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    Progarchives, the progressive rock ultimate discography

    ECLECTIC PROG

    A Progressive Rock Sub-genre


    From Progarchives.com, the ultimate progressive rock music website

    Eclectic Prog definition

    The term 'eclectic' in the context of progressive rock describes a summation of elements from various musical sources, and the influences and career paths of bands that take from a wide range of genres or styles. While progressive music can be, in a larger sense, eclectic, the 'Eclectic Prog' term is specially meant to reference bands that trespass the boundaries of established Progressive Rock genres or that blend many influences.

    Eclectic Prog combines hybrids of style and diversity of theme, promoting many elements from different sources. The Eclectic category recognizes bands that evolved markedly over their career (in a progressive, evolutionary way), or have a plural style without a clear referential core.

    The basic features lie within the music's variety, rich influences, art tendencies and classic prog rock elements. Among the representative bands are KING CRIMSON, VAN DER GRAAF GENERATOR, and GENTLE GIANT.

    - written by Ricochet (Victor)

    Current Team as at 1/3/2020

    Ian (Tapfret)
    Mike (siLLy puPPy)
    Ian (Nogbad_The_Bad)
    Mike (TCat)

    Eclectic Prog Top Albums


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

    4.63 | 4182 ratings
    IN THE COURT OF THE CRIMSON KING
    King Crimson
    4.55 | 3316 ratings
    RED
    King Crimson
    4.47 | 2048 ratings
    GODBLUFF
    Van Der Graaf Generator
    4.43 | 2167 ratings
    PAWN HEARTS
    Van Der Graaf Generator
    4.42 | 2852 ratings
    LARKS' TONGUES IN ASPIC
    King Crimson
    4.34 | 1652 ratings
    IN A GLASS HOUSE
    Gentle Giant
    4.31 | 1631 ratings
    H TO HE, WHO AM THE ONLY ONE
    Van Der Graaf Generator
    4.31 | 1573 ratings
    THE POWER AND THE GLORY
    Gentle Giant
    4.30 | 1929 ratings
    OCTOPUS
    Gentle Giant
    4.29 | 1496 ratings
    STILL LIFE
    Van Der Graaf Generator
    4.31 | 851 ratings
    THE SILENT CORNER AND THE EMPTY STAGE
    Hammill, Peter
    4.28 | 1471 ratings
    FREE HAND
    Gentle Giant
    4.26 | 1503 ratings
    ACQUIRING THE TASTE
    Gentle Giant
    4.24 | 1399 ratings
    VOYAGE OF THE ACOLYTE
    Hackett, Steve
    4.26 | 567 ratings
    ANABELAS
    Bubu
    4.24 | 480 ratings
    BANTAM TO BEHEMOTH
    Birds And Buildings
    4.25 | 402 ratings
    MEMENTO Z BANALNYM TRYPTYKIEM
    SBB
    4.19 | 712 ratings
    SLEEPING IN TRAFFIC - PART TWO
    Beardfish
    4.26 | 311 ratings
    DECALOGUE OF DARKNESS
    Daal
    4.12 | 2127 ratings
    LIZARD
    King Crimson

    Eclectic Prog overlooked and obscure gems albums new


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

    NOT OF SOUND MIND
    Zapotec
    I'M NORMAL, MY HEART STILL WORKS
    Ill郼hime Quartet
    ZEALOTRY STERBLICHEN SCHIZOPHRENIA
    Seamus
    ENIGMATIC
    Niemen, CzesŁaw

    Latest Eclectic Prog Music Reviews


     Genesis Revisited by HACKETT, STEVE album cover Studio Album, 1996
    3.44 | 328 ratings

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    Genesis Revisited
    Steve Hackett Eclectic Prog

    Review by VianaProghead
    Prog Reviewer

    4 stars Review N?337

    "Genesis Revisited" is the twelfth studio album of Steve Hackett and was released in 1996. It's a very different studio album because basically it has new versions of original songs of Genesis and isn't made of new compositions of him.

