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NEO-PROG

A Progressive Rock Sub-genre


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Neo-Prog definition

Neo-Progressive rock (more commonly "Neo-Prog") is a subgenre of Progressive Rock that originally was used to describe artists strongly influenced by the classic symphonic prog bands that flourished during the 1970s. At the beginning of the neo-prog movement, the primary influence was early to mid-70's Genesis. Debate over when Neo-Prog actually came into being often takes place, with some asserting it began with Marillion's Script for a Jester's Tear in 1983. Others contend it began with Twelfth Night at the dawn of the 80s, while some even suggest the popular symphonic prog band Genesis gave rise to Neo-Prog with their 1976 album, A Trick of the Tail.

If one analyses the progressive movement just before 1980, then some albums which heavily influenced the Neo-Prog movement easily come to mind: Steve Hackett - Spectral Mornings, Genesis - Wind & Wuthering, Genesis - And Then There Were Three, Genesis - Seconds Out, Saga - Saga, all the Camel albums between Breathless and The Single Factor included, and some Eloy's albums, especially Silent Cries And Mighty Echoes.

This new form of progressive rock originated in the UK, and is most strongly associated with bands such as Marillion, Pendragon and IQ; and while theatrical stage antics were a part of the live performances of many artists exploring this subset of the progressive rock genre it's the musical elements that are key to the genre; typified by the use of atmospheric guitar and synth soloing with symphonic leanings, with a tendency towards floating synth layers and dreamy soloing. An additional trait is the use of modern synths rather than vintage analogue synths and keyboards. The main reasons for Neo-Progressive artists to be separated from the ones exploring Symphonic Prog in the first place are the above, as well as a heavier emphasis on song-form and melody than some of their earlier symphonic counterparts.

As time went by other artists appeared that also deviated from the norms created by the classic wave of progressive rock artists in the 70's. The late 70's had given the world punk music; the 80's gave the world new wave; and the 90's grunge. These, as well as other forms, had a tremendous amount of influence outside of the progressive rock realm. The advent of the modern synth also inspired artists like Tomita, Vangelis and Kitaro to explore dreamier musical works.

These and other forms of more or less newly made musical genres influenced artists exploring progressive rock as well. Although many artists did so within the framework of 70's progressive rock, more and more artists developed a sound and style so heavily influenced by these more recent musical developments that categorizing them within the existing subgenres of progressive rock became increasingly difficult.

While the Neo-Progressive genre initially consisted of artists exploring a modernized version of Symphonic Prog, these days artists coined as Neo-Progressive cover a multitude of musical expressions, where the common denominator is the inclusion - within a progressive rock framework - of musical elements developed just prior to and after 1980. The Neo-Progressive genre in it's refined form thus covers a vast musical territory, to some extent covering all existing subsets of progressive rock and also searching out towards genres as different as new age on one side and punk and metal on the other.

Opening paragraphs written by Stonebeard, Cygnus X-2, Greenback

Revised, edited and refined April 2009 by windhawk, The Doctor and E-Dub



The neo-prog team has also decided on 5 representative albums of neo-prog that encapsulate the essence of the genre. They are as follows:


Marillion-Script for a Jester's Tear
Collage-Moonshine
Satellite-A Street Between Sunrise and Sunset
Sylvan-Posthumous Silence
Frost-Milliontown


Current Neo-Prog Team members
as at 1/3/2020

Luca (octopus-4)
Keishiro (DamoXt7942)
Dan (earlyprog)

Neo-Prog Top Albums


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

4.26 | 2328 ratings
MISPLACED CHILDHOOD
Marillion
4.24 | 2160 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.24 | 1365 ratings
THE ROAD OF BONES
IQ
4.18 | 1473 ratings
CLUTCHING AT STRAWS
Marillion
4.17 | 524 ratings
POSTHUMOUS SILENCE
Sylvan
4.15 | 718 ratings
CONTAGION
Arena
4.17 | 490 ratings
RESISTANCE
IQ
4.10 | 1187 ratings
MARBLES
Marillion
4.10 | 985 ratings
FREQUENCY
IQ
4.11 | 464 ratings
EMPIRES NEVER LAST
Galahad
4.07 | 734 ratings
EVER
IQ
4.06 | 745 ratings
THE MASQUERADE OVERTURE
Pendragon
4.06 | 743 ratings
THE VISITOR
Arena
4.05 | 998 ratings
DARK MATTER
IQ
4.15 | 201 ratings
NIGHT DREAMS & WISHES
Modern-Rock Ensemble
4.11 | 240 ratings
SPEAK
I And Thou
4.04 | 497 ratings
A TOWER OF SILENCE
Anubis
4.06 | 361 ratings
SEVEN
Magenta
4.11 | 229 ratings
THE CLOCKWORK FABLE
Gandalf's Fist
4.01 | 732 ratings
THE SEVENTH HOUSE
IQ

