Haze ~ England

The Ember (1985)

In my writeup nine years ago, it appears I decided not to bother covering The Ember. This EP was my introduction to the band. As you can read below, I could not find C'Est La Vie in London while there. The following summer, our local Lubbock record store imported The Ember and I pounced on it. And I was greatly disappointed, which also delayed any further seeking out of C'Est La Vie until our fateful encounter some eight years later.

So on this revisit, I decided to hear The Ember first before diving back into C'Est La Vie for an updated listen (it's essentially bonus tracks on the CD).

Is it so bad? Not at all. But it's not progressive rock, which is what I was looking for at the time. Sort of a commercial styled hard rock with mild progressive rock tendencies, such as on 'Mountain'. The production is very hollow and digital. More or less a signal of things to come from the whole NWOBPR movement. However, it's not something I would own if it weren't attached to the CD below, so I'll shrink the cover.

12/14/25 (review) 
 

C'est La Vie (1984)

Haze were one of the more known names from the initial New Wave of British Progressive Rock bands that emerged in the early 80s. They were often mentioned in the same breath with IQ, Marillion, Twelfth Night, and Pallas. Armed with this knowledge, when I arrived in London in the summer of 1984, it was my every intention to come home with their first full length LP C'est La Vie. But it was one I could not find anywhere, and the band's hazy moniker represented my own memory of them. C'est La vie indeed.

Fast forward to 1992, now touring my own country, and we're in Greensboro, North Carolina visiting a record store. As if I'd be doing anything else. And there (of all places), staring me right back, was the ever elusive Haze album, with its unique blue vinyl cover design. It was there, I was there, and it was $2. Mine. Finally. Eventually arrived back home, played it probably twice, filed it.... and haven't heard it since.

Since today, 24 years later. The vinyl still has its comfy spot in the collection, but now the CD just walked in the door. Time for a serious headphones listen.

To be honest, I was almost afraid to listen to it. I figured perhaps my quest had added a point or two to the overall rating, in my often fits of nostalgia. The good news is, I enjoyed it more now than I remember. The album very much reminds me of the cassette tape culture that was prominent at the time. So yes it's true, the production quality is lacking, and the performance is amateurish. The band weren't ready for prime time, and yet that's where its charm lies. In addition, Haze weren't your typical Genesis / Yes fixated neo prog outfit, but rather they represented a variety of English bands - anywhere from Iron Maiden to Duran Duran to Van der Graaf Generator. No, they weren't metal or synth pop in the slightest, but the songwriting was reflective. The other major influence that emerges obvious is that of Rush, which gives the band the surge of energy they most certainly needed.

The CD decided to reverse the sides of the LP, so the first track you hear is 'Mirage'. This composition goes back to 1979, four years before anything else on the album, and demonstrates that Haze started out far more progressive minded than they ended up. The other standout track is the now-closer 'The Load' which is where VDGG becomes the lead influence. In between are subtle prog tracks, a ballad, a bit of hard rock, and just general no-budget-but-cool sounding 1984 rock.

The liner notes inform us that the song, and record label, Gabadon comes from a translated form of the license plate of a Land Rover the band usurped from a friend to help with touring.

With history now in place, Haze were an early dropout in the neo prog sweepstakes. They were quick to move away from progressive rock, and made their stab at more commercial offerings. A typical failed strategy. The band has reemerged since but I have yet to hear them as I write this.

---12/14/25

And I still haven't heard as I update this. The reformation that is. In any case, my enthusiasm for all things early 80s England continues to allow me to increase my appreciation of these under-produced, under-directed prog albums. The amateurism gives it that youthful naïveté which makes these albums endearing. And more enjoyable on relistens than the more professional efforts we heard some 20 years later. Like watching an old BBC show - the slow pacing and ominous atmosphere are what make them fascinating, though it doesn't hold a candle to a modern production. I find I can enjoy them both, perhaps the former is more engaging.

Ownership: 

LP: 1984 Gabadon. Single sleeve with plastic cover. The cover is PVC material and unfortunately it creates a chemical reaction with the vinyl leaving it, yes, with a haze. I placed it immediately in another sleeve, but it was already too late. It sounds great however. But the visual looks like a worn out sun baked styrene 45.

CD: 1996 Cyclops. With The Ember EP. Detailed liner notes. My copy is signed by the McMahon's.

9/29/92 (LP acquired); 8/9/16 (CD acquired / review); 12/14/25 (update)

8/9/16 (new entry)

IQ ~ England

Dominion (2025)

Here's the last of my new music arrivals. As you can read below, IQ is a very important group for me. For as long as I can collect music, I will likely always buy a new IQ album. There's not too many bands I'd say that about at this point. This time there was a six year wait, slightly more than their standard five they had established back in 2004 (though they've averaged five since 2000). We can blame COVID. Might as well, I blame it for a lot of things. The band that appeared first on The Road of Bones continues on Dominion, thus adding a stability that had been missing in their early years. Let's see how the new album stacks up against its predecessors.

This time they open the album in introspective mode, with Peter Nicholls singing over atmospheric electronics and past war declarations. Near the five minute mark, we hear the familiar IQ prog rock sound. Four minutes later, they really begin to amp it up. This is my kind of IQ! I don't know if there are too many bands that I would recognize instantly as I do with IQ. They have a sound, and they perform it on Dominion just as they have for the last 30+ years. I describe that sound, as best as I could, on prior reviews. That's not to say all the albums are the same. Far - far - from that. They are each crafted within the boundaries they created. If they were all the same, I'd have dropped these guys many years ago. My initial response to Dominion isn't as strong as the albums from the last 25 years. Though my high rating remains the same. I mean - it's IQ. It sure was a fast 53 minutes, which is a compliment.

On that topic, interesting to note that IQ's last several releases more or less receive the same ratings on RYM and ProgArchives. For the former, they seem to hover around 3.6 (which is excellent for that site, especially for prog). And the latter is in the low 4's, an excellent score no matter who's doing it. The number of ratings is significantly down for Dominion on both sites, however. Whether that's an indication that folks have moved on from prog, dying off, stopped rating albums in general, or just following other interests (or groups), I cannot say. I'm no different, rating 4 stars for all of their albums since The Seventh House. For me personally, I attribute that to not getting to know their albums more in depth. I think if I were to put any one of them into the car changer for two weeks straight, at least one (or more) would rise. I should prove that theory some day. But which one? Questions. Another fun challenge would be to rank all of their songs in order of preference. That would be some undertaking. If I ever get out from under the mountains of albums I need to listen to, I may take that one on.

Ownership: 2025 Giant Electric Pea (CD). Tri-fold digipak. Booklet has lyrics, artwork, and a band photo. Acquired in 2025.