    "Genesis Revisited" has eleven tracks. The first track "Watcher Of The Skies" was a song originally released on "Foxtrot". Despite be relatively close to the original version, it's more majestic, energetic and powerful than the original. That reminds me the live version performed on his live album "The Tokyo Tapes". It's worth mention the great performance of John Wetton on vocals. He has one of my favourite voices. This is a great version, as good as, or even better, than the original version. It represents one of the highest moments on the album. The second track "Dance On A Volcano" was a song originally released on "A Trick Of The Tail". It's different from the original version with a beginning completely different. The vocals on the song are performed by Steve Hackett with a distorted voice. Steve Hackett's option of using his voice on the song isn't consensual, because we all know that he hasn't a good voice. However, I personally like of the two versions of the song. The third track "Valley Of The Kings" isn't a Genesis' song. This is a song of Steve Hackett's catalogue. Personally, this is one of my favourite songs of Steve Hackett and the rearrangement of this song is fantastic. This track represents also one of the highest moments on the album. The fourth track "D閖a Vu" isn't also a Genesis' song. It's a song originally started by Peter Gabriel and finished by Steve Hackett. It's a beautiful ballad sung by Paul Carrack, with a nice guitar solo and it's well played. However, this isn't for sure one of the highest moments on the album. The fifth track "Firth Of Fifth" was a song originally released on "Selling England By The Pound". But, this is a version completely transformed. The rearrangements are very deep and have been done to create alternative ways of performing each segment differently on the song, for example, the replace of the flute on the interlude part, by acoustic guitar. Once more we have the fantastic voice of John Wetton and an orchestration absolutely irreproachable. This represents also one of the highest moments on the album. The sixth track "For Absent Friends" was a song originally released on "Nursery Cryme". As I wrote before, when I reviewed "Nursery Cryme", this is, in my opinion, the weakest song on that album, but it seems that Steve Hackett hasn't the same opinion. This song is fortunately and substantially modified and it's better than the original version. It sounds very Baroque, which make this song very nice and enjoyable to hear. The seventh track "Your Own Special Way" was a song originally released on "Wind And Wuthering". Once more, I have the same opinion of "For Absent Friends". As also I wrote before, when I reviewed "Wind And Wuthering", it's the weakest song on that album and despite be written by Mike Rutherford, looks like more a song of Phil Collins. Despite be better than the original version, it isn't for sure one of the highest moments on this album too. The eighth track "Fountain Of Salmacis" was a song originally released on "Nursery Cryme". This always was one of my favourite Genesis' songs and represents another highest moment on this album. It's also rearranged differently from its original form but once more we are in presence of a great version of the original song. Again we have Steve Hackett singing on the album and once more, the option of use his voice isn't consensual, but on this case it fits very well. The ninth track "Waiting Room Only" was a song originally released on "The Lamb Lies Down On Broadway". However, this is a completely different piece, in its form. Sincerely, I don't like this version of the song, and for my taste, it doesn't works truly very well. The tenth track "I Know What I Like" was a song originally released on "Selling England By The Pound". This is another song completely modified and also sung by Steve Hackett. Personally, I don't dislike of this version of this song, but sincerely I prefer the original version, despite I consider it too much commercial and the weakest song on "Selling England By The Pound". The eleventh track "Los Endos" was a song originally released on "A Trick Of The Tail". It's also a magnificent version of the original song, substantially modified by him and superiorly performed by all musicians who participated on the song. This is another highest moment on the album that closes fantastically this very special album, which is also usual for Genesis to close their usual live shows.

    Conclusion: "Genesis Revisited" is a very personal work of Steve Hackett. We can question the need of revisit some of the old Genesis' songs, the choice of the songs chosen by him and even the changes made by him. However, I think an artist must be free to do what he wants, especially Steve Hackett which is one of the writers of the songs and he was also, in my humble opinion, aware of the risks he was running. Globally and despite some controversial options made by him, I think he made a fantastic job and "Genesis Revisited" deserves to be rated with 4 stars and be considered an excellent addition for Genesis/Hackett's fans. It's always a pleasure to me revisit Genesis through the eyes of Hackett.

    Prog is my Ferrari. Jem Godfrey (Frost*)

     The Alchemist by HOME album cover Studio Album, 1973
    3.68 | 59 ratings

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    The Alchemist
    Home Eclectic Prog

    Review by Psychedelic Paul

    4 stars HOME is where the heart is and HOME is where the prog is for this long-forgotten five-piece band from London. They released three albums in the early 1970's:- "Pause for a Hoarse Horse" (1971); "Home" (1972); & "The Alchemist" (1973). The band never managed to achieve the big breakthrough success they so desperately needed, despite being signed to the major CBS record label. A fourth untitled album was recorded but never released and the band packed their bags and went back home in 1974. It's their third and final legendary album "The Alchemist" that was sprinkled with gold dust and contained all of the magical ingredients required to conjure up a classic prog album, so let's give it a spin.

