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PROG FOLK

A Progressive Rock Sub-genre


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Prog Folk definition

In the wake of the 60's, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. BOB DYLAN, JOAN BAEZ, WOODY GUTHRIE, JOHN DENVER, BUFFY STE-MARIE, but also the FARINA couple Richard and Mimi for the US and SHIRLEY COLLINS and EWAN McCOLL (mentor of BERT JANSCH, JOHN RENBOURN ) for the UK and HUGUES AUFRAY in France. In Quebec, there was the "Chansoniers" phenomenon among which CLAUDE LEVEILLE and FELIX LECLERC were the most popular, waking up the sleepy "Belle Province" and stand up for itself from the English rule. The English part of Canada also brought up JONI MITCHELL, LEONARD COHEN (although he was from Montreal) and NEIL YOUNG.

As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity. As DYLAN soon abandoned to style to create Country Rock with his next album, his British equivalent Scotsman DONOVAN stayed true to Folk Rock. In the US, THE BYRDS were the main promoters of the style by now, culminating with the superb "Eight Miles High" track with a lengthy (for the times) guitar solo of almost one minute. But countless other bands on the west coast, such as LOVE, JEFFERSON AIRPLANE (and later its spin-off HOT TUNA), GRATEFUL DEAD, QUICKSILVER MESSENGER SERVICE, PEARLS BEFORE SWINE, and TIM BUCKLEY all started in the folk rock realm. Even San Fran's SANTANA with its Latino traditional music and, on the east coast, NY's THE LOVING SPOONFUL had folk roots. Notwithstanding the immense popularity of SIMON & GARFUNKEL and their delicious harmonies, Folk Rock was appealing only to the rock public as the older generations turned their backs in folkies.

In the UK, following on their countrymen DONOVAN, many Scotsmen were very influent in exploring new grounds for folk rock: INCREDIBLE STRING BAND (led by Scots Palmer and Williamson) with their two highly influential albums "5000 Layers Or The Spirit Of The Onion" & "The Hangman's Beautiful Daughter" and THE PENTANGLE (led by other Scots Renbourn, Jansch and McShee and their superb bassist Danny Thompson) and its incredible fusion of folk, blues and jazz style were very instrumental in developing the style to the same extent as FAIRPORT CONVENTION and THE STRAWBS who by that time were still more conventional US "west-coast folk rock". The single artistes in folk rock became known as Folk Troubadours were also numerous and often presented a more progressive side of folk: AL STEWART, NICK DRAKE, ROY HARPER, TYRANOSAURUS REX (actually a duo of Steven Took and Marc Bolan) , JOHN MARTYN etc.

However, the real angular album that will lead to further change of Folk Rock is FAIRPORT CONVENTION's "Liege & Lief" album, that proved to be highly influential for another generation of groups: this album concentrated into electrifying seminal English traditional folk and retained that quaint Englishness taste. It is interesting to see that both leaders of FAIRPORT quit the band after this success to go their respective way: Sandy Denny to a solo folk songwriting career and Ashley Hutchings to a very traditional folk rock. By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Groups like THE THIRD EAR BAND and QUINTESSENCE relied on eastern Indian music influences and, sometimes, medieval tones. Other groups like the weird COMUS, THE TREES, SPIROGYRA, FOREST, the superb JAN DUKES DE GREY (all listed in the ProgArchives) but also TRADER HORNE, TUDOR LODGE, FOTHERINGAY, MAGNA CARTA, TIR NA NOG (all of whom could also be in the ProgArchives) were out to break new ground but with less commercial success as their predecessor. By 1972, all of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds. Such as HORSLIPS, DANDO SHAFT, STEELEYE SPAN, AMAZING BLONDEL, ALBION DANCE BAND and SPRIGUNS OF TOLGUS. Although JETHRO TULL had some definitive folk roots right from the start, their only albums that can be regarded as Prog Folk are 77's Songs From The Woods and 78's Heavy Horses. Ian Anderson (another Scots) was very keen in acoustical traditional songs. Some Folk Troubadours such as TIM BUCKLEY and JOHN MARTYN started turning records more and more axed towards fusing jazz and folk (a bit in what THE PENTANGLE were doing) , others became more and more electric and they started to be referred to as Singer Songwriters especially those with country rock influences.

