Progarchives, the progressive rock ultimate discography
Progarchives, the progressive rock ultimate discography
PROG ARCHIVES intends to be the most complete and powerful progressive rock resource. You can find the progressive rock music discographies from 9,832 bands & artists, 52,263 albums (LP, CD and DVD), 1,381,753 ratings and reviews from 57,958 members who also participate in our active forum. You can also read the new visitors guide (forum page).
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 Supervillain Outcast by DØDHEIMSGARD album cover Studio Album, 2007
4.34 | 33 ratings

Supervillain Outcast
Dødheimsgard Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars Four full albums in from beginning as a rather ordinary second wave black metal outfit and DØDHEIMSGARD perfected their blackened industrial avant-garde metal sound on SUPERVILLAIN OUTCAST which was introduced on their EP "Satanic Art" and further developed on "666 International." Many changes took place since the last album with the most obvious being that the band shortened their name to DHG and a huge lineup change left almost a completely new band with the only founding member Vicotnik left on his guitar, samples and programming duties. Vocalist Aldrahn left the band and was replaced by Kvohst. The bass baton was passed from Apollyon to Clandestine and Mr Magic Logic's keyboards were dismissed while the other members picked up different secondary instrumental duties. Czral went from official percussionist to the unofficial "additional personnel." With all this dystopia rocking the band's world i would expect the music to sound completely different but despite it all, the music sounds exactly like the next logical step of development in the avant-garde musical world that DØDHEIMSGARD had been leading up to. Only this one is done right. Perfectly so.

SUPERVILLAIN OUTCAST begins with a short intro that makes me think of Chinese music from the 30s or something with the instrumental "Dushman" but violently bursts into black metal fury on "Vendatta Assassin" for a few measures with progressive touches of time signature freak outs and then jumps into the heavily caffeinated industrial metal sound with heavy bass and drums leading the fury and the guitars adding jittery licks at hyper speed all the while Kvohst delivers shouted vocals that are somewhat blackened but he also mixes up his vox box with death growls and whispered industrial sounding utterings. Generally speaking many of the tracks are garnished with heavy black metal riffing that alternate with industrial metal types of power chord riffing while ambient keyboards create eerie howling in the background with heavy percussive blastbeats dominating the rhythmic section and a hyperactive bass interaction to match. There is much attention paid to sound effects and electronic noises and textures to add a whole other dimension behind the metal sounds. Vocals vary quite a bit when not in extreme metal mode. There are several passages with chanting and clean vocals that steer the music into progressive metal territory.

In addition to the majority of hyper-extreme tracks there are a few that stand out from the general feel of the album. "Secret Identity" is a short a cappella track that sounds like monks chanting in some far away monastery and like many of the metal tracks has a slight trace of dissonance. The following "The Vile Delinquents" is full-on industrial metal with choppy industrial riffs and heavy electronica sound effects before erupting into more heavy guitar riffing. "Apocalypticism" sound more alternative metal and reminds me a lot of the track "Caffeine" from Faith No More's "Angel Dust" especially in the vocal phrasing department but also has a cool guitar tone and techno like percussion. "Chrome Balaclava" is another a cappella track with several voices harmonizing wordless utterings while an intermittent shaky thing adds a little percussion. "All Is Not Self" is probably the most out-of-place sounding track on SUPERVILLAIN OUTCAST. This one sounds like a big beat techno track with vocals that reminds me of Richard Butler from The Psychedelic Furs! The electro-beat is heavy with background vocals providing ghostly haunting sounds. The fury returns on the next track and then another a cappella type shorty with "Cellar Door."

SUPERVILLAIN OUTCAST is an outstanding album for many reasons. Firstly it is the pinnacle of the avant-garde industrial black metal sound that DØDHEIMSGARD had been perfecting and all the new musicians pull if off beautifully. Secondly the production is also perfect as every little sound is allowed space to be heard and the instruments have their own role within a larger context that create a complete band sound. Another successful strategy is the focus on the extreme avant-garde metal with little serene fillers that punctuate the frenetic nature of the album and to top it off the compositions are just perfectly catchy with super aggressive hooks and electronic embellishments to add layers of counterpoint creating a mesmerizing contrast with the dominant guitar riff focus. The black metal is perfectly balanced with the industrial and the avant-garde is used as a supplement instead of getting into territory too strange for the uninitiated listener. Personally this is one of those albums that made a huge impact the first time i ever heard it and still holds up after many listens. What could you call this? I'm not sure but think Ulver's first album mixed with some Ministry and maybe even some Prodigy and you're getting close.