12/1/25 (review)

  

Resistance (2019)

I've written extensively about IQ in the past, and Resistance fits their current pattern perfectly. Following on their five year new album release schedule, going back to 2000 (allowing that Seventh House to Dark Matter was four years, close enough), Resistance is yet another tour de force from the best operating band of the original New Wave of British Progressive Rock movement. And this time, we have a static lineup. 80% of the original band is sticking with it, and Neil Durant seems to be the answer at the keyboard set. As with their other recent albums, gone are all traces of attempts at pop stardom. With Resistance you get close to two hours of hardcore progressive rock. With most bands, anything more than 50 minutes seems like a slog, but with IQ the time moves swiftly. Those five years of interim between recordings are not to put waste. All the tracks are well crafted, and it's clear that multiple listens will reveal more each time. I've only listened to disc 1 twice and disc 2 once, but like all of their catalog, I know revisits will be rewarding. As I've said before, there's probably not too many people who are new to IQ - and maybe less to prog rock in general - but one could do far worse than starting right here with Resistance as a great place to begin your collection. The album is a great ambassador for the progressive rock style - all that is excellent about it, while leaving off the more derided aspects of the genre.

As I've also mentioned in the past, IQ is often at their best in foot-stompin'-hard-rockin' anthem mode. IQ knows this by now too, so no point in making anyone wait as opener 'A Missile' is just that. A hard rocking missile that is. Most of disc 1 is a spirited affair, mixing in complex charts with memorable tunes. Disc 2 is geared toward their epic progressive side, something they don't always focus on. I would argue Resistance is their most progressive outing yet, if I can use the word progressive in the sound-of-an-era sense verse true progression. 'The Great Spirit Way' has the type of changes and sound that we often associate with the Scandinavians like Wobbler or Anglagard.

IQ has spoiled us for 20 years straight now - and it's hard to choose what is their best work in this era (I'll always be partial to their original albums Tales from the Lush Attic and The Wake because of time and place) - but most certainly an argument can be made that Resistance is that album.

Thank you IQ for keeping the original early 80s progressive rock spirit alive. Perhaps we see you again in 2024?

Ownership: 2019 Giant Electric Pea (2xCD). Tri-fold digipak. Booklet has full lyrics, credits, a band photo, and artwork. Acquired in 2019.

12/8/19 (review)

Seven Stories Into 98 (1982 / 1998)

When I did a full IQ retrospective a few years ago, I realized I had never heard their initial demo tape from 1982. It was then, for the first time it appears (not sure why?), I became aware of this CD. The fact that they re-recorded the material was even more exciting. So off I went to buy the CD... ugh. OOP and expensive. So I waited. And eventually I sourced a copy online for a reasonable price, and here we are.

First off, I was determined to hear the tape first, followed by the re-recordings. The band of course pushed the new recording first, as they indicate often an apologetic approach to releasing the demo at all, but I think most fans wouldn't care about the flaws. And I do recommend a similar approach, otherwise it will take your ears quite a bit of time to adjust from professionals in a studio to amateurs in a bedroom.

The liner notes alone were worth the price of admission, and I learned some things about the band I never knew. For example, I didn't realize they had started out as an instrumental fusion band influenced by the likes of Return to Forever. And this shows prominently on the opening track 'Capital Letters'. It's not until the namesake 'Intelligent Quotient' do we first hear Peter Nicholls and their trademark neo prog sound they helped create. By the time we get to 'It All Stops Here', you can tell the band is firing on all cylinders and ready to hit the studio for their brilliant Tales From the Lush Attic debut.

After hearing the tape, I fully expected to be blown away by the new recordings. But honestly, I enjoyed them about the same, despite the obvious improvement in sound and execution. Perhaps it's because I grew up in the same cassette tape culture IQ operated in, and I appreciate the raw grit that comes with it. This CD is a must own if you're a fan of the early IQ sound, of which I most certainly am.

Ownership: 1998 Giant Electric Pea (CD). Historical liner notes. Acquired in 2016.

7/8/16 (review)

The Road of Bones (2014)

And so now we arrive at IQ's most ambitious album to date: The Road of Bones. 30+ years after debuting on the scene, IQ have remarkably not only stayed true to progressive rock (not considering the middle 80s missteps), but are the rare breed to continue to actually progress, thus living up to the genre name. Perhaps most surprising is that the lineup for The Road of Bones is a major upheaval from their last Frequency album. Whereas that album was the least looking IQ lineup, with only founding members Michael Holmes and Peter Nicholls on board, on The Road of Bones these two are rejoined by the original rhythm section of Tim Esau on bass and Paul Cook on drums. It's been over 25 years since Esau was in the band, and yet he fit like a hand in glove. And not only that, but Mark Westworth's position as keyboard maestro lasted for one album, and here he is replaced by Sphere3's Neil Durant - who to my ears is probably the best choice yet for IQ, given his preference towards analog equipment. You won't miss Martin Orford (really). The album has been presented as a single, or a double, depending on one's budget I presume. It is important to note that this isn't a one album CD, with archival bonus material filling out the second disc - or some novelty item of IQ covering classic 70s rock. No - it's a double CD filled to the brim with classic IQ music. So if you do decide to get the one CD version, you'll end up with half the album. I don't recommend that to anyone. No matter your budget, wait a bit and save up the few extra dollars, and buy the CD in its full glory. You'll want it eventually anyway. I haven't spoken yet about the music, and not sure I need to. There are 100's of reviews out there already dissecting each note, theme, lyric, and purpose. This tells me IQ is bigger than ever, and the world is a better place for thinking that way. Sure, for purists not everything is "just so", and IQ utilizes too much metal, or electronic, modern production techniques, bla blabla bla bla. And yea, Nicholls sometimes has to sing a novel, and doesn't shut his yap. But the music is absolutely identifiable as only IQ. No one else sounds like them, and their music has a depth that allows for multiple listens, and new discoveries await at every turn. I found it hard to pick a favorite song, as each one was of a high quality. In some ways, objectively speaking, this is IQ's finest hour. Err two hours (so yes, they have one upped Frequency). For me, my life is inextricably linked to their first two LPs, and they likely will always be my favorites. If coming at this band for the first time (is that even possible?), then start here and absorb the album in full before launching into their deep catalog. For me, IQ can do no wrong. And I hope we hear from them again in the next five years (or sooner, eh guys?).

Ownership: 2014 Giant Electric Pea (2xCD). Tri-fold Digipak. Acquired in 2014.

12/30/14 (review)

Frequency (2009)

Vocalists and bassists come and go, but IQ stalwarts Martin Orford and Paul Cook have now exited stage left, and in their stead are Frost* drummer Andy Edwards and Darwin's Radio (and Grey Lady Down prior) keys man Mark Westworth. This leaves only guitarist Michael Holmes to have weathered the entire storm to date. And so what does Frequency sound like? IQ. In fact, it sounds like IQ in 3-D. Their brand identity has been distinctly carved out now, and this is a band who knows what that identity is. Everything is bigger, louder, and more pronounced than before. So at this point, it's about the composition, and the execution thereof.  IQ are always at their best when in foot stomping mode, and 'Ryker Skies' is this album's best representation of said sound. And 'The Province' picks up on IQ's ability to go deep into the progressive rock weeds with multiple time changes and mood changes. While the nostalgic exhilaration of Tales of the Lush Attic and The Wake inevitably take those albums higher for me personally, objectively it's hard to argue that Frequency is not their best album to date. Only in that it is their most focused, and overtly progressive rock themed album yet (well OK 'One Fatal Mistake' kind of blows, self-defining the title a bit then.). Not that the latter statement of "most progressive themed" is a virtue in of itself, but when executed by IQ... maybe it is.

