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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 | 2920 ratings
THICK AS A BRICK
Jethro Tull
4.34 | 2268 ratings
AQUALUNG
Jethro Tull
4.18 | 1235 ratings
SONGS FROM THE WOOD
Jethro Tull
4.21 | 277 ratings
ALTURAS DE MACHU PICCHU
Jaivas, Los
4.14 | 471 ratings
FIRST UTTERANCE
Comus
4.13 | 533 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.35 | 66 ratings
ERWARTUNG
Eden
4.15 | 273 ratings
HERO AND HEROINE
Strawbs
4.18 | 187 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.15 | 281 ratings
GRAVE NEW WORLD
Strawbs
4.18 | 171 ratings
ST. RADIGUNDS
Spirogyra
4.43 | 37 ratings
LUCAS
Araujo, Marco Antonio
4.04 | 1078 ratings
STAND UP
Jethro Tull
4.07 | 263 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.14 | 115 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.16 | 104 ratings
BASKET OF LIGHT
Pentangle, The
4.03 | 1006 ratings
HEAVY HORSES
Jethro Tull
4.02 | 1046 ratings
MINSTREL IN THE GALLERY
Jethro Tull
4.02 | 1277 ratings
A PASSION PLAY
Jethro Tull
4.13 | 106 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

A CANDLE FOR JUDITH
Way We Live, The
ODGIPIG
Sindelfingen
GEOFFROY
Emeraude
AMETSAREN BIDEA
Errobi

Latest Prog Folk Music Reviews


 Tim Buckley by BUCKLEY, TIM album cover Studio Album, 1966
3.00 | 31 ratings

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Tim Buckley
Tim Buckley Prog Folk

Review by Warthur
Prog Reviewer

4 stars Tim Buckley's debut album reminds me a lot of David Bowie's second self-titled album (AKA Space Oddity). In both cases, you have an artist later known for a decidedly different musical style trying to carve out a name for themselves with naive but undeniably charming hippie folk material, with a certain amount of romantic disappointment leavening things. The distinction is that Buckley isn't overwhelmed by studio fripperies - indeed, this is very much a stripped- down-to-the-basics album - and for my money he sounds more convincing in the counterculture troubadour role than Bowie ever did. And that downright unusual voice of his is a real attention-grabber.
 Goodbye and Hello by BUCKLEY, TIM album cover Studio Album, 1967
3.49 | 44 ratings

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Goodbye and Hello
Tim Buckley Prog Folk

Review by Warthur
Prog Reviewer

4 stars Mild psychedelic ideas start seeping into Tim Buckley's folk rock stylings at this point, with the opening number No Man Can Find the War being an intriguing look at the psychological side of the Vietnam War, and the fact that it was a conflict which the US was utterly embroiled in and yet at the same time people living in the US could very, very easily ignore if they felt inclined to. Tim's use of his voice has become more subtle and nuanced at that point, relying less on the stentorian declarations that characterised his debut album. A departure and an omen of things to come.
 Happy Sad by BUCKLEY, TIM album cover Studio Album, 1969
3.69 | 41 ratings

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Happy Sad
Tim Buckley Prog Folk

Review by Warthur
Prog Reviewer

4 stars On Happy Sad Tim Buckley's sonic universe expands remarkably, with jazz influences incorporated in order to offer an even spacier and more alien sound than his previous work. Conventional folk-rock is left behind as Buckley takes us through long, expansive compositions which seem to parallel Van Morrison's stream-of-consciousness space folk experiments on Astral Weeks. Buckley would venture into even stranger territory on later albums like Starsailor or the absolutely bizarre Lorca, but this is a good jumping-on point if you want to follow Buckley into these weird waters, since there's a certain warm charm to it that gets lost in his moments of more extreme experimentation.
 Blue Afternoon by BUCKLEY, TIM album cover Studio Album, 1969
3.77 | 28 ratings

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Blue Afternoon
Tim Buckley Prog Folk