In Germany, HOELDERLIN (and their fantastic debut album), EMTIDI, OUGENWEIDE, CAROL OF HARVEST, WITTHEUSER & WESTRUPP were exploring German folk while KALACAKRA , SILOAH and EMBRYO were indulging with Indian music. In South America, most notably in Chile, LOS JAIVAS (very bent upon Andean Indian music) and EL CONGRESSO (more Spanish-Latino folklore) were using folk in their rock, so much that some press talked about them referring it with the hateful term Inca Rock. In Quebec, the progressive movement exploded with the cultural identity and the Chansoniers tradition and this was carried out with LES SEGUIN and HARMONIUM and so many more. In France, many groups were out for folk rock such as RIBEIRO ALPS, TANGERINE, and ASGARD. In Spain, Flamenco playing a dominant role as well as Basque folk, TRIANA, ITOIZ and HAIZEA were the head of the movement once the Franco regime fell apart after his death.


There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists. Among the UK groups are obviously GRYPHON, GENTLE GIANT and THIRD EAR BAND, in France: MALICORNE and RIPAILLE and in Scandinavia: ALGARNAS TRADGARD and FOLQUE.


Hugues Chantraine

Current Team as of January 1, 2015

Bob Moore aka ClemofNazareth
Ken Levine aka Kenethlevine
Sean Trane

Prog Folk Top Albums


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

4.63 | 2870 ratings
THICK AS A BRICK
Jethro Tull
4.33 | 2224 ratings
AQUALUNG
Jethro Tull
4.17 | 1207 ratings
SONGS FROM THE WOOD
Jethro Tull
4.21 | 275 ratings
ALTURAS DE MACHU PICCHU
Jaivas, Los
4.14 | 466 ratings
FIRST UTTERANCE
Comus
4.13 | 526 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.18 | 186 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.15 | 275 ratings
GRAVE NEW WORLD
Strawbs
4.34 | 64 ratings
ERWARTUNG
Eden
4.14 | 268 ratings
HERO AND HEROINE
Strawbs
4.18 | 169 ratings
ST. RADIGUNDS
Spirogyra
4.05 | 1054 ratings
STAND UP
Jethro Tull
4.44 | 35 ratings
LUCAS
Araujo, Marco Antonio
4.07 | 261 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.14 | 113 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.15 | 102 ratings
BASKET OF LIGHT
Pentangle, The
4.02 | 981 ratings
HEAVY HORSES
Jethro Tull
4.01 | 1255 ratings
A PASSION PLAY
Jethro Tull
4.01 | 1024 ratings
MINSTREL IN THE GALLERY
Jethro Tull
4.13 | 102 ratings
EZEKIEL
Itoiz

Prog Folk overlooked and obscure gems albums new


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

STONE ANGEL
Stone Angel
HAUL AR YR EIRA
Pererin
AMETSAREN BIDEA
Errobi
SÓLO FUE UN SUEŃO
Omni

Latest Prog Folk Music Reviews


 Garolou by GAROLOU album cover Studio Album, 1978
3.67 | 13 ratings

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Garolou
Garolou Prog Folk

Review by Walkscore

4 stars This is Garolou's best album, and the one that best describes (and thus would be the best introduction to) their sound. Some of the members are new since the debut, and they changed their name (from Lougarou to Garolou), and in doing so became more firmly re-oriented in the Quebec progressive rock scene. The change in line up is particularly felt on the vocal front, as a number of these songs feature multi-part harmonies that are really quite beautiful (e.g. 'Wing-tra-La'). Garolou largely got their inspiration from historic folk tunes (and indeed, re-made a number of them into art-rock songs) and the history of French settlement in North America. While some of the tunes remain folk songs (again, 'Wing-tra-la' and the (already noted very fast) 'Alouette', others become rock songs ('Aux Illinois', 'Victoria' etc). The longer 'Germaine' is a show-stopper, a classic 1970s progressive-tinged rock song. On the whole, this is a very musical album, and like their first album (Lougarou) stands the test of time and multiple listens. There is not a bad song on the album (some don't like 'Victoria', perhaps the most 'normal' rock-radio song on the album, but I find it quite listenable, easy to sing along to). It is a classic Canadian album. It receives an 8.7 on my 10-point scale, and thus just a tinge short of receiving a 5-star rating. So, PA 4 stars.
 Au Nord de Notre Vie by CANO album cover Studio Album, 1977
3.85 | 21 ratings

