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PROG FOLK

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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 | 2937 ratings
THICK AS A BRICK
Jethro Tull
4.34 | 2283 ratings
AQUALUNG
Jethro Tull
4.18 | 1241 ratings
SONGS FROM THE WOOD
Jethro Tull
4.21 | 279 ratings
ALTURAS DE MACHU PICCHU
Jaivas, Los
4.14 | 474 ratings
FIRST UTTERANCE
Comus
4.13 | 534 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.15 | 276 ratings
HERO AND HEROINE
Strawbs
4.35 | 66 ratings
ERWARTUNG
Eden
4.18 | 188 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.15 | 284 ratings
GRAVE NEW WORLD
Strawbs
4.18 | 173 ratings
ST. RADIGUNDS
Spirogyra
4.04 | 1083 ratings
STAND UP
Jethro Tull
4.43 | 38 ratings
LUCAS
Araujo, Marco Antonio
4.07 | 264 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.03 | 1011 ratings
HEAVY HORSES
Jethro Tull
4.16 | 106 ratings
BASKET OF LIGHT
Pentangle, The
4.14 | 117 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.02 | 1050 ratings
MINSTREL IN THE GALLERY
Jethro Tull
4.02 | 1282 ratings
A PASSION PLAY
Jethro Tull
4.14 | 107 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

SÓLO FUE UN SUEÑO
Omni
STONE ANGEL
Stone Angel
GEOFFROY
Emeraude
GUSLIAR
Pesniary (Pesnyary)

Latest Prog Folk Music Reviews


 Fuchsia by FUCHSIA album cover Studio Album, 1971
3.67 | 55 ratings

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Fuchsia
Fuchsia Prog Folk

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Taking their name from Lady Fuchsia Groan of the 1940's novel `Titus Groan', Fuchsia were a British progressive-folk group made up of students who delivered a single cherished little album that has since picked up quite a legendary underground status over the last few decades. Comprised of charming and sprightly folk tunes with lush orchestrated instrumentation and keen pop melodies, it almost sounds like a cross between early Pink Floyd and the Syd Barrett solo albums, Electric Light Orchestra and a pinch of Gentle Giant, Caravan and Fruupp, making for a whimsical, energetic and sweet psych-lite folk gem.

The group is directed by lead singer and guitarist Tony Durant, who fleshes out Fuchsia's acoustic/electric sound with a predominantly female band on violin, cello, viola, harmonium and piano. Opener `Gone With The Mouse' is softly energetic and lively, propelled by forcefully jangling plugged-in guitar strums, sighing plaintive backing vocal longings from the girls and lightly proggy orchestral-like violin interludes that soar gently with confidence.

`A Tiny Book', one of the more ambitious pieces at eight minutes, is a mini-suite of subtle reprising passages that seamlessly move in and out of each-other, darting through everything from frantic electric bursts, wearily wistful ballad ruminations and regal-flecked pomp in the finale that would make Gentle Giant green with envy! Pay close attention to this track - Tony's likable voice here often sounds like the results of a lovechild between the Floyd's Syd Barrett and the nasally Steven Wilson of the early Porcupine Tree works! But moving on, `Another Nail' is bookended with violin-fuelled whimsy that wouldn't have sounded out of place on Caravan albums like `For Girls Who Grow Plump in the Night' before crashing into a politely wilder vocal psychedelic runaway rocker with a touch of Pink Floyd/`The Piper at the Gates of Dawn's `Astronomy Domine' to it!

The B-side's `Shoes And Ships' is one of the strongest tunes on the album, a fragile yet elegant folk-popper with frequent orchestral reprises in place of a vocal chorus and a longer instrumental acoustic guitar outro, and it almost sounds like a template for a million indie-pop/folk bands ever since. The playful and loopy `The Nothing Song' practically screams Syd Barrett and his `Madcap Laughs' and `Barrett' albums, and along with some darker little traces locked in, there's a deliciously bent and slightly `off' quality to it all! It's a psychedelic romp that throws in everything from big percussion crashes, rumbling drums, dramatic orchestration, with shambling acoustic guitars alongside manic and mischievous electric guitar soloing.