Neo-Prog overlooked and obscure gems albums new


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

THE ART OF MADNESS
Psychedelic Ensemble, The
CROWN OF CREATION
Emerald
THE SPARROW
Metaphor
TIMANFAYA
Healing Road, The

Latest Neo-Prog Music Reviews


 Sia by SOLSTICE album cover Studio Album, 2020
3.79 | 26 ratings

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Sia
Solstice Neo-Prog

Review by SteveG

3 stars It's with a heavy heart that I write this review. Solstice is one of my favorite part time prog collectives and some of their past albums are stellar. Particularly the environmentally apocalyptic masterpiece that came out in 2013 titled Prophesy. That album sported doomsday lyrics fitted to some of the most emotionally charged music that has ever been put forward on such a gloomy subject, but the album ended on an optimistic high note lyrically, musically and spiritually.

What separates that album from this new one is the exit of singer Emma Brown, who is replaced by newcomer Jess Holland. Holland does possess a fine sounding instrument in her voice with a good vocal range that is always pitch perfect. But I'm afraid that the band's songwriter and guitarist Andy Glass got a bit too smitten with Holland's vocal abilities. This resulted in songs with numerous over dubbed backing vocals by Holland, but I'm afraid was done at the expense of the music. Missing are the the counter melodies of Jenny Newman's violin and of Glass's impeccable guitar solos. What also drives the music down is the band focusing on funky R&B styed bass and drum grooves for the mini epics "Shout", "Stand Up" and "Seven Dreams".The rhythmic duo of Pete Helmsley on drums and Robin Philips on bass don't possess a sense of swing and sound way too stiff for this type of mterial. Keyboardist Steven McDaniel fairs better on electric piano and organ, but his roll is largely of support. Glass does breakout some smoldering lead guitar on the slow paced "Seven Dreams", showing that he can still mesmerize as well as showing what's missing in the other songs.

Some of the more folky acoustic guitar numbers like "Long Gone" and the first half of "A New Day", while showing off Holland's multi vocal charms, sound like something from an early seventies Crosby, Stills and Nash album. Provided that they had a female lead. It's alright in its place, but this type of laid-back folk rock with idyllic hippie sentiments sounds far too outdated for the 21st Century.

I've always liked what Andy Glass and company have done, but I hope they bring back their majestic gloom and doom prog. They're better at it.

 Vision by PHOENIX AGAIN album cover Studio Album, 2022
4.09 | 18 ratings

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Vision
Phoenix Again Neo-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars The Lorandi family is at it again churning out an album of melodic jazz-rock fusion based in sound palettes familiar to prog rock.

1. "Ouverture" (4:03) a pleasant upbeat instrumental to get us started--like a nice drive through the Lombard countryside. (8.75/10)

2. "Moments of Life" (10:28) a very pretty, mellow, almost STEVE HACKETT-pretty heart-jerker. At the four-minute mark an electronica sequence enters and dominates the baseline of the weave until the rock instruments kick back in with some cinematic aplomb and bombast. Nice!The break out into a swing section at the eight-minute mark is a bit hokey (and disappointing) but appropriate to the symphonic cinematic mood already promoted here. Nice emotive lead guitar work in the last 90 seconds. (17.5/20)

3. "Triptych" (6:54) sounds a bit like some of DAAL's earlier music--driven from the lower end of each musician's realms. Nice jazz-fusion instrumental work but nothing very extraordinary here except for the familiar sound palette. (13/15)

4. "Air" (6:38) sounds like sound palette behind FOCUS' "Wingless" (from the 1978 Con Proby album) with a different set of instruments exploring the lead melody transmission jobs. At 3:18 we are once more transported into the bass-heavy, 'tron-drenched "classical" music of DAAL. (8.75/10)