Review by Warthur
Prog Reviewer

4 stars Blue Afternoon finds Tim Buckley installed at Frank Zappa and Herb Cohen's Stragiht Records and taking the weird dream-folk direction of Happy Sad into an even more magical direction. Both working with brand new material and polishing pieces which had been worked on during the Happy Sad period, Buckley proves that Happy Sad was no mere flash in the pan but the beginning of an extended period of experimentation, with the spacey jazz influence here to stay. At the same time, the songs feel a bit more structured as songs this time around, and on the whole the album is somewhat more accessible than its predecessor - the really out there stuff being saved for the followup Lorca.
 Lorca by BUCKLEY, TIM album cover Studio Album, 1970
3.86 | 36 ratings

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Lorca
Tim Buckley Prog Folk

Review by Warthur
Prog Reviewer

4 stars In 1969, Tim Buckley was angling to jump ship to Straight Records but had a pesky contractual obligation to take care of. The term "contractural obligation album" conjures all sorts of ugly images, though in retrospect we can now see that Buckley was doing Elektra a favour by giving them the chance to premier the new avant-folk sound he would submerge himself in with Starsailor. There aren't any standout moments to match Song to the Siren on here, but at the same time these languid, strange, almost Lynchian soundscapes have somewhat more approachable textures and overall the album is somewhat easier to unpack than Starsailor was.
 Starsailor by BUCKLEY, TIM album cover Studio Album, 1970
4.04 | 68 ratings

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Starsailor
Tim Buckley Prog Folk

Review by Warthur
Prog Reviewer

4 stars Starsailor is an accomplishment which is respectable but also deeply inaccessible. Drifting away from his folk-rock moorings more or less completely, Buckley unleashes the most wildly experimental album of his career to date. Song to the Siren may be the most famous cut on the album, but anyone expecting the stately majesty of the This Mortal Coil version is in for a shock. On the whole, it's the sort of album where I'm glad someone made it, but it isn't necessarily fun or rewarding to listen to - not because it isn't good, in fact it is, but because of how alienatingly weird it truly is.
 Thick As A Brick 2 [Aka: TAAB2] by ANDERSON, IAN album cover Studio Album, 2012
3.76 | 380 ratings

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Thick As A Brick 2 [Aka: TAAB2]
Ian Anderson Prog Folk

Review by VianaProghead
Prog Reviewer

4 stars Review Nş 121

'Thick as a Brick 2: Whatever Happened to Gerald Bostock ?' is the fifth studio album of Jethro Tull's front man, Ian Anderson, and was released in 2012. It's a follow up or a sequel, as you wish, of 'Thick As A Brick', the famous and highly acclaimed classic conceptual album released by Jethro Tull, in 1972, the mother of all concept albums, according to Anderson. However, before write about 'Thick As A Brick 2', I need to write a few lines about Jethro Tull, Ian Anderson and 'Thick As A Brick', to situate the context, why Ian decided to release this sequel in our days.

Jethro Tull is considered with Genesis, Yes, Pink Floyd, Gentle Giant, Emerson, Lake & Palmer, King Crimson, Van Der Graaf Generator, Camel and Rush, one of the best and most important progressive bands ever. Ian Anderson was always the band's image, the front man of the group, the brain of the band and the eccentric figure of Jethro Tull. 'Thick As A Brick' is in general considered the most progressive and the best release of Jethro Tull and the father of all conceptual albums. It's also in general seen, with 'Selling England By The Pound' from Genesis, 'Close To The Edge' from Yes and 'Wish You Were Here' from Pink Floyd, one of the four best progressive albums ever made. It's also a special album for me. My first contact with this album was in the 70's, at school, where one of my school friends lent me a recording, made on a tape recorder with low mono sound quality. Since I listen to it, since I became amazed with it.

So, forty years have passed since 'Thick As A Brick' was released and as most of you can remember, when it was released, it was involved in some controversy. The album was a collaboration between the band and an eight years old child, who wrote a complex poem that talks about the challenges of to get old, for a contest about a fictional kid, Gerard 'Little Milton' Bostock. In those time, and even today, many belie that Gerald Bostock was a real person. However, the child was disqualified because the judges considered that the poem, had little moral, and talked about the sexual life of father and son and the problems of their relationship. So, the judges preferred give the prize to a twelve years old girl, who wrote a simple essay about the Christian ethical values entitled, 'He Died To Save The Little Children'. So, Ian Anderson became very upset with that and he picked up in the child's poem and created a notable piece of music.