Ownership: 2009 Inside Out (CD). Acquired in 2011.

2/13/11; 12/24/14 (review)

Dark Matter (2004)

IQ were always a band of the 1980s with a compositional structure that points to the '70s. With Dark Matter they finally look backward in time and marry their instrumental side with their writing style. Martin Orford will never be accused of obsequious loyalty to the analog beasts of yore, but at least here he is willing to give the heavy wood pieces a bit more attention than prior. And even if they're not authentic 1971 ware, at least the effort was made to sound as such. As with The Seventh House, the days of penning pop hits are long in the rear view mirror. This is all-in progressive rock. Dark toned opener 'Sacred Sound' recalls the brilliant 'Widow's Peak' - but with an organ dirge in the middle. 'You Never Will' possesses some fine heavy bass and synthesizer. And 'Born Brilliant' brings back the old mid-80s IQ anthem-styled stomper. The much ballyhooed 24 minute+ 'Harvest of Souls' includes a dynamic and rocking Yes-like mid section similar to the glory days of Relayer. On initial impact, I was certain that Dark Matter was an improvement on The Seventh House, but while taking in all the IQ albums in succession, I'm more of a mind now that they are of similar quality. One represents the 80s IQ, while the other gives us a peek at a potential look back in time. Both are excellent and essential.

Ownership: 2004 Inside Out (CD). Acquired in 2005.

11//05; 12/22/14 (review)

The Seventh House (2000)

And now we get to The Seventh House, which is of course, their 7th studio album. If Ever and Subterranea represent the two albums that IQ should have released for major label Mercury, then The Seventh House seems to be the album that would have come after The Wake - had they stayed in the underground that is. The tight and compact structures, combined with the anthems of The Wake and Tales From the Lush Attic, have returned on The Seventh House. Generally registered - or derided depending on one's perspective - as IQ's decent, but not great album, between their late 90s two CD epic Subterranea and their 70's throwback masterpiece Dark Matter - I personally find that The Seventh House is more a return to form to the IQ I love. While there's no 'Widow's Peak' hair raising moments, IQ have clearly shed their commercial desires here, with perhaps the exception of 'Shooting Angels', and even that track isn't too overt in its desire to attract mass audiences. I think it is on this album, more so than the last two works, where IQ realized that they are stars in their own world - but have no chance for world domination. If they did have that chance, then that ship sailed long ago. They made their try.... and failed. Sorry chaps. Now it's time to get serious about this progressive rock thing. Yea, that's right, the style of music they originally made a go at some 15+ years prior. And very successfully. To my ears, it's amazing how much the 2000 release The Seventh House sounds like something from 1986, a year I could go a whole lifetime without acknowledging again, and yet they make me pine for it as if in a fit of nostalgia. I honestly mean this when I say: Only IQ could pull something like that off. With The Seventh House, IQ are back on track and ready to wow their old-found progressive rock audience.

Ownership: 2005 Inside Out (CD). Booklet with lyrics and photos. Acquired in 2005.

11//05; 12/20/14 (review); 9/26/22

Subterranea (1997)

The two-CD follow-up Subterranea has always been tough for me to penetrate ever since its release in 1997 and my immediate subsequent purchase. I know some folks don't want to hear this, but yea, it's definitely IQ's version of Genesis' The Lamb Lies Down On Broadway. As with that work, this album focuses on a concept album with specific focus on heavy lyrical content while the instrumentation and complex arrangements (if they are complex at all) take a back seat. Subterranea is one hour and 42 minutes in duration. I'd say that's about one hour too long. For an album that features 19 tracks, it's amazing not one of them really stands out in an extraordinary way. Subterranea is one of those albums that I really want to like, since it's obviously very popular with fans of the band - and I am too a fan of the band - and yet this one is lost on me. On this last listen, I was bound and determined I would get everything out of it as possible. I sat there, headphones on, dedicated to hearing the entire album in one sitting listening to every note, without distraction. But I just couldn't find any major redeeming qualities. There was no 'Enemy Smacks' or 'Widow's Peak' or 'Fading Senses' or any of the other great tracks from the first two albums and Ever. I have to say there is a lot of down time with Subterranea. Long stretches of vocals and boom-boom-bash drumming over a wall of keyboards and guitar choruses - like any respected pop band would do. They just couldn't let go of those commercial aspirations, even a decade later. If nothing else, if you start with Disc 2, you are likely to have a better experience. Yes, the 20 minute track 'The Narrow Margin' is really the best thing here, and even it doesn't really get cooking until the halfway mark. It's not a bad album mind you, not at all in fact, but it's definitely their weakest studio release beyond those two albums that I hope need not name. They were to improve from here though - dramatically so.

Ownership: 2005 Inside Out (2xCD). Acquired in 2005. 

First copy: 1997 Giant Electric Pea (2xCD). Acquired in 1997.

1997; 11//05; 12/17/14 (review)

Ever (1993)

By 1993, progressive rock had found its roots again, and with new-on-the-scene bands like Anglagard and Anekdoten blowing everyone away with their modern take on 1973, a group like IQ didn't seem to have an audience anymore, especially after such a long silence and having released two commercially oriented, and arguably failed, albums. The logical choice would've been for them to join what was now known as the Neo Prog movement, which already had quite a large niche audience itself. Bands such as Marillion and Pendragon were enjoying a cult-like status and they had many emulators. Peter Nicholls was back at the microphone, with Jadis' John Jowitt now on bass, but could IQ regain their fans? Ever was the result. This is the album, of course in retrospect, they should have released for Polygram. Picking up right where The Wake leaves off, with the near 11 minute opening 'The Darkest Hour', IQ climbed back on that tightrope of balancing complex progressive rock with a more poppy approach. There are plenty of quirks and complicated meters to please the more discerning listener, while still delivering accessible melodies and structures for the more commercial oriented. The opener is followed by the two-part 'Fading Senses', which is as good a track as IQ had ever recorded up this point (other than 'Widow's Peak' of course). A multi-segmented piece with some stunning atmospheric keyboard work, impassioned vocals, and driving electric guitar. The 14 minute+ 'Further Away' brings back the epic opus, with all its sections / meter changes / dynamics / climaxes - and demonstrates that IQ are ready and willing to sign back up for all-in progressive rock. They hadn't quite given up their pop aspirations, as can be heard on 'Out of Nowhere' and 'Came Down' (good examples of commercial rock, however). With Ever, IQ were back in the saddle. And they never strayed again. In fact, they would turn the dial even more towards complex progressive rock, while moving further away from any thoughts of commercial stardom. Except perhaps one last look back.......... said Lot's wife.

Ownership: 1993 Giant Electric Pea (CD). Acquired in 1993.