`Me And My Kite', a favourite amongst fans of the album and group, is a gorgeously twee pop-charmer with a sweet and achingly simple chorus, and the dreamy bluesy guitar bends of closer `Just Anyone' again reminds of the earliest Floyd works.

Sadly, sparse advertising and failed touring opportunities lead to the premature demise of the group soon after, until a compilation of unreleased and related pieces entitled `Fuchsia, Mahogany and Other Gems' emerged in 2005, and more excitingly a revamped modern line-up assembled by Mr Durant, now based in Australia, delivering a well-received proper follow-up `Fuchsia II: From Psychedelia...To a Distant Place' in 2013. But for over forty years now, this charming self-titled work has been Fuchsia's defining musical statement, one that holds an effortlessly melodic crossover quality that would also likely appeal to non-folk fans, and it has retained its infectious and precious charm ever since.

Four stars.

 777 by RED JASPER album cover Studio Album, 2016
3.00 | 14 ratings

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777
Red Jasper Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars The retooled RED JASPER really had its origins in "Anagramary", the last release before the long hiatus, as this marked the moment when they dispensed with the more overtly folk aspects of their character and plunged into the sea of samey neo prog. They handled it quite well, and even improved upon it when David Clifford stepped out from the shadows and replaced the inimitable Davey Dodds on "The Great and Secret Show" just a few years ago. Their penchant for melody with a dramatic flair was rekindled and they have now extended the sample size to 3 with "777".

This release is a logical extension but flawed in several key areas, chiefly in its garrulousness, a common neo prog ailment against which they seem to have forgotten to be vaccinated this time around. Moreover, many of the themes are overly repetitive, and, even where sudden shifts occur, the listener quickly learns to anticipate them which sabotages much of the enjoyment. Both "She Waits" and "The Gathering" are guilty of this laziness, while "Reaching Out", notwithstanding some enjoyable synth soloing, and "Nothing to Believe" are even more generic and predictable, with choruses that stumble out of and back into the recycle bin.

The album's best moments are at the very beginning and towards the end. "7" recaptures some of their folky past while being catchy and edgy. "Dragonfly" is more reflective and pastoral, contrasting with most of the directness of the remainder. "Paradise Folly" slyly re-purposes the balladry of the Sonnets from their long ago classics but only adds to the sense of meager inspiration elsewhere. A fine bonus track is added, the haunting "October and April" originally performed by THE RASMUS, handily adapted and made their own in a live setting.

I'm not suggesting that RED JASPER wait another 15 odd years for another offering, only that "777" may have been allowed to escape prematurely and breached the thin red line between British prog folk and generic neo prog. 2.5 stars rounded down.

 Saivo by TENHI album cover Studio Album, 2011
3.50 | 19 ratings

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Saivo
Tenhi Prog Folk

Review by Warthur
Prog Reviewer

4 stars I tend to consider Maaäet to be the high water mark of Tenhi's dark folk output, and Saivo doesn't do anything to overturn that impression - it's quality dark folk material of the standard we've come to expect of them, but it's at their usual (but consistently decent) level rather than going above and beyond like Maaäet did.

That isn't to say that the release is entirely interchangeable with what came before, mind. There's a certain epic sweep and a sense of the cinematic here - like this is the album Tenhi really, really hope some Hollywood producer notices so that they can get some soundtrack work going. It isn't enough to push the album into mercenary sellout territory, but it is enough to give it a distinct flavour of its own which at least reassures the listener that Tenhi's musical development has not altogether ceased.