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 The Black Pilgrim by JUMP album cover Studio Album, 2013
3.62 | 21 ratings

The Black Pilgrim
Jump Neo-Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars If a band is truly British, and you give them a long enough leash, or perhaps shorten it, surely they will revert to the folk of their green isles. Such appears to have been the case with JUMP who, while having flirted with roots music throughout their quarter century, appear to have produced their first full fledged hybrid folk rock album in "The Black Pilgrim". While the subject matter and the arrangements offer validation of this perspective, this isn't a huge leap forwards, backwards or sideways from where they were, say on "The Beachcomber" in 2011, but it's also not that far from what the even more long lived OYSTERBAND have been proposing, with John Dexter Jones sounding like a more technically proficient version of that band's John Jones. Hmm, I wonder what his middle name is. They're both Welsh too.

All that aside, this is one of JUMP's more consistent albums, as in recent years the well of inspiration seems to have been replenished and then some. I could see almost any track as being somebody's favourite, but personally I am particularly fond of the sensitive "My Lady of the Fairground", the angst ridden rocker "Your Madness", the bass driven "Princes of Anger", and especially the oh so English "The Ballad of the Queen in the Morning", with a superb riff and authoritative melody.

If you are a fan of British folk rock with progressive accents, tight ensemble playing, wry lyrics and compelling vocals, do embark on a virtual pilgrimage to this 2013 release.


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 Visions Of... by ØRESUND SPACE COLLECTIVE album cover Studio Album, 2016
3.97 | 18 ratings

Visions Of...
Øresund Space Collective Psychedelic/Space Rock

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

4 stars Scott Heller/Dr Space and his musical collaborators of the Øresund Space Collective return with another psychedelic ripper, 2016's `Visions Of...'. Originating from the same sessions that dark drone `Ode to a Black Hole' and the eclectic `Different Creatures' (one of the best 'SC releases to date) hailed from, it's another set of slowly unfolding spacey jams that also eventually reveals a strong funk influence this time around once it gets going, making for a unique and fresh release from the players.

The near-forty two minute title-track barely slows down for even a second, remaining high-energy and unrelenting almost the entire time! It holds plenty of fuzzy distortion, thick murmuring bass ruminations, sparkling electric piano and fizzing synth trills, with much attention placed on the slow burn but dominating electric guitar and fiery drumming, although sprightly violin and pedal-steel guitar also weave dreamily throughout the second half. `Visions Of...' lightly echoes the classic late Sixties/early Seventies live Pink Floyd performances in several spots, and along with some brief scratchy reggae-flecked moments, it makes for a great example of the sort of music the ØSC musicians frequently deliver so well.

The liner notes of the album mention Miles Davis' `On the Corner' as an inspiration, and sure enough `Above the Corner' is a Seventies flavoured infectious groover of sly funky guitars, slithering liquid bass and shimmering organ! Ambient rising/falling synths wash over droning eastern-flavoured guitar effects and hypnotic African drums slowly build in stature and danger in `Piece of Seven', and `Around the Corner' returns to gurgling funky bass and electric piano trickles over lovely floating synth wisps, with the piece really cooking as it picks up in tempo and races towards the finish with an endless blazing guitar solo, chunky grumbling bass and fierce drumming.

On this, their twenty-third release to date, the Øresund Space Collective continue their superb run of recent works, and this one has everything you could want from the band - sh*t-hot playing, cool grooves and plenty of deep-space environments, and it also reveals those surprising little flavours that make each ØSC release stand apart from the last. The `band' won't be performing as much in 2017, so it makes these releases even more vital and special, a must for lovers of jammy space-music and improvised psych-rock.

Four stars.

(and don't forget to look into `Dr Space's Alien Planet Trip - vol 1' LP, a feverish distortion heavy electronic mind-melt that sounds like the soundtrack to Edgar Froese's most vivid nightmares!)