1993; 12/14/14 (review)

The Wake (1985)

There was heavy anticipation for IQ's second album and they delivered in grand fashion. No sophomore slump can be found on The Wake. There can be no doubt that the heavier moments from their debut were better received by a live audience, and IQ began to move away from some of the subtle brilliance of Tales From the Lush Attic and more towards aggressive anthem rock structures. The title track itself is proof that IQ could pack a wallop, and still be interesting to progressive rock listeners, while the opener 'Outer Limits' is a great mix of progressive and accessible rock (listen to those synthesizer solos alone!). The analog keyboards from the past were starting to get minimized (except for the glorious mellotron) and traded in for modern, cutting edge synthesizers, and samplers. While in today's world, old vintage equipment is highly revered, the 1985 mindset was much more anxious to ditch the heavy, clumsy, and unpredictable hardware, for more sleek - easy to tote - and cleaner sounding instruments. Even for dyed-in-the-wool hardcore mellotron addicts, The Wake is not to be missed. Side 2's opener 'Widow's Peak' is IQ in all its glory. From powerful head banging anthems and atmospheric flute, to guitar loops meshed with anguished vocals - the track delivers on a number of fronts. The 6 and a half minute mark of 'Widow's Peak' delivers one of the most powerful musical statements in my entire collection! 'The Thousand Days' demonstrates their move to commercialism, while not abandoning their progressive integrity, and it all fits the era in which it was released so perfectly. Overall, The Wake was a bold move forward to a larger audience while not compromising their overall creativity. In conclusion it is indeed another classic. The band seemingly could do no wrong. IQ were on the tightrope of accessible progressive music, balancing everything perfectly here.

It was a rope, though, that they were to fall off - oh so very off - shortly thereafter.

Ownership: 

1985 Sahara (LP). Acquired in 1985.

1994 Giant Electric Pea (CD). Acquired in 1996.

1985; 1996; 12/12/14 (review)

Tales from the Lush Attic (1983)

Hard to imagine now, but at one time IQ was a boon for the progressive rock starved fan in the early 1980s. Believe it or not, 1983 was an exciting time for traditional progressive rock music. England was experiencing a renaissance in creativity after a few years' dearth of interesting new progressive rock. Heavily inspired by the classic progressive rock works of Genesis, bands like Marillion, Pendragon, Pallas, Twelfth Night, Haze, and.... yes IQ, were blazing a new trail for a younger generation looking for more challenging music than the radio and TV was affording at that time. Decidedly noncommercial for their day, these bands were raising the spirit of Gabriel-era Genesis from the virtual dead. Best of all, it was an updated sound with modern equipment, cleaner tones, and a more aggressive rock approach (no doubt influenced by the contemporary punk and metal movements) combined with the challenging compositional style of Genesis albums like Foxtrot and Trick of the Tail.

It was during this period that I personally became involved with the progressive rock scene. I still remember a review of Twelfth Night showing up in the metal magazine Kerrang claiming "Bring out the Mini-Moogs boys, the Progressives are back!" And they were, even if it was just for a short period - in its original form anyway. Of all of the bands from that era, IQ were quite possibly the most accomplished, at least from an exploratory progressive rock mindset.

Tales From the Lush Attic is IQ's debut (on LP, there was a demo cassette prior), released on a small private label and in very minute quantities. The album, however, had gained the attention of the heavy metal media (of all people) and quickly sold out to an audience yearning for something a little different and more challenging, thus leading to a much larger repress. IQ's well-deserved positive reputation had begun. Opening with the 21-minute 'The Last Human Gateway', IQ laid down the gauntlet that they were serious about this progressive rock thing, despite in appearance looking like a typical MTV synth-pop act. No group in their right mind did side long epics in 1983, lest they be panned by the lemming-like music press as the worst album since the ghastly Tales From Topographic Oceans. This track had all the right ingredients: Organ, mellotron, synthesizers, crazy rhythms, Hackett-esque guitar, and possibly best of all, a very talented and dramatic singer in Peter Nicholls. He even wore face paint for crying out loud! Continuing on, 'Awake and Nervous' is a more commercial sounding track in the rare case that any reviewer had actually made it through the opener and its short followup. This is followed by the hilariously titled 'My Baby Treats Me Right Cos I'm the Hard Lovin Man All Night Long' which is, appropriately enough for the setting, a classical solo piano piece. The closer, 'The Enemy Smacks' is IQ's finest moment here. A combination of aggressive hard rock with symphonic progressive which happens to contain their most complex metronomic moments as a bonus. Very powerful - and perhaps just the right punch to score with the younger fans it so coveted - and represented themselves. A brilliant debut.

Ownership: 

1984 The Classic One Shoe Record Label (LP). Acquired at Virgin Records in London (1984), as there was no chance of getting this back home in the States - or at least that I was aware of at the time. Interestingly enough, the album had already been repressed a few times by then. My copy has the more familiar brown border verse the original blue. Real originals are numbered and scarce. Of course given the time and place, I would never sell my treasured copy. 

1988 MSI (CD)

8/16/84; 2/7/01 (review); 7/4/14 (update); 1/5/24

Other albums previously owned: Nine in a Pond is Here; Nonzamo; Are You Sitting Comfortably?

I hope to revisit the latter two. I'm sure they aren't as bad as I made them out to be, but we'll see.

7/4/14 (new entry)

Marillion ~ England

Radiation (1998)

At the bottom of this post, for the Brave album, I wrote: "I suspect later albums are going to be even of lesser interest to me, but I'll buy them as I find them in the wilds and report back."

And I have done just that, finding quite a bit of Marillion in the wilds for pennies. Some are live albums, so I just jettisoned them to the sale pile. As I write this, along with Radiation, I have three other studio titles found in the last year. When I get to them, I will report here my findings, though I suspect I won't have too much to offer for fans or curiosity seekers.

Because, as I predicted on Brave, I don't think these albums are going to do very much for me. Radiation is about as far away from my interest level as can possibly be, at least sporting a prog rock lens. It's more of an indie rock album, with some 70s classic art rock sounds. Mostly mellow and a bit of a slog to get through. Never really understood how my prog rock brethren managed to land on the sound that Marillion and others were peddling during this era. I was plugged into a different lamp it seems.

Apparently the 2013 remaster brings about a much better end product. I seriously doubt I would be swayed all that much, but who knows.

Source: 2001 Sanctuary UK (CD)

10/30/25 (review)

Fugazi (1984)

Going back to 1983: It had taken me a few listens to get into, but Script for a Jester's Tear ultimately won me over. So I was quite excited to obtain Fugazi as soon as it was released to the marketplace. I had yet to hear IQ and other bands coming from the neo prog camp - or what was starting to be referred to as the New Wave of British Progressive Rock. Therefore Marillion was my gateway drug into contemporary progressive rock. As their music went, so did my interest in it.

The opener 'Assassing' is an exhilarating piece, and had me thinking real time that this was going to be an album for the ages. But it quickly dropped off from there - at least in terms of energy level. It was something of a head fake - a distinctive turn to hard rock. Which in retrospect many of the neo prog bands were quite adept at. Ultimately I didn't even hold onto Fugazi, thinking it second rate prog for newbies, falling into that 90s crowd that turned their collective noses up at such twaddle. It wasn't until 2005 that I decided a revisit was in order. OK - now I get it.

