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 Shiny Eyed Babies by BENT KNEE album cover Studio Album, 2014
4.96 | 4 ratings

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Shiny Eyed Babies
Bent Knee Crossover Prog

Review by Mellotron Storm
Prog Reviewer

5 stars BENT KNEE out of Boston were formed in 2009 at the Berklee College Of Music. This is their second studio album and this five piece band has 13 guests helping out on a variety of horns and strings. While the singer Courtney Swain is certainly the focus this band is simply "lights out" when it comes to the instrumental work. I've never heard anything like this to be honest, it's one moment melodic and almost poppy then it turns very powerful and intense in an experimental manner the next moment. Some call it Avant Pop or Experimental Pop but that's far from the whole story here. Talk about dynamic, innovative and adventerous! And the lyrics are extremely meaningful and so well done. Back to Courney's vocals, what can I say? She has suddenly become my favourite female vocalist. The absolute sheer power that comes out of her mouth is incredible, but she's doing gymnastics when it comes to vocals, seemingly to be able to sing in any style with perfection.

Up first is "Shiny Eyed Babies" a short piano/ vocal track where she sings about having a baby out of wed-lock and kissing her baby hello while kissing her now ex goodbye and singing about the judgement directed at her. "Way Too Long" is maybe my favourite. A heavy duty intro as passionate vocals come in. "I've has a secret for way too long" is a line she sings and man she can sing. Check out the vocal melody 3 minutes in! Oh my! The instrumental work that joins in kicks some serious ass. I'm laughing out loud at this point in disbelief. The final 30 seconds are spacey.

"Dry" opens in such a cool way instrumentally as reserved vocals join in. Soon she's bringing it hard vocally including those amazing vocal melodies that warble here. The horns before 4 minutes are adventerous then it kicks back in. Some nice violin in this one too. Check out the killer instrumental work late, it's quite experimental. "In God We Trust" opens with picked violin as vocals join in. As it picks up i'm feeling emotion as it starts to groove. Backing vocals here as well. It settles back and again i'm moved. It's building as she repeats certain lines over and over. Great track! "I'm Still Here" opens with a spacey organ-like sound as laid back vocals and a lot of atmosphere join in. Vocals and keyboards 2 minutes in then it becomes fuller. A moving section a minute later with piano, vocals and violin standing out. It's building late as she sings "I'm still here" over and over.

"Dead Horse" has pulsating piano to open as vocals join in and electronics come and go. It settles into a fuller sound before 2 minutes with some excellent violin. I love the spacey calm later after 4 minutes reminding me of Klause Schulze. "Battle Creek" has such a unique soundscape early on with the synths, keyboards, picked violin and spacey vocals. She starts to sing with passion and the instrumental work follows suit. So good! We get a powerful instrumental section 3 minutes in followed by a calm with violin melodies. Gorgeous. The violin adds emotion after 4 minutes as vocal melodies continue then she's singing again late. "Untitled" is a short vocal/ piano piece with lyrics like "Please won't you just raise your voice, I need to know i'm worth an ounce of pain". "Sunshine" is a cover of that old song and it seems fairly normal until she sings in a disturbing way after 3 1/2 minutes and my hair is standing up 5 minutes in as she sings in anger.

"Democratic Chorale" is a short piece with sampled spoken words in the background as the piano plays in a laid back manner. "Skin" has slicing violin as the drums kick in with power and vocals follow. The drums are out in front here. Catchy stuff as the focus becomes the vocals 1 1/2 minutes in. Themes are repeated. It becomes instrumental with honking horns and more and then it turns dark and creepy. Man this is good. Piano only follows before 5 minutes to the end.

"Being Human" is the song that got me into this band, as someone posted a video of them doing it live and it blew me away. It's so pleasant and beautiful early on and this will be contrasted with powerful instrumental jazzy sections. Punchy sounds come and go before 3 minutes as vocal melodies join in. Check out the heaviness before 4 minutes! A spacey calm ends it. Incredible! "Toothsmile" ends the album and synths and vocals lead the way early on. Violin 2 minutes in. A calm then a powerful sound 4 minutes in. It then starts to slow down like a train late but it's still powerful. Love the way it ends.

Man this will be near the top of my fav albums for 2014 for sure. You have to hear this band!