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 Decameron - Ten Days in 100 Novellas - Part III by VARIOUS ARTISTS (CONCEPT ALBUMS & THEMED COMPILATIONS) album cover Studio Album, 2016
4.03 | 31 ratings

Decameron - Ten Days in 100 Novellas - Part III
Various Artists (Concept albums & Themed compilations) Various Genres

Review by snelling

4 stars There is a lot of positives I can say about this collection. First of all, you get 4 1/2 hours of prog, for the price of maybe 2 discs. Second, you get tracks by artists that are unavailable elsewhere, or, in some cases, different versions. Third, there are artists from all over the world, five continents, contibuting to this project. Granted, not all of the tracks are great. I admit to skipping a few tracks, particularly on the 4th disc. But at the same time, there is some truly excellent music as well. I will point out that the lengthy instrumentals by Cirrus Bay and Ageness are outstanding, with some jaw-dropping moments throughout each of their pieces, and the track by Spanish artist "s.a.l.u.e.n.a", whom I had not heard of, is just fantastic. Notable here is the vocal section, with some beautiful vocals by Steve Unruh, who also provides a killer violin solo, and who is featured in several tracks in this collection. These three tracks alone are worth the price of the disc in my opinion. Other favorites include those by Latte e Miele, from Italy, Ars Ephemera, from Canada, and Stella Lee Jones, from Japan. The intro, by Robert Webb, is a fun slice of proggy heaven to start things off with as well. One curious track is that from Japanese artist "Interpose". This one started off a bit bland to me, like weak Renaissance, and I was nearly ready to hit the skip button, when suddenly it became rather glorious. The middle section was quite poignant, before getting into soloing and, after a nice Floydian section, back to the intro section to conclude the song. So this one song (nearly 12 minutes) would be curious to rate. Sometimes the vocals sound too thin, to high, or a little shrill. Other times they sound great. Some of the music is so-so, some of it, great. But that's the fun thing about prog, and this collection, and there are several tracks like this, where certain parts stand out over others. But all of this music for the price I paid, is the best purchase value I've paid all year.


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 Fountains Of Light by STARCASTLE album cover Studio Album, 1977
3.36 | 118 ratings

Fountains Of Light
Starcastle Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

2 stars As the second album goes this was a disappointment. Few things differ from Starcastles debut album and this one. Fountains Of Light is another Yes clone album, no less no more. Very good clones, OK, but there was very little improvement over the first. Some reviewers here on PA say they added a few Kansas influences, but really, I can´t see a single one. Early Yes is their main source of input and the sole exception is their last track, Diamond Song, which is a little more commercial sounding, reminding me of Styx during the chorus (it was released as a single). Other than that Yes is the band Starcastle tries very hard to be. Everything here tries to emulate Jon Andersons´s band to the max. Even the vocal harmonies are perfect copies of Yes style, tones and mannerisms And this happened in 1977! Not the best time for a new prog act, specially without a strong personality. If Fountains of Light was recorded some five years earlier it would surely made much more impact.

Well, on the album itself: good musicians, a Jon Anderson clone as vocalist, some decent compositions. Again their music appears like half baked Yes songs: nice melodies, underdeveloped arrangements, not very bold ideas and they simply don´t travel the places their idols travel. It is all too restrained, something Yes certainly was not, at least at the time. There are not long solos and instrumental passages, which reminds me of Yes (1969) and Time And A Word (1970) in a way. The LP running time is very short too, clocking on just the 36 minutes mark. The frustration is that, as nice as the songs go, they all leave you expecting them to fly sometime, and it does not happen. Only Diamond Song (Deep Is The Light) offers some changes, but then it is the closing track. Too little too late.

Conclusion: once again a nice Yes copy, but a second in a row without much improving. I wonder if their third is a winner.

Rating: 2,5 stars.


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 Musik Von by HARMONIA album cover Studio Album, 1974
3.93 | 66 ratings

Musik Von
Harmonia Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars One of the first German supergroups in the progressive music realms anyway was the Kraut / Kosmische HARMONIA which was basically the collaboration of the duo Hans-Joachim Roedelius and Dieter Moebius who were better known as Cluster along with Neu! founding member Michael Rother (who also had a short-lived gig with Kraftwerk.) Despite being crammed into the Krautrock categories by many lazy databases, their debut album MUSIK VON ("Music From" which is actually supposed to be followed by the band name) is very much an ambient progressive electronic creation with emphasis on repetitive trance-inducing rhythmic pulsations of electronic sound with subtle counterpoints that slowly unfold as the rhythmic drive marches forth utilizing the Motorik 4/4 beat that was prevalent in the music of Neu! with some of the lysergic sonic textures of Cluster. Overall the music is much more accessible than the early Cluster album but not as so as early Neu! Brian Eno was such of fan of this album that he would later become involved in future projects.

