I'll be fair, there are stances where prog isn't necessarily what I described as an ideal prog rock accompaniment to morning milk bowls. Truth be told, my enmity towards ECHOLYN lies mostly on a level of personal taste rather than an "objective" if such term is even applicable to music lackluster concept or performance by the band. Come to think of it, I am hostile towards Crossover Prog in general, and this album is the prime definition, or at least in my mind the paramount example of such ProgArchives-created genre, so no wonder this characteristic is my second issue regarding the record.
With that in mind, I can sum up my whole concept very shortly: I like energetic, lively, fluid music. Dynamic rhythm, innovation, unforeseen ideas are all important to me. Crossover Prog hardly fits those criteria when it does, like in the track Headright , I take off my hat.
So I end up not liking it. I end up not liking it. La Fin. If you like music that sounds like Crossover Prog, ignore me and give it this a go. If it ain't your thing, though? Avoid this. If awards and ratings were to be decided on the sheer potential commercial scope of an album, "I Heard You Listening" would be among the very rare albums I'd describe as just about perfect.
For my particular taste in music it's merely a strong album. I will add to that that there's something of a timeless feel to this album that makes me suspect I'll say the same 20 years from now, which isn't always the case with an album that manage to draw my interest. Other than that, I'd say that by and large this is an album that should have a broad appeal in progressive rock circles: If you like this kind of music in general, this is a CD that merits an inspection.
Review by Warthur Prog Reviewer. It could have been a wonderful gateway drug to prog for so many - and for quite a few, of course, it was. But it's a tremendous shame that Sony refused to help promote the album at all, leaving echolyn to handle that by themselves; what, after all, is the point of signing someone to a multi-album record deal on the strength of releases like the far less commercial and far more oblique Suffocating the Bloom, only to abruptly get cold feet as soon as the musicians produce an album for you?
But hey, it works for me. Specifically, on this release echolyn practice a well-honed neo-prog style which shows little evidence of the Gentle Giant inspiration which would make Suffocating the Bloom such a characterful and unusual release. The complex interweaving vocal harmonies they worked in there, in particular, seem to be more or less missing. What you get instead, though, is a well-polished and accessible neo-prog album which is a pretty decent listen though I could do without the occasional pandering to classic rock traditions that could perhaps be left to quietly die out, like the rather dull drum solo in Clumps of Dirt.
There is, in particular, a certain warmth to the album that sometimes feels like it gets a little lost on subsequent echolyn releases, which means that if you are fond of the band I honestly think it's worth your while to track it down in whatever form it's available in and give it a listen, because whilst this doesn't sound like the echolyn we know, it's still an echolyn which is worth your attention. For most of the disc, the tracks alternate between their more romantic side, similar to the songs on their first two albums, and their harder-edged ballsier side, perfected on the album Sony mishandled so long ago, "As The World".
Hillesheim M. Hirle A. Hofmann M. Kiefer T. Koss M. Krosse K. Kruppa J. Lohr F. Lutz S. Mack H. Mangold V. Mantei O. Mensing J. Meurer P. Meyer M. Peltner S. Pichireddu A. Reuter J. Although they had a CD, Entropy was without a recorddeal again. Around , Casper left the band and they had to start looking for a new vocalist. After his departure a good relationship between Casper and Entropy remained and he still is one of the contact addresses for the band. Most criticism on the album are on the restricted vocal capacities of vocalist Casper Legdeur.
I hear on this CD too little progression, compared to the demo that was released over a year before. Shortly after the release of the CD, a keyboardist, Stephen Stoop indeed Martin s brother was added to the band. Stephen had already participated in the band earlier. He was the one who had come up with the idea for the intro of the CD and he also wrote the intro for "Dreamrun" one of the CD s tracks. But he didn t join Entropy officially until April In autumn , Entropy placed an advertisement for a new vocalist on which they got an enormous response over 75 reactions.
Some possible vocalists were selected to do auditions, but unfortunately it turned out that none was suitable for Entropy. Entropy plans to get back the rights of their CD. In April or May they will enter a studio again to record a four-track new demo or demo-CD , which will be entirely instrumental, and to try to get a new recorddeal through this Roadrunner already showed some interest after having heard a tape of the CD.
Also they work on various projects like doing music inspired by the movie "Clockwork Orange", which might become new music for a future Entropy-release. Also Entropy will continue the search for a good vocalist in I like their later work with female lead vocals better.
