All Alone (Final Conflict, 1992)

Final Conflict have a very smart name. Because melodic prog always include a fierce battle between an accessible and recognizable way to prog and the quest for a personal style. These English musicians surely were hugely influenced by Fish era Marillion (is it a deadly sin? We all were...), but they also had two very good singers, namely Brian Donkin and Andy Lawton, and they created their own version of highly emotional prog.

I like this artwork by Brian Picken... that reminds me of something! 

Dreamy guitars and keyboard carpets are never too showy, but strongly effective, as the whole band tend to the same (and never too easy) target: that is to put in music their inner world. "All Alone", coming from the album "Quest", is a good example of such a visceral approach: no virtuosity, no intricate interplays, no special effects of any kind. Just the essence of music: pure pathos. And a beautiful melody, moreover...

The Moon Hangs High / 月梦 (Tang Dynasty / 唐朝, 1992)

Tang Dynasty are rather on the metal side of Chinese rock, but they surely were influenced by progressive rock and never forget how melody and atmosphere are important when it comes to writing good songs. This one, for example, comes from the album "A Dream Return to Tang Dynasty" (well, the title itself seems interesting to me...) and belongs to their softer side. I like the way they take advantage of the classic song formula enriching it with instrumental bridges and a vocal emotional crescendo.

"A Dream Return..." was the debut album by Tang Dynasty.

Most of all, the themes are very well found and the Chinese lyrics add a special, unusual (for us) sound to the big picture. Kaiser Kuo's guitars and Ding Wu's vocals are the first contributions the listener appreciates in this track, but the entire band knows how to play without uselessly showing off their skills. After all, a beautiful song doesn't need too much tinsels...

Premise of Life (Covenant, 1992)

David (Dave) Cryder is no doubt a skilled drummer and he played (and still plays) in many US bands, in as different genres as blues-rock and death metal. When he decided to go solo, he created this one-man band and explored our favourite genre, that's to say progressive rock, most precisely its symphonic side. Playing all the instruments, Cryder creates three tracks (two long epics and a song) to build up Covenant's  sole work to date, titled "Nature's Divine Reflection", actually the proggest name you could find for a CD.

Such a pity Cryder abandoned the Covenant project so soon.

"Premise of Life" is the opening suite, a kaleidoscope of devilish keyboards, highly dynamic drums and - that's probably why I chose this particular song - very good bass lines ang a guitar solo, all played by guest musician Bill Pohl. This added instruments give a more balanced sound to a composition packed with good ideas and well found changes. Obviously, the vast choice of keyboards is one of the highlights of "Premise of Life", but I do think the tempo variations and the enthralling progressions also are worth the listener's attention. If you like vintage heavy prog, don't miss this one.

The Gray Stones of Escalia (Galadriel, 1992)

This is not the only track from Spanish band Galadriel in my blog, so you can devine my opinion about their music. Yes, I like those musicians very much and their misty, delicate still full-bodied kind of progressive rock. "The Gray Stones of Escalia" comes from the album "Chasing The Dragonfly" and features all the main influences Galadriel gathered and re-worked with care and passion. This long epic (a suite? Something like that...) starts under an atmospheric and Jon Anderson-like star, thanks to Jesús Filardi's vocals and to the sophisticated vocal harmonies the band conjures up, but even so there's an original acoustic approach backed with spacey and Floydian accents.

"Chasing The Dragonfly" was the second studio work by Galadriel.

The track gradually grows up in rythm and energy, and the electric guitars get more and more important. A series of orchestral effects ends up this crescendo and then, here you are an unpredictable lyrical section, kind of a magic and intense lied, something inner and even experimental, leaving a melancholy smell and a sweet taste.The finale, of course, changes all once again and goes rock. Listen to this, my friends...

Lady of Dreams (Kitarō 喜多郎, 1992)

I confess this is a song I die for. And fon many reasons. First of all, Kitaro found a sweet, effective melody and on this theme he built up a glorious prog song of 8 minutes featuring all I like: excellent sung sections, long and atmospheric instrumental passages, unpredictable changes. Then he put in such a promising plot Jon Anderson's voice and Kitarō was rewarded with one of the best performances ever by Mr. Yes. Pure magic, IMHO.

This is definitely one of the most prog-influenced albums by Kitaro.

So this is heaven for me: pleasant music, original arrangements, dreamy moods and a good deal of different colours. Not exacly a new age song, as I see it. A special mention goes to Jimmy Hahn's electric guitar adding a further charm to such an enchanting track. Domo arigatou, Mr. Kitaro!