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 Another Green World  by ENO, BRIAN album cover Studio Album, 1975
3.96 | 239 ratings

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Another Green World
Brian Eno Progressive Electronic

Review by RussellChap

4 stars Originally starting out as an experiment Brian Eno ended up creating one of his most praised albums. For the first few days the creation of Another Green World was frustrating for Eno as he struggled to produce any workable ideas, compounded by the fact he had nothing written or prepared beforehand. So he turned to his 'Oblique Strategies' for direction. These cards with instructions and prompts allowed Eno to get over his creative block and work the resulting ideas into Another Green Word with the help of guest musicians. Robert Fripp of King Crimson, who had collaborated with Eno on No Pussy Footing and Evening Star (both excellent albums), Ex Velvet Underground member John Cale and Phil Collins on drums! (yes Phil Collins the unlikely eighties pop star who ruined The Supremes wonderful 'You Can't Hurry Love') played on about half of the tracks, while Eno performed solo on the others utilizing such fanciful instruments as the Leslie piano and Snake Guitar.

Eno later said of Another Green World "People tend to think of that as a song record. But it isn't, it's an instrumental record with the odd bit of vocal." The songs are witty with a very English playfulness (check out these lyrics from 'Sky Saw' "Mau Mau starter ching ching da da/Daughter daughter dumpling data/Pack and pick the ping-pong starter") which he shared with contemporaries such as Kevin Ayers and Robert Wyatt. His songs feature characters who seem to be caught in fixed freezes (like the figures on the album sleeve), with the world moving past, as in 'I'll Come Running' "I'm gonna waste the rest of my days/Just watching patiently from the window" or "Several times I've seen the evening slide away" on 'Golden Hours'. While the instrumentals are like the environments the static characters watch, they unfurl slowly like midweek afternoons when there's nothing to do or evenings when sights and sounds are muted. They are imaginary soundscapes with evocative titles such as my personal fav 'In Dark Trees' (as mysterious as the title suggests), 'Somber Reptiles' (that brings up images of disconsolate dying dinosaurs) and the restful title track which was used as the theme for the BBC2 arts series Arena.

Another Green World is interesting precisely because it is the point between Eno the song writer and Brian Eno the ambient composer. His next album would be purely instrumental fittingly titled Discreet Music.

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 Solid Air by MARTYN, JOHN album cover Studio Album, 1973
4.16 | 43 ratings

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Solid Air
John Martyn Prog Folk

Review by RussellChap

4 stars One of the albums I own that keeps drawing me back is John Martyn's 1973 album Solid Air. This magnificent record is suffused with irradiated liquid folk but also holds hidden, dark undercurrents within. The pleasure this album gives never evaporates even after repeated listening, which have been many as I bought it in 1991, in the days before mp3 and downloads when you had to visit a record shop (yes really).

Throughout John Martyn sings with a lazy warmth sometimes loving, other times carnal, there are moments when his voice oozes as if it's melting, the words becoming onomatopoeic. His guitar, fed through his echoplex (a tape delay device which allowed him to sustain notes), is similarity fluid, all heat haze scintillation and smoky scrolls. Particularly on the Skip James song 'I'd rather Be The Devil' which has the same vibe as Jimi Hendrix's aqueous '1983... (A Merman I Should Turn to Be)'. He is ably supported by the great Danny Thompson on bass, providing a supple backbone, who was a great friend of john Martyn playing on many of his albums as well as being a stalwart member of folk rockers Pentangle.

Although released in the seventies tracks like 'Dreams By The Sea' (which is full paranoia and suspicion "Dreaming you've got a lover/Dreaming that there's a killer in your eyes"), the aforementioned 'I'd rather Be The Devil' and title track 'Solid Air' (about the late Nick Drake "I know you/I love you and I can be your friend/I can follow you anywhere even through solid air"), have a timeless and place-less quality. Maybe that's why I never get tired of Solid Air. It keeps returning like waves lapping a shore.