    School's Out for Summer, School's Out Forever, or seemingly forever anyway during the stringent coronavirus lockdown of 2020. We're heading back to school now though for "Schooldays", the first song on the album. The band have managed to purify some melodic prog gold with this first tempting nugget of old school prog. This delightful nostalgic tune is a world apart from the "Skool-Dazed" crashing guitar sound of overgrown schoolboy Angus Young of AC/DC fame. No, this charming song is as gentle as the sweet summer air on a Sunday morning with the birds singing and the church bells ringing. The music features the gentlest of guitar melodies combined with a honey-toned singer and with the percussionist firmly establishing his proggy credentials here with a tricky offbeat time signature. "Schooldays" may not necessarily be the best days of our lives, but this pleasurable opening number will conjure up fond 1970's memories of flowers and flares and birds and beads. It's time now to wallow in some more nostalgia for the gently acoustic mournful opening to Song No. 2: "The Old Man Dying", which might sound as peaceful and relaxed as a couple of dozen pensioners on a restful Saga holiday in Torquay, at least to begin with, but there's life in the Old Man yet, as the deceptively quiet opening serves as a prelude for a bunch of party-going Club 18-30 lager louts to come noisily gatecrashing onto the scene with some heavy slammin' electric guitar chords and pounding percussion, before a return back to a Sea of Tranquility for the conclusion. This stunning four-part piece of music also features a surprising classical Bach-style piano interlude for good measure too, but then again, the wondrous worlds of classical music and prog have always been closely intertwined, ably demonstrated by such classical Wizards of the Keys as Rick Wakeman, Jon Lord & Keith Emerson. If piano maestro J. S. Bach were alive today, he could probably earn a good living as a classically-inspired, Prog-Rock keyboard player. A Krautrock trio of Bach-man Turner Uberdrive perhaps? B-b-b-baby, You ain't heard nothing yet! Anyway, moving swiftly on, there's no better way to pass the time than with our third song, "Time Passes By", a short instrumental interlude which sounds as cool and laid-back as Detective Captain Steve McGarrett (Jack Lord) turning up at a murder suspect's address in a Hawaiian shirt and saying, "Book him, Danno, Murder one!", before heading down to Waikiki Beach with a surf board tucked under his arm. Onto Song No. 4 now with "The Old Man Calling (Save the People)", which sounds like a curious combination of off-kilter Canterbury Scene music mixed in with the Southern Rock guitar sound of the Allman Brothers Band, so you can expect the unexpected with this intriguing jazzy piece of music. Who knows what unusual time signature this offbeat tune is played in, but it's definitely not regular 4/4 time. Get ready to hunker down now and prepare for an all-out Sonic Attack for "The Disaster", a crashing discordant dissonance of sounds that hits the listener like a storming salvo of Katyusha rockets. This crazy Bats in the Belfry bedlam is all-fired-up with the maniacal intensity of an open day at a lunatic asylum. It's madder than an albino in a white suit hitch-hiking in a snowstorm. There's a return to some kind of sanity now for "The Sun's Revenge", a two-part piece, opening as an uptempo syncopated Funk-Rock groove about the ravages of time wreaked by the Sun on unprotected skin, which might serve as a timely reminder for us all to slap on some suntan lotion or wear a hat the next time we're out in the summer sunshine. The mellower second part of "The Sun's Revenge" features a moody and magnificent acoustic jamboree of tinkling keyboards and jangling acoustic guitars, which sounds as gentle as a ballerina gracefully extending one slender leg en-pointe behind her, a bit like a dog at a fire hydrant. The music's great, but you may struggle to understand the lyrics in the first part of this song, where the vocabulary sounds as bad as, like, whatever...

