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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

4.27 | 2394 ratings
MISPLACED CHILDHOOD
Marillion
4.25 | 2215 ratings
SCRIPT FOR A JESTER'S TEAR
Marillion
4.25 | 1398 ratings
THE ROAD OF BONES
IQ
4.19 | 1517 ratings
CLUTCHING AT STRAWS
Marillion
4.18 | 532 ratings
POSTHUMOUS SILENCE
Sylvan
4.15 | 740 ratings
CONTAGION
Arena
4.11 | 1218 ratings
MARBLES
Marillion
4.15 | 523 ratings
RESISTANCE
IQ
4.11 | 1013 ratings
FREQUENCY
IQ
4.09 | 767 ratings
THE VISITOR
Arena
4.11 | 485 ratings
EMPIRES NEVER LAST
Galahad
4.06 | 1024 ratings
DARK MATTER
IQ
4.07 | 765 ratings
EVER
IQ
4.05 | 771 ratings
THE MASQUERADE OVERTURE
Pendragon
4.15 | 211 ratings
NIGHT DREAMS & WISHES
Modern-Rock Ensemble
4.08 | 403 ratings
LOVE OVER FEAR
Pendragon
4.16 | 175 ratings
FORSAKEN INNOCENCE
Drifting Sun
4.06 | 400 ratings
MOONSHINE
Collage
4.00 | 1519 ratings
FUGAZI
Marillion
4.04 | 504 ratings
A TOWER OF SILENCE
Anubis

Neo-Prog overlooked and obscure gems albums new


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

THE SPARROW
Metaphor
NEW LIFE
Solstice
SONGS FROM PENNSYLVANIA
Ezra
HUNTING THE FOX
Ines

Latest Neo-Prog Music Reviews


 Fact And Fiction by TWELFTH NIGHT album cover Studio Album, 1982
4.02 | 179 ratings

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Fact And Fiction
Twelfth Night Neo-Prog

Review by Hector Enrique
Prog Reviewer

4 stars Twelfth Night, the band created by Andy Revell in the company of Brian Devoil, started out in 1978, releasing "Smiling at Grief" in 1982, a handful of pieces and demos considered to be their debut work. However, it was not until the release of "Fact and Fiction" that they found the stability of an album conceived as such. Also released in 1982, "Fact and Fiction" can be catalogued as one of the pioneers of neo-progressive, even before the irruption of future references such as Marillion or IQ.

The album tackles with ease such sensitive subjects as the obscurities of political power and its manipulative arts, the nuclear threat or insanity, with a scathing proposal, at times dramatic, and whose instrumental development impresses for the solidity with which the band executes it.

From the intricate and critical "We are Sane", where the histrionic and versatile voice of Geoff Mann (with a nod to the style of Peter Hammill) supported by the intriguing keyboards of Clive Mitten and the crystalline and sustained guitars of Revell, both orbiting over an atmosphere dominated by melancholy, the songs follow one another thickly, the dehumanised "Human Being" with Mitten's delicate piano notes and Revell's guitar solo, the disconsolate "This City" and its lamenting gait, but above all the sinister and super progressive "Creepshow", where again Mann's schizoid singing stands out, accompanied by an instrumentation to match in one of the best tracks of the album. And the general darkness of "Fact and Fiction" finds a small dose of luminous hope in the arpeggiated melody of "Love Song" to close the album with an epic denouement dominated by Revell's huge guitar solo and Mitten's concluding keyboard.

Beyond "Fact and Fiction", an excellent album, the fleeting presence of Mann, who left the band amicably a year later, and the irregularity of the next two albums, affected the general perception of Twelfth Night's brief studio discography.

4 stars.

