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大碗茶棋牌 Studio Album, 2020
4.29 | 242 ratings

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Love Over Fear
Pendragon Neo-Prog

Review by FatherChristmas

超多炸棋牌 I've just bought this album yesterday, and it surprised me - in a good way. Before hearing I thought Pendragon had had their day since the album "the Masquerade Overture". Luckily, I was wrong. But I'll get one with the review.

The album gets off to an excellent start with fanfare style organs from Clive Nolan on the first track "Everything", before the guitar comes in and bursts into song. This is, in my opinion, one of the best and most important songs on the album as many of it's motifs are repeated in other songs on the album. Anyway, it's a great song and brilliant intro.

"Everything" then flows into "Starfish and the Moon", a quiet, simple song featuring only piano and a soft guitar solo in the middle - and Nick Barrett's excellent vocals, of course. The quiet is undisturbed as the next song, the 8-minute opus "Truth and Lies", comes in with more of that soft guitar - do not be deceived, however, as it soon flows into an harrowing guitar solo - in my opinion, the best on the album. As the harsh, storminess of "Truth and Lies" fades away, a mandolin comes in, signifying the begin of "360 Degrees". After the first verse, the drums enter with bombast pronouncing a happy violin melody. The entire song is inspired by the sea, which would make sense as Nick Barrett is curently living in Cornwall. In fact, the entire album seems sea-orientated - even the cover.

As "360 Degrees" fades away, in comes "Soul and the Sea" - probably the most musically varied track. It begins, like "Truth and Lies", with a soft guitar. Soon the violin comes in and then the drums, followed by somewhat whispered vocals; until all of a sudden it breaks down into a short piano motif. Then, thunderous guitar and drums enter, the vocals now loud and clear, until it fades out with an acoustic guitar.

After "Soul and the Sea" ends, "Eternal Light" begins with a soft but soon loud guitar. After the first lyrics, a motif from "Everything" comes in - and after that, more lyrics, an instrumental section, then yet more lyrics, then the end. I've barely described it there - it is as varied and complex as "Soul and the Sea" - but "Soul and the Sea" gets the most complex prize, as it is much shorter.

Then - "Water" - another long song at seven minutes long. It begin only with a soft, sad guitar, but continues to build up and up as the song goes on, with a great, harsh guitar solo not dissimilar to "Truth and Lies". The album continues with "Whirlwind", a fairly short piano song, that fades into the longest track - "Who Really Are We" - that begins with a thunderous guitar riff, which descends into an acoustic passage with drums, but then breaks down - and builds up again with that thunderous guitar riff with added solo. The final lyrics come in, and then...

"Afraid of Everything", the final track. It enters with a fairly soft guitar, builds up, then swirls out with a beautiful synth solo. A brilliant outro to a brilliant album.

So, to sum up... I didn't want to have my first album review to be five stars for some reason, but here I am forced to. It has both the two requirements I consider for a five star album:

1. The songs are all great. In the words of Special Collaborator chopper, "not a duff track in sight".

2. It works brilliantly as an album. It flows well from song to song, and many songs share motifs.

So... five stars.

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大发棋牌免费 Studio Album, 2019
3.72 | 245 ratings

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Fear Inoculum
Tool Experimental/Post Metal