    We're back in Allman Brothers territory again (in the style of "Jessica" - the Top Gear theme) for "A Secret to Keep", which captures the American Southern Rock sound perfectly, only without the steamy oppressive heat, the alligator infested swamps and the pesky mosquitoes down in the bayou. The singer barely has time to catch his breath in this brief fast-paced number before we're into Song No. 8: "The Brass Band Played". This is a fun piece where the band members sound like they're having a right old knees-up with lots of cheering and clapping in the background as a hearty brass band beats out a typical marching rhythm, as brass bands up and down the land are wont to do. The Salvation Army will be "Coming 'round the Mountain" with a collection plate any time soon. We're in celebratory mood now for "Rejoicing", a Funk Rock groove that's flying high on adrenalin like Tom "Maverick" Cruise lighting up his afterburners with a burst of testosterone in a twin-jet F-14 Tom-Cat. The next song "The Disaster Returns (Devastation)" continues where "The Disaster" of Side One left off, so you can expect more Looney Tunes madness and mayhem to ensue in a non-stop fusillade of machine-gun percussion and lightning- strike electric power chords from the crazy fired-up guitarist. This manic song barrels along relentlessly for eight minutes with all the power of a runaway diesel locomotive thundering down the tracks, but be prepared for a major derailment at the end. Onto the penultimate song now with "The Death of the Alchemist", a suitably haunting and mournful refrain featuring shimmering sound effects in the spooky opening. Hang on a minute though... What's this!?? It's not all doom and gloom as the song emerges like a beautiful butterfly from a chrysalis into a rousing and anthemic prog classic in all of its glorious majesty and magnificence. The Prog Gods will be graciously appeased. The third and final part of this four and a half minute epic features a cascading cacophony with the sound of echoing church bells in the background adding an extra touch of drama to the grand occasion. Time marches on as the tale of "The Alchemist" draws gently to a close now with the title track. This is prog gold! The song opens as a deceptively gentle acoustic Folk-Rock ditty, but this first impression is soon shattered by a storming gale-force blast of heavy keyboard prog in the style of King Crimson and Emerson, Lake & Palmer at their very best. This powerful soaring album highlight reaches Force 9 on the Beaufort Scale and has all of the surging symphonic splendour of "The Court of the Crimson King". In fact, the closing song is as pleasantly surprising and uplifting as walking straight into a supermarket during the 2020 coronavirus pandemic, without having to queue for ages outside, and then finding all of the shelves are fully stocked once you get inside the store. Improbable, but not impossible.

    "The Alchemist" will make you feel right at Home with this solid helping of pure prog gold, hammered out and fashioned on the anvil of Eclectic Prog. This terrific long-lost album would make a welcome addition to your treasured Prog-Rock collection, but the chances of actually finding this rare album in the record stores are about as remote as winning a medal in a Communist marathon. On your Marx...

     Where Do You Want Ghosts to Reside by FREN album cover Studio Album, 2020
    3.97 | 23 ratings

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    Where Do You Want Ghosts to Reside
    Fren Eclectic Prog

    Review by Matti
    Prog Reviewer

    4 stars I agree with all four collab reviews this far: this is a very solid four-star debut from Krakow, Poland. The quartet has existed since 2017 and I think they have very well found their style already. Instead of being yet another Polish neo prog act (don't get me wrong, for me Poland is among the finest neo prog countries!) or playing depressed heavy prog in the vein of Riverside, FREN make instrumental prog with lots of retro-ish elements. One may name several classic 70's bands as references in the attempt to describe the music, but the truth is that Fren have absorbed their numerous influences in a way that one cannot blame them for sounding closely like any band.

    I'm fond of the organic sound which has the sincerity and warmth of the classic prog era. Probably the band has deliberately achieved that feeling by using analog equipment. The production is however pretty faultless, not stuffy of unbalanced at all. Each instrument is clearly heard. A few words on the six tracks: 'Twin Peaks' named after the legendary mystery series of the 90's hasn't much to do with Angelo Badalamenti's music, but the slow-paced piece succeeds to weave a strong and mysterious atmosphere slightly reminding of the melancholia in Scandinavian prog (膎glag錼d etc), largely helped by the use of Mellotron. 'Surge' has a Crimsonesque dark tone. The rather heavy guitar and flute-like Mellotron sounds dominate much of the 10- minutes; at 2:30 starts a gorgeous soft movement in which the beautiful bass line suddenly grabs the attention and is followed by a laid-back but passionate electric guitar solo comparable of Camel. I only wich the delicacy would have lasted longer instead of returning to the riff-oriented heaviness. Near the end the organ leads to Uriah Heepish territory.

    On the shortest, 3-minute third track the acoustic piano makes its first notable appearance. Even though there's again some heaviness on guitars, the piano makes me think of Renaissance's Ashes Are Burning era. Piano is central on the 12-minute highlight 'Pleonasm'. Wow, here the beautiful melodies and the classical music flavour bring a lovely symphonic prog feel to the music, and the occasional jazziness is the cherry on the top. I'm sure that if you admire John Tout's pianism in Renaissance's classic albums, Oskar Cenkier's elegant touch delights you here. 'Heavy Matter' is an eclectic combination of the pianistic elegance, Crimson-like edge and some heavy and jazz nuances, and it reaches its emotional peak in a superb, David Gilmour-ish electric guitar solo. And the big chords are what I especially enjoy in the last track, as well as the moment focusing on piano.