According to Anderson, when in our days he was thinking about the original album 'Thick As A Brick', he began to think: 'I wonder what the eight-year-old Gerald Bostock would be doing today? Would the fabled newspaper still exist?' So, it was in this context that appeared 'Thick As A Brick 2'. This new album is completely focused on Gerald Bostock, the fictional boy genius of the original poem on 'Thick As A Brick'. The story presents five divergent hypothetical life stories for him, including a greedy investment banker, a homosexual homeless man, a soldier in the Afghan war, a sanctimonious evangelist preacher and a most ordinary man who runs a corner store. By the end of the album, all five possibilities of live seem to converge in a similar concluding moment of gloomy of pitiful solitude.

It's also important to be said that Anderson and his fellow musicians delivered a finest progressive piece of music with this release. Certain musical themes taken from the original album make this second part very recognizable, but you never get the idea that the music sounds outdated. A modern approach and new recording facilities prevent you from listening to a 70's album. The flute playing of Anderson has always been his trademark and also this time it's prominent in the music. Maybe he doesn't sing as good as forty years ago, but the way he sings nowadays actually suits the music quite well. Compared to almost all of the albums of Jethro Tull recorded after 'Crest Of A Knave', the music has much more progressive rock elements. For instance, outstanding keyboard and electric guitar parts can be enjoyed throughout the album. Just like the first part of 'Thick As A Brick' the music sounds as if it's only one solid piece.

Conclusion: Anderson made a great job here. Inevitably, comparisons will be made with the original album. But this sequel has to be judged on its own merits. It's a very valuable successor of the first one and a wonderful addition to any prog collection. But it's a puzzle for me why Anderson decided to release this work as a solo album. By The way: Whatever happened to Mr. Barre? I really don't know. He's sorely missed, but his young replacement Florian Ophale acquits himself more than adequately. But, what made Anderson release 'Thick As A Brick 2'? I think that are two main reasons. First, his great love for music and his consciousness about the importance of 'Thick As A Brick'. Second, there is the philosophical existential question, which many of us have done for so many times. What would happen to me if I had followed another path in my life? Who would I be today? Of course, there aren't answers for these questions. However, I think I'm able to answer to one question. What would happen to progressive music if Anderson had followed another path? Surely, the progressive world was poorer, today. So, god blesses you Ian, for you are what you are.

Prog is my Ferrari. Jem Godfrey (Frost*)

 The Incredible String Band by INCREDIBLE STRING BAND, THE album cover Studio Album, 1966
3.25 | 22 ratings

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The Incredible String Band
The Incredible String Band Prog Folk

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars One of the true pioneers in the British psychedelic folk scene was THE INCREDIBLE STRING BAND that developed from a mutual interest of folk music between the two founding members Robin Williamson and Clive Palmer in Edinburgh, Scotland in 1963. After a couple of years playing as a duo they met Mike Heron in 65 and quickly gelled into their new group and got snatched up by Transatlantic Records. Right from the start the trio were catching the attention of even big stars like Bob Dylan with their unique take on the mix of English folk, Woodie Guthrie styled narrations and local Scottish influences. While the band would expand on the second slicker album "The 5000 Spirits Or The Layers Of The Onion" and beyond, this eponymous debut is the only album to feature the original founding trio as Clive Palmer would soon take a sojourn to India and opt not to reunite with the others as they were becoming more and more successful.

As only a trio, the music is much more roots oriented on album number one and not nearly as psychedelic and experimental as what would soon blossom as the band got more comfortable expanding beyond their influences. Despite a mere threesome, this album has a wealth of instrumentation as the musicians were all very skilled and comfortable on many a noise making devices. It's a fairly diverse sounding album as there are many styles, tempos, dynamics and all three members shared lead vocal duties. Mike Heron played guitar only but Clive Palmer contributes not only guitar but banjo and kazoo. After leaving the group he would record a banjo based album ("Banjoland" in 67) that wouldn't be released until 2005. Robin Williamson also plays guitar but also fiddle, violin mandolin and tin whistle. The instruments appear on different songs and create an interesting contrast between styles.