Review by dougmcauliffe

常来互娱棋牌 When this album came out I watched a vocal group of Tool fans tear it to shreds and endlessly crap on it. Was it really a big disappointment? A stinker perhaps? Or was it just that it could never live up to the hype and expectations in the heads of Tool fans after over a decade wait? All of that is irrelevant to me, general consensus is determined by the first people to put their opinions out there. That or reviewers on the internet with influence (Anthony Fantano gave this album a 4/10). When this album came out nothing by this band ever did anything for me, and I really tried. However, this album swept me off my feet and continues to do so today easily cementing itself as my favorite Tool record. I've come around a bit to Aenima and Lateralus, but I don't often sit through those albums front to back. If I want to hear Tool, this is what i'm reaching for an overwhelming majority of the time. This is a cohesive and dense album with nearly every track stretching over 10 minutes taking you through these polyrhythmic mazes of unconventional riffage and incredibly developed drumming. On this album Tool has mastered the art of subtly sleekly building up each song taking you on a journey into the depths of a very dark place. The production is ear candy with these crisp and layered electronics, clear and punchy bass, incredible drum sound and a simply nasty guitar tone. The title track kicks things off with this brooding and menacing introduction that just gets me fired up with these kinda tribal-esque drums and reverberating bass all around you. The vocals hit you in flowing waves while the guitar teases you in the background. The song reaches a satisfying and powerful payoff eventually transitioning into twisting and more striding passage in the second half. For the final minute and a half they start firing on all cylinders with great aggression and intensity ushered in by filthy guitar tones. The second track Pneuma is my favorite on the album, it melts my brain every single time. It opens with this earthy and more free flowing introduction kicking into amazing and complex bass and guitar riffage enhanced by the drum parts accompanying and playing around it. The chorus is just head-bobbing ecstasy. At around the 6:08 mark it kicks into this indescribable passage with steady electronic drumming and penetrating face-melting synths/electronics. Every time I hear those drums fade in I can't help but smile, there's something so psychedelic about this passage as layers upon layers stack and soar around you. This leads back into the main riff, now heavier, faster, and slightly altered concluding on an explosive note. Invincible opens with windy riffage while the other instruments set the stage and play around this lead guitar line. For several minutes this song quietly grows until the band is coming in full power underneath a memorable hook. They break into a thundering instrumental break briefly before kicking back into that chorus which leads right back into another incredible instrumental playout where the drumming is just baffling. Those tasty electronics join back in with these hypnotic vocals mid way through this jam. The song reaches an intense crescendo reprising the intro guitar riff at full force. I found this song to be more of a slowburn and one that really grabbed me after a few listens. Descending is possibly the least conventional song here opening up with a few minutes of these ineffable and subtle instrumentals melting, or properly descending around you. I just don't understand how people can reach this level of musical creativity. It's the point where I struggle to even write about this track because there is just so much going on at all times, the meter is completely off the charts while never sounding forced or out of place. Culling Voices has these more melancholy guitars starting the song off. The vocals join in creating one of the more minimal and intimate feeling moments on the album. While to vocals are delivered with great emotion, the guitar contrasts it with a more off kilter and slightly uncomfortable choice of notes and chords playing beneath it. This meditative section goes on for quite a while actually really taking its time and when the rest of the band comes in, it doesn't immediately explode into a fiery jam like you would expect. Rather they kinda contribute to the already existing somewhat droning feel of the track. At 6:33 things noticeably pick up before reaching that big heavy pay-off you could feel coming. Chocolate Chip Trip is a bizarre somewhat avant garde electronic backed drum solo like nothing else I've ever heard. This unorthodox atonal electronic melody pierces in and remains a constant as Danny Carey goes absolutely ham alongside it. The track eventually sorta fizzles out. 7empest is the closing track and it's really just exciting start to finish. Out of all the songs this one is the most immediately heavy and "straight out the gate swinging." It opens with a short little picked guitar riff with what sounds like an electric harpsichord (my best guess) accompanying it. Soon after it drops into an awesome looming riff with the vocals following thereafter. Of all the songs on the album this one to me sounds the most like some of the material off whats generally considered the classic tool albums with its alternative metal tinge in the vocals. I love the kind of alarming guitar section that starts at 5:38 playing on top of a headbanging rhythm section. This extended solo really develops seamlessly leading into the next section of the song with some harder hitting slightly harsher vocals. The passage straight out of this is glorious with its trash-crash symbol and groovy guitar/bass riff. The finish to this song is great as it eases and settles out of the heaviness combining both a reprise of the opening section with the rhythm section playing another riff from the song on top of it. It took me a bit to pick up on this but it's very creatively done. It's a really fantastic conclusion to this staggering album.

I bow to no one, I love this album. I rarely sit down and listen to albums start to finish that stretch over an hour, but at 关于 80 minutes, this proves to be an exception to that. I don't know what else to add, it's just creative, massive, rewarding and flat out awesome music. I was not a Tool fan until I heard this album but even with that it proved to be a very challenging undertaking that I still am continuing to wrap my head around with each successive listen. Do not enter this album with any preconceived notions based on some of the stuff you can hear on Rateyourmusic or Tool forums. Give this album time and it will reveal itself.

