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 Redshift by RHYTON album cover Studio Album, 2016
4.00 | 1 ratings

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Redshift
Rhyton Psychedelic/Space Rock

Review by Kingsnake

— First review of this album —
4 stars The artwork, wich resembles seventies Roger Dean drew my towards this album.

When I read that the band creates psychedelic spacerock I was sold. The moment I started listening, it was like a timemachine. Suddenly 2016 didn't exist anymore, and I felt like I was listening to a record from 1968-1973. Early Camel, The Doors, King Crimson, Cressida is what comes to mind, when listening to the first track.

But the second track is country-influenced, with a hippie-feel of course. The guitar sounds like John Lees from Barclay James Harvest, but the song itself resembles more Marshall Tucker Band or Charlie Daniels Band.

Overall the album is a psychedelic experience like you've probably heard before, but sounds really welcome, in these days of thunderous heavy progmusic. The pace is slow, mellow and the sound is crispy clean. It sounds like a live concert and sometimes you get the feeling the band could play for hours and hours. But the songs are just long enough to keep you satisfied.

The band doesn't use a lot of keyboard, so most of the psychedelica and experimentation is made my string-experiments, wich gives the whole a more raw approach, like the early seventies-band did a lot.

Because the band doesn't use organ/mellotron it differs a lot from early Eloy, Pink Floyd, Jane, Deep Purple, Uriah Heep. But the approach is the same. Maybe the band is closest to a band like Cream, Humble Pie or Spooky Tooth.

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 Trans Harmonic Nights by BAUMANN, PETER album cover Studio Album, 1979
2.72 | 25 ratings

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Trans Harmonic Nights
Peter Baumann Progressive Electronic

Review by admireArt
Prog Reviewer

2 stars Peter Baumann - 1979 - "Trans Harmonic Nights".

In between experimental and straight progressive electronic ideas splashed with the inevitable drum/boxes and CASIO mini-keyboard like sequences and Mr. Baumann's early compulsive obsession of building melody lines at all times, which is kind of a trademark in him, but becomes an obstacle to the far more daring electronics which actually steal the show, outweighting in creativity the "sweetness" and irredeemably cheesy melody riffs which fill most, if not almost all, of the tracks.

A couple of microscopic highlights emerge here and there intact but the rest is subdued or reduced to a simplistic and excuse my words, foolish, musical expression.

Peter Baumann's comic sense of irreverence kind of saves the day, but then again his melody lines are not that attractive as to toy around with them.

I had great expectations set in this release, due to its date, but some stuff is no good, no matter when or where...DAMN!

**2 "for T.D.'s or DisneyWorld's X-treme fans only" PA stars.

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 My Best Human Face (with Moonface) by SIINAI album cover Studio Album, 2016
3.00 | 1 ratings

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My Best Human Face (with Moonface)
Siinai Krautrock

Review by admireArt
Prog Reviewer

— First review of this album —
3 stars "My Best Human Face", 2016 by Moonface & Siinai sets quiet clear the direction Moonface wants to lead his highly refined, yet subtly raw contemporary Rock/Krautrock/Krautpop language, which if by geographical situation precise could be named Finnish rock or Finnrock to cut it short.

So true to this principle, all compositions are vocal driven. Music composition wise their multitude of influences are quiet well absorved therefore they offer in return various unique forms of musical expression compressed into one.

In able to invite possible "enjoyers" of this release, I will throw out some names and then expect you to either become intrigued or oblivious.

Imagine a mixture between David Sylvian, The Cure, Roxy Music, The Clash, GAM, The Beloved, Nick Cave, The Waterboys and the strident spirit of early Krautrock bands, now shake well, filter and pour.

Although one may get the idea that such a blend might be unfriendly or unfocused, this band has, as I already mentioned, assimilated their personal influences up to the point of offering a fresh new Rock (underlining ROCK) language with the unmistakable Moonface's romantic/political focus and highly emotional tones.