    This interestingly named album is certainly much more than just a promising debut. Here and there the music is not as melodic and emotional as I would prefer it to be (hence "only" four stars), but it does contain several passionate highlights. Thank you, Fren, I really want to be around when you release your second album!

     Close Grip by GOURISHANKAR, THE album cover Studio Album, 2003
    3.75 | 80 ratings

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    Close Grip
    The Gourishankar Eclectic Prog

    Review by siLLy puPPy
    Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

    4 stars THE GOURISHANKAR is one of those prog bands that doesn't quite fit neatly into categories. This band from the city of Syktyvkar on the European side of Russia straddles the line between classic retro prog and creative experimental touches that place it firmly into the newer camps of progressive rock ingenuity. The band formed in 2002 and has gone through lineup changes over the years but in the beginning the band released an EP titled "Integral Symphony" that featured Igor Rachel on vocals and Paul Gen on bass guitar but they would soon depart leaving the lineup as Vlad MJ Whiner (vocals), Alexander "Nomy" Agranson (guitars, backing vocals), Doran Usher (keyboards) and Cat Heady (electronics and loops). The band used a couple session drummers as well as electronic drum programming.

    With the new lineup the band wrote and recorded its first album CLOSE GRIP which came out in 2003 and crafted seven highly original recordings as well as a bonus cover track of Gentle Giant's classic "For Nobody" on several CD releases. The name of the band's name apparently comes from the Himalayan mountain which is spelled Gaurishankar and is the second highest peak of the Rolwaling Himal located in Nepal directly between Katmandu and Mt Everest. While clearly based in modern symphonic prog for a great deal of time, the band also exhibits many moments with sailing neo-prog style guitars, heavy metal power chord bombast and Porcupine Tree styled space rock effects. The band itself describes its music as "The music for mystical dancing in the opium saloons." With moments of downtempo electronica, mystic musical scales from Eastern influences and English lyrics that are translated from classical Russian poetry, it's fair to say that THE GOURISHANKAR is quite an eclectic band.

    It's perhaps this eclectic streak that took me a while to warm up to this band as CLOSE GRIP left me cold the first couple of spins. The music is based on highly melodic and happy compositions that often sound like Pendragon, IQ or Arena however the keyboards can get pretty wild and deliver some virtuosic outbursts and the band likes to engage in unexpected hairpin turns as well as some slightly off-kilter time signature changes as well as modulated strange juxtapositions of major and minor keys. At its most energetic the band even generates enough steam to fall into Dream Theater territory with heavy guitar bombast, sizzling keyboard antics and although never quite going all the way into metal territory certainly goes as far as possible without actually crossing the line. Four of the seven tracks are quite lengthy and go into serious prog territory which wending and winding compositional heft that takes the time to expand melodic developments and experimental procedures.

    Despite the lyrical themes mined from Russian poetry, there are no indications that this band comes from Eastern Europe as it has totally adopted its stylistic approach to Western bands like Porcupine Tree, Sweden's Moon Safari and English neo-prog. Whiner's vocals often sound right out of the neo-prog playbook with emotive tenderly delivered lyrics but at times actually remind me of Geddy Lee's semi-goofy yelps. One of my favorite tracks is the ethereal "Autumn Frost" that incarnates Orthodox church choral vocals into the intro and select moments in the lengthy 11 minute run. The track journeys through heavy prog sections including some serious prog workouts where the instrumental interplay is off the charts with banging guitars, bantering bass, dramatic drums and cool as cucumber keyboards conspiring to craft a frenzy of proggy bliss. The bantering stops for a trippy vocal and ambient interlude before kicking in again. Even the Gentle Giant cover is quite clever as it faithfully revives the classic and propels it into the 21st century.

    It truly took me a while to warm up to THE GOURISHANKAR probably due to the vocal style but once i adapted to this band's approach i'm actually quite in awe of the musical performances. This band made quite a splash with its second album "2nd Hands" and for a short time became one of the most favored up and coming prog bands but i have to say that i'm quite enamored with this first offering. CLOSE GRIP delivers everything a really good 21st prog album should be expected to and then some. There's enough melody here for the purists and enough panhead unorthodoxies to keep those elements of surprise humming along. This probably could be considered a more eclectic style of neo-prog because that's where it exists for the majority of its run but the artistic ingenuity is quite impressive.