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Au Nord de Notre Vie
CANO Prog Folk

Review by Walkscore

3 stars This is another Franco-Ontarian progressive folk collective, releasing albums around the same time in the late 1970s as Lougarou/Garolou. Cano was based in Sudbury, and is much larger, with a more fluid line-up. Their songs are quieter and longer with more of a distinct folk edge. This is their second album, and largely considered their best. Other than two longer songs (the 'A la Poursuite du Nord' suite, and 'Mon Pays') the songs are regular-length. Rachel Paiement's vocals stand out as a defining feature (good) of their sound, as well as Wasyl Kohut's violins (acoustic and electric), while the vocals by the male singers generally do not make much of impression. Acoustic guitar and piano are the main other instruments, with a few synthesizers and electric guitars occasionally present. The last song, 'Spirit of the North' (written by Kohut) was one of their concert show-stoppers. On the whole this is a very listenable and enjoyable album. However, it does not quite (in my opinion) live up to their first album. The compositions on this one are mixed, and some of the tunes (now that I have listened to this for over 20 years) I just have to skip over (such as 'Automne' and 'La Premiere Fois'). The best tunes are the two long ones, but even those have mixed musicality. Even 'Spirit of the North' I find has worn on me after multiple listens - while it checks all the boxes for what one might expect from progressive folk, somehow there is not enough weight to it - it is more like an extended solo than a composition with real staying power. On balance, I give this 7.2 out of 10 on my 10-point scale, which corresponds to 3 PA stars.
 Lougarou by GAROLOU album cover Studio Album, 1976
3.33 | 10 ratings

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Lougarou
Garolou Prog Folk

Review by Walkscore

4 stars This is an important band in the history of Canadian music. With Franco-Ontarian roots, the band combined an appreciation for French Canadian folk music with (then-) contemporary art-rock forms of composition. It took a little while longer for the disco and punk scenes transform the record industry in Canada, thankfully, allowing bands like Garolou and Rush (and the record companies there were signed to) to put out high-quality music for a couple of years longer in the late 1970s than in the US or UK where from 1976 onwards bands were being pressured to change their style. This band released their debut album under the name Lougarou, and only subsequently changed it to Garolou on their second album. While not quite as developed as their second album (Garolou), this is high quality music, and an excellent debut album. While some of the tracks remain pretty folky (including the opening track, Dis-Moi Charles, which is not to say they are in any way inferior), other tracks became staples of French-Canadian progressive rock (La Belle Francoise, A la Claire Fontaine, etc). The music is highly memorable after a couple of plays (a number of the songs stick in your head), and although firmly rooted in the 1970s has aged gracefully and so does not sound (too) dated these days. The soloists are not virtuosos by any means, but the playing is highly evocative and musical (more like Gilmour's guitar solos). This album remains on our family playlist (it still gets requests when we drive up to camping in the summer!), which (anecdotally I realize) speaks to its longevity. Although not essential, this is lasting quality music. I give it 8.1 out of 10 on my 10-point scale, which puts it at 4 PA stars.
 Prognostic by STRAWBS album cover Studio Album, 2014
2.58 | 20 ratings

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Prognostic
Strawbs Prog Folk

Review by SteveG

2 stars Well Mr. Cousins, you've got me scratching my head on this one. While I applaud the inclusion of the killer live prog tracks "Heartbreak Hill" and "Starting Over" from the Strawbs' 40th Anniversary Vo. 1CD (an absolute must have album for Strawbs' fans) as these tracks are even more vibrant than the original studio versions from the initially aborted Heartbreak Hill album from 1978, the rest of the material leaves me puzzled.