5. "Psycho" (4:32) spry KEITH EMERSON-like keys sprout into the opening of this one as the rest of the band eventually fill the ELP-like musical field. The structure of this one has some really nice buildup of tension over which some nice soloing occurs. Very nice, tight construct with equally tight top-notch musicianship. Another top three song. (9/10)

6. "La Fenice alla Corte del Re" (6:34) a little foray into the territory of KING CRIMSON and NIL. Nicely done. The band can really pull it together and sound like a top notch prog band instead of a cinematic orchestra. Definitely a top three song. (9/10)

7. "Propulsione" (6:42) feels like a musical expression of some speed test. I like the play with scales and polyphony within some of the parts. Then there's the KCrimson-like vocal melody explored by the family choir. Another top three song. (9/10)

8. "Mamma RAI" (4:36) feels like a cross between a FOCUS song and the TRANS-SIBERIAN ORCHESTRA. (8.75/10)

9. "Threefour" (2:06) a cute little ditty that makes for a great little exit song--like going out with a waltz! (4.5/5)

Total Time 52:33

B/four stars; an excellent addition to any prog lover's music collection--especially if you're into solid cinematic instrumental music.

 The Origin Of Suffering by FAR FROM YOUR SUN album cover Studio Album, 2022
3.87 | 4 ratings

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The Origin Of Suffering
Far From Your Sun Neo-Prog

Review by Rivertree
Special Collaborator Honorary Collaborator / Band Submissions

4 stars The members are hailing from Paris, France. And that's pretty much all we are allowed to know about this band that is entitled FAR FROM YOUR SUN. Of course they are free to stay totally anonymous, and they certainly are not the first. On the other hand, I really don't know any argument why they should hide themselves. Just for the simple reason that they obviously are offering sorta highly prolific art to be proud of. Actually not reduced on producing music solely. Means it also includes the approach to combine this with other backgrounds such as photography, painting and writing. Yep, get your specific impression by visiting their official website. Apparently 'In The Beginning ... Was The Emotion', it all started with the debut album in 2016, but now we are talking about their sophomore effort. Based on a wide range of musical influences 'The Origin Of Suffering' is delivering a really clever mix of heavy rocking and highly melodic, pathetic, and melancholic moments.

And so this album delivers one hour of captivating music in total, including excellent vocals as well as dominant guitars, constantly alternating between different styles and mode of expression. For example Water for Osiris features psychedelic but also metal riffing moments in the same way. The wonderful song couple The Hand And The Voice and La Fuite De La Lune on the other hand is focussed on acoustic piano and guitar plus proper orchestral chamber imprints. Regarding this eminently melancholic atmosphere I Felt A Funeral, In My Brain should also be counted in here. While being in the appropriate mood this will bring tears to your eyes, guaranteed. On the other hand an enormous groove is to state concerning Where Planets Die. Finally let me also emphasize the extraordinary drumming on the initiating album highlight A Crown Without Thorns. I strongly recommend to listen to this, won't let you go anymore. 4.5 stars.

 Fallen Dreams And Angels by PENDRAGON album cover Singles/EPs/Fan Club/Promo, 1994
3.77 | 111 ratings

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Fallen Dreams And Angels
Pendragon Neo-Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 592

Pendragon have been around for more than forty years now, coming to the scene a few years after the likes of Marillion and Pallas. Band's leader Nick Barrett has taken care of most of the music all these years, and tied the band together. Starting with music in the line of aforementioned bands, Pendragon has gone through more or less gradual changes in style from album to album, usually with good results. They have almost the same line up ever since 1985, with only some small adjustments, something rather odd in the current music industry. In the early days, they even teamed up with Marillion, as a supporting band in many concerts of Marillion. So, this is a very interesting band with a great career.

'Fallen Dreams And Angels' is a mini album or EP of Pendragon with only four songs and was released in 1994. 'Fallen Dreams And Angels' was released after 'The Window Of Life' Pendragon's live tour. Three of the songs were written during and after their 'The Window Of Life' live tour while the other song was recorded for the second SI compilation disc. Later, all four songs were released on their fourth studio album 'The Window Of Life' as four bonus tracks.

The line up on 'Fallen Dreams And Angels' is the same of their three previous studio albums 'Kowtow', released in 1988, 'The World', released in 1991 and 'The Window Of Life', released in 1993, their second, third and four studio albums, respectively. So, the line up on 'Fallen Dreams And Angels' is Nick Barrett (vocals and guitars), Clive Nolan (keyboards), Peter Gee (bass guitar) and Fudge Smith (drums).