 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

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Heartquake / Redux
Leviathan Neo-Prog

Review by maurodeblaise

5 stars Now again "Leviathan"! And it is immediately a plunge into the 1980s, years of the "renaissance" of progressive rock music, made up of searches for new records reviewed in self-produced fanzines sold in record stores or sent in the mail. The CD looks good right away, with a revamped graphic design and an original, well-edited booklet containing lyrics, much appreciated in times of liquid music. It starts with "The waterproof grave" with big synthesizers, guitar riffs and tight rhythm. "Hellishade of avenue" follows, with melancholic intro and "Wind & Wuthering" atmospheres, moog brushstrokes, a big central guitar solo followed by an appreciable rhythmic phrasing on which the guitar grafts again. The ironic "Only Visiting This Planet" tells us of an alien visit and a warning to humankind, in a continuous web of musical surprises. "Up we go!" is my favorite, great 80s new prog, callbacks to Pallas and Pendragon, with continuous tempo changes, great bass work and the reapparence of the beloved moog. "Dream of the coccon" is a return to quieter, dreamier atmospheres with great class. The title track is the longest track, musically encapsulating all the ideas and atmospheres of the album, with theatrical and engaging singing and all the musicians at their best. The operation ultimately represents a very appreciable work of modernism, which makes us all remain in eager anticipation of the new "Testudo"?. that is coming.
 XX by LIGHT DAMAGE album cover Singles/EPs/Fan Club/Promo, 2024
4.00 | 3 ratings

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XX
Light Damage Neo-Prog

Review by alainPP

4 stars First EP in a trilogy about a journey from the 20th century and beyond, first departure here.

"Gears Aligned" latent intro, airy spleen bringing the drum pad and the bass synth; Nicho is Nicholas-John Dewez, he comes to put his voice, always suave, expressive; the air is varied, requiring listening. 80s and 70s synth break on a burning DEEP PURPLE; note the voice of Kelly Sundown having played with ADAGIO halfway through, eyeing that of CHURCHILL often used in prog and prog metal compositions; Nicho lets his voice go with an airy, shuddering oh-ohhh; the break with Frédérik who plays his 12 fingers making his bass vibrate like on ARENA's 'A Crack in the Ice'. Stephane's solo launches a long musical plot making the listener wander into the modern prog world, one that sounds energetic; time stops; the air intoxicates our hearing capacities before Nicho's vocal phrasing gives the title a melodic meaning, a good slap. "Luna" with the NASA intro, simple but effective; Nicho lets his captivating voice do the work, making it wander while Stephane releases a warm spleen arpeggio; the break with heavy bass and colorful keyboard reminds me of an ARENA era, a nice comparison for a fast song. "Neon Dream" arrives, layers of invasive synths on an 80-90s-inspired prog metal riff; the thick THRESHOLD synth to swirl around, the spleen guitar even during the verses, this little extra that I love in LIGHT DAMAGE. The gentle and effective rise, the orchestration swells and Nicho infuses modern prog energy, the one where keyboards and guitars create osmosis. "Neon Dream (Radio Edit)" to note on the websites this version, from the time when prog groups tried to get on the radio in? less time, nostalgia for times gone by; it's still Nicho who sings helped by Maggy Luyten; the more direct sound, a touch of ultra bass rock and the solo which ends more quickly; where is the rest?

New prog seeking old sounds from the 80s and 90s and amalgamating them in a modern progressive spirit..

 Believe by PENDRAGON album cover Studio Album, 2005
3.59 | 467 ratings

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Believe
Pendragon Neo-Prog

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

4 stars After three albums of what many consider neo-prog paradise, PENDRAGON shocked their fans after the release of "Not Of This World" with the 2005 followup BELIEVE. Gone were the saturated layers of synthesizers that crafted unthinkably dense atmospheres and major key exercises in happy songs that delivered crisp melodic constructs that were taken through subtle variations that climaxed in rock fueled upbeat tempos. For whatever reason many of the better known neo-prog acts underwent a metamorphosis in the early 2000s with some flirting with full-fledged progressive metal and others just taking their signature sounds to ever increasing complexities.