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单机斗地主无网免流量 Studio Album, 2001
3.99 | 283 ratings

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Hypothetical
Threshold Progressive Metal

Review by friso
Prog Reviewer

单机斗地主苹果版下载 There isn't a lot of progressive metal I like and I bought this record for its few Arena-like neo-prog moments. Treshold is however an eighties metal infused symphonic metal band with poppy refrains and a very smooth production. Almost a bit like the later albums of Toto. Some guitar riffs are clearly influenced by Metallica. The keyboards of Richard West sound great and I like his modern sounds. During the solo-sections there is some real modern prog bliss to be found. The powerful vocals of Andrew McDermott have a modernized stadion rock appeal, but the execution here is faultless and easy on the ears. If the style of the band is a bit typical, the song- writing is quite strong here. Some refrains are too poppy for my taste, there is a lot of melody here that does stick - which is not a given in my experience! The eighties swoosh ballad 'Keep My Head' is probably not meant to be a parody, but that's exactly what it sounds like to me. The 55 minute album is well spread over three sides of the vinyl and the sound and quality of the record is outstanding. I must admit I'm quite satisfied after the first two sides, but the final epic 'Narcissus' is also a great track full of strong instrumental sections. Treshold's 'Hypothetical' delivers nothing new here, but the mix of metal / prog / classic rock works well for me.

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单机斗地主永久免费版v1.0安卓版下载 Studio Album, 2020
4.08 | 93 ratings

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The Red Planet
Rick Wakeman Symphonic Prog

Review by hegelec

单机棋牌游戏apk Rick hasn't picked up many new tricks in some 50 odd years: without question, he's a phenomenal musician, and yet much of his solo career defines what I like to call "regressive rock". But with "The Red Planet" Wakeman is reaching back into his familiar bag of tricks and pulling out a few from the most creative part of his career (the early 70's). The instrumentation and arrangements here are sure to please fans of 70's prog -- though not giving us anything we haven't heard before. In fairness to Rick, though, he seems to be pushing himself in the composition department. There are some really surprising chord progressions here and there, breaking out of the predictable diatonicism his style is known for. And in Tharsis Tholus and Olympus Mos, there's a few really surprising rhythmic shifts and even polyrhythms, without ever sounding "put on" or complex for its own sake. Nicely done.

The record's pretty darn good.

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大发棋牌游戏下载 Studio Album, 1972
3.66 | 18 ratings

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Zendik - The Album
Wulf Zendik Indo-Prog/Raga Rock

Review by bartymj

超回赢棋牌 I don't get it. Sorry. Might be a poet and a visionary but clearly its beyond my tiny brain. It's an Indo-prog theme that doesn't get out of a doom-sounding first gear, and it sounds like someone has taught a goat to talk over the top of it. Nothing stood out for me unfortunately, and I listened to the whole thing in the vain hope that something would happen. Might need to be on an acid trip to get it. Was going to listen to another Zendik album but I'm dreading that now. Perhaps I'm committing some sort of prog blasphemy, because I often struggle with some of the less 'accessible' offerings out there, particularly in the Avant realm, but this I'm not sure.

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单机斗地主不花钱的不用网的 Studio Album, 2018
4.00 | 1 ratings

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Don't Pick Your Noise
Them Moose Rush Heavy Prog

Review by Grumpyprogfan

— First review of this album —
此间娱乐棋牌最新安卓版 The instant I heard TMR I had that feeling you get when a power trio kicks out some serious rock and roll. A jolt of electricity flowing through your body. Raw, heavy, thick, and catchy. Made my day. So who was this trio, and what magic gives them control of these infectious grooves? Is it the production, the music, the musicians, or all of the above?

This album clocks in at 43 minutes and not a moment is wasted. If I could compare TMR to other bands; Sabbath, Mars Volta, Primus, and Radiohead may be included, but they really have their own thing going. The vocalist has a screamy high pitched timbre that fits the music like a glove. I could see it offending some, but tough. Each song on this release is' better than the last and it ends with the amazing "Whim". Really superb songwriting. When you reach the end you will want to play it again. Other highlights are "Lethal Dose of Pretty" and "Dreydribble". This is not overproduced, sure some backing vocals are, but the instrumentation is not, and the recording sounds thick and rich. This would be a must see live show that would sound equal or better than the album.

I could gush 关于 TMR even 更多, but I'll stop and let you check them out yourself.

