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 Clocks and Dark Clouds by MCKECHNIE, SIMON album cover Studio Album, 2013
5.00 | 1 ratings

Clocks and Dark Clouds
Simon McKechnie Crossover Prog

Review by Aeolus

— First review of this album —
5 stars Rarely does an artist appear in the progressive world so suddenly out of nowhere and create such a stir within the progressive world. 'Clocks and Dark Clouds', in 2013, is one of those cases.

But first, who is this SIMON MCKECHNIE? This London-based Scotsman has lead and played bass in the Latin Jazz group AZUL. He has also showed his classical guitar skills playing with Portuguese Fado singer ' performer NUNO SILVA. Then in 2011, he released his first album, 'London Reborn', a modern interpretation of old London folk songs. The latter shows a skilled musician, a versatile composer with a voice starting from lower ranges and reaching a high falsetto. However, none of these previous releases and collaborations could have prepared us for this Monster of an album!

'Clocks and Dark Clouds' includes 7 songs, all 7 minutes and longer. Although that is usually a problem for the flow of an album, it is not the case here. Each part blends effortlessly into the next one, never staying too long, while the main theme of each song reappears slightly differently ' that is what makes our favourite prog epics so great. You won't find any verse ' pre-chorus ' chorus structure here.

I would describe the music as eclectic prog. Themes and melodies come and go, always accompanied with a dissonant counter-melody or a different rhythmical part. There are also these little surprises, where a tone or melody is presented, only to turn into part of another tone, like the beginning of the song 'Mother and Daughter'. The presence of different rhythmic metres and the frequent rhythmic changes are so prevalent that it makes you wonder if Simon has become allergic to 3/4 and 4/4! It is as if the composer has purposely decided to take all defining aspects of progressive rock and overdo it. The result is a musical product that will definitely not appeal to the masses, but will come as a delight to prog fans of all genres.

All instruments apart from drums have been recorded by Simon McKechnie, lying down on the floor of the studio due to a spine problem. Contrary to what one could expect from the density of the music, there is no heavy guitar here. Simon has been a fan of prog for enough years to know how long or how overbearing a guitar part or solo should be, and the result is amazing! The production and mastering at 'Close to the Edge' studio in London helps the end result to breathe out and all the little details to show. The drums were recorded by professional jazz drummer Adam Riley. Not only has he managed to come through the difficulties of the rhythmic complexity, but he has also left his own mark here.

As for the vocals, it seems that most of the hard work and experimentation has taken place here. As mentioned before, Simon is a skilled singer; able to express any feeling required. At times it seems that the music has been written to accompany the lyrics, and not the opposite. It is a feeling I have experienced with Jogi Kaiser's vocals on SIEGES EVEN's 'A Sense of Change' album ' in both cases there is a liquid versatility in the lyrics, as if they have tried ' and managed ' to break free from the strict rhythmic confinement. The similarities don't stop here. In both albums, the key word is 'abstract', not to mention that you don't know what to expect at the next moment.

There are various lyric themes throughout the album, but there is a tendency towards dark themes, mythology and Lovecraftian end- of-the-world apocalyptic scenarios. However, the overall feeling of the songs is more dissonant rather than doomy or pessimistic.

All in all, this album is something completely fresh, deserving all the praise it has already got. On his first effort at progressive rock, SIMON MCKECHNIE delivered a masterpiece, following all the guidelines of the genre, yet unlike anything you have heard before. It is one of the albums of 2013 that is going to be remembered dearly for long. I am really looking forward to listening to his new album, 'From my Head to my Feet', to be released later this month.

This review was originally written for


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 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.53 | 143 ratings

David Bowie Prog Related

Review by Dobermensch
Prog Reviewer

5 stars Stricken with grief, it took me three weeks before I could bring myself to listen to this after hearing of Bowie's death. How is it possible to feel so sad about the death of someone you've never met or even spoken to?

What makes it all the more painful is that this is far better than any album he's released since 1995's 'Outside' with which 'Blackstar' holds many similarities. It's almost an extension of that recording without Brian Eno twiddling knobs and pushing buttons. After 5 listens I have to admit that 'Blackstar' is a masterpiece. Bowie's 'Abbey Road' if you like.

Being very excited towards the end of last year with the release of the bizarre 'Blackstar' video I couldn't wait for more of this experimental Bowie. Everything was just great - the bandaged face - the scarecrows - the quirky, odd and frankly downright weird tune left me desperate for more.