*** 3.5, on the rise , PA stars.

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 Folklore by BIG BIG TRAIN album cover Studio Album, 2016
4.13 | 224 ratings

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Folklore
Big Big Train Crossover Prog

Review by BrufordFreak
Collaborator Jazz-Rock/Fusion/Canterbury Team

4 stars While carrying forward some of the bombast of the previous four releases, I find my self greatly appreciative of the more laid back songs on this album. Dave Longdon's vocal approach to the delivery of these lyrics is also, in my opinion, an improvement over some of the previous releases. There is no disputing that he has a wonderful, powerful, and exciting voice but, as I've said in the past, I find quite a disconnect in the way he chooses to sing/deliver the lyrical content with the meaning/message of the lyrics: Exactly how or why does one choose to get so emotional--and loud--when singing about these characters and scenes from English history? I love the presence of violin on almost every song (kudos, Andy, Greg and RACHEL HALL!), as well as that of strings and horns on many of the songs. Really nice fit with your music. Maestro Nick D'Virgilio is flawless as always and Dave Gregory lays down several of my favorite tracks I've ever heard from him. And of course, a big shout out to founders Andy Poole and Greg Spawton: your perseverance and passion has truly paid off! BBT is a force!

1. "Folklore" (7:30) the sounds of folk instruments gives the album's opening some promise but then the orotund vocal and anthemic background chorale I don't know why these songs and lyrics always have to sound so overpowering--as if they're trying to create rock anthems. (8/10)

2. "London Plane" (10:10) What?! After what I just wrote here they go and turn in a 180 degree turnaround. Tender, delicate, gentle slow pacing, tasteful (as opposed to pretentious) solos make this song a very welcome experience. Do I detect a Richie HAVENS quality to Dave's voice? Awesome! The revved up middle section for instrumental show is okay--unnecessary but notably restrained. Then the finale is sheer prog heaven--with one of my all-time favorite Dave LONGDON vocal sections in the ninth and tenth minutes. (9/10)

3. "Along the Ridgeway" (6:06) opens quite beautifully, piano and horns interplaying over bass and drums. Dave's vocal starts out a little less bombastic than usual, almost delicately--as do the conjoining background vocals. The second section with its staccato beat is just as engaging, though brief, giving way to a new layer of a weave of strings and picked electric guitar over which Dave and background vocals continue their singing. This is a great song--far more understated and less showy than their other stuff. At the 3:00 mark a nice instrumental section with GENESIS-like time signature ensues in which a Roger McGUINN (THE BYRDS)-like electric 12-string guitar solo, electric violin, and organ take turns soloing. At 3:48 the full soundscape continues in support of Dave's vocal return. Then at 4:15 things quite down in the background into a kind of jazzy soundscape before the full strings and horn sections join in briefly. My favorite song on the album. I could see this one being doubled in length. (9/10)

4. "Salisbury Giant" (3:36) is an odd little duck in that it opens with a feeling as if it is meant to be an instrumental interlude as full band with organ, slide guitar, and strings plod their way through an interesting GENESIS/BEATLES conglomeration. The song kind of twists and turns, never truly establish its identity, until Dave Longdon's vocals enter for the final 90 seconds. (8/10)

5. "The Transit of Venus Across the Sun" (7:18) opens with Christmas in the park sounding horn ensemble (which is then joined by violin and more horns) in a Pachelbel-Yule-ish weave. Then, at the 1:35, cymbol crescendo closes the door on the classical instruments and introduces 12-string guitars, piano, bass and drums in order to support Dave Longdon while he sings us along a RICHIE HAVENS-like celestial journey. The third section of the song that begins at the 4:11 mark notes the introduction of a chorus of what sounds like Latin chanting. This shifts into English at 4:45 as the accompanying instrumental support builds. Then, just as quickly, everything fades at 5:20 to leave us with finger-picked 12-string guitar and tuned percussion before everyone rejoins for Dave's final vocal and an symphony-supported electric guitar solo from Dave Gregory. Nice song. A top three for me. (9/10)