The album is a rarity, though, so maybe progfans should try to get a copy for its collectability. The closing track however kicks off very hard and can be described as heavy-metal-meetsGathering-meets-Dream Theater-and-a-bit-of-Rush, but with an atmospheric part halfway through. All in all a good step forward for this band. The main question of course is if the band has developed in a positive way. This is certainly the case, because production wise they have delivered a better product.
The keyboards are also more prominent. But the guitars have still a leading role. The music on this album gets even more into the direction of bands like The Gathering and After Forever.
But I must honestly say that they have not reached their level yet. The start has been made and the they can only grow. For now Entropy has released a nice progmetal album that certainly will be enjoyed by the fans of The Gathering.
Not perfected yet and at times closer to electronic music than later work, but then… this is a soundtrack. Business as usual for Enya, well done, beautiful, but not very exciting anymore. Another plus is that Enya almost avoids known pieces and comes up with nearly only original songs.
In fact, the main criticism on this disc would be on the sweet-ish cover. Actually, it is, but this song lowers the level half a star. The full name of the band is End Of Silence. CD US progressive rock group. CD German progressive rock group with symphonic and polit-rock tendencies.
Some members were later found in a progressive metal band called Moonlight Circus. Musically Epica took the same direction but more into extremis - ed. Actually, the CD contained more than just the soundtrack, also included was more music that was inspired by writing the soundtrack. Two weeks later, the band also came out in Europe. At some points, Epica gets a bit overproduced, but it surely has more sincerety, compared to the sterile kitsch-sounds of e.
Especially for fans of After Forever and Rhapsody, Epica is a must-have and a collective to keep an eye on. Epica s "The Phantom Agony" can be called a modern version of this masterpiece. It has the same impact because of the strong orchestra and choir performances. Epica released a very strong gothic rock album of which they can be very proud. I only wonder how they will perform this orchestral piece live. Okay, so in the Gothic scene it created quite a stir and musically there are definitely some interesting parts on it, but I get the creeps from the vocals and those awful grunts that make my hairs rise.
Classic prog heads: RUN! Simone looks lovely and sings great, the music is very much over the top and I like that, but those stupid screams just ruin everything. Simone sounds much better and you can hear that all the live work made her more confident. But still I think that some different ways of singing would be welcomed.
However guitar player Mark Jansen screams and grunts too much too be honest. It is a fine album but hopefully they will be more adventurous on their next release and bring some new influences into their music. One hour long, the music grabs you by the throat. The mostly instrumental pieces have enough impact to be interesting without the images of the movie and have all the elements that a soundtrack needs: drama, passion, horror and emotions. A lot of the music was played on synthesizers alongside a real orchestra.
Those same tracks have a sort of medieval musical style. Not only the musicians on the album delivered a superb performance but also the production was excellent. Guitarist Mark Jansen wanted it to sound as if the orchestra was playing in your living room.
Well, they came very close when I heard the album with my eyes closed. Quite nice if you like orchestral film music or the romantics from the second half of the 19th Century. Either you love the bombast, choirs, orchestras, grunts and screams or you loathe them deeply. I find the result slightly tiring.
In fact Epica raised the bar a whole load of notches with this new release resulting in what I would like to call their best release so far. Good news is that the screams appear to have vanished and the grunts are used in a functional way. Further more do we have very good songs, a superb production, functional choirs, orchestra and bombast and a tightly playing band.
Epidaurus may have been a studio-only group. Not only did the band have two keyboardists, the album also presented two drummers, one for each side of the original LP.
Side two had as the drummer Manfred Struck. When the band folded in the late s, Kunert, Linke and Henne formed Choice. Many years later a new Epidaurus album was released through Penner, but this version of the band proved to be weaker, musically.
The vintage keys that dominated the debut and made it such a fantastic CD have largely disappeared, many modern elements effects, trip-hop orientations have crept in and the music appears to have been streamlined a lot.
Epidermis released three albums over the years. The debut is regarded as their best work and has been reissued on LP in and two years later on CD. It seems that this LP was a result of the band beginning to experiment with the German language. And good vocals too, which always deserves a special mentioning with German groups.
Their last two albums featured Tom Finch on guitars and when he left his place was taken by Gary Morrell of Now. Parts of the debut were recorded in England, but the recordings were finished in Germany, where a fourth member, Klaus Waltz, was added. After the second LP, again in heavy progressive style, two singles with non-LP tracks were released through Polydorsubsidiary Zebra. Things looked good for the band by this time and they signed to new American label Billingsgate.
Much money was invested in the recording of the third album with new drummer Achim Wielert. This LP was more of a mainstream effort, cleary aimed on the international breakthrough. Unfortunately things went terribly wrong! Billingsgate went bankrupt and the band having lost their money and returning from an expensive promotional tour in.