"Something For Nothing" from the original Heartbreak Hill studio masters in a good tune but not heavily prog and "Aphrodite's Eyes" from the 2008 album The Broken Hearted Bride is a laborious dirge. The inclusion of the Cousins and Conrad High Seas album track "Deep In The Darkest Night", despite Rick Wakeman's lovely piano, sounds very out of place due the song's synthesized bass and programed drums, and the album would have been better served with the Strawbs' own version from the Broken Hearted Bride.

The live version of "The River/Down By The Sea" and the remixed versions of weak songs like "Tomorrow" and the Hero And Heroine In Ascenia album coda "Lay A Little Light On Me/Hero's Theme/Round and Round Reprise" come off as little more than album filler. The lone exception being the inclusion of of Cousins' epic "Blue Angel" from 1972 solo album Two Weeks Last Summer. But that song's inclusion is not enough to help, unfortunately.

Prognostic was a great opportunity for the Strawbs to showcase their better latter day and authentically prog outings. For an example, the "Pro Patia Suite" from 2009's Dancing To The Devils' Beat along with the title track to the Broken Hearted Bride, would have made this compilation almost mandatory for Strawbs' fans. After all, they were the target audience for this album.

 From The Witchwood by STRAWBS album cover Studio Album, 1971
4.02 | 199 ratings

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From The Witchwood
Strawbs Prog Folk

Review by SteveG

5 stars As classic prog has come to be signified by it's overuse of synths and mellotrons, of which the Strawbs themselves were to be soon to be guilty, From The Witchwood remains incredibly fresh, unique and wonderfully enigmatic. The second album to feature Rick Wakeman and his first studio outing finds the future synth and mellotron wizard sticking to his wonderful arsenal of piano, organ and celeste and absolutely making the most of his accompaniments and solo spots on virtually every song on this mostly acoustic guitar driven album. Ok, there is a bit of mellotron and Moog C1 (901) synthesizer on perhaps the album's best track titled "The Shepard's Song" but it's not overdone. Its still Wakeman's dramatic and elegant playing that elevates this song, as does Wakeman's solo on the manic track tiled "Sheep" which climaxes with superb crescendos and high piercing organ notes, as well as the equally manic time changing organ solo on the ultra pastoral hymn like track "A Glimpse Of Heaven."

Dave Cousins' song writing topics now includes everything from polemic, physical love, social critique and mysticism without ever coming off as preachy or pretentious. Cousins just sings, with his distinctive voice, way too convincingly. The now full on rhythm section of John Ford and Richard Hudson, on bass and drums respectively, are a bit of the band's secret weapon on From The Witchwood, as they are the propulsive engine of songs like "The Hangman and The Papist", then afore noted "Sheep" and "The Shepherd's Song", while not drawing attention to themselves, while also adding a grounded groove to the sublime song from which stellar album derives it's name, "Witchwood". Hudson and Ford add the first of their songwriting contributions to an Strawbs' album. While not as strong as Cousins' material, the songs "Thiry Days", "Flight" and "Canon Dale" totally fit the pastoral and unique tone of this album. Hudson even adds some wonderful sitar to several songs, especially on his own tune "Canon Dale" which he keeps tasteful and far from sounding like the psychedelic musical motifs that were so rampant at the dawn of this album's decade.

For better or worse, the Strawbs would never again sound so individualistic in their on again/off again career and that pushes this gem right into the 5 star category. From The Witchwood is simply a prog classic.

 Repetitions of the Old City - I by JACK O' THE CLOCK album cover Studio Album, 2016
4.09 | 31 ratings

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Repetitions of the Old City - I
Jack O' The Clock Prog Folk

Review by ProgShine
Collaborator Errors & Omissions Team

4 stars It's not easy to review Jack O 'The Clock's music! It is true that many elements of classical Progressive Rock are present in the band's music, but we also have many other sounds like chamber music and the sound of the unusual instruments they use in their records (xylophone, melodic, psaltery, violin, bassoon, flute, accordion, among others).

I've been following the band since their 2013 album 'All My Friends', which was for me one of the best albums of 2013 and it is almost perfect. 'Night Loops', their next, still carries the same quality, but it seems to me that the band has repeated too many ideas of the previous album on this one. Than they released 'Outsider Songs' that ws more like a EP of covers. When I heard about the new album, 'Repetitions of the Old City - I', I was very excited. And I can tell you this: Jack O 'The Clock's music is still doing great!