While PENDRAGON would wait until the next album "Pure" to ratchet up the metal qualities, BELIEVE took a completely different turn from what the fanbase was used to. While Clive Nolan was taming his keyboard passions, lead vocalist and guitarist Nick Barrett was rockin' his acoustic skills. This album focuses primarily on the guitar unlike any previous PENDRAGON album where the synthesizers have always dominated and then some. Starting with a beautiful acoustic guitar title track that begins the album more like a folk album rather than neo-prog. The guitar oriented songs continue for awhile with only Nick Barrett's vocal style simulating the neo-prog singing style of previous works.

Yeah the album still starts out with some Floydian production tricks and maintains that space rock pace throughout much of the album but this time around the space part is often left behind for more serious rockin' out with more attention to varying aspects of the guitar rather than the typical Steve Hackett guitar sweeps or the David GIlmor twang-a-thon. The space rock and traditional neo-prog sounds though are fairly well integrated into this new approach which makes this quite recognizable as a PENDRAGON release despite the radical new shift in the band's direction and perspective as the lyrics have become more sombre, melancholic and downright conspiratorial.

The album in many ways almost sounds like a completely different band until the 21-minute suite "The Wishing Well" kicks in and then it offers some moments of business as usual albeit with subdued synthesizer sounds in the background and acoustic guitars never out of range. The electric guitar parts are more prominent and in addition to the dreamy sweeps of classical neo-prog, they also invoke the dirtier bluesy rock styles of classic rock. The album also took on a noticeably darker sound as the dreamy tapestries of yore had suddenly become a bit more gloomy. While this is still basically neo-prog at its core it's not exactly depressive black metal but for PENDRAGON a different style indeed.

The gist of the album is to usher in melodic hooks through the folky guitar strumming with Nick Barrett narrating his usual poetic prose however the songs tend to stick to the rock paradigm rather than get too wrapped up in the atmospheric dominance that excelled on "Not Of This World." The album is also noticeably shorter than previous offerings with a mere 51 1/2 minutes of playing time. It seems very succinct in comparison. PENDRAGON goes through its usual shtick of nurturing a melodic hook and then crafting myriad variations to keep the musical flow humming along in that regard they do quite a decent job even though this was new territory for them.

The album has a more intimate feel to it as it's not smothered in layers of keyboards and focuses on a more stripped down approach. Despite a change in direction the basic formula of starting slowly and ratcheting up the tension to a thundering crescendo and then a soft coming down moment is still intact. The production is damn near perfect as usual and Barrett's acoustic guitar tones are phenomenal. Overall the album sounds really great and i actually like the direction they took the new sound even if most fans don't. The album seemed to boost the band's confidence and far as rockin' out because next time around they would unleash their inner metalheads and merge the once metal-free neo-prog zone with the more feisty guitar heft of the metal universe. Perhaps not as perfect as what came before but to my ears an experiment that worked out quite well and one i love to play from time to time.

 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

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Heartquake / Redux
Leviathan Neo-Prog

Review by MrTomSawyer

4 stars In the early '80s, a turmoil crossed the British Isles: a handful of niche bands, led by Marillion, committed themselves to reviving progressive rock, a genre that post-'77 seemed swept away by punk and new-wave. However, in Italy, a similar phenomenon seemed destined not to materialize: in those same early '80s, the biggest names of the Italian progressive scene like Pfm, Banco, Orme, New Trolls, drastically shifted towards more catchy melodies, shorter song durations, simpler structures, and memorable "pop gatherings" of the early '70s gave way to appearances at Sanremo and Festivalbar.

Yet, starting from 1987-88, even in Italy, the unexpected happened: albeit at a very "underground" level, a real army of neo-prog bands formed across the regions of our nation. The sound was much different from that of the previous decade, often sung in English, with sonorities indebted to what had been happening for some years in Britain. Yet, this phenomenon triggered new fermentations: specialized magazines, from those focused on new-wave to those of the metal audience, began talking about this musical scene; inspired by this, fanzines dedicated to the genre were born, photocopied and sold by mail; and even some brave individuals ventured to organize small festivals to gather these artists on stage.