The new album was the first in an all new line-up with only one original member Jackson and Heinz Glass guitars , Harvey Janssen bass , Michael Karch keyboards and Fritz Randow drums, ex-Eloy, later member of metal bands Victory and Sinner which had gotten together in and had supported Hungarian band Omega that same year. The two next albums saw no change in style and brought no commercial breakthrough as well. This led to another collapse of Epitaph in Overall a fine album from the early s!
His musical ensemble consists of nine musicians, three of them being vocalists who often sing a capella! The progressive touch is by drums, bass and some synthesizers but these instruments are mainly functional to the music, the vocals and violins remain the focal points.
The name Epsilon was chosen because already another band called Karthago existed when in Michael Winzkowski joined to complete the band. Both the debut and the second album were produced by Peter Hauke with engineer Dieter Dierks.
In this line-up the band supported British jazzrockers If on their German tour. Also one more exJeronimo member, Peter Koch percussion , temporarily joined as fifth member.
In Epsilon signed to Ariola and recorded two singles that both flopped commercially and are probably of no interest to progheads, judging by the titles… As a result of this, the band disbanded. Winzkowski adopted the pseudonym Michael Wynn and was active with his band that also featured Daansen. The singer has a really soulful voice. I guess no progfan would have picked out the LP by just looking on the cover. And that was a good choice, so it turned out.
A fine second effort with again fairly strong singing and a good balance between rockier tendencies, classical influences some bit from Mozart appear , a lot of vintage keys notably keys and in its best moments coming very close to Triumvirat.
CD Musically a mixture of gothic, metal and classic rock with male and female lead vocals. Walter started doing soundsculptures and making his own instruments in the early s, inspired by Greek instrument-maker Stephanos Gazis. The band reunited in the early s. In there even came a new, all instrumental, CD. Well played, but the Spanish singing is a tad annoying to me at times.
All vocals are in Spanish and unfortunately that is not my favourite language. Also the mostly extremely echoing and often distorted guitar sounds are not really to my taste. Still I can appreciate the courage to present this kind of stuff in a country where experimental rock was a novelty in those days. The artwork was done by one of the members of this project: Jaime Moroldo. CD Progressive rock band from Panama.
Played at the Baya Prog festival. When they were in the mixing stages for their album with Erik Norlander , they parted ways with drummer Althaus, resulting in the end of the band - at least under the name of Equinox, because they renamed themselves to Vox Tempus.
They were led by pianist and composer Alexei Alexandrov. The piano and accordion play a main role. To this flutes, violin, saxophones, guitars and other string instruments , vibraphone and percussion are added.
Also we can hear some wordless chanting. All in all certainly not a bad CD, best suited for people looking for a resting place. There were definite PMG influences, even to the extent of incorporating similar wordless vocals in most of the tracks, and in the use of the Russian instrument called the bayan, reminiscent of the accordion sounds in earlier PMG days.
However, Er J also amply presented their own identity, in a Ukrainian or Russian way. Also in evidence on that CD were similarities to another talented but lesser known American jazz-rock band called Montreux, especially in the use of the violin; though I sense that Er J had never heard of Montreux, resulting in the similarities there being coincidental. The preceding comparisons are commendable, but now, on the second release, Er J have expanded their own style, such that "On the Hill Again" is a splendid album.
I liked "Gabrielius", but this new one is even better, with further examples of melodic, vibrant and atmospheric jazz-rock, sometimes led by violin again, and sometimes by flugelhorn, trumpet or cornet, which were not featured on "Gabrielius", and blended with beautiful folk and ethnic sounds. This formation started preparing a second LP, but this material was never released. Matthew got a session job and Jayde was working as a sound engineer.
They noticed that they had the same musical taste and together they recorded a four-song demo. The F2 record label found it very good and asked them.
Rob Reed Magenta, Cyan and Fyreworks was asked to produce the whole project. He mixed and arranged all the songs and was also asked to play all the keyboard parts because he was a far better player.
Other musicians that helped them out were Charlie Steel on drums and Christina also of Magenta on vocals. After the release of the disc, Jayde and Matthew teamed up with other musicians and the project became a real band among which drummer Rhys Jones who also played with Magenta. His guitar playing is sometimes rough, sometimes very melodic. When you listen to the album you ll find out that it has a lot of different moods.
No track is similar to each other; it is a real voyage. It is probably the biggest complement that I can give to the two musicians who all wrote their songs by themselves. Rather tiring stuff. The new formation then recorded their only album, which was reissued on CD though Musea with a couple of bonus tracks added. The second album presented a collection of five new tracks and seven live pieces. The songs show a good progression - the band has matured and refined their style.