The opener "Watussi" begins the all instrumental futuristic sounds with an upbeat rhythmic percussive drive and synthesizers taking on different counterpoint effects including a dripping sound as the guitar creates a distorted backdrop that adds a layer of fuzziness. The music itself sounds very simplistic for the most part. Many of the tracks follow this formula but some are much spacier than others. "Sehr Kosmisch (Very Cosmic)" is slowed down with percussion simulating a heartbeat while the synth and organs create an ethereal Berlin School effect which wouldn't sound terribly out of place on a Tangerine Dream or Klaus Schulze album. The key word with MUSIK VON is "subtlety." Everything creeps in and out like sine waves of sound slowly slinking through an echo chamber. Some tracks like "Ohrwurm (Earworm)" are downright scary as notes bend and distort as if traveling through a portal to another dimension while "Ahoi!" reflects a mellower mood that is gentle and less startling.

HARMONIA found reasonable success with MUSIK VON not only with the critics with underground music fans as well and would continue on to release one more album and enough leftover tracks for an archival third but ultimately the fertile cross-pollination of the Kraut and progressive electronic world ensured that the trio would not only continue with their retrospective bands of Cluster and Neu! but would also find new ways of musical collaboration. This is by all means an interesting album for those who dig minimalism and subtle ethereal changes in their music but i don't seem to be one of those who enjoys this album more than the albums by Cluster and Neu! themselves. The first few Cluster albums were absolutely brilliant in how they went to outer space and never looked back and likewise Neu! unapologetically rocked the house with their rhythmic drive and electronic embellishments. MUSIK VON seems to be a watered down compromise between these two extremes and while the result is certainly not displeasing it does come off as a step down from past greatness.

3.5 rounded down


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 Bruce Soord & Jonas Renkse: Wisdom Of Crowds by SOORD, BRUCE album cover Studio Album, 2013
4.11 | 9 ratings

Bruce Soord & Jonas Renkse: Wisdom Of Crowds
Bruce Soord Crossover Prog

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Wisdom of Crowds" is the debut full-length studio album by Bruce Soord with Jonas Renkse. The album was released through Kscope Music in June 2013. It´s a project created by Bruce Soord (Pineapple Tree), who wrote and programmed the entire instrumental part of the album with Jonas Renkse´s (Katatonia, October Tide, Bloodbath) voice in mind. So "Wisdom of Crowds" is a collaborative effort by the two musicians.

Stylistically it sounds more or less like you´d expect it to sound considering the two artists involved. The instrumental part of the music is electronic/ambient melancholic rock, while Jonas Renkse delivers emotive and melancholic clean vocals on top. He brances out a bit more than what he usually does while singing for Katatonia, but at the end of the day it´s unmistakably the sound of him singing. The arrangements are for the most part tasteful and relatively accesible, but it´s not necessarily instantly catchy music. Some tracks like "Frozen North" and the title track feature strong hooks, but with others you´ll have to work a little more to discover the catchy moments. Most tracks are relatively mellow and ambient in nature, but there are a couple of more hard rocking moments featured on the album too. Examples of that are the Depeche Mode influenced "Radio Star" and "Flows Through You". While "Frozen North" is predominantly a mellow melancholic track there´s also a quite dark and metal oriented section on that track.

The musicianship is on a high level throughout. Renkse is skilled and possesses a distinct sounding voice and Bruce Soord is obviously a clever composer and arranger. The only issue I have with "Wisdom of Crowds" is that the band have opted to use drum programming instead of hiring a real human drummer, because the artificial drum sound does not necessarily suit the otherwise warm and organic sounding music that well. It´s not a major issue, but to my ears more organic sounding drums could have elevated the music to even greater heights. When that is said, there are parts of the album where the programmed drums fit pretty well.

"Wisdom of Crowds" features a detailed and clear sounding production, which suits the music well, so all in all it´s a high quality release and a successful collaborative effort by the two artists. A 3.5 - 4 star (75%) rating is deserved.