The band's rich textures and sound layers are still intact, but this time they've added a lot of 'really' Progressive moments on the record, with a few riffs and more drums, though keeping the Folk side pretty strong.

I do not believe that 'Repetitions of the Old City - I' surpass 'All My Friends' as my favorite Jack's record, but it has potential. (Okay, I confess I have not heard their first two albums yet, I need to do it urgently).

In the first few spins of the new album the impression I had was that the record is a little too long and that could have been leaner. There are several moments that sound like filler parts and this kills the 'vibe' of the disc in some parts.

But, besides that I do believe this is one of the stronger moments in Jack O' The Clock discography and I can say, without any guilt that this band is one of the most innovative names in underground music today!

Available here: jackotheclock.bandcamp.com/album/repetitions-of-the-old-city-i

 Just A Collection Of Antiques And Curios by STRAWBS album cover Live, 1970
3.71 | 64 ratings

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Just A Collection Of Antiques And Curios
Strawbs Prog Folk

Review by SteveG

4 stars There is something that reeks of an old dusty attic full of songs from this, Strawbs' third album released on the American A&M label, that strangely, like the Strawbs' eponymous debut and sophomore album titled Dragonfly, was not released quickly in the US and actually reissued a few years later when both the Strawbs and Rick Wakeman would become better known to the prog world.

I believe it's due to Dave Cousins' bucolic songwriting and the remarkable absence of Wakeman's signature mellotron and Moog synthesizers which brings a freshness and immediacy to these live performances of mostly new songs. Wakeman was also new to Strawbs' audiences and you can clearly hear the enthusiasm for his deft piano, organ and harpsichord playing. To say that Wakeman gave virtuoso performances is not hype, just the truth. His ability to engage his audiences without coming off as a stuffed shirt is much to his credit, and his later self deprecating manor is well into being carefully formed.

The rest of the Strawbs give solid backing with the percussion based rhythm section of John Ford on bass and Richard Hudson on congas and small hand percussion instruments, while rhythm guitarist Tony Hooper does well to back Cousins' occasional electric guitar intros and outros. Cousins' seems to no longer be trying to find his voice and is quite self assured from the opening song "Martin Luther King's Dream" to the bonus CD track of "The Vision Of The Lady Of The Lake", which should have been included on the original vinyl release as it's the epitome of prog folk.

4 stars for this treasure from the attic as Just A Collection Of Antiques and Curios possesses an ambiance that's rare to find in other folk rock works of it's time, and for some reason beyond my reckoning, plays well on a cold winter's night.

 The Serpent's Kiss by SERPENTYNE album cover Studio Album, 2016
4.00 | 2 ratings

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The Serpent's Kiss
Serpentyne Prog Folk

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars UK band SERPENTYNE first appeared in 2009, and have established themselves as an active live and recording unit since then. They have three studio albums to their name so far. "The Serpent's Kiss" appeared in 2016, and is the most recent of these.

While I'm not familiar with the material of the first Serpentyne album, their second one was a most charming endeavor exploring music I'd pretty much describe as a folk music version of Ozric Tentacles. While the folk music element is still present as of 2016, Serpentyne have opted to take their folk music inspirations in a rather different direction this time around.

Initially you kind of get the impression that the band wants to take a bite of the symphonic metal market, as the opening cuts in particular with it's bombastic blend of majestic orchestral details, powerful guitars and operatic female lead vocals kind of plays straight into the center of such excursions. But as the rest of the album unfolds, a bit more variety is at hand, even of the orchestral details reappear from time to time.

The greater majority of the material is of a different character however. Folk metal or possibly folk hard rock is how I'd describe these cuts, with theatrical, female lead vocals placed on top of a foundation with a hard rock and metal at the core and a liberal amount of folk-tinged elements present. In vocals, in dominant or subservient motifs or due to various instrument details. With liberal amounts of flavoring from the hurdy gurdy adding a subtly exotic sheen to the proceedings. On occasion electronic elements are added in to provide us with some of the charms also present on their previous album, at other times the band opts to go for more of a straight forward concoction of hard rock with folk music details present one way or the other. Even on the concluding cut, Game of Thrones, the gentle Celtic tinged folk music opening sequences gives way to more of a hard rock founded arrangement after a bit.