There are a few changes, which greatly adds to their sound: first of all the frequent play on vibraphone throughout the album - sort of replacing the keys. This gives the music quite an unique sound. Secondly, the heavy guitars are largely gone and play only a minor role in placing accents. Last but not least, the group has added a strong flair of jazz-rock - especially in the guitar department. The music of Erickson combines orchestral keyboard parts with triphop rhythms. A strange combination, that works well on some tracks, but not on all.
The solemn keyboards and the busy, restless rhythm section contradict each other. The band performed first as a support live-act for theatrical performances. In , they came with a demo tape, and two years later an album through Musea Records. After the album, Serri left December and was replaced by guitarist Mauro Montoppio.
Edmondo and Alessandro joined forces again as The Ancient Veil and also recorded under this name. A shame there was never a real follow-up to this beautiful disc. CD Unknown and rare German progressive band of the s. The vocals are typical for the time and style the music was recorded in, but quite acceptable. Nevertheless, the band is clearly at their best during the instrumental parts of the disc - luckily there are many of those in fact, the major part of the disc.
A nice nostalgic album, finally available to a wider audience, although it may appeal mostly to collectors. Starting with their name about the most average name for a woman in Germany. But even stranger is their history, which appears to be connected closely to Kraut fusion-legend Kraan. He became famous as a member and one of the driving forces behind German progressive rock legend Grobschnitt.
Before this, Eroc - real name Achim H. Ehrig - had been in a wild psychedelic band called Wutpickel with Carlos Bottich guitars and Kasi Klassen bass, vocals. An interesting disc, not afraid to cross borders and many of them!
In an archive CD came out on Mellow Records. To my pleasant surprise the distinctive string-ensemble has been used very frequently, I love that soaring sound. The 6 compositions are very melodic and changes from folky and classical to symphonic, very beautiful.
At some moments the music reminds me of early BJH because of the lush and compelling keyboards but in general this is original prog featuring lots of mellow shifting moods with strong Italian vocals, flute, piano and cello. This is a bit dreamy album but absolutely not boring! If prefer this one above their second LP. The music brings rather mellow symphonic prog with folky touches and typical Italian singing which I like a lot as you may know.
Errobi released four good progressive folk LPs before turning to a more commercial music with a lot more albums. They disbanded in but reformed briefly again in Duhalde and Ducau both had solo careers after the end of Errobi. In their only album was rereleased through Swiss label Black Rills Records.
Mosberger and Riedo worked also together as the cosmic synth duo Irrlicht in the mid s. Unfortunately this never led to an album. Both then went solo. Throughout the years, several shortlived Ertlif reunions took place, but with no legal recorded evidence. They did a handful of concerts in late and then ceased to exist all members going their own way.
No known recordings, alas - although a CD by a group involving Schnitzler by the name of Eruption was released in For the instrumental part, that is. Erwing et. Still, the music is surely okay. Rating rather expresses my disappointment with the music found on the LP than being an actual judgment - people into funky rock may enjoy this more than I do.
After one album the band disappeared. As a result of this, the band practically only rehearsed in the early days in order to get used to playing with each other, later rehearsals were only organized for specific reasons, like testing out new equipment or introducing new members. The band worked with guest musicians in the past, but also in their usual way without rehearsals.
Besides their main instruments, most musicians also play percussion every now and then. The bands plans for the near future include compiling an album of collected rehearsals from the period featuring several former members.
German synthesizer musician. Musicians on his LP included himself on Moog synthesizer, strings, clavinet, Fender, drums, gongs, Moog-bass, Georg von Eschersheim on Moog synthesizer, strings, clavinet, piano and Moog-bass, Thomas von Eschersheim on Hammond and also on Moog-bass and clavinet and finally Michael Schrader on syn-drums.
In he came for the first time across wind controlled live electronics, something he would continue to use in the future. In he was appointed as the bassoon and contra bassoon player in a renowned German opera and symphony orchestra.
Most solo parts and all synth improvisations are triggered through a breath controlled instrument! Very good stuff. Recommended to people who want to explore some more difficult music, but would like to have a relatively easy start! Another CD-reissue of this album was planned on Soleil Zeuhl for late or early The musical line of this LP was continued on the follow-up, released the very next year.
The dramatic theme running through this second album reflects all aspects of Esperanto and shows a willingness to look for a different approach for contemporary music.