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 Starcastle by STARCASTLE album cover Studio Album, 1976
3.13 | 136 ratings

Starcastle Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars To say that american band Starcastle copied Yes is an understatement. They simply worshiped Yes and tried very hard to sound like them. Every mannerism, every instrument timbre and every vocal line is reproduced here as far as any human being could. And, in several ways, they did sound like Yes around the time of their first two albums and a even a little bit like The Yes Album, but not much. Obviously the musicians are very good, but they lack the overwhelming talent, technique and boldness of their idols. I guess at the time I would despise them as mere imitators, if I had the chance to get this LP back in 1976. But now they don´t seem so bad. At least they come up with a decent selection of songs that somehow capture a little of early Yes spirit. And surely gives us hope that they would eventually outgrew their obvious limitations to reach something of their own.

I´m still amazed of how singer Terry Luttrell can reproduce Jon Anderson´s vocal style to the limit. Keyboardist Herb Schildt does a great Tony Kaye impersonation (Rick Wakeman would be too much), and Gary Strater bass is a fine bass player. They had two guitarists, Mathew Stewart and Stephen Hagler, that can do their Peter Banks numbers very well. Drummer Stephen Tassler is no Bill Brufford, of course, but he is good anyway. I guess they would play Yes covers better than most, like italian band The Watch can do excellent classic Genesis covers. The songwriting here is probably their most promising aspect. Although not one track brings anything new, they were not bad either. In fact, they did better than most Yes imitators, and they were many. Lady Of The Lake is almost a underground classic, but the best song here is Sunfield, a great lost Yes track of sorts. Production is also very good So, I´m looking forward to listen their next works.

Rating: 3 stars. A nice Yes copy. Recommended specially for 70´s symphonic rock fanatics who like early Yes and don´t mind the almost total lack of originality.


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 The Night Siren by HACKETT, STEVE album cover Studio Album, 2017
4.00 | 32 ratings

The Night Siren
Steve Hackett Eclectic Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars This new album has been done with a collaboration of many musicians around the world and with a lot of instruments including sitar, tabla, harmonica etc. It was recorded in different places and it's really a prog rock album of a guitar player with many elements of world music, It still maintains the Hackett identity, which has never been far away in the past years from the world music. We can hear influences from his past solos albums and his love for classical music and the flamenco guitar. The music is based around the Hackett guitar playing with many solos, and his supported by classical arrangements. The song covers a lot of different atmospheres from cinematic, eastern music, ballad, etc. I really enjoyed the drums parts on the instrumental "El Nino", the beautiful melodies in the last two songs, and the opener "Behind the Smoke" with his mix of classical arrangments and world music tones which set the table for what's coming next.

There's a message on this album for the acceptance of our cultural differences in this dark times, and if there's someone that can understand this is the man who has been around the world a lot (thanks to his wife) and can share his message the best way he can be by his music.


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 La Luna by CZUKAY, HOLGER album cover Studio Album, 2000
3.01 | 12 ratings

La Luna
Holger Czukay Krautrock

Review by Neu!mann
Prog Reviewer

3 stars First, a personal note: like many fans I prefer the music of CAN's mischievous short-wave radio painter when he's in a more lighthearted mood, composing Odes to Perfume or Persian Love songs. But there's something oddly hypnotic about this minimalist curiosity: an unbroken 47-minute "Electric Night Ceremony" recorded live at Holger's Lab on May 17, 1996 (and yes, I checked: there was a full moon over Cologne that night).

Don't expect the soothing environmental ambience of a Brian Eno album, however. Czukay's tone poem was built around a sinister mechanical pulse not far removed from the dystopian rhythms enslaving all those subterranean workers in Fritz Lang's 1927 film classic "Metropolis". He then goes to creative lengths to put a human touch on his automaton bleepfest, adding ephemeral layers of pirated radio signals, odd percussion accents, random vocal interruptions and so forth.

As usual Czukay is playing the studio like a musical instrument, and was apparently so mesmerized by the effort that he forgot his trusted French Horn. There isn't much room here for comic relief, but when High Priestess U-She (real name Ursula Kloss; Holger's muse since the end of the last millennium) approaches the electronic altar and starts muttering about "the Mother of the Universe", it's hard not to imagine Holger's tongue lodged firmly in his cheek.

There's actually a lot happening over the album's uncut three-quarter hour length, at a level of perception audible only with both ears wedged between the speakers. For better or worse, this is one of those experiments that needs your full attention to appreciate, but is best enjoyed when only half-heard as background radiation.


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