Personally I have to admit that I found this band more charming in their previous guise, perhaps due to them exploring a type of music a bit further removed from what many other artists produce. At the same time it's easy to hear that the music on this new CD will have a much broader appeal, even of perhaps not quite as sophisticated nor wild and free in character. Majestic metal with a certain pompous grandeur and theatrical either operatic or semi-operatic female lead vocals is, after all, one of the more popular niche genres present in the genre jungle of music these days. Serpentyne are good at what they do too, there's no question about that. Still, I do hope they will if not revisit then at least include a few more of the charming, untamed folk and electronic blends that was so utterly charming last time around on any future productions.

Those with a strong fascination for bands operating out from a hard rock and heavy metal foundation to create a blend of those styles of music with folk music should find Serpentyne's latest studio album to be well worth spending some time with. A certain fascination for symphonic metal is warranted too, but it is the former and not the latter description that, in my opinion at least, defines this CD.

 I Am Full Gibbous by UNITED BIBLE STUDIES album cover Live, 2016
3.00 | 1 ratings

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I Am Full Gibbous
United Bible Studies Prog Folk

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

— First review of this album —
3 stars The band's bandcamp page presents the album with this sentence: "sounds and samples that begin to disorientate the listener, that very moment that you fall into a dream state". It's true, and this could even be a very short review as it's a good synthesis, but to be interested in checking out an album a potential listener needs more.

So, what can you expect from this album? Mainly darkness. It's a dream, true, but not about flowers and sunny days. Universal Bible Study is an unusual mixture of electronic, sequencing and sometimes a bit of Irish folk, all tied by dreamy soundscapes which sometimes change into nightmares.

In some parts the music can be even scary, but in any case it requires attention and possibly headphones. It's quite incredible that it has been recorded live. If it wasn't written on the bandcamp page, I would have thought it as a studio album.

This three parts suite has almost no rhythm and could even be considered as a progressive electronic piece. In some parts it reminds also to the Berlin school, but the scary vocals that sometimes appear, in particular on the final crescendo of the first track can't be easily classified.

The second track is the darkest, like a descent into the REM phase. Made mainly of speech and everyday sounds. The third is defined as " like a wyrd-folk Buttholes jamming with Timothy Leary in an abandoned church". Not so dramatic, maybe, but really weird. The alternance of screams and sequencing continuously interrupting a sort of cabaret folk song is genial.

Not a masterpiece, but an interesting thing, likely very different from everything you have heard before.

Give it a try.

 Dronne by NORTH SEA RADIO ORCHESTRA album cover Studio Album, 2016
4.07 | 6 ratings

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Dronne
North Sea Radio Orchestra Prog Folk

Review by Lewian

4 stars The North Sea Radio Orchestra do their thing once more, and once more it works out very well. This is very pleasant and enjoyable progressive chamber folk, exactly what this band or rather miniature orchestra is known for. There are no drums, it's all too gentle for that. About half of the songs are instrumental, the other half mostly sung by Sharron Fortnam angelic clear folk voice often supported by her husband Craig (the line-up given above only attributes all vocals to Sharron, but that's not true). I had five-starred their previous offering "I a moon" but will not go quite as high for this one; basically the NSRO further fills the space that they have opened for themselves with further beautiful music. One can't accuse them of too much development, but then perhaps you don't want one of your favourite bands to develop if there is nobody else to fill the space if they leave it. Once more we have Craig Fortnam's obligatory solo guitar piece, the odd catchy folk tune, once more, perhaps a bit stronger than on previous albums, tasteful chamber pieces with strong almost classical arrangements. Actually, going more deeply into this album, one can also find some new elements, atmospheric minimal music in Dronne, and a nod to Robert Wyatt's "flowing" style in The British Road. The two parts of the instrumental Dinosaurus Rex at the end together make perhaps their most "proggy" composition yet, mainly because of the extended time and that they give their ideas here to develop, with some more turns than usual. So no, I can't say that the Radio Orchestra stands still, all is alive and well. Still, if their previous albums were for you, this one is, too, and if they were not, this won't be either. I guess one could shuffle all four of their albums and could think that this was all conceived together. A solid four stars.
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Prog Folk bands/artists list

