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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 2022

Ken Levine aka Kenethlevine
Sean Trane
Andrew 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 | 3695 ratings
THICK AS A BRICK
Jethro Tull
4.37 | 2917 ratings
AQUALUNG
Jethro Tull
4.35 | 1446 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.22 | 1626 ratings
SONGS FROM THE WOOD
Jethro Tull
4.22 | 367 ratings
ALTURAS DE MACHU PICCHU
Jaivas, Los
4.22 | 245 ratings
ST. RADIGUNDS
Spirogyra
4.16 | 640 ratings
FIRST UTTERANCE
Comus
4.15 | 724 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.21 | 246 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.32 | 102 ratings
ERWARTUNG
Eden
4.44 | 61 ratings
LUCAS
Araújo, Marco Antônio
4.15 | 394 ratings
GRAVE NEW WORLD
Strawbs
4.15 | 409 ratings
HERO AND HEROINE
Strawbs
4.68 | 31 ratings
CHRISTIAN LUCIFER
Leopold, Perry
4.11 | 380 ratings
L'HEPTADE
Harmonium
4.18 | 163 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.53 | 39 ratings
DÚLAMÁN
Clannad
4.05 | 1653 ratings
A PASSION PLAY
Jethro Tull
4.05 | 1441 ratings
STAND UP
Jethro Tull
4.15 | 151 ratings
BASKET OF LIGHT
Pentangle, The

Prog Folk overlooked and obscure gems albums new


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

II
Espers
II - DEJANJE
Sedmina
VALHEISTA KAUNEIN
Scarlet Thread
GUSLIAR
Pesniary (Pesnyary)

Latest Prog Folk Music Reviews


 Lily & Maria by LILY & MARIA album cover Studio Album, 1968
4.54 | 10 ratings

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Lily & Maria
Lily & Maria Prog Folk

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars LILY AND MARIA was a one-off psychedelic folk anomaly that could only come out in a wild and turbulent year like 1968. These gals were active on the New York City scene from 1967-69 and were regulars at the Gentie's Folk Club in Greenwich Village. The girls met when Lily Isaacs was studying art, acting and music as a teenager when she happened to meet fellow teenager Maria Newman also in the academic scene who had become smitten by the 60s folk music scene. After falling for her folk interests, together they honed their guitar playing and songwriting skills and before they knew it were performing in some of New York City's best locations!

Noticed by the talent executives from Columbia Records, LILY AND MARIA entrered the studios with session players who played with Bob Dylan. It seems the girls had hit the big time as they released their debut self-titled release in 1968, both at the tender age of 21! The album itself featured nine tracks at about 34 minutes of playing time and in addition to the two girls' vocal and guitar contributions was a low-key orchestral backing that included eleven session musicians which added all kinds of guitar sounds, organ, vibraphone, piano, strings, flute, clarinet, bass and drums.

The album is most a slow burner with soothing vocal narrations backed up primarily by soft acoustic guitar strumming and subtle orchestral elements that created a truly 60s psychedelic experience. The album was dreamier than the usual politically charged folk music of the 60s. You have to remember these were the days when Bob Dylan and Phil Ochs were the hottest thing since sliced bread as well as NYC's top folkies Simon & Garfunkel adding chamber pop elements to craft super catchy crossover hits. LILY AND MARIA delivered strange off-kilter melodies that are now referred to as psychedelic or progressive folk music and while the music captured interesting melodies in their own right, they weren't the kind of slick pop ear worms that most fans were eating up during this decade.

While it's not exactly known why LILY AND MARIA's sole release failed to make an impact and garner any interest, it's been speculated that Columbia didn't promote the album and that the heavier acid rock and psychedelic rock bands like The Doors were usurping any dominance of the folk music that had its primary revival in the early 60s before the British Invasion made rock and roll cool again. Whatever the case this album remains a relative obscurity despite being released on a major label however the album has seen a renewed interest in the 2000s as all things prog and psychedelic from the 60s and 70s have become popular again therefore the album has been reissued several times on the Sunbeam label which focuses on all those long lost psychedelic and folky relics of the past.

The closest thing i can compare LILY AND MARIA to would be Linda Perhacs' 1970 release "Paralellograms" but while that album spiraled further into the farthest trips that folk music can take, LILY AND MARIA remained a rather intimate sounding duo focused on the earnest and contemplative lyrical perspectives that offers subtle yet distinct folk guitar chord progressions as well as delivering an interesting background of various supplemental sounds. In the vein of the California duo Kathy & Carol only tailor made for the late 1960s psychedelia scene. While more or less a contemporary folk duo with psychedelic accoutrements agglutinated to the musical flow during the production process, what makes this album unique is the depth and enigmatic themes that show a maturity level of two 21 year olds beyond their years. LILY AND MARIA is a unique obscurity from 1968 that sounds more relevant today than it must've nearly 60 years ago.