     Once Above A Time (DVD) by HACKETT, STEVE album cover DVD/Video, 2004
    4.39 | 85 ratings

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    Once Above A Time (DVD)
    Steve Hackett Eclectic Prog

    Review by iluvmarillion

    5 stars This was a promotional tour of Hungary following the release of the 'To Watch The Storms' album. The first half of the concert really mixes it up, starting with the growling opening chords of Valley Of The Kings, progressing to the syncopated Mechanical Bride, waltzy organ music of Circus Of Becoming and the hammer thrusts of Slogans to the beautiful flute and piano piece, Frozen Statues, the pastoral Serpentine Song with its pan flute, a quiet atmospheric piano piece, Hammer In The Sand and the familiar acoustic guitar of Blood On The Rooftops.

    Then the concert picks up a notch with the mellotron of Fly On A Windshield leading into Please Don't Touch and Steve's solo guitar playing of Firth Of Fifth. Just when you think it can't get any better than this Gary O'Toole gets going on the drum kit on Darktown. The real kick is in the next song, Brand New, when Steve ditches the acoustic guitar for electric lead at the beginning of the song, Gary moves in with a short scintillating burst of drums then bass, sax and electric guitar join in a jam. Roger King on keyboards quietens down the pace with some electronic percussion and then Steve closes out the song on electric guitar.

    The pace doesn't let up there with Air-Conditioned Nightmare, the classic staple, Every Day and another glorious guitar solo on Spectral Mornings before the concert wraps up with Los Endos. If your interest lies in Peter Gabriel era Genesis and you wanted to keep following the band in the 80's and 90's you should have been following Steve Hackett and his band instead of the Phil Collins led Genesis because all you love about the early Genesis is here on this video. This is my favourite Steve Hackett concert. Just a shame there is no audio version of the concert. You live for these moments.

     Trinity by EKSEPTION album cover Studio Album, 1973
    4.01 | 49 ratings

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    Trinity
    Ekseption Eclectic Prog

    Review by Spacegod87

    4 stars An incredibly innovative accomplishment, and although other bands were doing similar things, Ekseption really carved out their own sound with this album. Combining a number of different genres across the entire work, including classical, rock, folk, jazz and world music. But despite mingling different genres together, I think it is safe to say that there is a definite overall classical theme on this album.

    The classical themes, intermingled perfectly with breakneck playing, is both impressive and a pleasure to listen to. This album does not leave you bored or wanting to skip a single track. If you are an open-minded prog fan, the entire experience of listening to this album is a vibrant and exciting one. And if you are an avid classical music fan, you might be a bit unsure about how well they have put their own touches on a few classical pieces. I consider myself both a prog and classical music fan, and to me, it sounds fresh. I also believe that it holds up to this day in regard to being innovative. I do not believe they sullied those timeless Beethoven and Rimsky-Korsakov classics, but instead added their own unique prog charm to them.

    The various keyboard sounds from Rick Van Der Linden stand out on many tracks and is responsible for the faster, more fluttering sections and livelier phrases. The track, 'The Peruvian Flute' is rich with instrumental gold, and takes you on a strange, unpredictable journey that ends just as strongly as it began. I never thought I would find the pan flute interesting, until I heard this rendition of a traditional song.

    The trumpet work on 'Smile' reminds me of a moment in the past. It has a sense of longing, of nostalgia. The track is slower than the rest on the album, but just as beautiful. This leads into the punchy track, 'Lonely Chase' which is definitely the most bizarre but unique track in my opinion. It always reminded me of old video game music form the eighties, in a way. Its speedy insistence is fantastic, and I still maintain that it sounds like boss battle music in parts.

    Moving quickly onto side B, the bass and percussion in Improvisation is outstanding. Jumpy, bright and exciting. The whole song could have just been bass and drums and I would have been happy. Props to Cor Dekker and Pieter Voogt. This song is the definition of energetic and crisp, even though the entire album pretty much goes the same route. There is a short, 'blink and you miss it' moment with the track 'Meddle' which adds a folky, medieval flavor; right before falling into their rendition of 'Flight of the Bumble Bee' which mixes their usual bombastic style of playing with some smooth jazz mid-song. Finally, the album fades out with a choir singing in angelic waves, signaling the end of a truly unique and astounding album.