Fugazi is a progressive rock album. There's a revelation, eh? Why I didn't have the patience for it initially is rather perplexing considering all the 70s albums I'd absorbed by then. Most of them not exactly easy listening. Perhaps because Marillion were a contemporary group - and they did after all start the album off guns-a-blazing - I guess I just wanted more of that. Rather Fugazi has all the trademarks of the neo prog genre with digital instrumentation, complex yet accessible compositions, and a Gabriel-esque vocal delivery. The reality is Marillion were a foundational group of the movement versus a follower. Major label exposure and subsequent sales totals only pushed the new genre into the limelight for the masses. It wasn't to last but the middle 80s held much promise, thanks to the efforts of Fish & Co.

For 2023, it brings in the whole 80s nostalgic pull. Of course I conveniently filter what I want from it, and I'm completely dishonest with myself on what the 80s reality truly was for me. Nothing beats rose colored glasses. You oughta buy a pair of 'em. +1 listen.

Ownership: 

1984 EMI UK (LP). Gatefold. Acquired in 2011.

1984 Capitol (MC). Acquired in 2026.

First copy: 1984 Capitol (LP). Acquired in 1984.

1984; 12//05; 4/23/23 (review)

Misplaced Childhood (1985)

I bought this new on LP (US version) when it first came out, as I was still quite the fan of Marillion. Real time, Script for a Jester's Tear had won me over on repeated attempts, and Fugazi on a lesser scale, so Misplaced Childhood was under evaluation from the beginning. I liked it - just enough. But ultimately it found itself on the sale pile with so many records of its ilk back in the 90s. Now for the last three years, I figured this might be an easy find on LP to try again, but no such luck. I have found it, but the dealers wanted too much, and I wasn't certain I would enjoy it, so I passed. When this CD showed up a thrift shop, I had to pull the trigger. And I'm happy to say that - perhaps no surprise - I'm getting more out of this now. Of course it's Neo Prog 101, and is just as much AOR music as it is Genesis-like prog. Whereas the latter was all I wanted back then - and certainly wouldn't complain today if it really was that way - my tolerance levels for 80s arena rock has gone up substantially. There's the combo of well written tunes and time-of-life remembrance. This is a CD that will likely be replaced with an LP, as that's where the nostalgia lies. And the UK originals are a gatefold versus the single sleeve American version. I think I'll splurge for that. We'll see (and that day arrived, locally at a record store no less, some five months later.)

Ownership: 

1985 EMI UK (LP). Gatefold. Acquired in 2022.

First copy: 1985 Capitol (LP). Acquired in 1985.

1985; 3/26/22 (review)

Brave (1994)

In a parallel universe, I could see myself having stuck with Marillion and been a loyal fan to this day. In the life I chose, I remained loyal to IQ instead. There were a lot of parallels between the two bands from their beginning neo prog roots to their ultimate embracing of pop rock. Of course Marillion were far more popular with the general public, so it was much harder for them to retrace their steps. Steps that IQ proudly went back on and never lost their way again. Because I ultimately dropped Marillion at the time after Misplaced Childhood, I never heard another one of their albums, only adding Clutching at Straws many years after the fact. And with Marillion what that basically means is that I have no foundation whatsoever with the "Hogarth era". Even Fish will tell you that Hogarth has done an extraordinary job with the band, and it made no sense for him to return. To be honest, this album was much better than I thought it was going to be. It's not really my kind of progressive rock, definitely forged into the 90s model of mixing in commercial sounding pop and alt rock. But there was far more 80s neo prog in here than I thought there would be. Especially in the former half of the album. I almost kept it anyway. But I have no nostalgia here as I do for other bands of the era. And that's what would have been needed for me to continue on. I suspect later albums are going to be even of lesser interest to me, but I'll buy them as I find them in the wilds and report back.

Source: 1994 IRS (CD)

3/30/22 (review)

Also own: Market Square Heroes (EP); Script for a Jester's Tear; Clutching at Straws; Afraid of Sunlight; This Strange Engine; Sounds That Can't Be Made.

3/26/22 (new entry)

Deyss ~ Switzerland

Vision in the Dark (1987)

Deyss were the most maligned of all progressive rock bands. At least back in my day, which was real time in the 1980s and 90s. Their debut At-King was a complete misread of the contemporary audience and played off every caricature one could think of when talking progressive rock. It was something of an embarassment really. To be fair Deyss didn't have a whole lot of data, support, or feedback to rely on like any modern band of the internet age has / had at their disposal. To this day At-King finds itself on many of a Top 10 Worst prog albums of all time. And folks of my generation (and obsession I must add) still talk about it. To the point where it was clearly a scarring moment for many, and psychologists are in employ because of it. Fortunately I never gave it much thought beyond it's an album I didn't want to keep and sold it off three decades ago.

One must remember the era in which At-King came out. We were all starving for new progressive rock, and outside of England, it was pretty slim pickings. But things were starting to pick up in France, Italy, Germany, and beyond. Especially Japan. So having a vocalist named Jester wasn't such a bad idea on paper, even though it quickly became our Spinal Tap moment.

But what of their follow-up Vision in the Dark? Was it terrible too? No, of course not. Certainly I didn't feel that way since I've owned this LP for some 37 years now. However it's been at least 30 years since I last heard it, so would I be repulsed, overjoyed, or neutral?

The reality is Vision in the Dark is Marillion Script for a Jester's Tear worship. Itself Gabriel era Genesis worship. No question this is music of the 80s, in the same way Marillion were. Nothing analog about it. Jester isn't the right guy to be the lead singer, and he does bring a local accent. It's fine when the band has much going on, but the sections where he's the feature aren't going to win any awards.

It isn't until B3 that Deyss begin to cook, and this variation of neo prog has aged very well for me. Here they sound more like vintage IQ than Marillion. And the bass work is particularly notable, bringing out his inner Chris Squire. By the time we get to the side long suite (Side 3) it's as if we're listening to an entirely different group. For one, it's mostly instrumental. And for two, Yes now becomes the primary influence, and secondarily it's more Genesis than Marillion. There's even a bit of early King Crimson going on towards the atmospheric ending.

It's really too bad Deyss didn't continue on, as I'm sure they would've cleared up their good name in fine fashion. Many highly revered modern prog bands started off inauspiciously. Galahad, Abel Ganz, Citizen Cain, and Versailles to name but a few. Some would even throw Pendragon into that mix. They all had to learn the hard way what the modern prog fan wanted to hear.

So what's the answer to the question I posed above? Pleasantly overjoyed. Though for the first half, I'd only offer neutrally pleased. And yea, I like the cover too. It's Prog 101, but is that so bad?

Ownership: 1987 private (2xLP). Gatefold with picture collage inner bags.