 Too Old To Rock 'n' Roll: Too Young To Die! by JETHRO TULL album cover Studio Album, 1976
3.11 | 885 ratings

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Too Old To Rock 'n' Roll: Too Young To Die!
Jethro Tull Prog Folk

Review by Hector Enrique
Prog Reviewer

3 stars Ian Anderson's desire to go beyond music and venture into other artistic territories had already manifested itself when a failed film project resulted in the 1974 album "War Child". Two years later, a new attempt, in this case to create a musical, also failed to flourish. And the end result was the conceptual "Too Old To Rock 'n' Roll: Too Young To Die", Jethro Tull's ninth album. The central theme of the work refers to the rocker Ray Lomas, a character who refuses to resign himself to the passage of time and by all possible means denies his ageing until his encounter with a contemporary of the beat wave in a bar brings him back to reality. The narrative of the story is supported by short pieces, which without losing the band's natural inclination for acoustic melodies and folk atmospheres, have a more urban connotation.

The beautiful acoustic chords and violins of the prelude to the dynamic "Quizz Kid" kick off the album, which unfolds between lively pieces such as the entertaining "Crazed Institution" where the bass of the recently incorporated John Glascock clearly marks the rhythm as in most of the album, the bluesy and raspy "Taxi Grab" with Anderson's harmonica and Martin Barre's guitar riffs as guides, or the rock 'n' roll "Big Dipper", intertwined with reflective moments such as the emotive and stupendous "From A Dead Beat To An Old Greaser" with David (Dee) Palmer's brief and heartfelt saxophone simulated, or the acoustic nakedness of the aching "Bad-Eyed and Loveless", and which has its definitive point with the orchestrated piece "Too Old To Rock 'n' Roll: Too Young To Die", whose title has transcended the borders of the album to become a famous phrase of recurrent use. The vindicatory "The Chequered Flag (Dead or Alive)" closes the album with the delicate curtain of John Evans' keyboards, violins and the full band accompanying Anderson's peaceful and conciliatory singing.

"Too Old To Rock 'n' Roll: Too Young To Die" is an album that, despite having some outstanding moments, did not reach the brilliance that both the album that preceded it (Minstrel in the Gallery) and the one immediately following it (Songs from the Wood) achieved, eclipsing it even more.

3/3.5 stars

 Si on avait besoin d'une cinquième saison by HARMONIUM album cover Studio Album, 1975
4.35 | 1446 ratings

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Si on avait besoin d'une cinquième saison
Harmonium Prog Folk

Review by Hector Enrique
Prog Reviewer

4 stars After their promising eponymous debut "Harmonium", the band surprises again with a neat and even more mature work, "Si on Avait Besoin d'une Cinquième Saison", dominated by acoustic harmonies and where the folk elements are still present, but this time with a greater instrumental richness as a result of the additional nuances that Serge Locat and Pierre Daigneault bring to it, and leaning towards more progressive sonorities. The album's theme deals with the four seasons of the year in individual pieces, and where the Canadians also take the liberty of incorporating an imaginary fifth season into their proposal.

Both the relaxed and spring-like "Vert" with the initial double flutes of Serge Fiori and Daigneault, the acoustic accompaniment of Michel Normandeau and the long interlude of a choral duo supported by the very good bass of Louis Valois and Locat's keyboards, and the summery "Dixie", in fun charleston mode, dominated by Locat's piano and Daigneault's delicious clarinet, represent, just like the seasons, the brightest and most joyful moments of the album.

And the melancholic "Depuis l'automne", which brilliantly describes autumn with the depth of Locat's mellotron in counterpoint with Fiori's acoustic plucks, and an unplugged melody that maintains that peaceful halo until its end, joins the wintry "En pleine fase" with the heartfelt singing of Fiori who rises and falls his vocal tones accompanied by Normandeau's accordions, to represent the coldest and greyest times of the year.

The album closes with the extensive "Histoires sans paroles", the suite divided into five sections that unhurriedly unfolds a huge instrumental development alternating moments of magical melodic fragility with others of intriguing atmospheres, from the watery sounds of the sea and the free squawking of the seagulls, the arpeggiated acoustic elements and the flutes, the protagonic contribution of the mellotron, the citara and even the delicate piano notes. A gem.