Blood of Eden (Peter Gabriel, 1992)

When Peter Gabriel successfully combines good melodies, original arrangements and a first rate vocal performance... well, Paradise reveals itself to the well educated ears. And such a perfect mix is not rare in Peter's discography. "Blood of Eden" definitely is one of those songs, with its ethereal and even catchy sung theme, its intricate and syncopated rythm and, of course, Peter's deep and sensitive voice. Plus two fantastic guest singers: Sinéad O' Connor and Daniel Lanois!

Probably not the best Peter Gabriel's cover art. But who cares?

Of all these features, as you can imagine, I better like the music Peter wrote and the way he found to create a special, somewhat ancestral atmosphere. In this pure magic the singers enact the double game of feminine and masculine worlds and their need of union. Like all great songs, this "Blood of Eden" carries me away far, so far from the daily passions and worries... and yet, just into life, into the core of life. 

Brainstorm (Mastermind, 1992)

This band is essentially based on the skills of two brothers: Rich and Bill Berends, coming from New Jersey. This long and dynamic suite comes from their second album and is pure musical fire. Divided into seven sections, it starts with a hard intro, then goes on exploring epic and heavy prog solutions, always keeping the right amount of attention to the compositional side of the band's work. So the guitars are fast & furious, the drums go on like a tropical storm, but such a high volume performance never hides nor cancels the underlying melodies.

"Brainstorm" is the opening and title track of this album.

This is what once was called heavy prog: a muscular wall of music, but the Berends brothers know that power always requires control. And they do control their performance: each second of this suite is keenly studied and placed where the big picture needs it. There are a few quieter moments, of course, but they also are full of the inner tension that is Mastermind's trademark. In short, if you like juicy and spicy prog dishes, I bet it's lunch time for you!

A Gadarai Megszállott (After Crying, 1992)

If ever you like experimental and classically-conceived prog, After Crying could be your band and surely you'll like this epic track, opening the 1992 album "Megalázottak És Megszomorítottak". It's an uncompromising suite, starting with a slow, long and acoustic crescendo, an instrumental, atmospheric section providing the background and the mood for the entire song. The cello and the piano drive this part, with the support of a delicate drumming. An obscure landscape rises around the listener and dark shadows seem to surround the music. No other bands sound like this. After more than 7 minutes, the vocals (in Hungarian) come in drawing a gentle and beautiful melody, with a violin underlining Péter Pejtsik's voice... something original, but not too far from Hammill's way, if you ask me.

I think this cover art is perfect for After Crying dark prog.

I really like this section, but after this, a deep, sad experimental one gets the listener's attention: it's a slow, diversified and atmospheric section, lining up sung and instrumental moments, with a cello on the foreground. It gradually changes in a somehow more dynamic section, including a rythmic piano and the oboe. Well, this is heartbreaking, IMHO. A female reciting voice introduces a strange and short bridge, where wild sounds and atmospheric chords follow one another. The final section is announced by a trumpet and has a joyful rythm for a change.... then the birds come in and the track is over. Should I say more?

Conquest of Paradise (Vangelis, 1992)

It was difficult for me to choose just one song among the huge discography of Ευάγγελος Οδυσσέας Παπαθανασίου, or Vangelis, as we all know him. A great composer, far from any musical label, but certainly not too far from prog rock (and you'll find some of his joint ventures in this blog). I finally decided to present here the title track of his 1992 original soundtrack for "Conquest of Paradise", celebrating Columbus and his explorations.

Vangelis is the author of a dozen beautiful original soundtracks.

A majestic theme, some airy keyboards, a bombastic orchestration, a magniloquent choir performance, but also a sensitive piano and well found rythmic solutions. Strangely enough, this track didn't get so popular at the film release time, but it surely did later, when it proved to be perfect for advertising spots, event openings and award ceremonies. This is also true for many other tracks by Vangelis and I do think he's the best one when it comes to rouse and excite people. That's why I listen to his music when I need some extra energy.

Icarus (Rael, 1992)

Oh yes, we all know who Rael is, so you won't be surprised to know that Rael were a Genesis and other prog icons tribute band from Argentina since 1985. Finally, they also released an album of original songs in 1992 called "Máscaras Urbanas " (that's "Urban Masks" in English). As you can easily imagine, their sound is tsrongly influenced by the Charterhouse pupils, but these tracks are pleasant and packed with emotions. The lead singer (and drummer!) Ignácio Rodríguez has a voice that's somewhere between Peter Gabriel and Fish and a passionate style I appreciate very much, especially in this song, "Icarus".

Genesis fans will surely appreciate all the songs in this album.