After this LP the band disappeared. While often strings and orchestral arrangements are used to make music more accessible or to smoothen things a bit, here especially the orchestra provides a dissonant avant-garde classical feel that makes the listener sit uncomfortable while listening. So, be prepared to get used to this intriguing album! The violins as lead instrument, complex arrangement, female vocals and the liberty with which the theme is treated simply makes it an entirely new piece of music.
A shame about the tango-induce title track, though. This is a bit of a let down at the end of the album. The rest, however, is very interesting! In late , the band split up. Thumbs up. Full of tension and melodies and good counterparts in both instrumentation and vocals. Musically the album manages to hold the quality from the previous releases, although I have the feeling that there is less tension that made that the predecessor excelled. Highly recommended nevertheless.
Sony Music CD, ? Recommended if you like sympho in general and Yes in particular. His debut is said to have been strongly influenced by "Bitches Brew" from Miles Davis.
The album featured Paul Buckmaster who later played with Elton John on electric cello. LP Some early s prog group, probably from the UK.
In it was reported that Esquire was working on a third album. Later he founded a label of his own on which he released artists like Can Atilla. Rather accessible with a hint of Berlin School. In the s, they reunited for a CD. The keyboards are a bit on the background featuring some synthesizer flights, a bit of Grand piano, at those moments I like Alder their in general pastoral prog , embellished with beautiful Italian vocals and some moving electric guitar work.
A nice album, no more or less in my opinoin, it will please the more romantic progheads. A second CD was planned. The vocals deserve a positive mentioning; often sounding a bit medievallish and not unlike the vocals of White Willow.
It was a concept with a narrator. The band later renamed itself to Etzal. This live-LP featured only new material. The second part from this track is dominated by oriental-ish sounds from wind instruments and percussion. An interesting album, but one you should spent proper time with and get used to! The vocals are in French which sets them clearly apart from Gentle Giant and are very beautiful and good - and not unlike many other French speaking groups overly theatrical. The line-up mentioned above is from the third album.
There s lots of organ, Mellotron and a heavy Squire-like bass. The music and above all the lyrics have been inspired by ancient stories of love and betrayal. Since Frank is composer, producer and he played most instruments it is no wonder that the lack of financial support results in a somewhat thin production and not all instruments have the rich sound we are used to in the new millennium. Having said that one must admit that on the other hand the album has got everything a lover of symphonic rock from the s would like to have.
Still this album offers a lot of symphonic highlights to the listener, especially if one is not too demanding as far as the sound quality is concerned. Right from the start we have these slightly Yes-like bass and guitar play, and even the Spanish vocals are rather high, like an Argentinean Jon Anderson. Also Eternidad use harmony vocals quite a lot. Compared to the British band, however, Eternidad have a much greater influence from folk.
Overall it is for me a very enjoyable discovery: sounding very good, enthusiastically played by skilled musicians and in general a recommendation. They started as Eternity, but had to rename themselves because of trademark legal reasons. AR CD This British musician joined two different musical groups in the first was the live band of renowned jazz violinist Stephane Grappelli, the other was Canterbury legend Soft Machine.
They had moderate success with their debut album that sold around For the second album, Steve Marra left and was replaced by Brad Stephenson on bass and vocals and Larry Duncan Hammond was added as extra keyboardist although he does not appear on the album. The characteristics of this British prog legend especially shine through in the guitar work and the way the compisitions are constructed.
In addition there are other influences as well, but not as obvious. Still, overall Ethos manage to come up with a fairly own sound thanks to the mix of elements. Ethos went on to play with many of their heroes like Yes, Gentle Giant etc. The King Crimson influence is quite apparent on several tracks. The lush middle section however is more Genesis. The more spacious sound from the first album is not so apparent anymore, though it does return up on the instrumental passages.
Through out the album hints of classic Yes and Genesis appear with some Squire like bass, Howe inspired guitar and bombastic keyboards.
A fine reference to this album would be the early works of PFM as well. This is again a clear case of an album appearing at the wrong time. Percussion , Sammy Figueroa Percussion. Brett Garsed, T. Brian Melvin Recorded: nov. Charles Lloyd? Souther Harmony Vo. Ron Carter b , Grover Washington, Jr.
Previn with the Andr? Originally released on Prestige. Eric Johnson: guitars, synthesizer, piano, vocal, Mike Stern: guitars, vocal, Chris Maresh: electric and acoustic bass, Anton Fig: drums, percussion. George Benson vo,g ; Abraham Laboriel, Sr. Gwilym Simcock piano ; Asaf Sirkis drums, percussion ; Tim Garland bass clarinet, soprano saxophone, tenor saxophone.
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