As an interesting fact, it is worth mentioning that "Si on Avait Besoin d'une Cinquième Saison" is considered in the "Top 100 Canadian Albums" (No. 56) in a compilation made in 2007 by the prestigious journalist Bob Mersereau, based on the opinion of more than 600 people related to the music scene.

Excellent

4/4.5 stars

 Väistyy Mielen Yö by VIIMA album cover Studio Album, 2024
4.40 | 28 ratings

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Väistyy Mielen Yö
Viima Prog Folk

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

5 stars One of Finland's most revered prog folk bands of the 21st century, VIIMA ( translates as 'Wind" ) formed at the turn of the millennium in 1999 in the western city of Turku but it would require seven more years for the band to record and release its debut release "Ajatuksia Maailman Laidalta" ("Thoughts From Around The World") which was released in 2006. It would take three more years for the sophomore followup of "Kahden Kuun Sirpit" ("Two Moon Sickles") in 2009 and then the band seemed to drop off the face of the world as if it ventured too close to the Bermuda Triangle and sucked into another dimension. Well perhaps that was what really happened but whatever the case, many artists are returning in 2024 after lengthy absences and so too as VIIMA with its long awaited third released VÄISTYY MIELEN YÖ ("The Night Of The Mind Recedes.")

Amazingly the band mostly retains the cast of musicians that were featured on the 2009 album. Once again VIIMA features Hannu Hiltula (vocals, soprano saxophone, flute), Mikko Uusi-Oukari (guitar, flute, keyboards), Mikko Väärälä (drums) and Aapo Honkanen (bass) with only newbie lead vocalist / keyboardist Risto Pahlama replacing Kiimo Lähteenmäki. Time may have passed but the band has lost none of its magical mojo as it continues its unique concoction of symphonic prog, folk rock and traditional Finnish folk music. VÄISTYY MIELEN YÖ features five tracks of varying lengths with a total playing time of 44 1/2 minutes. The band while inspired by Finnish legends such as Wigwam, Tasavallan Presidentin and Haikara also showcases influences from many other non-Finnish artists and delivers a dynamic array of diverse tracks.

The opening "Tyttö Trapetsilla" ("Girl On Trapeze") is the perfect track to announce the band's triumphant return some 15 years later with an energetic folk rock number with an upbeat tempo and a clear nod to classic Jethro Tull with Hiltula's sizzling flautist skills. The track crafts an instant lovability and then once VIIMA sucks you into its vortex of scrumptious Finnish prog rock (all lyrics are in the Finnish language), unleashes the monstrous prog behemoth "Äiti Maan Lapset" ("Children Of Mother Earth") which at nearly 19 minutes is almost half of the playing time on the album. The tracks alternates with feisty guitar driven rock sequences to softer folk laden passages and mostly remains on a sensual seductive mode throughout its run. The use of soft Canterbury jazz keyboard runs evokes a bit of the warmth of classic 70s sound but keeps everything grounded in the world of modern production techniques.

The tracks just keep getting better really. "Pitkät Jäähyväiset" ("A Long Farewell") offers not only the usual folk rock approach but also rocks those classic Canterbury keys and provides one of the most memorable keyboard solos of the entire year! Likewise it must be mentioned that this music is made all the better by newbie lead vocalist Risto Pahlama's excellent vocal style and Finnish language lyrics. The Finnish language is utterly unique in how it sounds and makes an excellent base for musical lyrical expression. Who cares if i don't understand it! I don't care about most lyrics anyway! "Perhonen" ("Butterfly") starts as the mellowest track on board but picks up steam with strong melodic developments, a beefy bass groove and a nice serieprogressive workouts. "Vuoren Rauha" ("Peace Of The Mountain") offers some spoken word poetry and the band's namesake, some wind (VIIMA). Beautiful piano lines and seductive grooves allow the track to slowly ratchet down the beautiful procession of folky prog rock. The album ends with gusts and zephyrs from the heavens above.

VIIMA is one of the better modern prog folk rock bands in the 21st century. This band has perfectly adapted the melodic warmth and stylistic immediacy of the classic bands of the 70s with the modern day world of crystal clear production and atmospheric accompaniments. While many bands attempt to make a comeback only to sound washed up and devoid of ideas, VIIMA seems primed and ready for round two of its so far less than fruitful career. Of course 15 years is a long time to craft an album but apparently this band was using its time wisely to manifest the golden gem that this new release presents right down to every last detail. What i love most about VIIMA's new sound is how well Pahlama's vocals fit in with the musical deliveries. Many prog bands consider vocalists a mere afterthought which often ruins the experience. This band has considered how every member interacts and composed accordingly. One of my favorite albums of the year. Erinomainen!