As I mentioned before, 'Fallen Dreams And Angels' has only four tracks. On all tracks the music and lyrics were written by Nick Barrett. The first track 'The Third World In U.K.' is a very rock oriented song, in which the band finds the right balance between the progressive rock and the traditional power rock. It's a track with a real stunning keyboard solo by Clive Nolan, which makes of it truly a great song. This is probably the most elaborated song on this EP with over seven minutes of great music, indeed. It shows clearly and unequivocally the basic musical structure of a Barrett's song. It runs so that first the piano reveals a somewhat ascending chord sequence to encouraging the listener into the mood of the song and on the musical ladder line. This is an excellent true mini epic progressive song, full of rhythmic changes that open the album beautifully. The second track 'Dune' is a great ballad. It's a song written in the Pendragon's best tradition. This is a song with a great and catchy melody full of joy and happiness. On 'Dune', we have an absolute delightfully cute with a keyboard melody that sounds like an accordion, a head of a verse, followed by the chorus, then the same again and again. This is the kind of songs where you can embark in a balloon to fly in the air and you can feel free to travel around the world. So, this a song very enjoyable to listen to and that makes us feel happy and free. The third track 'Sister Bluebird' is a song in the same vein of Genesis' songs, very melodic and with guitars that sound like Steve Hackett. This is a very romantic progressive ballad, with some wonderful guitar performance and nice keyboard work, which soon became as one of the greatest songs on this EP. The song is the smaller brother of 'The Voyager', a song of their third studio album 'The World'. It begins something like that, and that leaves to an almost waiting for the transition to something bigger with new melodic and harmonic changes from the basic musical idea, with several guitar solos and keyboard hymns, where the truly clarity of the music isn't never disturbed. The fourth and last track is the title track of the EP, 'Fallen Dreams And Angels'. This is a song that many of us know from the SI compilation, disc 2. It's a track with great compositional structure, great vocal work and a very nice keyboard sound that makes of this song as one of the highlights in all Pendragon's musical career. This is a fine song, in the romantic vein, which is instantly catchy, pleasant and appealing to any kind of listeners. However, I know that many of you think that we are in presence of a simple and merely commercial and poppish song. I'm sorry, but I must disagree with you. Sincerely, I'm absolutely convinced that we are in presence of a true prog typical Pendragon's song, probably with a small touch of Marillion.

Conclusion: 'Fallen Dreams And Angels' is a very good Pendragon's mini album or EP. Its four songs are more or less equal in their quality level in spite of we may say that they're, somehow, a bit different songs. Clearly, we are dealing here with four leftover songs from 'The Window Of Live' sessions. So, it isn't really surprising that their quality levels are practically at the same level of all other songs of that studio album. Despite this is a mini CD, 'Fallen Dreams And Angels' became as one of my favourite Pendragon's studio albums with 'The World', 'The Window Of Life', 'The Masquerade Overture', 'Not Of This World' and 'Pure'. For some reason, this mini album makes me play it over and over again, with a great pleasure. I don't know why, but maybe the very relaxing compositions and its good lyrics are responsible for that. The fact is that 'Fallen Dreams And Angels' remains as one of my favourite Pendragon's albums.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Tales of Imaginary Movies by MILLENIUM album cover Studio Album, 2022
3.93 | 18 ratings

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Tales of Imaginary Movies
Millenium Neo-Prog

Review by alainPP

4 stars Millenium, a group born in 1999 that needs no introduction with Ryszard at the helm, released their 17th neo- prog album there; nothing new but flawless, with a new voice, David and his warm refrains quickly remaining in memory; marked solos ranging from Ryszard's keyboards to Piotr's strings; more symphonic, more emphatic with the sick world. A style originally on Pendragon, Collage, IQ or Pink Floyd, now a clean, clear and intense sound. A story about David seeking a film role.