 

Sung in English (the album included both Spanish and English lyrics), this is a melancholy song, with a well found melody and some charming instrumental bridges. It's more neo-prog inspired than the rest of the album, and I also think it has a fresh and easy-going touch in it, just like Marillion used to have. Unfortunately, Rael disbanded some months after the release of their album, but the French label Muséa re-released it in 1997 for the international prog fandom. If you're searching for warm and familiar prog, this is for you.

The Changeling (Aragon, 1992)

Please don't ask me why, but Aragon are one of those those bands that progfans strongly like or dislike. I think they're among the most interesting Australian bands and some of their songs are really, really good. This is the case with "The Changeling", coming from the album "The Meeting". Strongly influenced by Fish-era Marillion, this track has a higly dynamic and intense structure, based on sharp guitars and baroque keyboards, a contrast I especially appreciate.

"The Meeting" was Aragon's second studio album.

Les Dougan's vocals are excellent, as he alternates strong and delicate moods in a convincing way. The melodies are full-bodied, and sometimes catchy. I also like some original touches: a slide guitar, some unusual electronic effects, very well found bass lines and so on. In short, this is an ever changing song, featuring unpredictable passages and - most of all - there's an emotional hardcore in "The Changeling" that gives a special, inner sense to the big picture. So, like it or not, this is prog rock at its best.

The Beginning And The End (Jadis, 1992)

"More Than Meets The Eyes" was the first officially released album by Jadis, the band including such good musicians as IQ members John Jowitt and Martin Orford, and especially Gary Chandler, the leading man of the band. Their music is a melodic one, rather guitar-driven, but, of course, also full of atmospheric keyboards. I especially like this track for its well developed themes and the way each musician gives its best in it.

This is the original CD cover art: you'll also find a special

edition, released in 2004 and including some bonus rarities.

All I like in neo-prog movement is there, while there's no trace of all I could dislike (please note I just st wrote I could dislike): no pomp, no affected arrangements, no musicians showing off useless skills, no sweetish emboideries, no pretentious lyrics. Instead, you'll find those almost visual guitars, flowing like fresh water and a lot of good changes in due time. Really, this is a piece of music that revives me and makes me leave apart dull days and busy streets.

A Suite for Everyman (Echolyn, 1992)

When it comes to diversity and fantasy, this US band can't be forgotten. And if you had to choose just one track to get into Echolyn's world, "A Suite for Everyman" should be your best choice. Taken from the album "Suffocating The Bloom", this epic is divided into eleven parts, each one with a mood of its own, still so well lined up that the global effect is that of a complex and coherent tapestry. There are so many good ideas in this song, so many original sounds... full melodies, ethnic rythms, dissonant harmonies, effective guitar solos, brass illuminations, synth progressions and so on.

 

"Suffocating The Bloom" was Echolyn's second studio album.

Sure, all that stuff could baffle some listeners, but Echolyn have the right amount of good taste and a strong sense of proportion, two essential gifts for such an eclectic band. Finally, this suite will convince you that those clever musicians aren't mere Gentle Giant's followers... well, that wouldn't be a shame, of course!

La Nef Elfique (Naos, 1992)

Naos belong to the French "second generation" of proggers, those active during the '80s and the '90s. They surely liked neo-prog British bands - Stéphane Prévost's dynamic bass lines prove that - but they also revived their National traditions, especially Ange's heritage. "La Nef Elfique" (meaning "The Elven Ship") opens the album called "Naïf le rêveur" ("Naïf The Dreamer"), likely their best one, IMHO.

 

This was the second studio album by Naos.

Once again, no musical revolutions here, but a fresher way to follow some well known and beloved paths through the Prog Forest. Philippe Motté is a good singer, as each note he sings is full of emotion, and he also knows how to write lyrics about overworked topics with a new and special twist. This track is a pleasant and rather energetic one, especially conceived for prog friends looking for a cosy corner in a busy day.

Jeanne d'Arc (Eloy, 1992)

I can remember several songs inspired by Jeanne d'Arc, but this one, taken from Eloy's album "Destination" is probably the one I listen to with the greatest pleasure. Not only the track is pleasant and features a good melody, but the sounds - with their vague medieval reference - perfectly depict the contents of the lyrics. "Jeanne d'Arc" is the closing and best composition of an album I don't especially like, but it's so well arranged and so beautifully sung that it was to me a good enough reason to purchase the CD.

Well, I don't think this lady on "Destination" cover is Jeanne...

The epic and historical subject surely gives to the track a dignified aura, but the band keeps the song well planted on the ground and no bombastic effects, nor instrumental excesses are to be found here. "Jeanne d'Arc" is just a progressive ballad, infused of real emotions and featuring some very good keyboards and choral arrangements. Is it enough for you, my prog friends out there?