Bands/Artists Country
0.720 ALEACION Mexico
3 DAFT MONKEYS United Kingdom
AALTO Finland
RABIH ABOU-KHALIL Lebanon
ACCOLADE United Kingdom
ACCOLADE United States
ADARO Germany
AFFORESTED United Kingdom
AFION Croatia
AGAPE Canada
AGINCOURT United Kingdom
AIGUES VIVES Germany
AKTUALA Italy
NICU ALIFANTIS Romania
ALMÔNDEGAS Brazil
ALVA Multi-National
AMANITA Italy
AMAROK Spain
AMAZING BLONDEL United Kingdom
AMBER United Kingdom
AN DRO Germany
ANACRUSA Argentina
IAN ANDERSON United Kingdom
THE ANGELS OF LIGHT United States
ANNAMY Sweden
APARECIDOS Multi-National
AQUAPLAN Finland
AQUARIUM Russia
DAN AR BRAZ France
MARCO ANTONIO ARAUJO Brazil
DAN ARBORISE United Kingdom
THE ARBORISTS Canada
ARIA PALEA Italy
ARMY OF BRIARS United Kingdom
ARTSRUNI Armenia
ASGARD France
ASHADA Japan
ASHTAR Brazil
ASI SOMOS Puerto Rico
ATMAN Poland
AUCAN Argentina
AVALANCHE Netherlands
AVE SANGRIA Brazil
AZAHAR Spain
BABADAG Poland
BABY WHALE Multi-National
BAMBIR / THE BAMBIR Armenia
BANDA DO CASACO Portugal
A BARCA DO SOL Brazil
BARR Sweden
TOMAS BATISTA Argentina
BAYON Germany
BEAT CIRCUS United States
BEDEDEUM Italy
BERNARD BENOIT France
BLACKMORE'S NIGHT United Kingdom
BLOPS Chile
BLUEHORSES United Kingdom
BOULE DE SON Canada
BRAN (BRÂN) United Kingdom
BREAD LOVE AND DREAMS United Kingdom
BRECHE Canada
PAUL BRETT United Kingdom
BRÖSELMASCHINE Germany
BUCIUM Romania
TIM BUCKLEY United States
VASHTI BUNYAN United Kingdom
C.O.B. United Kingdom
CAEDMON United Kingdom
CALIBAN United States
CÁLIX Brazil
CAMELIAS GARDEN Italy
CAN AM DES PUIG Multi-National
CANDIDATE United Kingdom
CANO Canada
CANZONIERE DEL LAZIO Italy
MARCELLO CAPRA Italy
CARMEN United Kingdom
CARNASCIALIA Italy
CAROL OF HARVEST Germany
GIAN CASTELLO Italy
PHILIPPE CAUVIN France
CHAC MOOL Mexico
CHALIBAUDE France
CHERCHE-LUNE France
CHIMERA Netherlands
CHRYSALIDE France
CIRCULUS United Kingdom
CLANNAD Ireland
CLOGS Multi-National
COMUS United Kingdom
CONGREGACION Chile
CONGRESO Chile
CONNIVENCE Canada
CONTRALUZ Argentina
CONVENTUM Canada
CORDE OBLIQUE Italy
DAVE COUSINS United Kingdom
CREMATORIUM Russia
CRYSTAL PHOENIX Italy
CRYSTAL THOUGHTS Greece
CURRENT 93 United Kingdom
DAEMONIA NYMPHE Greece
DANCER United Kingdom
DARNAKES Greece
DAWNWIND United Kingdom
DEAD CAN DANCE Australia
DECAMERON United Kingdom
THE DECEMBERISTS United States
DEMI-HEURE Canada
DETEKTIVBYRĹN Sweden
DIEGO DE MORON Spain
DODSON AND FOGG United Kingdom
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