6. "Wassail" (6:47) takes a kind of bombastic approach to medieval troubadour song. THE STRAWBS were able to do this in the 70s. For my ears and mind this one is just a little too over the top--especially the chorus and the lead vocal overall. The instrumental foundation is awesome, it just gets too powerful in the chorus sections. (8/10)

7. "Winkie" (8:26) I think this one is intended to tell a war hero story in a kind of KATE BUSH-JETHRO TULL way. This one takes me back to 2004's World War II-oriented Gathering Speed. Good song with nice bass play throughout. (8/10)

8. "Brooklands" (12:38) opens in what feels and sounds like a very typical (formulaic) BBT way. Nice pace with batterie master Nick D'Virgilo's typically syncopated drumming, Dave Longdon's typcially impassioned vocals, and Dave Gregory's distinctive guitar sound. Again, not being a lyrically-oriented music listener, I wonder how much of the music is lost on me because I take no joy or meaning from the words; vocals are merely another instrumental melody line added into the music. There are some nice sections to this song--like the "lucky man" section of the sixth minute and the ensuing GENESIS-like instrumental section (which is pretty amazing--especially Nick's work). But overall, once again, full engagement and full impact are lost on me. (8/10)

9. "Telling the Bees" (6:03) offers a nice shift in sound for first 40 seconds--a kind of early ERIC CLAPTON or STEVE WINWOOD sound and style. Plus, it's a love song. And a good one at that! Great pedal steel guitar solo! My final top three song from the album. (9/10)

Not a masterpiece but a solid four star album: Excellent addition to any prog rock music collection.

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 A Live Record by CAMEL album cover Live, 1978
4.31 | 346 ratings

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A Live Record
Camel Symphonic Prog

Review by AlanB

4 stars I bought this on vinyl soon after it was released. The track listing was as listed above for the first CD version. More recently I purchased the album on CD, but it was the expanded edition with extra tracks.

First of all, this album shows the classic line up of Camel at its best, and the sound is enhanced by the addition of Mel Collins on saxophone. Collins makes a difference in particular to the songs Never let Go and Song Within A Song. The tracks are chosen from the albums Camel, Mirage, Moonmadness and Rain Dances, plus there is a full recording of The Snow Goose complete with orchestra. There is also a track Ligging At Louis, which did not appear on any studio album. I have never really appreciated post Peter Bardens Camel, so the selection of songs here is perfect for me.

My one qualm about the CD version that I have is that I would have preferred the tracks on CD1 to have followed the same order as on the original vinyl, with the unreleased songs at the end. I was so used to hearing the album open with Never Let Go that having four tracks from Rain Dances at the start sounds wrong. This wouldn't be a problem for anyone who hadn't owned the original album on vinyl, so maybe I'm being picky, but it doesn't sound right to me.

Top tracks for me: Never Let Go, Lady Fantasy, Song Within A Song, Lunar Sea, and the complete Snow Goose.

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 Invention of Knowledge by ANDERSON/STOLT album cover Studio Album, 2016
3.98 | 88 ratings

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Invention of Knowledge
Anderson/Stolt Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars The remembering

Jon Anderson is one of the more prolific members of the Yes family tree with a large number of solo albums and also several collaborations with other artists over the years, for example with Vangelis in 80's and more recently with fellow Yes man Rick Wakeman and with Fusion violinist Jean-Luc Ponty in the Anderson Ponty Band. The present album is a collaboration with Swedish musician Roine Stolt. I was previously familiar with Stolt from Transatlantic and I also saw him live with Steve Hackett's band recently.

The Invention Of Knowledge is a vocally driven album, and Jon's vocals are almost constantly to the forefront. His voice sounds very well indeed, better than on other recent releases. The style is what I would like to call "soft progressive Rock". A reasonable comparison in terms of the style here could be to Open, a digital only release from Jon which consists of one 20 plus minute epic piece of symphonic music. Anderson/Stolt is not similar to Yes music, but the closest you get is probably on Tales From Topographic Oceans. The mood of The Invention Of Knowledge is almost constantly uplifting and bright and even though the music is thoroughly pleasant and enjoyable, it is not very challenging. I feel that it never really truly gets off the ground and with a running time of over an hour, it tends to get a bit samey at points.