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 Apocolokyntosys by EMPTY TREMOR album cover Studio Album, 1997
3.92 | 8 ratings

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Apocolokyntosys
Empty Tremor Progressive Metal

Review by b_olariu
Prog Reviewer

4 stars One of my fav musicians from prog metal zone ever are for sure the italians from Empty Tremor. the first two albums released by this band are excellentm being among the best in this genre, at least for me. The first album was released in 1997 and is named Apocolokyntosys. Well, this is in same league with the best of the 90s prog metal, and I mean Images and words, Carved in stone by Shadow Gallery and so on, the influences are also present on this album but is no clone for sure. What impress me every time I am listning to this first offer is how strong musicianship is, the keys and guitars are very well melted together, nice complicated shift, moods, lots of tempo changes, as might be a prog metal album. Also the singer is great, even has that LaBrie tone, Giovanni De Luigi knows very well to sing, from mellow sections to much more rockier, a good singer. The first piece is for sure my fav - The eyes of universe - is simply killer, one of the best I have ever heared in prog metal, great ideas and top notch musicianship + a great vocal passages all over. The rest of the pieces are aswell strong with no weak moments. All in all a not so well known band and album in prog metal field and is a damn shame, but belive me this guys knows bussines, specially the first two albums (this one and Eros & Thanatos) are excellent and recommended albums to all prog metal listners, worth every second. For me an easy 4 stars, nothing compares to old prog metal, the one made in the 90s.

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 Performance by ELOY album cover Studio Album, 1983
2.82 | 163 ratings

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Performance
Eloy Psychedelic/Space Rock

Review by Lewian

3 stars I've got to say that I'm quite keen on the fact that this one is not about journeys between stars and planets, downfall and rescue of humankind etc. Treating some real life issues for once is nice for a change, although I may not be a proper prog-minded person in this respect. Also I respect the artistic motivation to declutter and produce straighter songs. I think it's unfair to blame them for just trying to be commercial here. Artists shouldn't stand still and going with the times is a legitimate move. Bornemann was apparently not happy with this move, at least not in hindsight, but other band members probably were. Fair enough. As always, this is well produced, mostly keyboard oriented but with stronger impact of guitar, bass and drums than before. The bass is fantastic (as Matziol usually is). The drums sound too much like 80s and are a bit too straight, but at least they are precise and driving. Randow is a very good drummer but shows this better elsewhere. Regarding the quality of the songs, this is a mixed bag. In Disguise works very well as a catchy rocker; Shadow and Light and Broken Frame are fine, too, and a bit more complex. Broken Frame is actually one of my Eloy favourites. Mirador is a rather sparse instrumental, which is nice but not all too remarkable, and I can connect less to the remaining three songs. It's a development that I respect, with some highlights and some lesser tracks. And I can enjoy the marvellous bass playing day in day out.

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 Hubardo by KAYO DOT album cover Studio Album, 2013
3.89 | 87 ratings

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Hubardo
Kayo Dot RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

3 stars I should have done my homework before picking this one up. I'm not a big fan of Avant Metal although there are exceptions including the mind-bending "Choirs Of The Eye" by this band. Their latest "Coffins On Io" is far from Avant and has become my favourite by them. Anyway this particular recording is quite long at close to 100 minutes and very bleak. There are a few styles of music at play here but the extreme stuff I find very difficult to enjoy.

"The Black Stone" is what I call getting off on the wrong foot when it comes to my tastes. We get experimental sounds and more as spoken growly vocals join in. This continues for about 6 1/2 pointless minutes. Then the tempo picks up as the vocals stop but the growls are back before 9 1/2 minutes but more sung than spoken. "Crown-In-The-Muck" is melancholic and I like the tone of the guitar and also the drum work. It picks up and horns are added. Vocals after 4 minutes and they become extreme about a minute later as this becomes the focus. "Thief" is drum and vocal dominated and it's uptempo. It does settle back with random drum patterns, laid back clean vocals and more. Horns join in as well and I like how dissonant they are 4 minutes in. "Vision Adjustment To Another Wave Length" features a chaotic soundscape with vocals that yell throughout. Not a fan. "Zlida Cao Sgi(To Water The Earth)" has some impressive instrumental work but with lots of growly vocals. "The First Matter(Saturn In The Guise Of Sadness)" is my favourite track. This sounds so good with those relaxed vocals and atmospheric sound. Just a great sounding tune.

"The Second Operation(Lunar Water)" is a sparse track overall as it opens with keys as horns join in softly. The violin becomes the focus then reserved vocals take over around 3 minutes in. Backing vocals and some creepy violin follow. A calm with vocal melodies after 6 minutes. "Floodgate" is a heavy duty onslaught with growly vocals. "And He Built Him A Boat" is the other tune I like. It's ANATHEMA-like circa the "Judgment" era. Guitar expressions and drums lead the way before it calms down with reserved vocals, a beat and more. Some cool lyrics in this one. "Passing The River" has a beat with guitar as laid back vocals arrive. It kicks in hard at 3 1/2 minutes then calms right down with distorted guitar. Drums join in and we get chaos after 6 1/2 minutes as the horns scream and the sound picks up. Another calm 9 minutes in as the laid back vocals return and this continues to the end. "The Wait Of The World" is completely different from the rest as they turn this into a jazzy mode with lots of horns and it's uptempo. Again the heavy and calm are contrasted until it feels like they simply jam for a long time with plenty of horns before a calm returns just before 10 minutes.

