL United Kingdom
STÓRSVEIT NIX NOLTES Iceland
STRANGE DAYS United Kingdom
STRAWBS United Kingdom
PEKKA STRENG Finland
STRING CHEESE United States
STRING DRIVEN THING United Kingdom
STUMARI Georgia
SUBURBANO Spain
SUBWAY Multi-National
SÜNDENFALL II Germany
SUPAY Peru
SUR PACIFICO Chile
SUSSITA Israel
SYNANTHESIA United Kingdom
TALAMASCA United States
TALITHA QUMI Romania
TAMALONE Netherlands
TAMARUGO Chile
TANGERINE France
TARENTULE France
TARUJEN SAARI Finland
LOU MAXWELL TAYLOR United States
TEA AND SYMPHONY United Kingdom
TEMPEST United States
TENHI Finland
TERRA MYSTICA Slovenia
BOB THEIL United Kingdom
THESE TRAILS United States
THE THIRD ESTATE United States
THISTLETOWN United Kingdom
THOBY LOTH Finland
THORK France
THURSAFLOKKURINN Iceland
TIR NA NOG Ireland
TIRILL Norway
TORNAOD France
TRADER HORNE United Kingdom
TREES United Kingdom
THE TREES COMMUNITY United States
TREMBLING BELLS United Kingdom
TRI YANN France
TRIO DAG Yugoslavia
TROCARN Switzerland
TROISIČME RIVE France
TROISSOEUR Belgium
TUATHA DE DANANN Brazil
TUDOR LODGE United Kingdom
TUIMA Finland
TUNEFISH Germany
TURQUOISE Poland
TUSMŘRKE Norway
TYRANNOSAURUS REX (NOT T. REX) United Kingdom
U I BLUE United States
UDRAYA France
UNCLE DIRTYTOES United States
UNGAVA Canada
UNITED BIBLE STUDIES Ireland
STEVE UNRUH United States
UQBAR Argentina
US AND THEM Sweden
VEGA Spain
VIIMA Finland
VOICE OF THE SEVEN WOODS United Kingdom
RYLEY WALKER United States
JUNE WALLACK Canada
WATER INTO WINE BAND United Kingdom
WATERTOUCH Sweden
THE WAY WE LIVE United Kingdom
LEAH WAYBRIGHT United States
WERWOLF (WEREWOLF ART ROCK) Germany
WITTHUSER AND WESTRUPP Germany
WOVEN HAND United States
WURTEMBERG France
WYRDGENES United Kingdom
GABRIEL YACOUB France
YAVANNA Germany
YGGDRASIL Germany
YOKE SHIRE United States
YOU AND I Hungary
ZAGUAN Spain
ZARTONG Armenia
ZAUBER Italy
ZEIT Italy
ZLYE KUKLY Israel
ZRNI Czech Republic
ZYWIOLAK Poland

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