I like The Invention Of Knowledge. Indeed, I think it is better than most of Jon's solo albums and I would say it is one of his best non-Yes releases. It is well worth having certainly, and a nice listen, but I do not find it terribly impressive.

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 The Prophet  by P'COCK album cover Studio Album, 1980
2.43 | 6 ratings

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The Prophet
P'cock Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars Alan Parsons Project's little cousins

Despite their nationality and being signed on Klaus Schulze's label, the music of P'COCK can neither really be compared to krautrock nor to the Berlin School electronic style. Instead of long mesmerizing soundscapes, what we have here is rather a German version of ALAN PARSONS PROJECT. Pleasant and catchy naive charming melodies played on synthesizers. Nothing more, nothing less.

Side one is quite convincing. With its vocoder, keyboards and spacey ambiance, the title track immediately sets the tone. A nice little retro-futuristic song, prophesying a cool vintage cosmic journey. The more dynamic "The Actors Fun" is pretty much in the style of their fellow countrymen ELOY, especially the "Colours" album, released the same year. It also contains a calmer and slightly floydian relaxing passage. More conventional but nonetheless enjoyable, the poppy and melancholic "Toby" has some reminiscences with TOTO. Back to the stars with "Silver Swallow". While the first half is trippy and floating, the second half turns a bit strange, incorporating symphonic, aggressive and kind of chaotic robotic passages.

Side two is unfortunately not as inspired. Although the catchy "N 1,4" could easily compete with ALAN PARSONS PROJECT's best instrumentals, the AOR "Fly Your Kite" has its moments, but finally sounds overall flat and average. Concerning "La Mer", the longest track of the record, this 10 minutes long suite is not very coherent, rather out of place and fails to really lift off. The ending part reuses the melody of the title track with additional ocean waves sound. It's a pity the disc concludes with its two weak songs...

As you understand, this "Prophet" does neither announce anything genuinely revolutionary nor over-trippy extended hypnotic sequences. However, this first album from P'COCK offers pleasant little vintage electronic music. Give it a listen if you enjoy ALAN PARSONS PROJECT and old-school synthesizers.

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 Invention of Knowledge by ANDERSON/STOLT album cover Studio Album, 2016
3.98 | 88 ratings

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Invention of Knowledge
Anderson/Stolt Symphonic Prog

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

4 stars Seemingly a match made in Prog heaven, `Invention of Knowledge' brings together two massive progressive rock icons in Roine Stolt and Yes' Jon Anderson, the two spiritually minded musicians (along with several additional notable prog guests) delivering what is easily the standout Symphonic Progressive work of 2016. This is really a meeting of two vintage prog-era players, because despite finding more personal status in prog circles with the Flower Kings in the Nineties onwards, Roine was one of the key musicians of Seventies Swedish symph-prog group Kaipa, playing on their first few albums. But despite one or two niggling issues discussed later, they've delivered a complex, ambitious and endlessly grand symphonic work that can easily be considered creative high-points in their already endlessly impressive careers.

Although Stolt and Anderson will deservedly receive all the attention, closer inspection behind the scenes reveals several other gifted musicians lending crucial musical contributions to this project. Jonas Reingold, no stranger to the Flower Kings as well as working with side-projects such as Karmakanic, Barracuda Triangle and the Tangent, is simply one of the most consistently impressive bass players currently active in modern prog circles, and as always, his inclusion pretty much makes this album an instant `must buy'. Fellow Karmakanic member and keyboard player Lalle Larsson has also delivered several outstanding solo albums worthy of investigation (especially his `Weaveworld' trilogy and solo piano disc `Until Never'), Michael Stolt, brother of Roine, is from an earlier version of the Flower Kings, and Feliz Lehrmann is the skilled latest drummer from their last few albums. The disc also includes some welcome backing vocals from the likes of Unifaun /Agents of Mercy singer Nad Sylvan and Pain of Salvation's Daniel Gildenlow amongst others, and keyboardist Tom Breslin will be familiar to many Yes followers, being the keyboard player on Yes' superb `Live Symphonic' DVD from 2002. Giving credit to these guests is important, for reasons mentioned later on.