While the psych crowds may find this one a tad ho hum, as a straight forward folk album with a diverse palette of influences, album number one is actually a very pleasant listen with catchy acoustic folk songs jumping all around the folk spectrum with an authentic roots music feel with nice narrative lyrics about everyday life but the flirtations with the psychedelic scene were taking root at this stage with the inclusion of a surreal tale of a magic blackbird and accompanying unconventional vocal styles and mixings of sounds. The album found two different album covers for the UK and US and wasn't particularly successful. While a few tunes were traditionals, the majority of tunes were written by the three members. After this debut album the band would officially split up but Williamson and Heron would reform the band add a few more members and seriously up the sophistication of the style and progressiveness. While this debut can't really compete with the albums that follow, THE INCREDIBLE STRING BAND is a fine debut release that shows the band's transition from pure roots to create mixings of those styles.

3.5 rounded up

 In a Lifetime by CLANNAD album cover Singles/EPs/Fan Club/Promo, 1985
3.00 | 1 ratings

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In a Lifetime
Clannad Prog Folk

Review by Matti
Prog Reviewer

— First review of this album —
3 stars The Irish Clannad was pretty popular in the eighties, and the album Macalla (1985) was, I believe, their biggest success. Today it seems to be the best known, and widely appreciated also. This single contains two songs from that album. 'In a Lifetime' is a duet with Bono (U2). From time to time one can still hear it on the radio, for it is a very beautiful and well done pop ballad, no doubt about that. Of course to some it may be syrupy, but I enjoy it. It has a melancholic and dreamy atmosphere, and Bono is a great choice to accompany Moira Brennan's ethereal vocals, there's a lot of passion in his performance.

'Indoor' is a more straight-forward pop song, a good example of the hollow (over-) production that Clannad were sometimes guilty of. Even though it's not really bad, apart from some phoney sax perhaps, I think it's clearly among the least interesting tracks on Macalla. It has cultivated time signatures and could have been much better than it is, with another kind of production. But anyway 'In a lifetime' is a pop classic of its time that deserves three stars.

 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
4.08 | 52 ratings

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Sight Of Day
Mostly Autumn Prog Folk

Review by tszirmay
Special Collaborator Crossover Team

5 stars 'Dressed in Voices' was the long awaited return to form for the British prog-folk band Mostly Autumn, a fact that was recognized be all critics and fans and in order to further consolidate their position, the follow up 'Sight of Day' keeps the eye on the progressive prize. Lead singer Olivia Sparnenn-Josh is once again given a strong melodic platform to show off her considerable range and powerhouse delivery. She just may be the current prima donna (in the positive sense) of prog, at least in my humble opinion. This solid crew has been together for quite a while now and they seemed to have found their calling once again, focusing on crushingly attractive melodies sprinkled by some spectacular instrumental soloing from the fabulous guitar of Bryan Josh and Iain Jennings' ornate keyboard wizardry. The tight rhythm section of Andy Smith and Alex Cromarty act as the perfect motor for the band to pull of some masterful arrangements and thus create vivid, entertaining music of the highest order. Chris Johnson is the perfect rhythmic guitarist for Josh, liberating his gun-slinging technique with soaring, gliding solos that pierce the clouds.

The title track opens up the velvety curtains with a rather incredible 14 minute epic masterpiece that encapsulates the real essence of MA, a heady mixture of romantic and bombastic zeal that dives into exciting melodicism and bold instrumental play. Iain Jennings lovely piano introduces a dignified and confident vibe, setting the melancholic tone for a spiral of delicious sounds, seamless shifts and crazed soloing. Needless to say, Olivia sings like the wind, gently powerful when needed and utterly expressive.