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朝阳集杰棋牌 Studio Album, 1967
4.16 | 759 ratings

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Magical Mystery Tour
The Beatles Proto-Prog

Review by Heart of the Matter

常州龙腾棋牌 First of all, I have to say that it's completely out of my hands the kind of perception necessary to rate this album merely on the basis of its intrinsec quality and musical merit. And that is the case, not because any subjective issue, such as being myself conditioned by generation, media exposure or personal taste. Of course, I have a taste, which says to me that, besides Walrus, Fool, Penny Lane and Strawberry Fields, there are in this album scarcely something else ranking in the same league. But, I'd dare to say, that's not really the point here, because there's such a stream of consequences coming from this recordings, that obliterates the importance of the rest. And that's no subjective impression, but rather an objective historical fact. Having changed forever the orientation of musical taste in planet Earth is a well-known fact related to this songs, and if this is not enough to justify the calification of "Masterpiece"... well, I give up. This is not only music of incomparable originality and influence in its own terms, in addition to that it is an essential part of the very foundations of Prog. Think only in the chello part in Walrus that inspired Jeff Lynne, and the baroque trumpet solo by David Mason in Penny Lane that inspired Symphonic Rock, to say the least. I perceive the beauty of these creations, I understand why the vast effect they had (and still have), nothing else matters to me.

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大牌德州棋牌 Studio Album, 2020
4.00 | 2 ratings

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StarStuff
Ovrfwrd Heavy Prog

Review by CeeJayGee

大富豪棋牌娱乐合集 My introduction to OVRFWRD's music was their last release, Blurring The Lines...A Democracy Manifest which I very much enjoyed. Their latest album StarStuff is due for release at the beginning of October 2020 and demonstrates that this band maintains a consistency in the high quality of its releases. I enjoyed the whole of StarStuff from first listen and have not tired of it after several more. Entirely instrumental, as was their last release, and comprising seven tracks. The band is classified as Heavy Prog but is capable of producing subtle and quite beautiful music. A good example is the title track which is also my favourite track for the album. This really is a delightful album and is highly recommended.

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大宋朝棋牌 Studio Album, 2020
4.05 | 11 ratings

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Endurance of the Obsolete
Apogee Crossover Prog

Review by Heart of the Matter

单机版斗地主 I must say that this album gave me a nice surprise, since one can find here a lot of tasteful and intricate vocal conterpoint in the loving style of Gentle Giant, but without incurring in a plain copy or pastiche. There's also, along with the recognizable pattern of voices and acoustic guitars, some original flavor in melodies and arrangements, as well as clever and skilful song writing, and that makes this new listen worth. I can point out a resemblance to dutch prog rockers Focus too, for example in the keyboards fanfare and vocal chorus of the opening track ("Interpretations"). But that one, and the other influences, are organically integrated in the music that runs fluid following its own path, and conforming an original and solid idea

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单机波克棋牌 Studio Album, 2008
3.22 | 69 ratings

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Unifaun
Unifaun Symphonic Prog

Review by raelreels

单机斗地主官方免费版 Some of the comments of my prog-brethren above are hysterical funny. In case you didn't understand, the whole idea was to be Genesis without being Genesis, nor a tribute band. But some of the comments are spreading the idea that it sounds too much like Genesis without being Genesis, or even too different from the original to be acceptable. Duuuuuuuuuh!!!!!!!!!!!!!, the whole idea (it's even done the rounds, "the songs that Genesis never wrote") is to do something that sounds like Genesis without being Genesis. This is not even neo-prog, it is, again, the songs that the (arguably) second (third or forth depending on who you include in the line-up) incarnation of Genesis (ToTT or WaW) or beyond could/might have have written. So I don't understand the comments that "it doesn't enough or too much like Genesis" comments. If this type of endeavor offends your purist sensibilities, read the damn articles or reviews before buying and understand what your supposed to be acquiring, before doing some dumb hatchet job, jeeeezzzz..... For what it's supposed to be (according to me obviously), I find it admirable and even spooky (this from a Genesis fan who saw them/their surrogates during the TLLDOB tour (03.75) in Annecy France, then in Bern Switzerland again in June 1976, and finally in Geneva Switzerland the Musical Box Tour of 2006 of the TLLDOB tour). This is a wonderful album, from someone who obviously loves Genesis (as much as many of us do) and tried to express that in a very convincing manner.

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