January 10th 2016... The the sky fell down...

A whole new perspective on those 2 videos hit me like a hammer blow. How couldn't I see the wardrobe door as a coffin?, Major Tom's skull? The lyrics should have been obvious enough. The real giveaway were the buttons on the eyes similar to coins on the eyes of the dead who crossed the river Styx with a payment to Charon, the ferryman of Hades, in order that their souls don't haunt the living.

This has made listening to 'Blackstar' a very difficult experience. In a year's time I'm sure I'll look back and say that it was the most brilliant artistic departure anyone has made in music. Art in death. Death in art. Right now it hurts.

'Blackstar' is like a hammered together collection of tunes that vary in sound and emotion. From the very upsetting yet superb opener we move on to 'Tis a Pity she was a Whore' - which could almost be a missing track from 'Let's Dance' When I heard there were saxophones on this album I shuddered. Thankfully they are used tastefully. Bowie's voice is in fine fettle considering he could barely speak during those last months. I guess it was recorded early last year.

'Lazarus' sounds like a missing track lifted from 'Heathen' which is no bad thing at all. The deeply grim lyrics are enough to make a grown man burst into tears. Like the previous two tracks there's very little connection in sound - almost as though they were recorded for different albums. Surprisingly it works really well.

Sue (Or In A Season Of Crime) really gets things going with a stomping, frantic beat and excellent vocals. Quite similar in fact to the vastly underrated 'Earthling' from '97. It gets louder than war itself the nearer it reaches the end.

The undoubted highlight for me is the underwhelmingly named 'Girl Loves me'. This sounds like it was recorded for the middle segment of 'Outside' from '95. The expletives are all the more unsettling in that he passed away on Sunday whilst singing 'Where the f*ck did Monday go. This tune is a million miles away from anything on 'The Next Day' which in hindsight just appears to be a clearing of the decks for what was to follow.

'Dollar Days' displays that pastoral green fields of England thing that Floyd did so well in the early 70's. It's a lovely tune with Bowie crooning away just like in the good old days.

There's a harmonica intro in 'I Can't Give Everything Away' that has been directly lifted from "A New Career in a New Town' in '77's 'Low'. It doesn't matter- the tune is beautiful. An almost perfect sendoff that could have been lifted from 'Black Tie White Noiise' but in a far more subtle manner.

Believe me - I don't give out 5 stars lightly. If an album deserves to be blown to pieces by a Howitzer, Im the man to do it. 'Blackstar' exceeded my expectations enormously. After the 'painting by numbers' 'The Next Day', this followup 'Blackstar' is just experimental enough to not alienate listeners. It's an album which displays an invention and creativity amidst a world of music that has come to bore me senseless during this decade. It's a thing of beauty that I just wish he'd recorded 20 years earlier.


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 Aspirant Sunset by WAKEMAN, RICK album cover Studio Album, 1991
1.88 | 21 ratings

Aspirant Sunset
Rick Wakeman Symphonic Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

2 stars Ten years have passed since I wrote the review of Aspirant Sunrise, which is the first of a trilogy of "Aspirant" albums keyboard wizard Rick Wakeman created in a prolific 1991 year. And now I am writing this review because I am having once again a journey through some of his forgotten albums (at least to me) I own and don't really use to play regularly. As you can imagine,, judging by my nickname, I am a huge fan of Rick Wakeman, I love his solo masterpieces, his work with Yes, his customs, his sense of humor and lots of things, however, it is undeniable he has released several regular albums that are far from being memorable, and I don't mean to be harsh, because I do enjoy this trilogy, but I believe his new age explorations are closer to oblivion than to excitement.

Aspirant Sunset is actually a nice new age album, but we all knew him due to his progressive rock works, so it is normal to find these unexpected releases as boring, different, unattractive. In this album he offers almost an hour of solo music (there are no lyrics, no other musicians, just himself and his keyboards) divided on 10 tracks purely fulfilled by new age sounds and atmospheres. All with a soft sound, peaceful and relaxing, so if you are in need of a moment of introspection and peace, you may play this album, sit comfortable, close your eyes and have a deep breath. It will help.

Besides this "therapeutic" use, I find the album difficult to enjoy on a regular basis, it is like one long song divided in 10 chapters, but the sound is practically the same in each track. If you like new age or need a dose of tranquility, I would recommend this to you, otherwise, don't even try to get it because you might be disappointed.