One of the most convincing names within this phenomenon is that of Leviathan. Compared to many of their contemporaries, they seem less "children" of British New-Prog Rock and more closely tied to a lineage from Genesis and Yes. In 1988, they debuted with an already profound, intelligent, and complete album: "Heartquake". The title is a play on words: a earthquake of the heart of sorts. In short: Leviathan are ready to tell us in music about those "heartquakes" that we would commonly call "emotions".

Two years after this already excellent album, the even more mature and convincing "Bee yourself" was released. Another title, another play on words between "be yourself' and the bees. In the long eponymous suite, indeed, as in an Orwellian metaphor (think "Animal Farm"), the concept of the beehive is used as a symbol of our society, which massifies, standardizes, and homogenizes everything. Until a non-conformist bee arrives to awaken the listener.

In those years, the non-conformist bee was physically interpreted live by the singer Alex Brunori, complete with striped bodice and luminous antennae. Leviathan, indeed, benefited from the lessons of Genesis and Marillion also from the standpoint of live performances, always very cared for in theatrical terms, as in the song "The devil in the cathedral", performed with a timid angel and a sexy she-devil on stage. After these albums, Leviathan's activity became increasingly rare: a third album only seven years later, titled "Volume" (1997), in which they rediscovered the Italian language with a new singer, and sporadic appearances in compilations and collective tribute albums, spread over decades.

Today, to properly celebrate 35 years of the debut album's history, Leviathan releases "Heartquake Redux". The cover, curated by singer Alex Brunori, who rejoined the band, is updated to current aesthetic and graphic standards. But above all, the intent of this project is clear: the band's will is to ensure that the tracks written at the time can "express" themselves at their best thanks to the beauty and quality of sound granted by today's recording technologies. And to achieve this, they turned to a lifelong friend who, incidentally, is also one of the best sound engineers today on the international progressive rock scene. We are talking about Fabio Serra... And for those who fell in love with the powerful sound of the two albums by Rřsenkreütz (a band in which Serra is a composer, artistic producer, guitarist, initially also a keyboardist, and occasionally a singer) no further explanations are needed.

Back to the late '80s and early '90s lineup, in this "Redux" we find Alex Brunori (vocals), Andrea Amici (keyboards), and Andrea Moneta (drums); the guitars are now played by Fabio Serra himself, who at this point is not just sitting behind the mixing console but becomes an actual member of the group. To complete the new lineup, a truly experienced bassist: Andrea Castelli. His curriculum in Italian progressive rock is vast, but one name among all those he has collaborated with is enough: Il Rovescio della Medaglia. The original "Heartquake" was born with six medium-long tracks, giving each side of the record a fairly precise duration of 20 minutes per side. Later it was reprinted on CD with two "bonus cuts" left out from the "Bee yourself" sessions. Today, however, for this "Redux", Leviathan choose to take up the original version, the six-track one. And that's right. Forcibly inserting rarities, unreleased tracks, alternative versions, or other material would have denatured a record born with a strong and clear identity from the start.

And we start immediately with the very "stunning" cut of "The Waterproof grave", a track with a more melodic approach, direct and with a more concise structure. It is perhaps the moment of greatest concession to the "eighties" atmospheres of the period in which the album was conceived, between AOR, new-prog, Genesis of the "Duke" period, and Yes of "90125". An intense and theatrical singing is supported by a great melodic work based on interweaving riffs of synthesizers and guitars. In four minutes, the band immediately demonstrates what it is capable of, keeping the listener on the edge of the razor with a ruthless "drive".

Much more delicate is "Hellishade of avenue": the introduction is entrusted to minimal touches of piano, fretless bass embroideries, and electronic pads, onto which guitar arpeggios gradually insert. The duration increases to double that of the previous track, the vocal melody, and the enrichments of the Minimoog cannot but remind of Genesis, again in the period from "A trick of the tail" onwards. A poignant guitar solo is made even more emotional by the powerful support of bass pedals. After a long keyboard-only verse, the guitar-led recovery, supported by ostinatos of the rhythm section, has a Hackett-like quality. Everything leads to a poignant final crescendo where a "lyrical" synthesizer under the guitar reminds of "Entangled".