Maintaining a luminous disposition ,'Once Around the Sun' offers quite a shimmering bombastic touch, with a Bryan Josh that winks at classic Roger Daltry (Who?). The melody has a little native Indian beat to it, a trait that will surface later in the track list, the organ in particular shining bright. Powerfully simple, immediately catchy and cool. 'Take care of yourself', he said.

The short but crushingly beautiful 'The Man without a Name' has Olivia showing her unbelievable voice, crystal clear and precise, vocal perfection in both delicacy and power. She has an almost Sarah Brightman tinge, a compliment of the highest order, I can assure you. Stripped down and pure, quite a gem to behold, with mostly piano as an escorting vessel.

What I find particularly appealing is their treatment of conventional structured songs, which they mould into something very much in their image, like the bluesy rocker 'Hammerdown', a raucous and fervent cry in the dark, that has classic rock stamped all over it, loaded with perspiration and muscle. Bryan Josh's voice crackles with emotion and his soaring guitar follows suite, screeching high and mighty like only he can.

Displaying incredible variety, the Chris Johnson-sung, produced and penned 'Changing Lives' surprises by fitting nicely within the overall framework , yet completely different from the other tracks here, a modern soft rocker that sizzles unashamedly, coming together as one, male and female voices in harmonious communion. Jennings' raging Hammond organ shudders violently as the overwrought guitars howl to the moon. Massive and feisty, 'Only the Brave' has wave upon wave of windswept bombast that incorporate some of Troy Donockley pipes and whistles. Early Mostly Autumn initially focused on strong folk roots, inserting a pastoral feel as well as eclectic instruments into their compositions and it's great to see that gift being added to a rather bruising and athletic rock track. 'Viking water, gods of thunder'.

Contrast that with another epic highlight track, a brooding and extreme splurge of sound, reliving native Indian lore, both in the instrumental envelope as well as lyrically. Bryan's focus on Canada is quite a stirring revelation, as my country certainly has the vast lands, 'mountains, trees and bright moons'. 'Native Spirit' is a fascinating track, replete with sweeping and dark orchestrations that keep the rhythmic thunder in check, a brilliant performance from Cromarty, pummeling like a feathered warrior on the war path. Both Josh's guitar and voice go way beyond the horizon, deep and trembling into the moonlit night.

Iain Jennings is quite the keyboardist, orchestrating modern swaths of sound in a most symphonic style as he did rather vividly once on 'Distant Train' off the Passengers album, so it comes as no surprise that 'Tomorrow Dies' is heavily clad in dense arrangements that highlight Olivia's authoritative vocal. Man, can this woman sing, or what? I still have goosebumps listening to this blurting yelp for salvation. Thrilling, expansive, shimmering and glittering. One of MA finest pieces ever.

Josh is a bad man, as he follows up with two more absolute killer tracks to finish off slaying my pleasure. 'Rain Down' hushes the deepest sentiments, violins in tow, evoking the majesty of Mother Nature's cleanse, both a torrent of rejuvenation and a cascade of satiation. Angels waiting to towel down the tired soul, momentarily drenched in emotional comfort. This track is so poignant, intensely vivid and heartfelt, a sheer joy to behold. Surely a concert highlight, perhaps even encore material.

Closing the book on this 73 minute extravaganza, 'Forever and Beyond' is simplicity incarnate, featuring a radiant and truthful ode to life and all its tribulations, bathed in a pastoral and folky setting. Perhaps hearkening back to their first album , 1999's 'For All We Shared', a time of rebellious discovery and artistic expression, this passionate vocal duet between husband and wife, soon to be father and mother, is as exhilaratingly personal as it gets and we are all blessed to be witnesses to all this impending joy. The feel is upbeat, smiling right and incredibly positive.

We all need music like this in today's screwed up world. Panacea, genuine art, passion-fueled music of the highest order, something anyone with a pumping heart can understand and ultimately feel inside of themselves. This Mostly Autumn ship will keep on flying'.

5 Visions of Time

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
DETEKTIVBYRĹN Sweden
DIEGO DE MORON Spain
DODSON AND FOGG United Kingdom
DR. STRANGELY STRANGE Ireland
DULCIMER United Kingdom
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