Although early press-release comments compare the album in spirit to Yes' (perhaps!) defining classic `Tales from Topographic Oceans', this is not really the case very often here. It sounds more like the most dense Flower Kings album to date without the flashy soloing given an extremely vocal-heavy fronting by Anderson, so fans of both those groups should be quite at home here. Although comprised of nine tracks, most of the sixty-five minute album is divided into four multi-part pieces. Stolt is no stranger to lengthy compositions in any of his music, and considering the complexity of the album, all of the transitions between passages here are seamless and natural, with plenty of constant clever reprises that slyly return before you even know you're back again! Symphonic themes with plenty of organ, whirring synths and tasty guitar solos rising into the heavens constantly weave in and out of the entire disc, and the sound of Stolt's soloing will be instantly noticeable to Flower Kings and Transatlantic fans, but thankfully he never resorts to aping the tone of Yes' Steve Howe in an attempt to make this sound more `Yes-like'.

But the album pretty much belongs to Jon Anderson (with Stolt surrendering all vocal duties to his more famous counterpart), and to his credit, he hasn't sounded so relaxed, inspired and varied in decades. Jon completely drives the course of the album with his distinctive breezy, hopeful and embracing lead voice, but also surprises with some exquisite multi-part harmonies that seem to hover in the air around the listener, and he leaves Stolt to craft these weighty majestic passages to hold his new age proclamations and spiritual musings. Plenty of passages see the two musicians successfully gelling and complimenting each-other perfectly, others sometimes come across as if Anderson's gems of belief are added on top afterwards, but most of the time the album is surprisingly and consistently cohesive. It's also a welcome relief to find that `Invention of Knowledge' is hardly commercial or (gulp!) AOR-driven, something that many of the older prog-related musicians depressingly resort to!

As for the music itself, the three-part LP side-long length title-track is full of stirring orchestration and victorious chimes, Anderson's voice impossibly pretty and announcing with plenty of rumbling drums, chunky bass spasms, strains of sitar and regal synth veils, Stolt delivering everything from drowsy slide guitar, reflective slow-burn wisps and scorching quick little bursts. The uplifting melody in the opening minutes of the two-part `Knowing' is one of the loveliest moments of the disc with intricate vocal arrangements over commanding organ, piano ringing through and booming symphonic bluster breaking out, and this eighteen-minute track perhaps drifts the closest to Jon's old band, with an almost `Awaken'-like quality in the dreamier spots. "Faith to the real salvation life" Jon offers on the sweetly romantic and reassuring three-part `Everybody Heals', with some crisp soaring guitar runs ringing through from Stolt and very welcome brisk jazzy piano races. `Know...' is simpler and stripped back, floating gracefully and triumphantly, containing some of the only longer instrumental moments of the disc which thankfully allow all the players to shine brightly, and a final reprise of themes from `Knowing' bring a satisfying sense of closure.

But it all comes down to this - How much you enjoy this album may depend on exactly what Jon Anderson personally means to you, because, make no mistake, this whole album is completely geared around his personality, word view and spiritual beliefs. To many, he is in the heart and spirit of true Yes, so many will adopt this as `the best and most true Yes album since (for instance) `Going for the One', but the truth is - this album sounds nothing like Yes. Nor is it an experimental loopy tour- de-force like his `Olias of Sunhillow' solo album was, yet `Invention of Knowledge', whilst sounding nothing like that one either, is absolutely the most complex and dynamic prog-related work he's been involved with since that landmark distinctive release.