 Hontz Gaua by HAIZEA album cover Studio Album, 1979
3.99 | 32 ratings

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Hontz Gaua
Haizea Prog Folk

Review by Juan K

3 stars I am from Spain, North West in particular: Galicia, a country with strong Celtic influences. Because of that I was not very keen on flamenco styled music until very late in my life, when I learned to appreciate the best of it. So my preferences always had gone with Northern Spain prog bands, and of course Haizea is one of them. I really like the album, but in my view they are one step behind Itoiz (another Basque band). As for the language, well, yes, Euskera is a weird language, if you research about it you'd find it isn't likely to any other language in the world (by the way, the title translates as "night bird"), but ... hell, I like bands that sung in Japanese, Swedish and so on, so how could not like a band from a brother Spanish country singing in their language?
 Airut Aamujen by TENHI album cover Studio Album, 2006
3.58 | 15 ratings

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Airut Aamujen
Tenhi Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars Whereas the "full band" recordings of TENHI feature strummed acoustic and electric guitars, enveloping keyboards, and occasional ethnic instrumentation, "Airut:Aamujen" is essentially piano based, with occasional synths and acoustic guitar, all played by Ilmari Issakainen. It could thus be interpreted as a solo effort offshoot, but for two observations: backing vocals are performed by band members, and, most pertinently, it plays like TENHI, in mood, atmosphere, and, ultimately, effect.

As the prominent instrument, piano is not as effusive as the synthesizers on other releases, but the touch of Issakainen is as somber as ever, drawing comparisons to DAVID SYLVIAN's "Secrets of the Beehive" albeit with more dissonance than even Sylvian could muster.

Your personal favourites, if I can employ this superficial expression, may vary, but I find the first few tracks resonate the most, tackling the most formidable goal of inducing the appropriate response, whatever it may be for you. The remainder are decent if less striking, and occasionally too moribund for even this project. An exception is "Oikea Sointi", which is a starkly tinkling ballad on ice, one that I would love to hear with the more typical TENHI arrangement, though it would be hard to improve upon the impact of this rendition.

Perhaps more than other TENHI albums, "Airut: Aamujen" beckons the listener into quite another realm, both dire and comforting. When it succeeds, it does so by reaching a guarded space within us that seems too personal to share, offering solace and a path to solemn disembodied communion.

 Folk Aesthetic 1996-2006 by TENHI album cover Boxset/Compilation, 2007
4.04 | 7 ratings

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Folk Aesthetic 1996-2006
Tenhi Prog Folk

Review by Warthur
Prog Reviewer

4 stars In terms of sheer value, Tenhi's Folk Aesthetic compilation offers a real treasury for fans of the band, featuring three CDs of material, each offering a different approach to unearthing the band's vault.

CD1 presents a set of mini-releases from early in the band's career. First up is Kertomuksia, Tenhi's first demo, which mostly consists of material which would be rerecorded for their first two albums, aside from "Tenhi" itself, but it remains an interesting starting point for the band which reveals their command of atmosphere from an early stage in their development. It's followed up by the more self-assured Hallavedet, which raises the question "How long must a single run before it becomes an EP?" It boasts only two tracks but has a nearly 16 minute running time. Compared to their debut demo, this shows a bit more polish, as well as incorporating a greater use of vocals. CD1 is rounded off with Airut;Ciwi. Centred around the epic Kielo, this mini-release from Tenhi finds them getting closer to their creative peak but still not yet attaining it.

The second disc's collection of alternate versions, demos, and unreleased songs holds up remarkably well for such an odds-and-sods collection, a credit to the consistent quality of Tenhi's work as well as the distinctiveness of their titular folk aesthetic. The collection is rounded off with Kaski, an entire unreleased album, whose laid-back, almost folk- ambient style and vocal experiments makes me very glad it was saved from the cutting room floor because it can sit with pride next to the rest of Tenhi's discography.

If you're a Tenhi superfan, this would clearly be an essential release for you; looking at things with a bit more perspective, though, this isn't a five-star collection simply because the material here isn't consistently of five-star quality - but then again, it doesn't really dip below four stars either. As far as vault-raiding collections go, that's doing pretty well.