'Tales Of Imaginary Movies (The Opening Credits)' and one of the most beautiful symphonic intro heard, quickly assimilated; juicy guitar, heavy, haunting synths and a finale that strongly reminds me of Ayreon! 'Invisible Superhero' continues on a consensual tempo eyeing the 70's heavy prog, the 80's fruity; 1'30'' intro before David adjusts his voice, reminiscent of Barclay James Harvest; soaring air, backing vocals and Piotr with his warm guitar; between the melancholy sweetness of the cinematic synth and the explosion of the chorus-hymn; the guitar solo that comes out sends very high, much more than at the last concert, perhaps badly placed in the room in short 'A World Full Of Spies' still continues on these footsteps and an agreed rock tune; Eloy, BJH again, tight beat that stays in the head quickly and solo that still tears; soft solo break of the keyboard, a second more choppy then the bewitching guitar; AOR melodic piece in the genre. 'Brightness Hidden In The Dark' the footsteps recede and the air goes on a remake ballad; catchy melody where the specter of Pink Floyd 'The Wall' emerges; David directs his voice to a more bewitching aspect, a bit of Queen, of Kansas on guitar, a bit of 'The Trial' behind; air that sweats with emotion and memory; break with shots in the distance and the last guitar solo that reminds me of Eagles'. oh how beautiful

'A Comedy Of Love' title AOR which denotes, mat with a dynamic flute, it smells good of the 80's and the solo flows like a Mark Knopfler; the soft voice that rises before Piotr lets go of the watts and sets it on fire, a bit of Toto, of Sniff 'n' the Tears. 'The Sounds Of War' online with the chopper; Irish tune with flute, more syncopated drums; pop rock with a progressive declination; association between a gripping beat, the suave voice of David and the soaring guitar vibrating, oozing, spleen proven. 'Memories In Tears' pastoral melody, cinematic tune of 'Rencontres du 3e Type', Piotr setting fire from the start; David launches the tone on a languorous atmosphere, the keyboards raise the air between Genesis and a BJH; simple then it rises, it howls, the military battery adds to the solemn side; the guitar comes to reinforce the rhythm tearing the air then 'Second Earth' arrives, sad end-of- war melody, melancholy piano accompanying David and symphonic violin synths for the last chance, the disturbing Game Over. 'Tales Of Imaginary Movies (The End Credits)' hovering in cover, riff ' la Ayreon, the Iron Maiden of 'Seventh son', like the English guitar of the 60's, like a few notes from the Telephone... my wife passes by there ; it rises, dantesque, grandiloquent, sublimely symphonic. Piotr makes his strings howl, Ryszard his keys!

Millenium has changed singers but the Kramarski framework continues to deliver melodic albums that are easily accessible, perhaps too precisely; a dense orchestral component, endless floydian flights, various reminiscences offering a good summary of what prog has done best.

 Electric Asturias: Fractals by ASTURIAS album cover Studio Album, 2011
4.10 | 81 ratings

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Electric Asturias: Fractals
Asturias Neo-Prog

Review by arymenezes

4 stars Some artists or groups can change its artistic identity once in a while, and this is the case of Asturias. I'd infer that they developed two different musicalities, the acoustic one, present on the majority of their discography, and the electric one, responsible for some albums (Fractals, Elementals, Trinity and part of Missing Piece of my Life; I didn't hear all the discography, but I went on to know at least half of its 13 discs). In both expressions the tunes are composed in a similar way. But there's something about electric instruments that IMO can be a lot more captivating than acoustic instruments: the first one's have much more options on the execution of the compositions.

But this is not the only difference that makes me almost assure that the electric version of this band will appeal much more to prog rock fans. On the works realeased under the moniker Electric Asturias, all musicians and specially violinist Tei Sena are developing complex and vibrating harmonies. Back to Fractals, the pieces are all instrumental. Another feature I'm truly fond of is a generous presence of lyric, fast and charming piano tunes and background sonority.

The way the compositions give plenty of space to piano and violin shows these artist's dexterity to execute low and high tones, slow and fast movements. If the listener wants to verify for itself, I recommend the third track, the longest one, called Castle in the Mist (with some great guitar solos, too), and the second half of the fifth track, Silent Tears + Cybertransmission.

About the cover of this album, its a powerful and unforgettable visual identity which is repeated on Elementals and Trinity.

I give this work a 4,3 score, on a 5 star scale.

 Over and Out by COLLAGE album cover Studio Album, 2022
4.23 | 35 ratings

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Over and Out
Collage Neo-Prog

Review by Heart of the Matter

4 stars Having accepted the kind invitation to review this album posted in the PA forums, I have to say that I'm under the impression of being in the presence of a piece of work of no lesser scope and impact than Collage's celebrated magnum opus, their third studio release Moonshine. All the virtues shown in that occassion (baroque keyboards-guitar interplay, great melodies, vast scale composition) are still shining here today, and perhaps the result is even more accomplished now, since Over And Out reaches greater consistency, paired with a flawless sense of overall flow.