Les larmes du Dalaï Lama (Ange, 1992)

Among the abundant production of Ange during the '90s, 2000s and 2010s decades, this is one of my favourite songs. And its strength could easily raise it to the inner circle of the band's best moments. Christian Descamps' performance is full of energy and pathos, and both the sung melody and the instrumental sections have something magic. Jean-Michel Bresovar's electric guitar displays all the colours of epic, perfectly backed by the rythm section and especially by the two percussion men Jean-Pierre Guichard and Eruc Toury, sounding like drums of war.

This was the 15th studio album of Ange.

That's why the delicate passages of "Les larmes du Dalaï Lama" (that's "Dalaï Lama's teardrops", in English) seem more ethereal and almost unreal. After some years  of strange, not always successful musical adventures, and the reunion of the original lineup for the previous (and good) album, this song opens the album announcing to the world that Ange definitely were back home. Finally and luckily. For me, at least.

Another Day (Dream Theater, 1992)

One of the most famous Dream Theater's songs, taken from their "Images And Words" album. It's a plain song, with a rather traditional structure, but including two wonderful solos (electric guitar and soprano sax, just for the record). I like the melody very much and James LaBrie's vocal performance, strong and neat. The presence of so many acoustic instruments is another winning point of the song: the opening piano, guest Jay Beckenstein's sax, the acoustic guitar. And when the rock instruments come in, they create an emotional peak, leaving the sweet outro to Beckenstein of Spyro Gyra fame.

This song was also released as a single in 1993.

All is fit and carefully set in... a perfect song, if ever there was one, with some proggy features and moving lyrics about life and death. Some say John Petrucci wrote them for his father, then struggling against cancer. I don't know that, but the words are really good and the official video gently suggest a family meaning behind those beautiful lines:

If you're searching for a silent sky

You won't find it here

Look another way

You won't find it here

So die another day.

Don Giovanni (Versailles, 1992)

This '90s French band were able to release four studio albums and this epic is the title track of their second work. In the wake of '70s groups like Ange and especially Mona Lisa ( a bandin whose reformation they were involved in the year 2000), Versailles produced a highly dynamic and dramatic prog rock, influenced by neo-prog bands, but also featuring strong roots in the symphonic rock era. "Don Giovanni" is one of their best achievements, with its unpredictable tempo changes, its rich range of sounds and effects and its classic reference.

Varsailles released 4 albums between 1991 and 1998.

 

During more than 15 minutes, you'll appreciate the strong, emphatic and also sensitive Guillaume de la Pilière's vocals, the clever mix of his vintage and updated keys and - last but not least - his splendid piano work. The rythm section is also very good here, following the leader's incessant tempo and mood changes, a real tour-de-force putting more flesh and soul in this track. In short, a lively and colourful song, a blooming bouquet of musical flowers.

Io e il tempo (Nuova Era, 1992)

It's impossible to describe here my first reactions when listening to this suite, the title track of Nuova Era's third album, released in 1992. First of all, I feltt many years younger. It was like going back to places I once knew and loved... classical Italian prog of old was coming back to life. But this dejà vu effect wasn't all, 'cause this suite is an excellent piece of music, well written, well performed and well arranged. The melodies are excellent and their reprises are cleverly organised all along the track.

Out of the blue... the good ol' prog was back, stronger than ever.

The instrumental passages are sweet and solid, featuring pleasant interplays between keyboards and guitars. Walter Pini, the mind behind Nuova Era, signed here one of his finest achievements, IMHO, and his brother Ivan provided some very good lyrics about time, childhood and getting old, filled with gentle melancholy. The miracle with this track is that it really sounds new and fresh, despite all the its musical quotations. Really, one of my favourites ever.

Through Her Eyes (Dream Theater, 1992)

One of the most known and appreciated songs by Dream Theater, no doubt, nonetheless not one of their typical prog metal ones. This is an excellent ballad, taken from "Metropolis Part 2: Scenes from A Memory", the concept album developing the plot of a song , "Metropolis Part. 1: The Miracle and the Sleeper", included in "Images and Words" album. I like this track for its good and relaxed melody, and also for its pleasant Western American influence. As I said, this song is part of a concept, so the lyrics deserve some explanations: the main character, Nicholas, discovers he was a woman in its previous life and here he finds out he (or she, more exactly) was innocently killed and sees all this trhough her eyes.

 

This beautiful song was also released as a CD single.

 

The sadness of this story is perfectly represented in the dreamy and almost suspended mood of the track, and most of all in James LaBrie vocal performance, apparently plain but so sensitive and sorrowful, one of his best ones, IMHO. "Through Her Eyes" proves that this band can give strong emotions to the listener even with no technical virtuosities and no intricate arrangements. That's when I best like them.