 Väre by TENHI album cover Studio Album, 2003
3.81 | 20 ratings

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Väre
Tenhi Prog Folk

Review by Warthur
Prog Reviewer

4 stars Progressive influences gain more of a hold on Tenhi's particular brand of dark folk music, as this sophomore album finds them creeping closer to the sound of career masterpiece Maaäet. The song "Tenhi" updates a piece from their first demo tape and, in this setting, reveals just how far their craft has come since then. Mouth harp and didgeridoo may seem like incongruous instruments to work into this melancholy context, but in the hands of Tyko Saarikko they end up fitting into the wider picture and expanding its boundaries. Not quite a five-star classic, but still an extremely good release - say four and a half stars.
 Kauan by TENHI album cover Studio Album, 2000
3.64 | 22 ratings

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Kauan
Tenhi Prog Folk

Review by Warthur
Prog Reviewer

4 stars This debut album by Tenhi sets a solid precedent and blueprint for the style that reached its apotheosis on their third album. Taking up the torch of Ulver's haunting Kveldssanger, it presents a lush style of dark folk music that explores brooding, esoteric atmospheres that at points come close to the less martial industrial-influenced sections of neofolk. (In particular, where neofolk would tend to slip in industrial influences, Tyko Saarikko's synthesisers here are instead deployed with a much lighter touch.) But there's an epic sweep to proceedings which reveals in it the kernel of Tenhi's distinctive sound. Tenhi would eventually produce better, but this is already a very good start.
 Também Eu by BANDA DO CASACO album cover Studio Album, 1982
3.96 | 5 ratings

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Também Eu
Banda Do Casaco Prog Folk

Review by Meltdowner
Collaborator PSIKE Team

4 stars For a long time I ignored what came after "No Jardim da Celeste", which is their least interesting album (despite having some quality songs). After purchasing their box set and giving "Também Eu" (Me Too) a listen, I confirmed that my suspicions were very wrong.

Looking at the booklet, it's evidently their most instrumental album. This is due to the fact that António Pinho, one of the two frontmen and main lyricist, left the band to produce other artists. So this album ended up being Nuno Rodrigues' baby, with is real one (probably not coincidentally) on the cover.

Since it was recorded in the early 80's, an intensively creative time for Portuguese Pop Rock, there was a big change in the band's style. I'd say it's a kind of New Wave-ish Folk and I assure you it's of great taste. Also unlike their other albums, in this one you can only hear the velvety voice of Né Ladeiras, who didn't get nearly as much spotlight on their previous album.

The opener, "Salve Maravilha" starts with a soothing instrumental, featuring Tó Pinheiro da Silva the usual flutist, long-time member Celso de Carvalho on cello and Peter Harris (who replaced Larry Fast in the last minute) plays synthesizer. We're suddenly introduced to the lively rhythmic section: Jerry Marotta behind the kit again and Zé Nabo on bass guitar (you might know him from José Cid's space odyssey). Né Ladeiras joins the band and brings the most catchy tune of the album, nicely complemented by synth arpeggios and great classical guitar solos played by Nuno Rodrigues, I presume. The song ends in an atmospheric manner, led by 12-string acoustic guitar.

"Sedução" is an instrumental track (except for a few vocal harmonies), dominated by cello and backed by acoustic guitar. It becomes quite rhythmic in the second half.

"Sétimo Dia" is a lovely ballad that begins with a fretless bass solo (played by Celso) and 12-string guitar. Né harmonically sings "phonetic illustrations" (something that was done before in "Acalanto") of the names of the members' children. The bass guitar melodiously accompanies the vocals.

Afer that there's "Crença", which features a sublime interplay between flute and vocals (mostly wordless) with a vigorous rhythmic section.

Next we have "Alcateia", a song divided in three parts. The first one opens with a saxophone trio arrangement, which is played by Jerry and repeated a few times during the song, and pastoral acoustic guitars, accompanied by bass and keyboard improvisations. The second and main part follows with a 12-string guitar and soothing synth pads soon followed by a fast bass line and marching rhythm. Né delivers another soft Pop moment with a funky chorus. The last part is a spacey outro with an unpleasantly adrupt ending.