The only drawback that I find here concerns to originality: the Marillion template is still noticeable under the music, like the bone structure under flesh and skin. This perception is accentuated by the Fish-like tone adopted by the (otherwise excellent) vocalist. But I think the greatness of this album cannot be stopped by that simple evidence of influence. The real meat of each track begins after the presentation of the motivic material, with the construction of infallible climaxes, which are led by an interplay stamped with a strong sense of identity. The true Collage sound, I think, awakes with the sound of the synths sweeping across tonal areas in those continuous displacements from consonance to disonance and back, that go so well with the dark and almost tragical pathos of the band. Besides, you have that perfect blend with the electric guitar, and, of course, the inexhaustible energy of the drummer building close together momentum and musicianship up to prodigious heights.

So, there you have: a strong epic in the opening track, a neo-prog gem in the second, a melodic invitation in the third, a mid-size epic in the fourth, and finally the great prog closer with a cherry on top, courtesy of the guesting guitarist, no other than Mr. Steve Rothery.

Excellent all the way.

 Watching Worlds Collide by ESTHESIS album cover Studio Album, 2022
4.13 | 28 ratings

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Watching Worlds Collide
Esthesis Neo-Prog

Review by Smurfreviews

5 stars Review #14

An incredibly ingenious album.

A little while ago, I became aware of the album "Watching Worlds Collide" due to a conspicuously large number of positive reviews. This is the second album of the French progressive rock project led by the talented multi- instrumentalist Aurélien Goude. I would like to share my excitement about this music with all of you today. Let's start first with the most striking feature: Progressive rock meets jazz.

"Esthesis" features complex song structures embedded in very tasteful jazz harmonies. These, in turn, repeatedly counter with rocky, metallic and even film-musical parts. My goodness, what ingenious symbiosis, which by no means simply mixes everything wildly, but quite deliberately combines and merges. Aurélien Goude creates very strong moods, takes his time to let the music unfold within a song and always acts in a focused way, letting any musical elements (such as saxophone, trumpet, violin and even bajos played by guest musicians) show their full effect.

Also the other musicians of the band, Baptiste Desmares on lead guitar, Marc Anguill on bass and Arnaud Nicolau on drums, do a great job of balancing the songs on a high rhythmic as well as melodic level. Probably the best decision in the lineup lies in the choice of guest vocalist Mathilde Collet. She sets her accents at exactly the right moments and her timbre also fits the basic mood of the album perfectly.

Songs like "Place Your Bets", "Wandering Cloud" and especially the long track "57th Street" (what an incredible track!) contain so many ideas, twists and surprises, so that you are still amazed after several runs through what you get to hear. This is not least due to the transparent and powerful production.

I don't know any band that combines two demanding genres so skillfully and elegantly, always with the claim to maintain the tension in the listener from beginning to end. I was completely electrified after the first listen. "Esthesis" won the Prog Magazine Reader's Poll in the "BEST UNSIGNED BAND" category in December 2020. Personally, I think the band should win the "ALBUM OF THE YEAR" category this year. A masterpiece that needs to get much more attention....

 Posthumous Silence by SYLVAN album cover Studio Album, 2006
4.17 | 524 ratings

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Posthumous Silence
Sylvan Neo-Prog