If you're one of those more easy-going Yes fans that believe Anderson CAN be a wonderful ingredient to making up the beautiful music of Yes, but are just as thrilled by Steve Howe's fiery guitar runs or Chris Squire's upfront chugging bass, then this album will make you very aware of what's missing - longer instrumental passages. `Invention of Knowledge' boasts some exceptional players providing endless progressive-music colour and skill to the arrangements, but they're almost constantly pushed behind Anderson's airy vocals. There's fleeting little instrumental breaks of 30 seconds or so here and there, but then it's right back to more vocals, and unless you are simply the biggest Anderson fan-boy in the world (which is not actually a slight in any way), this can become very tiresome over the course of an album than runs over an hour. Of course, it's natural with an icon of the genre such as Anderson that he's going to be a main attraction to the work and it makes sense to have him constantly front and center, but it kind of short-changes the contributions of some fine musicians who deserve to given more attention in undistracted showcase opportunities, that you have to sometimes strain to hear in the background beneath the endless vocal trickery.

But in the end, it's still a joyous triumph of progressive music that doesn't merely remain lazily vintage-flavoured or resort to tiredly remaking the sounds of the classic bands of the style. `Invention of Knowledge' is impeccably performed and produced, is lyrically, vocally and musically utterly convincing, even sometimes a little overwhelming, but holding true magic in several standout spots. It should have provided more interludes of longer purely instrumental sections to break up all the vocal flamboyance, but it's no doubt going to remain the biggest symphonic prog moment of the year that lovers of that grandest of prog-rock styles will absolutely adore to bits. Now let's see if the Anderson/Stolt project is going to become a recurring concern or the iconic pair will just leave us with this one teasing masterwork!

Four stars.

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 Quantum Space by PORT MAHADIA album cover Studio Album, 2016
3.83 | 3 ratings

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Quantum Space
Port Mahadia Heavy Prog

Review by Mastyrx1979

4 stars Once again Melodic Revolution Records has released a quality recording that appeals to the entire span of the progressive rock/metal spectrum. One of their recent signings is Paducah, Kentuckys' very own Port Mahadia. Coming off a eight year absence and the heels of their previous album Echos In Time, Port Mahadia have returned with their sophomore effort Quantum Space which features eight cover tracks from bands such as Rush, Dream Theater, Yes, The Beatles, Emerson Lake and Palmer, Pink Floyd, etc ... See track listing above. Quantum Space is such the most appropriate title for this venture considering the progressive span of covers the band undertook during the recording of this album. Port Mahadia have a real uncanny ability of covering some other band's songs and place their own stamp of flavor of sound on them. The covers are done with the utmost of consideration and respect as to not bore nore offend the listener, meanwhile maintaining the orginal integrity of the band who originally wrote and recorded them. Instead of a track by track analysis due to the nature of the tracks, I will focus more on highlighting the two originals on Quantum Space , Principle of Disorder and Canna . Principle of Disorder on the surface is heavily prog. However to dig deeper into the track there is so much more going on here. It is written with elements of doom and stoner rock and metal. In a era where time signatures have defined most of the prog community, Port Mahadia even incorporates well crafted guitar solos and even spoken word section. The intro begins with a huge thunderous rhythm section that seem to define the bands signature sound even more so than virtuosity. Principle of Disorder has elements of 1970's rock and metal with a modern 21st century sensibility. Canna begins with a dynamic drum intro that is soon joined in rhythmic harmony by the bass and rhythm guitar. Port Mahadia seem to be a very heavily rhythm section induced band. Canna opens up just as heavily as Principle of Disorder. Canna eventually levels out into a very avant garde atmospheric track with subtle time changes. At the 1:20 mark it is a straight away driven track in the vein of Bad Company meets Deep Purple. At the 2:20 mark it truly blisters almost into a part heavy metal part heavy progressive AOR track. Like Principle of Disorder, Canna has a little bit for every audio pallet whether progressive or straight away rock and metal. I appreciated the adventure of Quantum Space. The multiple covers where done with integrity while the band gave them its own fresh and crisp flavor and stamp on them. The two original tracks leave the listener wanting more. Melodic Revolution Records definitely has a good sign in Port Mahadia. This gets a 4/5 for the very well written originals and the carefully recorded covers.