1988 (first acquired); 4/21/25 (review / new entry) 

Citizen Cain ~ England / Scotland

Somewhere But Yesterday (1994)

If Marillion copied Genesis and brought them into the 80s, then Citizen Cain copied both Marillion and Genesis and brought them into the 90s. Though Citizen Cain were part of the original New Wave of British Progressive Rock movement, they didn't get going until the 90s. Which is too bad really. As I've mentioned before, the term "neo prog" became a misnomer during the 80s, and was shorthand for "corporate AOR Arena Rock". All the groups participating in that scene fell prone to the allure of mucho dollars, and most did not come close. And lost their artistic credibility because of it. When IQ reemerged with Ever, it dawned a new era of excellent neo prog that is with us today. Citizen Cain is very much in that same oeuvre. Had they released Somewhere but Yesterday in 1987, it would be hailed as a modern classic. But it just got lost in the prog shuffle and most of my running set had nothing to do with bands like Citizen Cain in the early 90s. It wasn't until almost 30 years later I heard them at all.

When you have a lead singer named Cyrus in a neo prog band then you can expect a lot of singing, and that remains true here. Yet somehow it still feels like a primarily instrumental album. Lots of negative critical forensic reviews out there discussing the nuances of his voice against Gabriel and Fish. People think too much. Personally I think he does a great job, as does the band at emulating the early Genesis sound with the upbeat 80s styled groups like IQ. There's a lot of music to digest here, but I heard it pleasantly throughout. While I have no intention of loading up on Citizen Cain, I certainly would be interested in hearing all their works at some point regardless of reputation.

Ownership: 1997 Cyclops (CD). With lyric booklet (extensive) and recording details.

6/2/22 (first listen); 2/15/25 (review)

2/17/25 (new entry)

Galahad ~ England

In a Moment of Complete Madness (1989 / 1993)

---11/18/17

Script for a Jester's Permanent Moving Signal Waves. Yep, that's about right.

---6/3/24

So let's dig a bit deeper here. Essentially this is two different releases. One is a reissue of their debut cassette known as In a Moment of Madness. The first five tracks here come from that tape. The music is spot on Grace Under Pressure era Rush. What it lacks is the spark and urgency that Rush brought to that recording. The music here is good, but nothing to grab one's attention. The last three songs were re-recorded for this CD and show a different side of the band. Clearly Marillion and their ilk have made an impression here. The last two songs are extended epics in the early Marillion / IQ style. Perhaps this was old hat by 1993, but I still find music like this charming. 

Ownership: 1993 Avalon (CD). Acquired in 2017.

11/18/17; 6/2/24 (review)

6/2/24 (new entry)

Dawn ~ Switzerland

Darker (2014)

Dawn are a band from Switzerland who have two albums and an EP to their credit. Darker is their last full length released well over nine years ago. On Darker their music intersects retro, neo, and modern styles of prog rock. The good news - for me at least - is those designations are on a sliding scale with retro being by far the largest representative. Neo is also welcome here and they do add some of that punchiness that I enjoy from the genre. I'm not so keen on the modern branch of progressive rock, which to me sounds more like Pink Floyd styled Art Rock and misses the dynamism and edginess the classics brought forth. Elements of Genesis, Yes, late era Porcupine Tree, and Pendragon are on display here. One reviewer said it reminded them of The Flower Kings. I think it's much more vintage than that, but I can understand why someone would make the comparison. There's a lot of music to absorb on Darker and this revisit resulted in a +1. Earned its shelf space.

I recently learned the band is still active and plan on recording a new album soon. I have more data about that on Under the Radar.

Ownership: 2014 The Laser's Edge (CD). Lyric booklet. Acquired in 2014.

10/4/14; 10/31/23 (review)

Also own Loneliness.

10/31/23 (new entry)

Pendragon - The Jewel. 1985 England

I've owned The Jewel for as long as the album has been available here in the States. And yet after all these years, it just sat passively in my collection. Never thought to get the CD, and primarily kept it for nostalgic reasons. For the year of 2023, this represents the second best listen so far (it was early in January, but just now getting some notes down). I added a +2, taking it to the first division. Not sure why this album didn't resonate with me all this time, especially given that it represents everything I enjoy about neo prog. The tight punchy rhythms, the neo-Genesis style, the Gabriel-esque vocals, the inventive tracks. All the same things I love about IQ are on display here. I suspect part of the problem was that I didn't enjoy anything else by Pendragon. Or did I really give them that much of a chance? There was a certain stigma with some of these acts in the 90s that I subscribed to at that time (long dropped that subscription). I dunno, we'll see someday where I land on that topic, if the option presents itself. Whatever the case, The Jewel really is just that, and transports me back to college browsing through Kerrang magazine, looking for anything remotely prog. 

Ownership: LP: 1985 Elusive. Single sleeve. I had this special ordered by a record shop in Lubbock while in college. I doubt it's any more expensive today than it was then, as it remains an easy record to find. This is one of the rare albums (today that is) where I wouldn't mind supplementing with a CD. I don't do that too much anymore.

1985; 3/23/23 (new entry)

Magrathea - Legends. 2004 England

Magrathea are one of these bands that play in the oxymoronic "retro neo prog" style. This had come up through the weed out stack, as it seemed entirely unnecessary for me to possess such an album when I already have plenty of the real deal. Speaking of that, the irony here is that I just listened to one of those "real deal" bands (Twelfth Night), an early album which had nothing to do with the neo prog style. 

As I was listening, I pretty much had convinced myself that my prophesy of it belonging to someone else would be fulfilled. But then I began to realize just how perfect this album is for the style it is emulating. I mean if Anglagard can ape 1973, then why can't Magrathea copy 1982? And that's really your story line here: This is a pitch perfect realization of the early 80s NWOBPR. And just as Anglagard represents the ideal verse the reality of the scene, so does Magrathea. Everything about this screams some obscure cassette that was sold through Lotus Records and some dive bars throughout London. The cover, the sound, the compositions. It's IQ, Tamarisk, and Lahost all wrapped up in a stencil drawing of some Grendel like creature up to no good. I don't need to load up on albums like this, but since it's already here, I see no reason not to keep it. It's neo prog extract of the finest kind.

Ownership: CD: 2004 private. Online acquisition (2017). The packaging is as basic as it gets, and I suspect that's by design.

7/2/17 (first listen); 11/14/22 (review/new entry)

Puppet Show - Traumatized. 1998 USA-California

A few years ago I listened to and wrote about Puppet Show's second album The Tale of Woe, but it's been over 20 years since I last heard their debut. Puppet Show belongs to that odd category of "neo prog / retro prog" Genesis / Yes inspired bands. The compositions and delivery are definitely taken from the 80s groups such as IQ and early Marillion. The instrumentation is more analog in nature (organ, mellotron), and represents the 1970s approach. Other bands that did this were Sweden's Simon Says and the Dutch group Cliffhanger. Lots of twists and turns and very easy to absorb if already familiar with the major tenets of progressive rock. Puppet Show do not tread new ground and it's all very familiar. However I'm game for another 55 minutes of music such as this. Another pleasant surprise from an album that lays hidden in the collection.