"Esvoaço em Lorilai" is a short acoustic ballad containing more "phonetic illustrations" and fretless bass.

The album ends with "Assim", a return to its beginning but this time with vocals.

I think this is their most cohesive album instrumentally, in great part due to a really good production, and I'd put it after "Hoje Há Conquilhas..." and their debut in order of preference.

4 jackets.

 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
3.97 | 83 ratings

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Sight Of Day
Mostly Autumn Prog Folk

Review by The Jester

4 stars Since I discovered Mostly Autumn, almost 6 years ago, I fell in love with their beautiful music. Sight of Day is the band's new album, that was released a few months ago and is the band's 12th studio album. The recording was funded through a pre-order campaign. Those who pre-ordered the album, received a special double-disc edition of the album, limited to 2000 copies. For all the others there is a single-disc edition available. Although I have the special edition, here I will deal with the normal edition of Sight of Day. First of all, the album includes 10 songs and has a total running time of almost 75 minutes. All 10 songs are excellent, and I never felt the need to skip not even one of them. The album opens with the 14-minute-long epic Sight of Day, which shows to the listener that many things has changed since the release of the previous album Dressed in Voices. An excellent and a typical Mostly Autumn song, and definitely one of the album's highlights. Sight of Day is followed by Once Round the Sun, with Bryan Josh on vocals and the upbeat tempo. Then, the soft and melancholic The Man Without a Name enters, which will sound familiar to all those who know the music of Mostly Autumn well enough. Hammerdown is another beautiful tune with Bryan Josh and Olivia Sparnenn sharing the vocal duties. Changing lives is a pleasant tune, but is doesn't add something more to the album. The fans of the TV series "Vikings" will probably appreciate the powerful Only the Brave that comes next. Native Spirit is one more long song, including many changes, which is filled with energy and beautiful guitar solos. Tomorrow Dies is not bad, but nothing special either, followed by Raindown; one of the album's finest moments, without a doubt.The album's final song is Forever and Beyond, which although is a good song, it sounds a little bit "weak" after all these wonderful songs. So, let's try to sum up: Sight of Day is a wonderful piece of work, including soft melancholic tunes, mixed with powerful parts, great guitar riffs and wonderful vocals. The album's sound is rich. including instruments like whistle, violin, flute, tambourine, Uillean pipes, etc? (There is no reason to mention the "classic" instruments, like guitar, bass, etc). As I mentioned before, this is an album, that you are going to listen from the first 'till the last song, without having to skip not even one song! Personal favourites: Sight of Day, Once Roundthe Sun, The Man without a Name, Hammerdown, Raindown, Only the Brave. Highly Recommended! 4.0 stars without a second tought.
Data cached

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
DETEKTIVBYRÅN Sweden
DIEGO DE MORON Spain
DODSON AND FOGG United Kingdom
DR. STRANGELY STRANGE Ireland
DULCIMER United Kingdom
DUN AENGHUS Multi-National
DUNWICH Italy
JUDY DYBLE United Kingdom
EDEN Germany
ELANE Germany
ELECTRIC DESERT Israel
ELFONIA Mexico
NANCY ELIZABETH United Kingdom
EMERAUDE France
EMTIDI Germany
ENBOR Spain
ENGEL (MIGUEL ANGEL DE LA LLAVE JIMENEZ) Spain
L' ENGOULEVENT Canada
RÓBERT ERDÉSZ Hungary
ERGO SUM Chile
ERROBI Spain
ESPERS United States
ETERNIDAD Argentina
LA FAMIGLIA DEGLI ORTEGA Italy
FARAWAY FOLK United Kingdom
FARPOINT United States
FAUN Germany
FAUN FABLES United States
FAVERAVOLA Italy
FAVNI (FAUNS) Germany
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