    I will end the review by stating that 'Trinity' is mainly a synth, sax and trumpet heavy album with many added elements. And if I could describe the overall feel of it in three words: Bright, Fast and Clean.

     Somewhere In South America... - Live In Buenos Aires by HACKETT, STEVE album cover DVD/Video, 2002
    4.29 | 52 ratings

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    Somewhere In South America... - Live In Buenos Aires
    Steve Hackett Eclectic Prog

    Review by Awaken 6am

    5 stars Time Flyies. Someday we磍l all can say that this performance is 20 years old... Being a huge Mr. Hackett磗 fan it磗 my pleasure to check that this performance is one of the highest rated of all Steve磗 official live recordings. Let me tell you that having attended + 300 live shows in my life I would never forget this one. Its enormously difficult to put this as a cool track-by-track , musician - by-musician performance. Amazingly enough reading some reviews I see other people feels the same. That磗 why I磎 one of the very few people that finds that almost the same band liuneup performing on the restles GR I & II tour seem a little tired, compared to this one, fresh, joy to perform. I have experienced myself the real joy in this men磗 faces while playing at the whole concert. I saw many attendants crying while leaving the Coliseo Theatre after the show, due to so many emotions running this whole set. It was a non-stop of so emotional music direct to the heart. And It was on yr, 2001, not 2002 as someone stated.

    Still there are some friends who go "Hey I Saw you on "Watcher Of The Skyies"... yes and I still wonder what was interesting for the cameraman in filming me long seconds shared with no less than Roger King while I was trying to install my camera磗 film propperly under near absence of light during that holy song intro. I was in charge of covering this show with reviews and pics for some Argentinian media. There is a Chilean boot release on CD of their show of the same tour released with a front cover of the band showered under a green light, pic courtesy of yours truly, that someone downloaded from Steves official web site The other "souvenir" I took with myself was a seemingly lifetime eardrum trauma, I suspect the fantastic "Mechanical Bride" 磗 fault. Nevermind, nothing can pale the experience of attending the best performance I磛e ever saw/ heard in My life.

    While considering set selection, performances and joy that this mean exude, (Five Stars) , on the downside I can say that video quality of this DVD is surprisingly poor, compared to, say, "Once above a Time" one... And so is the whole layout of the DVD... being that there were ... eghem !... Many other much better pictures available.

    Trying to be enterprisingly objective, all can I say to general prog lovers is: Don磘 miss this show, and try not to get distracted by the noisy and low quality video on this one. May Steve take note of all good reviews regarding this show and (fingers crossed) think about a remaster - full version of this exceptional piece of art.

     Red by KING CRIMSON album cover Studio Album, 1974
    4.55 | 3316 ratings

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    Red
    King Crimson Eclectic Prog

    Review by Zoltanxvamos

    5 stars Wow... there are only a very few times I'm willing to admit I was too quick to judge... and I'll admit it now. I was too quick to judge... this album is brilliant. Next time, I promise to actually give albums an honest shot many times over before judging it because it's a band I'm not a huge fan of.

    So... of the series, it worked up for me way different than I anticipated. I wasn't the biggest fan of Larks', for me it was a bit messy and the ideas they were trying weren't working for me much on it. Then I took a listen to Starless and enjoyed it a bunch, the quirky behavior of The Great Deceiver, Lament, etc.

    However... something about this was just ... a large improvement.

    Red was the powerhouse opener, how this song didn't click on the first listen is beyond me. Listening to this album over and over really has lit a spark for this album. It honestly has the best experimentation I've heard in an album. The instrumentation is unbelievably well done here, even though I was never a huge fan of Fripp, I always thought his style was very interesting. The work he did on the song is actually very interesting, and he did some work that actually worked for me. I might have been very biased about King Crimson, since the... THRAK incident. This is honestly way better than THRAK, I can actually appreciate the experimentation this album brings.

    Fallen Angel was the continuation I wanted from the opener, only more... John Wetton's brilliant vocals. His harmonies on this track are brilliant... again... why I didn't give this more listens. (now I know there are going to be people who will now criticize the fact I'm calling this a masterpiece now... so please just appreciate I gave this another listen and changed my mind. Alright?)

    One More Red Nightmare... the experiment continues... the little funky bits in the 2 minute section. I don't enjoy this song as much as the rest of the album but still this is pretty good.