Ownership: CD: 1998 Kinesis. Jewel box release with booklet containing lyrics, arty photos, and recording details. Picked up at a discount a couple of years after release. 

2000 (acquired); 6/30/22 (review)

Zarathustra (1982) ~ Germany

Also Spielt... (1982)

---5/22/12

Early on in my collecting career, I was informed that the early 80s version of Zarathustra was a waste of time, and that the 1972 album by an unrelated band was the only Zarathustra worth seeking out. So when Second Battle reissued the Metronome 1972 album (1989), I was all over it, buying the LP re-release the minute it came out. I was happy with the purchase, as it is an excellent representative of the Hammond organ rich German culture of the time. 

Have an inside tip for all you out there: I like this title better!

This Zarathustra absolutely nails the 80s neo-progressive meets 60s psychedelic sound. If you like the music of similar German bands like Neuschwanstein, Ivory, and Sirius with an additional psychedelic acid guitar of Iskander (another unheralded 80s group), then by all means you'll want to hear this. Perhaps only the M.L. Bongers Project approaches this unlikely mix of Hawkwind meets Genesis. One of those albums that is entirely unpredictable, and the relistening factor is very high.

---5/4/22

+1 listen!

Ownership: 1982 private (LP)

5/22/12 (review); 5/4/22 (update / new entry)

Nexus Erratic ~ Switzerland

Inverse (1983)

OK, I admit it. I'm a closet neo progressive rock fan. I remember when it was known as the New Wave of British Progressive Rock (NWOBPR) to counter the NWOBHM movement (of which I'm also a fan). And I love all those early albums in the style by IQ, Marillion, Twelfth Night, Pendragon, Haze, Tamarisk, LaHost and a few others that you might find on this site as well. Unfortunately the term "neo prog" became muddied later in the 1980s when it became a euphemism for thinly disguised arena rock / AOR but with longer songs and fantasy lyrics. I was turned off, as were many other progressive rock fans.

But there weren't too many progenitors from continental Europe, especially Switzerland (not counting the rather dubious Deyss), until many years later. Nexus Erratic fits squarely in the 1982 / 83 UK neo sound. The only other band from Switzerland I can think of like this is Galaad (a very good early 90s band), another group from near the French Alps (as Nexus Erratic is). However Nexus Erratic are minus the Ange, Mona Lisa influences of Galaad - this is definitively UK sounding. I was really surprised by how much I liked this one. Cautiously recommended to most, highly recommended to those who love a good old fashioned early 80's UK "neo" album.

Ownership: 1983 Turicaphon (LP). Poster lyric insert. 

Not reissued as I update this post (3/12/25).

10/15/10 (review); 5/4/19 (update / new entry)

Step Ahead - s/t. 1982 France

What's most interesting about Step Ahead is just how un-French it really is. 1982 was a boom time for creative French progressive rock groups festering in the underground. Step Ahead is none of that. I think understanding that will help one digest this album better. As others have suggested, Step Ahead taps more into the burgeoning New Wave of British Prog Rock that was just about to launch. Whether Step Ahead were involved - or influenced - by that, it's hard to say, though I would expect not. Yes of course band leader Christian Robin spent much time in England, but what I hear is someone who took the same inputs as Marillion, IQ, et al, and spit out a similar conclusion. When one hears the vocal style (sounding every bit like an early 80s FM radio crooner), and some of the compositions, it's not a real stretch to hear bands like Asia in the mix. And really, if one listens closely, Step Ahead clearly had the stuff to make a radio hit in those days. The album needed more polish and editing, and some of the music is just too proggy for its own good - at least if commercial ambition is in play here. The gatefold cover is quite lavish, and it actually looks like Japanese anime to my eyes. A bizarre juxtaposition of themes on display. Is it prog, is it AOR, is it American, English, or Japanese? Nope. It's a French neo prog album, without any influence of its own culture like Ange, Magma, or Atoll. One of a kind, and better than I remembered.

Personal collection
LP: 1987 RCA (Japan)

For years I thought this album was released for the Japanese market, given the anime styled gatefold cover. But alas, no, it was in fact released 5 years earlier only in France. Must have sold 30 copies too. And the bizarre thing is the original is not that rare.

Elohim - Mana Perdu... 1983 France

Start with Seven Stories Into Eight era IQ (that is to say... the beginning), then toss Peter Nicholls out of the band, and invite instead Christian Decamps or Dominique Le Guennec. Now Tim Esau, time for you to leave, and we'll bring in Bernard Paganotti. Well, not Paganotti himself, but maybe a first year student of the master. Paul Cook - yea I think you're probably too good, and we'll just bring in some bum from the street to play drums. Holmes and Orford, you get to stay, though Martin you need to keep the palette of keyboard sounds to a minimum.

OK then.... Mana Perdu!

There's something incredibly charming about these old early 80s amateur prog bands. I first heard this album on LP in 1988, and it did nothing for me at the time. Now I hear it as something of a classic. Funny how that works... You really need to be a fan of the genre though, or otherwise this is not likely to resonate at all.

BTW - vocalist Jean-Paul Trutet went on to form Hecenia, whose second album La Couleur Du Feu is something of a modern masterpiece.

Personal collection
CD: 2000 Musea

For some reason the CD changed the band moniker's font. I like the original better (as pasted here).

Cast ~ Mexico

Nimbus (2004)

Nimbus is the 12th studio album from Mexico's Cast. At their beginning, Cast were heavily influenced by the neo prog marquee names such as Marillion, IQ, and Pendragon. They released an enormous amount of material in a short period of time, all characterized by the familiar NWOBPR sound, while singing in English. By the time of Nimbus, the band have become more confident with other styles of progressive rock, and are now utilizing their native language primarily. In addition to that, Cast has brought in more instrumentation, which allows for more tonal color, which was missing from their earlier releases. So even though this is their 12th album in a ten year time frame, it's remarkably fresh and not stale at all. '911' recalls their earlier neo prog past, whereas 'Un Singlo de Invierno' dabbles in prog metal. But mostly this is classic European progressive rock, as might be found in Spain during the late 70s - a band like Crack for example. Make no mistake, Cast aren't retro in the slightest, and this is clearly a work of the 90s and 00's. As with most of the Cast albums I'm familiar with, the album is quite lengthy (the equivalent of two LPs), so it takes quite a bit of time to absorb all the material presented here. To be honest, I don't have much exposure to Cast past their Angels and Demons album, so I'm not sure where the band transformed their sound. 

Ownership: 2004 Musea (CD). Multi fold out lyrical booklet. Acquired in 2005.

3//05; 7/16/18 (review); 11/18/23

Other albums I own: Endless Signs; Al-Bandaluz

Albums once owned (and probably need to hear again): Landing in a Serious Mind; Sounds of Imagination; Third Call; Four Aces; Beyond Reality; Angels and Demons

Best I can tell, they have 21 total studio albums as I update this in 2026.