Review by arymenezes

5 stars Lyrics on progressive rock usually don't get much attention on reviews. Seems like most fans and critics (and all that are somewhere between these two points) are basically interested in the music. In fact, good music may be enough for our pleasure, and it looks like the majority of the listeners remember a lot more of the music. On this album, the lyrics and it´s interpretation are so incredibly surprising and touching, that I decided to dedicate almost all the review to analyze only this aspect of the work. If you've never heard this work or didn't pay attention to the lyrics, then you are warned that I'm going to give a lot of spoilers on this realm. And if you're (much) more interested on review(s) about the music than about the lyrics, you can easily find it on PA. The first track is all instrumental. It's short, and makes an ethereal introduction that quickly turns dark. Very floydian. The story begins on second track, that has a delicate piano and a sad cello. It's a very adequate atmosphere for somebody who is telling about a person that has gone away. When this person's smile is mentioned, there is a child's laughter on the background. The title of this music, "Bequest of tears", is printed on the booklet where it has images of ruins, painted in grey spectrum. Indicating that this person ? is it the child? ? left letters or a diary where melancholy reigns. In the rest of the booklet, a fine and elaborate visual production, there are many images of hand-written pages, besides other images indicating chaos and destruction. Third track brings the writer's perspective and self-examination. She or he tells about the coldness inside, and the feeling of being lost in his/her own mind: "searching, I´m searching the world in my head. Hoping, still hoping to find it somewhere". Even though he/she recognizes there are some individuals which are interested on his/her well- being, what prevails is loneliness. One sentimental distance is reported as being particularly difficult: "There are times, when I miss Daddy's hand that's guiding me". The only unquestionable and remarkable company of the writer is a diary, supposedly the way to express most sincerely the cry for help. Before I continue to analyze the lyrics, I want to point a very brilliant aspect of them. The ability to keep almost until the end of the album the mystery about the gender and exact age of the writer. And sometimes the lyrics composer intentionally doesn't specify who is narrating, or for whom. Giving us the opportunity to interpretate some parts in different ways. This is the case on the next track, when the writer can be talking to himself/herself, or to na intended recipiente of the letters. It can also be the case that the reader of the letters is talking to himself/herself (it isn't clear untill now who is the reader). Let's jump to the next track, "Pane of Truth", which is a turning point on the story. The writer enters a phase where he/she becomes nostalgic about the distant time when some hapiness, joy and/or innocence was part of his/her life. This person starts to believe that these feelings have become irreversibly gone. On subsequent tracks, the psychopatological phenomena spreads throughout his/her whole existence, every day getting a little bigger. "I try to see the sun but I just see clouds ? and people pass my way. So with a known disgust I quickly turn around ? it's just a normal day". The individual gains some strength to find some colours on the world, but soon finds that it's a strategy to hide from others the morbid feelings. The future sounds as a constant suffering and challenge with no perspective of bringing reasonable answers. "Will I crack up when they change all? Will I dry out, will my mask fall?" The reader's point of view comes back on 12th track. And now it's revelaed that the writer is a girl. The impact of the diary, or the letters, subtracts from the reader his/her remaining strength. "Naked of power and naked of hope, I'd give all my fortune to stop you tonight". The cello, in undertones, and the vocals, sung as if it can fade away any time and with a little whispering touch, brings an atmosphere of disenchantment. Paralysed, but with many doubts, the reader also feels fatality is coming closer. The child responds to that. "Stop me now or let me go. I am your child and you are my God ? I'd take your hand, but would you follow me now? (...) I'm sick of it all ? I have to break up my chains. These walls have to fall ? I'm going to kick them away". Indeed, the next and penultimate track reaches it's clímax. This is one of the most smooth and tranquilizing composition of this work, musically speaking. The girl decides she shall not suffer anymore. "Sink into the deepest quiet ? unchangeable I close my eyes". "Please let me know you'll understand, it's not your fault I'm leaving". Here it is revealed who the letters are for. "I'll cry the tears for you, oh Dad, please let me reach my Eden (...) Vanish from the world out there, for the wind got colder. Pleasently I found the truth guiding me back to my roots". And she kills herself. I think these lyrics deserve a 4,6 on a scale of 5 stars.
 The Gap by CLEPSYDRA album cover Studio Album, 2019
3.85 | 56 ratings

BUY
The Gap
Clepsydra Neo-Prog

Review by The Crow
Prog Reviewer

4 stars Clepsydra fans had to wait 18 long years. But it was definitely worth it!

As this "The Gap" continues the magic and neo-prog mastery that made this band great so long ago. It may not reach the level of the masterpiece "Alone", which still is one of the best neo-prog albums of this millennium, but "The Gap" will undoubtedly delight all those nostalgic fans of the band.

One of my main fears for this album was the loss of their guitarist Marco Cerulli, but the great work of Luigi Biamino makes us practically forget that the band has changed its line-up.

In summary, anyone who has enjoyed any previous album by the group or is fond of neo-prog should give this excellent record a try.

Best Tracks: You (when you hear the piano in the instrumental part, followed by that wonderful guitar solo, you know you're in front of something special), The Story Teller (rock, dynamic and great guitar work) and Lousy Soul (precious little instrumental track)

My Rating: ****

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