Anyway? enjoy it!


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 Runddans (with Emil Nikolaisen & Hans-Peter Lindstrom) by RUNDGREN, TODD album cover Studio Album, 2015
2.51 | 3 ratings

Runddans (with Emil Nikolaisen & Hans-Peter Lindstrom)
Todd Rundgren Crossover Prog

Review by Guldbamsen
Special Collaborator Retired Admin

3 stars Trying out pants with Todd

The biggest curve ball of 2015 has got to be this baffling release. It is always interesting to hear old timers doing something new, fresh and above all completely original. Teaming up with guitarist and front man off Norwegian alternative rock band Serena-Maneesh, Emil Nikolaisen, and space disco pioneer Hans-Peter Lindstr°m, Todd seems to have gone for a modern and altogether different sonic route than what he's accustomed to.....which, of course, is quite true. What you effectively get here is something so strange and unique that it literally had me reaching for my spare ears. 'Runddans' is Donna Summer without the bass boom and danceable vibe - it's disco heading for the avantguarde - upbeat and elusive like a fox in a sauna.

The music is build around Lindstr°m and Nikolaisen's electronic programming and synth bleeps - evoking a fluffy and airy cotton candy universe on which Rundgren's evocative vocals weave in and out like voices on the wind or in a hazy dream. The whole thing feels highly unorthodox. When a melody or a rare groove occasionally seems to take shape it rather quickly fades away into the aforementioned swirling candy world......which makes it all the more surprising that you actually remember the returning vocal theme 'Put Your Arms Around Me' sung affectionately by the old master himself.

More than anything 'Runddans' feels like an experiment. An experiment from three musicians who all professionally dabble in the high art of mixing...on here though you feel as if you're sat in a room where three different albums are playing all at once - challenging every player involved to listen intently to his surroundings yet without ever losing the scope of his own vision...and how it stacks up with what's zooming out of his playmates.

This album is one long story where tracks, ethereal vocalisations, airy synths and disco sensibilities are forged together with the occasional rock and pop cameo. The music though never sounds normal....even when it incorporates those beautiful recurring vocal themes. It is far too shapeshifting and elusive for that. On the contrary 'Runddans' seems determined to bend and writhe styles of music that, to most people, are sacrilegious to alter or even play around with. Mostly because it takes away the easy digestible hook and groove of the disco movement and splices it together with a remarkable ebb and flow effect that will have most listeners pulling out their hair. The main thing to remember about music, especially with an album like this, is that it often is the journey that counts. 'Runddans' is a continuous search for a lost melody - a memory of an old grandiose disco production - only delivered over to the listener as a rather charming if not wholly fragmented piece of experimental music.

If you're sitting out there with a girlfriend who's both an old extra from Saturday Night Fever and a raving schizophrenic, then 'Runddans' is for you. I tried dancing to it once and ended up on the floor with my legs in the air doing these strange elliptical shaking motions. 'Wow' I said to myself 'this is what John Travolta looks like when he simultaneously is doing mescaline and trying on pants'. 3.5 stars.


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 Come Si Diventa Ci˛ Che Si Era by HOMUNCULUS RES album cover Studio Album, 2015
4.02 | 16 ratings

Come Si Diventa Ci˛ Che Si Era
Homunculus Res Rock Progressivo Italiano

Review by DamoXt7942
Forum & Site Admin Group Moderator

4 stars A tremendous emotion given to me.

Listened to HOMUNCULUS RES' stuff for the first time, and enjoyed much. They have attractive variation of progressive rock essence fusioned with Canterbury / Jazz Rock, and in addition, seasoned with Italian easygoing temperature and a tad sensitive racial character ... such a musical appearance can sometimes sound ironic, and sometimes purely childish. Yes looks like they play completely what they want to do upon this album turf, and it's simple and natural for them and also the audience.

Wondering where would they like to go via this album "Come Si Diventa Ci˛ Che Si Era". No nervous touch nor strong persistence but somewhat their great enthusiasm to create "such a music pleasure" can be heard ... "Vesica Piscis", as if the title (in English "Independent Noises"?) musically designed, tells us what they would produce with noisy rock sound elements. They might convert noises via instruments into a cup of dramatic, sensational sound stew. They notify us this work be not difficult when the production might be done with much delight and sincerity.