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 Angherr Shisspa by KOENJIHYAKKEI album cover Studio Album, 2005
3.93 | 122 ratings

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Angherr Shisspa
Koenjihyakkei Zeuhl

Review by marcobrusa

4 stars Like 7 years ago i discovered Koenji through this site. So many thanks. This is their only album i could listen many times since then, because it's their most accesible one. It is unstoppable, original, and challenging. No more guitars in the instrumentation; sounds softer (but it is still crazy anyways). Try to find something as crazy as this, i dare you! In fact, it's so eccentric that it tired me after repeated listens. However, i keep coming back every now and then, because it's quality is undeniable. The arrangements have many sharp edges that may hurt some people, be careful with the volume and your state of mind if you are going to play this album. Almost 4 stars, rounded up. It may surprise you at first, but then it's too much for repeated listens. Remarkable anyways.

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  38. progrules (666)
  39. Neu!mann (663)
  40. Seyo (642)
  41. Epignosis (624)
  42. Prog-jester (623)
  43. lor68 (601)
  44. Prog Leviathan (561)
  45. Ivan_Melgar_M (555)
  46. philippe (540)
  47. hdfisch (492)
  48. friso (488)
  49. Chicapah (481)
  50. stefro (480)
  51. admireArt (478)
  52. Aussie-Byrd-Brother (468)
  53. Dobermensch (462)
  54. colorofmoney91 (459)
  55. zravkapt (451)
  56. J-Man (449)
  57. DamoXt7942 (448)
  58. russellk (435)
  59. Atavachron (428)
  60. ProgShine (418)
  61. Menswear (413)
  62. Sinusoid (402)
  63. Queen By-Tor (396)
  64. andrea (396)
  65. TCat (377)
  66. Greger (365)
  67. tarkus1980 (363)
  68. Nightfly (363)
  69. Zitro (359)
  70. Cygnus X-2 (353)
  71. fuxi (353)
  72. Andrea Cortese (348)
  73. EatThatPhonebook (326)
  74. lazland (322)
  75. Guldbamsen (321)
  76. Negoba (316)
  77. richardh (314)
  78. Tom Ozric (306)
  79. Modrigue (303)
  80. Kazuhiro (299)
  81. Flucktrot (293)
  82. Proghead (289)
  83. OpethGuitarist (287)
  84. progaardvark (286)
  85. Second Life Syndrome (267)
  86. daveconn (266)
  87. Trotsky (264)
  88. Muzikman (263)
  89. Slartibartfast (256)
  90. The T (254)
  91. clarke2001 (254)
  92. Andy Webb (237)
  93. Bj-1 (235)
  94. GruvanDahlman (233)
  95. 1800iareyay (225)
  96. aapatsos (223)
  97. js (Easy Money) (222)
  98. poslednijat_colobar (220)
  99. Raff (217)
  100. The Crow (216)