Many consider this KAYO DOT's best but I have to disagree. Still if your into extreme Metal that is adventerous with some variety you really need to check this out.

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 La Chute De La Maison Usher by ART ZOYD album cover Studio Album, 2008
3.07 | 10 ratings

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La Chute De La Maison Usher
Art Zoyd RIO/Avant-Prog

Review by Lewian

4 stars Maison Usher is a cross between the coldness and remoteness of Champ des Larmes and earlier Art Zoyd music for dark films and stories such as Nosferatu, Häxan etc. As such, it is a bit more accessible than Champ des Larmes (let alone Pure Noise), but still has an impersonal, immaterial, even unwelcoming feel to it. There are familiar elements such as deep church clocks, dramatic electronic textures, slow machine-like rhythms, atonal sequences, dark sound effects. Compared to Champ des Larmes the atmosphere is more dark cellar, ghosts and secrets than ice mountains. Some parts are quite minimalist, but there are also a few in which quite a lot is going on. Once more, there are no conventional song structures or melodies, but some clearer structures and contrasts, more rhythm than on Champ des Larmes, and even some piano. Champ des Larmes is more unique and innovative, but the little bit more connection with "music as we know it" here gives the listener a better chance of getting something out of it.

Art Zoyd were always very special, but they continue to develop even more into their own planet, distant and hard to connect to from anywhere wordly. Their music evokes ghosts and echoes from lost stories of the past, little to really get hold of or stand on. Whenever I listen to this I have difficulties to get into it at first, but I then realise that there is much to discover. If you can bear it, it's a rewarding experience.

3 1/2 stars.

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 Metatron by PINHAS, RICHARD album cover Studio Album, 2006
3.58 | 12 ratings

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Metatron
Richard Pinhas Progressive Electronic

Review by Dobermensch

3 stars 'Metatron' is a far more 'Pinhas' centred album than the ultra noise monger 'Merzbow' from Japan. Richard pinhas' hero 'Robert Fripp' plays a large part on this recording despite being entirely absent, willingly or not, on this lengthy double album from 2006. There's a large amount of processed guitar trickery with 'Frippertonic' experiments at work on 'Metatron'.

From the outset Pinhas plays guitar through electronic filters creating a shimmering, floating atmosphere, which creates an hallucinogenic effect. Stand-in 'Magma' drummer Antoine Paganotti batters out some arrythmical jazz drumming over the top of Pinhas' flailing guitar. At times it gets too much, sounding like someone's thrown six bowling balls down some stairs. It's a mesmerising slab of art which is a bit like looking through one of those old kaleidoscopes. Everything washes around without any sense of direction in the most random way. I can tell you one thing - the vast majority of 'Metatron' is unscored and is clearly a free-for-all slowly evolving jam.

'Moumoune and Mietz' is the one true tune on this album and its wonderful. It's uplifting in the way the brilliant Italian National Anthem sounds. There's a lot of very odd, turbulent and off kilter 'Magma' drumming throughout which never repeats and is very engaging. It's like the 'Merzbow' Christmas Carol you never heard.

Intensely looped fragments of vocals appear on 'Shadda Blues' amongst swirling electronics. Let's just say that this is not good hangover material.

'Metatron' is an entirely instrumental album with occasional spoken words that has an underlying threat throughout. Like an albatross hanging over your shoulders, waiting for the ship to go down.

And now ladies and gentlemen, the historical bit: 'Metatron' is, according to Jewish medieaval apocrypha, Enoch, ancestor of Noah, who is transformed into an angel. I bet that grabbed your attention eh?

Now, if you can convert your brain into the vibe and oppressive atmosphere of 'Metatron' then you could well enjoy this enormous recording that lasts well over two hours. There's one or two moments of 'Heldon' territory that appear. In particular 'The Fabulous Story of Tigroo and Laloo'. Although it's not much of a story as no words are uttered at all. It is however reminiscent of 'Un Rêve Sans Conséquence Spéciale' from '76. Full of wailing, stretched and groaning guitars while a jack-hammer 4/4 beat pounds relentlessly.