And it's magical and attractive that we can receive such a complex melody line based upon multi-rhythmic origin as a natural music phenomenon. Via such an amazing fact, we can find this should be one of their emotional strategies. Even through a short track like "La FelicitÓ" or "Egg Soup" their safe and sound presence of musical condition (but slightly distorted fantastically) can be heard. Some slimy stuffs remind us of jazzy Krautrock like Electrip (Xhol Caravan). On the other hand, the longest one "Ospedale Civico" (Civic Hospital) can be felt as a Soft Machine-ary crooked, mobbed sound treasure seasoned with Italian words and tempos peculiar to RPI. Let me say their soundscape is such a lunatic (in a fine sense) (why can a civic hospital sound psychic, btw?).

No complicated or tortuous opinion needed. Taking a listen to this album above all, let me say, and we can feel as though our musical field of vision should expand forward in addition to Rock Progressivo Italiano or Canterbury Scene without any doubt. An amazing stuff really.


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 Mirage by CAMEL album cover Studio Album, 1974
4.39 | 2090 ratings

Camel Symphonic Prog

Review by VianaProghead

5 stars Review N║ 55

Sincerely, I always considered that Camel is an underrated progressive band among the greatest bands of the 70's. Probably it was mainly due to the Andrew Latimer's voice. Latimer is the main vocalist of the band despite that is true that he never was a true vocalist and that he has a very strong and deep voice. Still, Latimer always knew it, and because of that, many of Camel's songs are mainly instrumentals. This was one of the things that made of Camel a truly unique band in the progressive rock scene. On the other hand, he was never considered one of the greatest guitarists of the 70's, which is, in my humble opinion, very unfair. Probably, he isn't one of the most virtuous guitarists, but he is, for sure, a guitarist who knows very well how to create a unique and unmistakable sound with his guitar. His guitar style is still appreciated by many other guitarists, even in our days, like Mikael Akerfeldt of Opeth.

And now, a curious story about Camel and "Mirage". Camel was involved in some controversy with the American brand of Camel cigarettes. We can clearly see the similarities between the album cover of "Mirage" and a pack of Camel cigarettes. As the peak period of the advertisement of the brand cigarettes, that had a picture of a camel smoking, coincided with the peak period of the release of "Mirage", the album was boycotted by some anti- smokers.

"Mirage" is the Camel's second studio album and was released in 1974. It became as one of the group's most acclaimed albums. "Mirage" is probably the album that best illustrates the main features of the band, already mentioned by me above, which are undoubtedly, quality, simplicity and beauty. This is the album where Camel begins to develop their own distinctive sound with some intricate rhythms and the wonderful and unpredictable instrumental exchanges made by the two mainly songwriters of the band Latimer and Peter Bardens.

"Mirage" has five tracks. The first track "Freefall" written by Bardens is almost an instrumental song largely dominated by the Latimer's guitar and with nice musical moments performed by Bardens' keyboards, very well supported by an inventive bass and a dynamic drumming work. This song is influenced by diverse styles of music and the melody is excellent. The second track "Supertwister", also written by Bardens, is the nice and most peaceful song on the album. It's a great instrumental track partially dominated by a great flute work of Latimer. With this song, Latimer proved that he is a great flute player too. The third track "Nimrodel/The Procession/The White Rider" written by Latimer is one of the two multi-part epic songs on the album. This song is based on the book "The Lord Of The Rings" written by J. R. R. Tolkien. This is one of the best songs on the album with its frequent time changes and musical soundscapes, which carries the theme to an exceptional symphonic climax by the band. The fourth track "Earthrise" written by Latimer and Bardens is a very nice instrumental track with a frenetic middle section with Latimer's guitar and Bardens' keyboards. It's the second instrumental track of the album and it's probably one of the best and finest instrumentals ever made by them. The fifth track "Lady Fantasy" is divided into three parts: "Encounter", "Smiles For You" and "Lady Fantasy". It's the only track written by all band members and represents the other multi-part epic song of the album. Usually, this is the most celebrated song on this album and one of the most famous songs released by Camel. This track contains one of the most progressive songs made by them and is a very good example why Camel is one of the best and most respected bands in the progressive rock universe. Here we can clearly see how Camel has influenced Akerfeldt.