List of all PA collaborators

TOP PROG ALBUMS
  1. Close To The Edge
    Yes
  2. Selling England By The Pound
    Genesis
  3. Thick As A Brick
    Jethro Tull
  4. Wish You Were Here
    Pink Floyd
  5. In The Court Of The Crimson King
    King Crimson
  6. Foxtrot
    Genesis
  7. Dark Side Of The Moon
    Pink Floyd
  8. Red
    King Crimson
  9. Animals
    Pink Floyd
  10. Godbluff
    Van Der Graaf Generator
  11. Fragile
    Yes
  12. Nursery Cryme
    Genesis
  13. Larks' Tongues In Aspic
    King Crimson
  14. Pawn Hearts
    Van Der Graaf Generator
  15. Moving Pictures
    Rush
  16. Per Un Amico
    Premiata Forneria Marconi (PFM)
  17. Mirage
    Camel
  18. Hybris
    Änglagård
  19. Moonmadness
    Camel
  20. Hemispheres
    Rush
  21. Relayer
    Yes
  22. Darwin!
    Banco Del Mutuo Soccorso
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  25. In A Glass House
    Gentle Giant
  26. Si On Avait Besoin D'Une Cinquième Saison
    Harmonium
  27. A Farewell To Kings
    Rush
  28. Aqualung
    Jethro Tull
  29. Kind Of Blue
    Miles Davis
  30. Birds Of Fire
    Mahavishnu Orchestra
  31. Hot Rats
    Frank Zappa
  32. Meddle
    Pink Floyd
  33. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  34. Crime Of The Century
    Supertramp
  35. Still Life
    Opeth
  36. Ommadawn
    Mike Oldfield
  37. H To He, Who Am The Only One
    Van Der Graaf Generator
  38. The Silent Corner And The Empty Stage
    Peter Hammill
  39. Depois Do Fim
    Bacamarte
  40. Images And Words
    Dream Theater
  41. Permanent Waves
    Rush
  42. The Grand Wazoo
    Frank Zappa
  43. The Yes Album
    Yes
  44. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  45. The Lamb Lies Down On Broadway
    Genesis
  46. Mekanïk Destruktïw Kommandöh
    Magma
  47. The Mothers Of Invention: One Size Fits All
    Frank Zappa
  48. In A Silent Way
    Miles Davis
  49. Scheherazade And Other Stories
    Renaissance
  50. The Power And The Glory
    Gentle Giant
  51. Still Life
    Van Der Graaf Generator
  52. The Snow Goose
    Camel
  53. Hand. Cannot. Erase.
    Steven Wilson
  54. Octopus
    Gentle Giant
  55. Free Hand
    Gentle Giant
  56. A Trick Of The Tail
    Genesis
  57. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  58. Rock Bottom
    Robert Wyatt
  59. In The Land Of Grey And Pink
    Caravan
  60. Zarathustra
    Museo Rosenbach
  61. Second Life Syndrome
    Riverside
  62. The Road Of Bones
    IQ
  63. Blackwater Park
    Opeth
  64. Arbeit Macht Frei
    Area
  65. Ghost Reveries
    Opeth
  66. In Absentia
    Porcupine Tree
  67. Emerson Lake & Palmer
    Emerson Lake & Palmer
  68. Fear Of A Blank Planet
    Porcupine Tree
  69. Viljans Öga
    Änglagård
  70. Spectrum
    Billy Cobham
  71. Acquiring The Taste
    Gentle Giant
  72. Hatfield And The North
    Hatfield And The North
  73. K.A
    Magma
  74. The Inner Mounting Flame
    Mahavishnu Orchestra
  75. Misplaced Childhood
    Marillion
  76. Hamburger Concerto
    Focus
  77. Space Shanty
    Khan
  78. Anabelas
    Bubu
  79. Radio Gnome Invisible Vol. 3 - You
    Gong
  80. Script For A Jester's Tear
    Marillion
  81. The Perfect Element Part 1
    Pain Of Salvation
  82. Pale Communion
    Opeth
  83. Rubycon
    Tangerine Dream
  84. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  85. L'Isola Di Niente
    Premiata Forneria Marconi (PFM)
  86. Lateralus
    Tool
  87. Doomsday Afternoon
    Phideaux
  88. Remedy Lane
    Pain Of Salvation
  89. Voyage Of The Acolyte
    Steve Hackett
  90. Elegant Gypsy
    Al Di Meola
  91. Uzed
    Univers Zero
  92. Felona E Sorona
    Le Orme
  93. Hiromi's Sonicbloom: Time Control
    Hiromi Uehara
  94. Caravanserai
    Santana
  95. Grace For Drowning
    Steven Wilson
  96. Bitches Brew
    Miles Davis
  97. Part The Second
    Maudlin Of The Well
  98. Memento Z Banalnym Tryptykiem
    SBB
  99. Choirs Of The Eye
    Kayo Dot
  100. Romantic Warrior
    Return To Forever

* Weighted Ratings (aka WR), used for ordering, is cached and re-calculated every 15 minutes.

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