    Providence has the extremely slow and yet amazing build to the faster climax, I really can get into this experimenting. This worked for me a bunch more than the previous two.

    Starless... my favourite piece on the album. John Wetton's vocals, the slow and melodic build, then to a more experimental jam at about the 6 minute mark, and well... the climax of the album...

    Alright, I admit it. I was totally wrong about this album... I'm sorry. I don't think I'll ever make it up to the people I offended, but hopefully this is a start... but to be clear... I didn't do it for them... I wanted to give this one more listen. Then when I wanted to listen to this again... then again... and then again.... yeah alright... I was really wrong about this album.

     Starless And Bible Black by KING CRIMSON album cover Studio Album, 1974
    3.93 | 1796 ratings

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    Starless And Bible Black
    King Crimson Eclectic Prog

    Review by Zoltanxvamos

    4 stars Probably my favourite King Crimson album after In The Wake Of Poseidon. This is experimental, but it has more a well realized and much more polished look than this predecessor 'Larks' Tongues in Aspic'. I actually much enjoy this, and I know this will upset King Crimson fans a bunch but this is unbelievably better than Larks. The first half of this album sold me and the more fluid and slightly less jam feel on this album just made me fall for this. Alright... my truth... and my final conclusion... this blows Larks into the water. I'd much rather listen to this than that unbelievably noisy and overly experimental dribble we know as the very highly rated 'Larks' Tongues in Aspic'.
     Larks' Tongues In Aspic by KING CRIMSON album cover Studio Album, 1973
    4.42 | 2852 ratings

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    Larks' Tongues In Aspic
    King Crimson Eclectic Prog

    Review by Zoltanxvamos

    3 stars Alright, since I'm being bashed for my review, I'll go ahead and elaborate. Since I'm not a huge King Crimson fan, I decided to see if this album would change my mind. Unfortunately, I was mistaken and believe me I tried. I think that this would better suit someone who likes things with a bunch more of a avant-garde, extreme experimental piece, but since I'm not that kind of person, I wasn't a fan. The opening piece "Larks' Part 1" didn't show anything that made me think "Wow this is great", it wasn't something I'd put on for any situation. I found that the scattered musicianship was very different and was able to appreciate what they were doing, but I wasn't compelled. Music for everyone can be a different experience, for me, when I'm listening to an album, I want something to hit me with emotion, the chord progressions, the quirks that Genesis was able to pull off and so many bands. I want an album to hit me with emotion, and every reviewer will have a different reaction to something, you will love something I might not.

    Alright, for those who think I am just hating on King Crimson, I'm not. I like some of their material a lot, I'm a huge fan of Starless and Bible Black, why? Because it hit me differently than this, and one more time... I gave it a large amount of honest listens and it didn't click. I might revisit this album, and it might hit differently. I wasn't a fan of the over the top experimentation on this album, it just wasn't for me. Red was the same, I thought it was overly complicated and mainly just overly experimental to the point where it sounded like ... noise. I'm sorry but that's how it was for me, I grew up in a house where Pink Floyd and Genesis and The Flower Kings and Camel, etc, etc, was the norm. And maybe there are Genesis fans, etc, etc, who love this stuff.. but it just wasn't for me. Hopefully this is better, and again, I apologize if I caused any hysteria.

    Alright, I know what people might say, I'm editing again to get people off my back, no... I forgot parts of the album. Exiles... how can I actually forget about Exiles. This song was the song that actually peaked my interest, the chord progression, the mood of the song, John Wetton's vocals, the structure of the song was great! I can't believe I forgot this. However... this is where it goes back down, Exiles and Larks Part 2 were the only songs I remember enjoying, and now ... I know I only enjoyed them. I gave the album 4 more strict listens, and frankly I do enjoy it a bit more but I still don't think this album works with me 100%. I understand and appreciate the experimental and avant-garde approach but it still doesn't work for me. I grew up with Selling England, Close To The Edge, Stardust We Are, Silent Knight, The Dark Side Of The Moon and of course Pat Metheny and many more. What I look for in an album is everything to be written and structured, a well constructed piece that has atmosphere, an album in where it sounds like everyone sat down and wrote every second to an absolute tee. Maybe now you will understand why I wasn't the biggest fan of this album. I'll give Red a few more listens and see how it treats me.

    Data cached

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    Bands/Artists Country
    16 DEADLY IMPROVS United States
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