Conclusion: In my humble opinion, "Mirage" is with "The Snow Goose" and "Moonmadness" the three greatest masterpieces from the group. But, despite I choose in the first place "Moonmadness" followed by "The Snow Goose", I consider "Mirage" the most simple, pure, na´ve and unpretentious of all Camel's studio albums. It might be even its best work. Every moment of every song on "Mirage" is to be treasured and every musical note is perfectly placed. The album is composed of two epics, but the seamless track flow, unifying theme, and harmonious sound, all make the album feel like a real masterpiece. The album showcases an uncanny ability for melody, in which the songs with no lyrics or words to them will have you creating stories in your own mind to fit the real mood. "Mirage" is an essential progressive rock classic album. With also the releases of "The Lamb Lies Down On Broadway" of Genesis, "Relayer" of Yes, "Red" of King Crimson and "The Power And The Glory" of Gentle Giant, only to mention some of the most important progressive musical releases in 1974, this was undoubtedly an amazing year for the progressive rock music. With "Mirage", Camel becomes one of the greatest and most respected progressive rock groups. If you really like of good progressive music and you don't have this album yet, do yourself a favour and get "Mirage" as soon as possible.

Prog is my Ferrari. Jem Godfrey (Frost*)


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 Kauan by TENHI album cover Studio Album, 2000
3.53 | 18 ratings

Tenhi Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars Eclecticism can woo you with best of breed haunches where every cut offers its own distinct flavor, like the vildebeest, or it can tuck you in under its uniform quilt from which you are both unwilling and unable to emerge until its promise is consummated. Of course, even though each panel absorbs you a little more, before you can be released you are primed for another night of staring emptily at the stars from beneath it. Such is the effect of this mammoth debut release of Finnish neo folk group TENHI.

Simply arranged with strummed acoustic and electric guitars in generally slow tempos; drearily resigned vocals lurking beneath an already sombre surface; occasional morose violin effected in a Northeastern European style, and elegant synthesizer washes, the austere and stark beauty of "Kauan is a triumph of resiliency. It scratches several itches at once, in places that may have been ignored for years, nay, millenia. While nothing here could be said to be entirely distinctive on its own, its 52 minute bearskin nuzzle imparts what poseurs haven't dared to dream, let alone live. It might be facile to attribute this authenticity to the bleak wintry cycle of far northern climes, but if the snowshoe fits....

Influences like PINK FLOYD are in evidence in the more plodding sections, but the sound is closer in spirit to bands like PROMETHEAN from Norway, especially on the almost vivacious "Revontulet" and the symphonic low wattage power ballad "Hallavedet". I suspect the band is also versed in local traditional folk. Smigeons of doom and metal lurk but without the growls and decibels, leaving an essence that few have distilled, and I hear echoes of early medieval tinged Goth a la "Tears" by STRAWBS or "When I was on Horseback" by STEELEYE SPAN. The last couple of tracks are more brocaded and unstructured, which might appeal more to some here but come across as a few ideas that turned into pumpkins even though such transformation was not stipulated in the original bargain.

I have listened to the subsequent TENHI albums and find this to be by far their best, as it's a unified work that is adventurous, accessible, and infused with the sage melancholy of the elders.


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 Waters of Change  by BEGGARS OPERA album cover Studio Album, 1971
3.60 | 146 ratings

Waters of Change
Beggars Opera Symphonic Prog

Review by Atavachron
Special Collaborator Honorary Collaborator

4 stars Like entering a great and ancient abbey, the second long-player from the legendary Scots is an intriguing, sometimes haunting collection of treasures and despite (or perhaps with the help of) Martin Griffiths' melodramatic moaning, gives us one of the most heartfelt and fully textured records in progressive rock's early history. As though almost literally plucked from time, Waters of Change has soul, man, and porously exudes the brown, peaty atmosphere of a crumbling but vital Scottish estate complete with graveyard, thick fog, and the ghosts of the restless. It is one of a kind.

New member Virginia Scott's 'tron grinds open 'Time Machine' and everything knits together like that of a group who'd been together for many years, melodic, uptempo and taking from the best of British rock, folk and Pop. Brief 'Lament' hands us off to initially blah 'I've No Idea' which holds some nice surprises from Alan Park's keys and a delicate arrangement. A mistuned acoustic provides the base for range-striding 'Nimbus', not a completely necessary cut but adds some extra color before romantic and quite well-done 'Festival' with its baroque tonalities and tight group playing reminding of Jethro Tull circa 1970. Bach rocks on 'Silver Peacock', an organ showcase for Park with plenty of delightfully strange and acid-drenched imagery from Griffiths and good development by the band. Aptly named 'Impromptu' was probably nice in 1971, not so much now but its tailed by 'The Fox' as it follows a reluctant participant in pursuit of wild game.