7/16/18 (new entry)

Lord Flimnap - Point of View. 1989 Israel

Had someone slipped me a cassette of this album, labeled it "unknown prog band 1982 UK", I would have believed it. Well the cassette part is true, but 7 years later - and from the unlikely country of Israel. This is square-on-of-the-era amateurish New Wave of British Progressive rock. It has the thuddy production, the meandering-don't-make-sense compositions, the semi-theatrical vocals, and the Rush like guitar breaks. Lord Flimnap could very well have been the predecessor/followup to groups like Trilogy or Tamarisk.

As these albums tend to be, it starts off unconvincingly, and I was struggling to buy into the concept. Though I was most intrigued by some of the odd breaks on opener 'The Wilderness' (aptly named I might add). After the somewhat mundane 'Trapped in the Marsh', the album really draws you in on 'Prodigy'. By the 10+ minute epic 'Out of My Way' (yet another well named song), the album is firing on all cylinders. It's completely unpredictable, but filled with great ideas, and by this time the ears have adjusted to the production. I love albums like this from the 80s, when everyone was making it up as they were going along, presuming (probably) few would hear it anyway. If you're a fan of the freewheeling 1980-1983 NWOBPR cassette scene, you'll want to obtain this one.

Personal collection

CD: 2004 Earsay

The original was an obscure cassette that is not even listed on Discogs as I write this. A year later, the somewhat chintzy, but well-distributed German label World Wide Records picked it up for CD release. The Earsay issue is the first domestic release. Special thanks goes to Gal for the gift!

Shades of Dawn ~ Germany

The Dawn of Time (1998)

Throughout the 90s and 00s, there were quite a few German bands operating in the UK neo prog styled genre. Most of them didn't capture my ear. Shades of Dawn is definitely in the upper tier of that set of groups, primarily due to the exceptional instrumental work, that captures the very best of bands like IQ and Lahost. They also remind me quite a bit of fellow countrymen Tea in the Sahara. And the synthesizer and guitar work do recall the German late 70s heyday of bands like Ivory, ML Bongers Project, Anyone's Daughter, and Amenophis. As is often the case with bands from Germany performing in this style, the vocals are quite suspect, and they would have been better served to sing in either their native tongue, or found someone more suitable for the task. And during some of the song sections, the music is nothing more than a backdrop for the lyric. This isn't their strong suit, so they probably should have tried harder to obfuscate it. Ah well, not to end on a sour note, as fortunately the instrumental work dominates here. Interesting to note that this album didn't score well on ProgArchives, demonstrating a completely different view of the neo prog genre than myself.

As an aside, the Early Birds label is actually Second Battle. I had completely forgotten that they had taken an interest in contemporary music, only thinking of them in a reissue capacity. Shades of Dawn were to move to Musea, a label much more associated with this kind of music. Oh cool, looks like I have another one from this band in the stack! 

Ownership: 1998 Early Birds / Second Battle (CD). Acquired in 2017.

5/13/17 (review)

Also own: From Dusk Till Dawn

5/13/17 (new entry)

Puppet Show - The Tale of Woe. 2007 USA-California

Recently on the Kaipa Da Capo review, I mentioned a certain aversion to the modern commercial wing of progressive rock. The Flower Kings / Spock’s Beard sound was always lost on me – too much 80s and 90s styled radio ballads and anthems interspersed among the more thoughtful progressions. ProgRock Records specializes in just this sound. And despite numerous releases, almost none of them have been invited into my home. I don’t consider them terrible mind you, just on the margins of my personal interest area. And given the label’s long run, I would say they knew their market well.

So it took me aback to see a band like Puppet Show obtaining release on ProgRock. I’ve been in possession of their debut Traumatized for many years now, and recall it being a cut above the ordinary neo prog dreck. Still, I can see the intersection of the 2 styles here, and took a chance. Well it wasn’t much of a chance since sealed copies of the CD can be had for less than a pack of chewing gum…

It’s been many a year since I heard my CD copy of Traumatized, but if memory serves, The Tale of Woe is very much in line with it. Puppet Show are one of the few modern bands to reach back to the progressive era of Genesis (strange as that might seem, but most go for the Marillion variation of said sound). Not quite as Foxtrot obsessed as say Simon Says or Cliffhanger, more towards the last throes of the famous band’s progressive rock leanings. Like Wind and Wuthering. And Puppet Show also look toward the original neo prog emulators – namely IQ – especially around the time of Ever, for further guidance. And there you have your table of contents for this audio book. Mid 70s Genesis meets early 90s IQ. At times, Puppet Show can get a bit wordy, and begin to slow down to a crawl, as does IQ on occasion. But just at that point of reaching for the remote, in comes some fantastic keyboard/guitar/complex rhythm musical progressions, and thus giving context to the lyrical portions. I won’t go so far as to call this an instant classic, but I do find albums such as this maintaining staying power. And for the price it’s going for, it makes no sense not to take a chance if what I say above resonates.

Ownership: CD: 2007 ProgRock

3/26/17 (new entry)

Cliffhanger - Circle. 2001 Netherlands

Circle is Cliffhanger's 4th, and apparently last, studio effort. As I recently stated on the NoVox review, this Dutch collective are among my favorites of those who play in the Neo Prog genre. And the primary reason for that is that Cliffhanger goes beyond the typical 80s Marillion type sound, and looks back to the origins of the movement itself: That of Selling England by the Nursery Foxtrot. The album opens up somewhat inauspiciously with the straightforward 'Limits', before climbing back onto the Genesis wagon with 'Autumn'. And from there it's all aces. Cliffhanger defiantly stick with analog gear, or at the very least, attempt to sound like a band from the 70s. Thick wedgy organ, psychedelic guitar, and woody bass define this mature work. Admittedly Rinie Huigen's heavily accented voice takes a bit to adjust to, but once you have, you'll find the music fits perfectly with his intonation. The final instrumental 'Chateau Jam' demonstrates that Cliffhanger could have been a successful space rock band if they had wished. Along with Sweden's Simon Says, Cliffhanger kept the original early 70s Genesis spirit alive into the new millennia.

One of the rare bands where "neo prog" and "retro prog" are accurate genre tags, despite the obvious contradiction.

Personal collection
CD: 2001 Musea (France)

Sinister Street - Trust. 2002 Netherlands

There have been so many neo prog bands coming from the Netherlands in the last 30 years, one has to wonder if the genre isn't a major component of the country's GNP. Like many post-Marillion bands, Sinister Street balance Genesis-like (lite?) (pseudo) progressive rock with traditional radio friendly AOR. I guess the big question here is: Who listens to the radio anymore? Despite what it might seem reading my profile and reviews, I'm no "prog snob". In fact, I'm quite fond of the Neo Prog genre, especially in its earliest incarnation when better known as the New Wave of British Progressive Rock - and the subsequent followers of said movement (Collage's Basnie sends chills up my spine, for example). But while some bands chose the progressive angle, others took the more simple broad stroke composition style (vocal-chorus-instrumental-vocal-chorus-epilog). One style is not better than the other, of course, objectively speaking. All the same, subjectively speaking, this album is a bit straightforward for my tastes at the very least. There are some fine moments, as you can see from my track ratings, but mostly this album is for a different audience than I. As such, I did move out the CD.

Personal collection
none