"Only visiting this planet" has the "light" pace of Genesis's more "vaudeville" moments, those that started from "Harold the barrel" and went up to "All in a mouse's night" and "The lady lies", but with a touch of Marillion's "Market square heroes" and "Incommunicado". The track is a forge of surprises, with continuous stop-and-go in unison, finesse of the rhythm section, unexpected entrances now and then of guitars or keyboards that give the right "seasoning" to a singing rich in emphasis and theatricality. And again, after the fourth minute, when everything seems over, here is a poignant coda to give further intensity to the track.

"Up we go!", another track with a quick and energetic demeanor, in its pace and its time changes even recalls Gentle Giant, with its alternation of baroque "embroideries" and almost hard-rock guitar/organ riffs. This is also reflected in the singing, heir to the theatricality of Gabriel as much as that of the Shulman brothers (and why not? Even with a pinch of Roger "Chappo" Chapman). In the economies of the track, keyboards dominate the entire second part of the track, with powerful Moog crescendos and Mellotron choirs, but never lacking in guitar finesse. All obviously supported by great work from the rhythm section.

"Dream of the cocoon" is again a more intimate pianistic ballad to which a splendidly highlighted fretless bass even adds an elegant "fusion" touch. The constructs generated by the intertwining of guitars and keyboards are of rare elegance, the drumming that underlines every single passage, on cymbals or with long and precise rolls, is impeccable, the singing obviously is no less. The final guitar solo is moving. A test of great class. In five and a half minutes, the band condenses the excellence of its abilities with grit and cohesion.

And we say goodbye with the title track... And here already from the intro, one cannot help but think of the already mentioned "All in a mouse's night", or other Genesis moments like "One for the vine". The entry of guitar-bass-drums in unison on the keyboard riff is nothing short of majestic, the singing always capable of infusing the right dramatic intensity to everything, the changes of pace and atmosphere disconcerting according to the best lessons of prog. A worthy conclusion to an impeccable work from the first note to the last.

In conclusion: an album that was already surprising for its richness of ideas, substance, maturity, at the time it was released, but which objectively needed these "new clothes". Everything now sounds more "open", brighter, the sounds are more "unfolded", a certain use of reverb typical of the era has been smoothed, every frequency has found its place, especially in the basses, full and vibrant, while the keyboards are richer and more powerful and the guitars more "substantial", less "thin". Those who grew up in that generation and loved that lively historical moment, which marked the rebirth of Italian prog, will not be able to help falling in love with this "Heartquake Redux".

And now we just have to wait for the mysterious "Testudo", the Leviathan album that has been hidden in a drawer for over thirty years, which this new formation seems to be taking up again.

And it will certainly be delicious.

 Not of This World by PENDRAGON album cover Studio Album, 2001
3.92 | 586 ratings

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Not of This World
Pendragon Neo-Prog

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

5 stars PENDRAGON had a slow start releasing some of the worst neo-prog albums the 80s had to offer but then almost like magic was propelled into the top ranks of the subgenre with 1991's "The World" in pretty much every way. Led by the indefatigable Clive Nolan who was juggling two top tier neo-prog bands in the 90s with Arena being his other baby, PENDRAGON delivered a trilogy of amazingly exquisite albums that started with "The World" and then was followed by "The Masquerade Overture." The third installment was NOT OF THIS WORLD which features one of my all time favorite fantasy album covers of any genre and delivered all the symphonic prog bombast you could possibly hope for in a space rock influenced neo-prog style.

This would be the last album the band would release before jumping into heavy borderline metal material but at this point NOT OF THIS WORLD was all about layers of sizzling synthesizers with oscillating arpeggios, dreamy atmospheres and droning sustain keeping the band high in the clouds for the 67 minute duration that includes three parts, two of which were multi-track suites. The opening "If I Were The Wind (and Your Were The Rain) opens with an outa this world synthesizer run that makes you think you've died and gone to synthesizer paradise with wind sounds and chimes slowly ratcheting up the tension much like classic Pink Floyd along with reverberating guitar riffs that slowly drift away from the Floydian connections and take you into the world of PENDRAGON.