I don't think of this six-piece as symphonic though psychoclassical elements are abundant; they kinda invented their own category. Further, Waters of Change is forty-two minutes with only about thirty minutes of worthy stuff so I wouldn't blame a listener for feeling flat upon hearing this one. But that thirty minutes is among the most flavorful and rich the vintage Prog era had to offer. Beggars Opera were not virtuosos. They were not geniuses or innovators or in great demand. But they yielded some of the most savory, toothsome recordings in what was an increasingly technical rock field and Waters of Change has only improved with age. At least most of it has.


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 Agony by FLESHGOD APOCALYPSE album cover Studio Album, 2011
4.24 | 22 ratings

Fleshgod Apocalypse Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars So you can't decide if you want to go to the opera or have it out at the mosh pit? What to do? Well, luckily there are options and FLESHGOD APOCALYPSE lays it all out as the perfect way to feel like you're getting a little culture while head banging until your eardrums bleed. AGONY is the third overall studio release following in the incremental footsteps of "Oracles" and the "Mafia EP." While on those two releases brutal death metal was the clear winner in the musical version of Predator Vs. Alien with the classical and symphonic aspects that the band incorporates being banished to the underworld where they would only be allowed to come up for air once in a while with only brief smatterings of their underlying importance in the musical structure. On AGONY we get a shift of power and the classical music is vying for dominance as it shares a fairly equally footing with the brutal death metal making this one of the most well balanced symphonic extreme metal albums i have ever heard.

On the very first track "Temptation" we get a dark and sombre taste of a Berlioz sounding "Symphonie Fantastique" with a haunted diva ushering in undulating rhythms that ratchet up the intensity that ultimately summon the metallic beast of the underworld allowing the cacophonous raucousness we call death metal to join the party and bombard us with the monstrous technical drumming of Francesco Ferrini doing his best to rip the classical aspects to shreds. Accordingly he is joined in by the insanely down tuned guitar dual guitar assaults and bass madness, however on AGONY unlike the previous two releases, the classical music has regained its power and now is in full control never letting itself to be diminished to second best. The result is nothing less of outstanding as neither the death metal aspects nor the classical aspects of the music compromise their integral physiognomy in the least bit making this one of the most triumphing releases of this sort of symphonic extreme metal.

I'm serious when i say don't think for one minute that the extremely brutal death metal aspects have been compromised by letting the orchestral elements shine through. Somehow FLESHGOD APOCALYPSE pulls this off with grace. While the majority of the album is highly aggressive on the death metal side with Tommaso Riccardi bantering out the most guttural and growly of death metal vocals alongside some of the best technical drumming skills in the musical world that serves as an anchor to the metal side even at the album's most mellow moments, there are plenty of passages where a more melodic contemplative side are allowed to reign such as on "The Deceit" where Riccardi trades off with bassist Paolo Rossi's clean vocal contributions. In addition there are many more pure symphonic non-metal moments that not only serve as bridges between the ten tracks that seamlessly run together but when the two genre styles are in full swing always is heard as an equal not being subjugated to second class. If that wasn't enough Cristiano Trionfera somehow fits neoclassical power metal guitar solos into the intact death metal sound.

Upon first listen i was a little disappointed as i felt the symphonic aspects dominated a little too much on this one in comparison with the previous two but after a few listens this prejudice literally disintegrated and the beauty of the balancing act between the two styles and the awesomeness of the arrangements and song structures sunk in. Once again, the classical music is the very fabric of the song structures and GODFLESH APOCALYPSE proves here that they are all classically trained musicians who are just a wee bit more caffeinated than the average Yo-Yo Ma's of the world! This is music that you can truly feel so old-worldly cultured in the mosh pit. You can feel like a hoity-toity bigwig for a nanosecond only to be shattered by extremely brutal and frenetic sonic attacks. The album remains really brutal but on "The Forsaking" a classical piano run is the dominant force having wrested control of the death metal and walks it on a leash but on "The Oppression" death chews that leash off and furiously regains its foothold. After all actors in this sonic cockfight are exhausted and call it a day, the finale "Agony" ends the highly energetic fusion affair with a nice Chopin inspired classical piano piece that instills a melancholic dread that leaves the listener feeling like tangled dude on the cover art devoid of hope, light and promise of resolution. Wickedly cool stuff! 4.5 round up!