 Fandangos in Space by CARMEN album cover Studio Album, 1973
3.87 | 143 ratings

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Fandangos in Space
Carmen Prog Folk

Review by TenYearsAfter

5 stars A few facts.

This album number is ranked #46 in the Rolling Stone list of 50 Greatest Prog Rock Albums of All Time.

Opeth frontman Mikael Akerfeldt told Metal Hammer in 2012 about this first Carmen album. "It's a crazy flamenco prog-rock folk record! They had tap dancing on the record and castanets too! Everyone I've played it to has been blown away by it."

Well, that sounds as music to my ears, such a huge appreciation for flamenco elements in prog music by such a known prog metal musician. As an aficionado of Rock Andaluz (from Triana and Cai to Medina Azahara and Sherish) since the late 70s I was excited when I stumbled upon the LP Fandangos In Space (Paramount Records version), in the early 90s.

But it didn't turn out to be that awesome musical experience as I expected. Simply because the music is not my beloved Rock Andaluz but an unique blend of many different styles, from rock and psychedelia to folk, avant-garde and flamenco, very adventurous, created in the captivating early 70s, in the London music scene. With help from legendary producer Tony Visconti, and musical friends like Marc Bolan and David Bowie who recommended the Carmen music to their friends. This resulted in 3 albums between 1973 and 1975, and playing as a support act for Santana, Blue Oyster Cult, ELO and Jethro Tull. Carmen's stage performances featured Amaral and Angela Allen (David Allen's sister) dancing on a specially amplified stage floor so that their zapateado (flamenco footwork) became an integral percussive addition to the music.

But back to the music on this album (I consider Fandangos In Space as their best effort), it's mainly rock-oriented, but varied and dynamic, blended with avant-garde, psychedelia, folk and flamenco in a very adventurous way. Not always my cup of tea (and in fact a bit disappointing because I had expected more flamenco elements) but the music is fascinating, surprising, exciting, and performed by 5 skilled musicians, including ex-Jethro Tull bass player John Glascock and ex-T. Rex drummer Paul Fenton. Lots of swinging rock in the 11 tracks, with fiery guitar runs and powerful riffs, at some moments mixed with soaring Mellotron, classical guitar or the art of the flamenco with guitar, castagnettes and zapateados (footwork). The music is topped with strong vocals (male and female), and lots of vocal harmonies (English, with some Spanish).

Every serious proghead should have had at least one listening session with this album, unique prog in the genuine tradition.

 Strawbs by STRAWBS album cover Studio Album, 1969
3.19 | 99 ratings

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Strawbs
Strawbs Prog Folk

Review by Warthur
Prog Reviewer

4 stars The proper debut album by the Strawbs (setting aside the recordings they made with Sandy Denny which were shelved and then rereleased in 1973 as All Our Own Work), the proggier side of their prog-folk blend hadn't really developed at this point, but this remains a set of endearing late 1960s-style folk rock with just enough experimental notes to hint at the more adventurous work which was to come on subsequent albums. Dave Cousins has his vocal style locked down right from the start, and the particular atmosphere of albums like From the Witchwood can already be detected here in a rough draft. Strong, but better was to come.
 Harmonium by HARMONIUM album cover Studio Album, 1974
3.67 | 276 ratings

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Harmonium
Harmonium Prog Folk

Review by Hector Enrique
Prog Reviewer

4 stars Despite their brief recording career, with only three studio albums in three years (1974-1976), the French-speaking Canadians Harmoniun left a deep mark on the history of modern music in their country. Reclaiming French folkloric currents tinged with similar North American roots and a slight touch of bossa nova, the Quebec natives began their adventure with the homonymous album "Harmonium", a proposal in which acoustic melodies wrap the songs from beginning to end in an environment of peaceful harmony that is almost palpable.

The relaxed vocal register of Steve Fiori and his acoustic guitars, complemented by the second voices and the acoustic counterpoint of Michel Normandeau, form a remarkable duo that structures a content of great musical cadence not at odds with simplicity, correctly supported by the bass and the piano touches of Louis Valois.