Beautiful guitar sweeps dance in the breezy synthesizer party and the bass slowly grooves along. The intro is just magical and then one of my favorite singers in the world of neo-prog jumps in: Nick Barrett commences to sing a song written to his son and his fatherly advice in navigating the world at hand. The instrumentation is so lush and produced to the perfection made all the better by the divine backing vocals of Tina Riley simulating the female backing sounds of Floyd's "Dark Side of the Moon." True the band has no shame in wearing its influences on its sleeves and the album has rightfully been criticized for a lack of originality but NOT OF THIS WORLD delivers a magical journey into a synthesized soul soothing world of neo-prog like no other except of course the band's previous two releases that this one follows.

A fairly laid back and slower tempo album, this one is a true mellow out type of musical experience that takes you through a never-ending series of arpeggiated guitar parts, beautiful piano rolls, bass grooves and a million and one ways to create an orchestral effect out of spacey synthesizer sounds. The tracks pretty much run together seamlessly and although it takes a while for the album to really jump into any real rock aspects by the time "Dance Of The Seven Veils Part 2" kicks in, the music becomes a guitar-driven rocker with thumping bass and hefty percussive drive. Of course PENDRAGON excels in alternating heavier passages with lush acoustic guitar moments with all those atmospheric excesses but that's what makes them so unique and even more dreamy and atmospheric than bands like Arena and IQ.

Add to the dreamy musical processions that never wear me out in the over hour's experience, Nick Barrett is a gifted poet whose precise and clearly enunciated lyrical deliveries offers the perfect prose for the musical accompaniment and it all comes together so well with alternating segments that range from dreamy to fast tempo rock at key moments but not quite into metal yet at this stage of their career. As always this band crafts the most sensual and addictive melodies on NOT OF THIS WORLD with captivating emotive guitar sweeps and a contrasting bass groove that work perfectly in tandem and of course all those layers of synth sounds that frost this cake a thousand times over making it ever sweeter! The diversity of the tracks really keeps this one from stagnating. Each one ratchets up the tension a little bit more with clever creative subtitles seeping into the recurring themes.

This was one of those growers that kept drawing me back in. While it started out as a strong 4 star album in my world, the recurring visits have made this one of my all time favorite neo-prog albums and on par with the band's previous "The Masquerade Overature." Sure it can sound a little cheesy at times as can a lot of neo-prog but if you're in the mood for this kind of melodic synthesizer overload then there's nothing like it. Something you just want to soothe your soul with over-the-top melodic constructs that offer a gazillion variations. There are even moments of amazing virtuosity such as the guitar and keyboard works on "Not Of This World Part 1." When investigated further this album will reveal an amazing detail that matches the outstanding cover art. It's bright, colorful and bursting with life. Definitely one of the band's best and although they would continue to deliver some interesting albums, this particular trilogy is one of the highlights of the neo-prog branch of the world prog. True it's not the most original album ever released but the delivery is so impeccable i am the fish that got hooked!

 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

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Heartquake / Redux
Leviathan Neo-Prog

Review by alainPP

3 stars 27 years after their 3rd album, the latest one comes out, and covers their 1st album which dates back 36 years! We're going to see the sound in what state it's in and dive back into neo prog far from the typical Italian RPI in fact. The album includes the first 6 tracks of the original album, the original group remains Alex Brunori for vocals, Andrea Monetta on percussion and Andrea Amici on keyboards. The sound goes directly into the neo-prog or even prog-rock ambiance; we still feel the influences of GENESIS for the first title in a significant way. For the rest, the atmosphere shifts to IQ and ARAGON, less to MARILLION from the 80s. The rhythm is energetic, with melodic prog corridors; the breaks occur gradually without a clear break. As you listen, the orchestration also returns to the work of PENDRAGON and especially PFM with a more symphonic side. The question why not have taken up the last title, my question of the day! Well, a good throwback which offered a good album when FISH left the MARILLION, but which is vintage today and in fact not evolving. For those who didn't know and remain in the 80's era.
 Mind Out of Mind by K'MONO album cover Studio Album, 2023
3.87 | 25 ratings