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 Happy The Man  by GENESIS album cover Singles/EPs/Fan Club/Promo, 1972
3.17 | 49 ratings

Happy The Man
Genesis Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars It┤s very good to find those obscure tracks that were not released on albums by those artists you like. It can be filler stuff (and, in this case, it is), but it┤s a joy to hear something from the Gabriel-era Genesis that I haven┤t heard of after all these years. Ok, they were available in Brazil since Archive 1967-1975 was released in my country. Which didn┤t mean that much since this 4 CD box set was way to expensive to buy for years. So, to the song: it┤s a simple, acoustic track, with Gabriel and Collins singing together the funny lyrics. Some nice flute and 12 string guitars. Not par with their material before (Nursery Cryme), nor with their next (Foxtrot). Still a very good track for a b side. An interesting change of pace, between such elaborated material.

Not really essential, but good enough. Specially for early Genesis fanatics like me. 3 stars.


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Collaborators Only

ratings only excluded in count
  1. Mellotron Storm (3793)
  2. Sean Trane (3159)
  3. ZowieZiggy (2929)
  4. apps79 (2629)
  5. Warthur (2201)
  6. Easy Livin (1927)
  7. UMUR (1894)
  8. b_olariu (1892)
  9. Gatot (1811)
  10. Conor Fynes (1586)
  11. SouthSideoftheSky (1547)
  12. Evolver (1393)
  13. Bonnek (1332)
  14. Windhawk (1314)
  15. Tarcisio Moura (1295)
  16. AtomicCrimsonRush (1272)
  17. snobb (1216)
  18. erik neuteboom (1201)
  19. Finnforest (1108)
  20. kenethlevine (1063)
  21. ClemofNazareth (1009)
  22. Cesar Inca (927)
  23. loserboy (895)
  24. Matti (867)
  25. Rune2000 (866)
  26. tszirmay (864)
  27. kev rowland (844)
  28. octopus-4 (836)
  29. Marty McFly (834)
  30. memowakeman (826)
  31. Chris S (753)
  32. Guillermo (740)
  33. BrufordFreak (723)
  34. Eetu Pellonpaa (722)
  35. greenback (685)
  36. Rivertree (669)
  37. progrules (666)
  38. siLLy puPPy (643)
  39. Neu!mann (639)
  40. Seyo (638)
  41. Epignosis (624)
  42. Prog-jester (623)
  43. lor68 (601)
  44. Ivan_Melgar_M (553)
  45. philippe (539)
  46. Prog Leviathan (531)
  47. hdfisch (492)
  48. friso (485)
  49. Chicapah (480)
  50. stefro (480)
  51. Dobermensch (461)
  52. colorofmoney91 (459)
  53. J-Man (449)
  54. zravkapt (447)
  55. russellk (435)
  56. Aussie-Byrd-Brother (427)
  57. admireArt (414)
  58. ProgShine (414)
  59. Menswear (413)
  60. Atavachron (405)
  61. Sinusoid (402)
  62. DamoXt7942 (401)
  63. Queen By-Tor (396)
  64. andrea (395)
  65. TCat (377)
  66. Greger (365)
  67. tarkus1980 (363)
  68. Nightfly (362)
  69. Zitro (359)
  70. Cygnus X-2 (353)
  71. fuxi (352)
  72. Andrea Cortese (348)
  73. EatThatPhonebook (326)
  74. lazland (322)
  75. Guldbamsen (319)
  76. Negoba (316)
  77. richardh (314)
  78. Tom Ozric (305)
  79. Kazuhiro (299)
  80. Flucktrot (293)
  81. Proghead (289)
  82. OpethGuitarist (287)
  83. progaardvark (286)
  84. Second Life Syndrome (267)
  85. daveconn (266)
  86. Trotsky (264)
  87. Muzikman (263)
  88. Slartibartfast (256)
  89. clarke2001 (254)
  90. The T (254)
  91. Andy Webb (237)
  92. Bj-1 (233)
  93. GruvanDahlman (227)
  94. 1800iareyay (225)
  95. js (Easy Money) (222)
  96. poslednijat_colobar (220)
  97. aapatsos (218)
  98. Raff (217)
  99. The Crow (216)
  100. Syzygy (216)
Remaining cache time: 79 min.

List of all PA collaborators

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

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


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