There's some unadulterated Robert Fripp guitar sounds on 'Tikkun part 2'. A shameless theft of guitar sound that 'Pinhas' is only too willing to utilise in respect of his idol. And he's more than happy to let everyone know.

More impressive are the the beat-less guitar tracks such as 'Metatronic Rock' which display wobbly, reverberated and highly distorted guitars

This is a real mixed bag of lengthy tunes that sounds at war with itself, not knowing what it really wants to be. A lack of focus is the one criticism I can throw at this. It seems to wander from track to track, punching left and right but making no contact with anything. Thrashing about wildly, like a bag full of cats.

At the end of the day I find it difficult to identify the 'Merzbow' contribution. Of the 20 odd CD's I own by him I can't hear any influence at all. Weird.

It's still a sonic electronic assault with all sounds being excellently produced and appearing crystal clear whilst played at high volume. Ultimately it's just all too long and drawn out. No matter how often I listen to this I hardly ever reach the end. Too much of the same stuff gradually wears me down. After two hours I've more than had enough. It looks like they could have done with a good editor.

Great in parts, but far too lengthy. 'Metatron' turns into and endurance test.

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 Ones & Zeros: vol. 1 by 3RDEGREE album cover Studio Album, 2015
4.49 | 116 ratings

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Ones & Zeros: vol. 1
3RDegree Crossover Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

5 stars Back in 2012, an election year here in the U.S., 3RDegree released one of the finest albums of that year, "The Long Division", a scathing critique of the political system, and the way the corporate news outlets portray the process. The album blew me away in it's concept and execution. I really had might doubts that any band could improve upon such an effort. But with "Ones & Zeros: Volume 1", they have accomplished that task.

The concept here is a not too distant, nor unthinkable future, where our present obsession with immortalization through our many electronic gadgets has led to the ability to (if you can afford it) digitize your consciousness, ensuring virtual immortality. This process is overseen by a corporate entity called "Valhalla", that controls these "people" with a mechanical logic. I don't want to give much away, but the story is told with a clever and sophisticated humor, reminding me more than a little of the wordplay of 10CC or XTC. Just the images from the song title [i]Circuit Court[/i] in this context should give a taste of this.

The music itself could best be describes as the vocal tonality of 10CC, with the inventive instrumentation of that same band, except with an underlying complexity reminiscent of Echolyn, with the hooks and power of Spock's Beard. But the mix of those styles brought together, makes the sound truly original 3RDegree music.

I received the album some weeks ago, yet still, every time I listen to it, I hear more and more inside each song. I cannot find anything at all to knock this down from a perfect rating.

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 The Breaking Of The World by GLASS HAMMER album cover Studio Album, 2015
3.93 | 76 ratings

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The Breaking Of The World
Glass Hammer Symphonic Prog

Review by progarchist

5 stars Leave it to Babb and Schendel to make a truly gorgeous album out of the ACADEMIC work of Tolkien and Lewis, not just out of their fantastic works. Amazing. From the opening note to the closing one, THE BREAKING OF THE WORLD soars. Ever since CHROMONOTREE (itself, a thing of beauty), Glass Hammer has just gotten better and better, more adventurous, and, lyrically, more interesting. Add to Schendel and Babb the others in the band, and you realize that Glass Hammer is as much a movement--a community of true artists--as it is a band. In particular, I challenge anyone in the prog world to find someone better on vocals than Susie Bogdanowicz. She has equals, but not betters. I assume she had some kind of secret voice lessons in heaven at some point in her your life. And, Aaron Raulston, though too little known, is the equal of Peart, Portnoy, and NDV when it comes to the drums. What an astounding group of musicians to come together. While I generally prefer albums that are strictly concepts--such as LEX REX and PERILOUS--THE BREAKING OF THE WORLD is a rare and precious gem in a world torn apart by commercialization, ideologies, and fundamentalisms. Babb and Schendel, as always, are quite humane and quite exceptional. Long live Glass Hammer!

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  90. Andy Webb (236)
  91. Bj-1 (233)
  92. 1800iareyay (225)
  93. js (Easy Money) (222)
  94. poslednijat_colobar (220)
  95. GruvanDahlman (219)
  96. Syzygy (216)
  97. The Crow (216)
  98. aapatsos (216)
  99. avestin (214)
  100. Raff (214)
Remaining cache time: 511 min.

List of all PA collaborators

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

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

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