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Mind Out of Mind
K'mono Neo-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Apollon Records sent me this promo copy towards the end of 2023 or early 2024 and I just assumed it was some kooky Norwegian band as this is where that record label resides, so I was very surprised to read this trio are from Minneapolis. I mean check out the cover art and the back cover, both are hilarious. I honestly thought this was a parody of our music at first, it's humerous and extremely well played with many bands coming to mind over the 41 1/2 minutes. So many different styles with the 80's coming to mind a lot early on. A lot of my feeling have to do with the fact that they channel many vocals styles as well over this album.

Without question one of the most exciting and bizarre records I've heard in a while. I don't have their debut but the band was placed here under Neo Prog based on it, this one sounds more like a Crossover record to me. The art work inside is so well done as this is apparently a recording about a deposed king. Unique artwork even on the physical cd itself. The band lists CAMEL, KING CRIMSON and YES as big influences and of those I did think of YES the most.

That opening title track at almost 10 minutes really had my attention the first time I heard it. Sounds like Jonas Renske from KATATONIA singing in his mono-toned way but the music is far from his band. Synths, beats and mellotron lead early then it turns more powerful.I'm thinking KING GZZARD during the calm with vocals then PT-like around 7 minutes this is an incredible start. The bass pops throughout this recording and I like the keyboards a lot as well. Drumming top notch while guitar is mostly not in the style I like.

"Good Looking" is so 80's sounding I mean come on! Catchy and kind of cool I suppose. I did think of THE CHURCH here with the twangy guitar and vocals. "In The Lost & Found" has more of that guitar I was just talking about and this is a long one at over 8 minutes. Piano here for a change. Hit and miss overall but I like the synths here. "Tell Me The Lore" is the closest to being a Neo track but I would also suggest this has YES written all over it. I like the chorus a lot. "Millipede Man" is intricate and punchy early and is another track drawing on the 80's. THE BOX especially with those deeper vocals. The closer "Answers In The Glass" opens with electronics as drums and bass join in. High pitched distant vocals too and they will become the focus. There's some treated spoken words in a powerful instrumental section that is repeated that I really like on this one.

So refreshing this recording even if it sounds familiar from the beginning to the end. This is one of those rare records that stands out from the pack. A lot of fun and a solid 4 stars..

 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

BUY
Heartquake / Redux
Leviathan Neo-Prog

Review by Cagliostro

4 stars Definitely a very good surprise, an international high end production with great quality both in the songwriting and in the arrangements. With this new/updated version of Heartquake the Italian band shows its quality and skills; Leviathan can be easily compared to great prog bands of the past as Genesis, Marillion, just to name two.. Great musicians who express themselves excellently both as individuals and as a group. The sound in general is modern and at the same time reminds the atmospheres of masterpieces of the past, especially Marillion, perhaps for the voice of the singer or the guitar sound and taste. Keys play a fundamental role in the entire work and give a 80/90s touch with perfect sound choices and arrangements. It would be great to have the chance to see them live!
 Heartquake / Redux by LEVIATHAN album cover Studio Album, 2024
4.32 | 14 ratings

BUY
Heartquake / Redux
Leviathan Neo-Prog

Review by Hierophant99

5 stars I didn't know Leviathan's original Heartquake album until I found this new album, Heartquake Redux. So, I listened to it without any expectation or the need to compare the two records. Said that, what a great prog rock album. I could spend some time to find all possible inspirations that are embedded within the songs, but I really appreciated how different Leviathan's latest effort on CD sounds in the progressive rock contemporary domain. My preferred songs are the opening track' The Waterproof Grave', such a powerful statement to start with, 'Up We Go!' and the beautiful jewel of 'Hellishade of Heavenue', a pop/rock ballad which turns into a prog epic instrumental.
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