Particular highlights are the opening "Harmoniun" with its variations of rhythm and the sweet contribution of the flugelhorn (similar to a saxophone) of guest Alan Penfold, the fluidity of "Aujourd'hui, je dis bonjour à la vie" with the enveloping introduction of birdsong and the bustle of frolicking children, and where Valois's marked bass lines support the huge instrumental acoustic development of the second half of the piece, Valois' delicate piano notes and Fiori's flute on "Vielles courroies", the beatlenian "Pour un instant", one of the album's most successful tracks, and finally the festive "Un musicien parmi tant d'autres", for whose choral harmony a dozen people were recruited on its last day of recording. A very good closing.

"Harmonium" had a more than acceptable production job despite its meagre budget (6,000 Canadian dollars (CAD) at the time, equivalent to approximately 33,000 CAD today or US$ 24,000 for a better global reference). The 2019 remastering enhances the musical appreciation of the album and pays a fitting tribute to it.

3.5 stars

 Hymns for Wilderness by DUST MOUNTAIN album cover Studio Album, 2021
2.10 | 2 ratings

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Hymns for Wilderness
Dust Mountain Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars It's another female fronted Finnish band, though vocalist Henna Hietamäki sings in English....I think. What starts off promisingly in the vein of grungy HEXVESSEL meets post rockish THE GATHERING, ultimately falls short of those models due to the sameness of the arrangements, plodding rhythms, equally drudgy vocals and guitars, and mellotron ish keyboards that manufacture little atmosphere, sort of like a fog machine when you are in the last seat of a stadium just trying to make out who is where on the stage.

As I hinted, the summit is at the outset, "Harvest Maiden", though "Village on Fire" is also a welcome variant on the formula, the party crashed by a presumably uninvited mandolin. As far as the folk goes, it's coerced into the bathymetric depths for the duration, where it predictably lacks color and vision.

I would say there is probably an audience for DUST MOUNTAIN, so if the above sounds good to you I say go for it, but it won't be me who is singing "Hymns for Wilderness'" praises around here.

 Ikaro by AALTO album cover Studio Album, 2014
3.73 | 12 ratings

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Ikaro
Aalto Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars It's been 10 years now since AALTO has been silent, with "Ikaro" remaining their latest. While similarities to fellow Finns TENHI can be advanced, this is a bit more upbeat, and is also informed by eastern European and MIddle Eastern influences and broad instrumentation. I'm particularly engrossed by the Balkan sounding numbers like "Vapahtaja", since many from that region moved to Finland to escape the war torn Yugoslavia, and AALTO can call to mind SEDMINA and DARNAKES among others. A raga like tendency flourishes on numbers like "Kastepisaroita II", though it withers on the opening track. "Hetsätaloushöömei" is perhaps the most TENHI-like and also my pick, though it came close to being silenced on my first listen. Its didgeridoo, banjo, and raspy male vocals intermingled with more harmonic male and female voices are spellbinding.

This might not quite soar like its namesake Icarus, but AALTO deserved to make more waves than fortune bestowed upon it. Perhaps a Round 2 is in the offing?

 Old Waves New Seas by AQUAPLAN album cover Studio Album, 2007
3.25 | 7 ratings

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Old Waves New Seas
Aquaplan Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars This now defunct Finnish folk jazz group released 3 albums in the 2000s, "Aquaplan" being the last. It's a shame because the level of maturity here is evident in the manner in which the band prioritizes a laid back yet upbeat clean "sound", unlike most Finnish prog. They do rock out but it's never overwrought or for too long. The two most defining aspects of their style are conveyed by vocalist Maarit Saarenkunnas and bassist Ville Veijalainen, though all members contribute to advantage.

Maarit's voice reminds me of a blend of Cat Ellen (FOREVER TWELVE), Stephanie Adlington and Jane Relf (RENAISSANCE), Joanna Hogg (IONA), and Moya Brennan (CLANNAD). Ville's bass takes over several tracks and, along with the piano and electric guitar to lesser degrees, impart a crisp jazzy sheen. While this is all enjoyable, the apex is represented by the sequence from "Lucky Me: through "Ordinary Life".

While "Old Waves New Seas" might sound vaguely familiar, it's a fresh take on Finnish prog folk could launch or cap off an evening of musical surfing. Not quite 4 stars.

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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
ARCH GARRISON United Kingdom
ARIA PALEA Italy
ARMY OF BRIARS United Kingdom
ARROWWOOD United States
ARTSRUNI Armenia
ASGARD France
ASHADA Japan
ASHTAR Brazil
ASI SOMOS Puerto Rico
ASTORG Spain
ATMAN Poland
AUCAN Argentina
AUTO DA FE United States
AUTUMNAL BLOSSOM Germany
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