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 How Was the Future by MONTECHIARI PROJECT album cover Studio Album, 2009
3.14 | 9 ratings

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How Was the Future
Montechiari Project Crossover Prog

Review by b_olariu
Prog Reviewer

3 stars 3.5 stars for sure

Montechiari Project is a band from Brazil taken the name from the keybordist Raphael Montechiari who formed this band in 2007 and releasing so far a single album in 2009 named How was the future?

Well, I was very pleasent surprised about this unknown album, I mean all pieces stands as good towards great, really inspired album. Raphael keyboards are really great and in combination with Drummond guitars, the result is quite great. Pieces as Fake Song, The true story of Alice or Mirrors are great, like all pieces. This type of cross over prog album I like to hear all the time. Nice vocal parts that is fiting in the music well. The music is varied and has plenty of memorable parts. Totaly unknown band that I think needs a wider recognition.

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 Fantasizer! by WATSON, DEAN album cover Studio Album, 2014
4.01 | 17 ratings

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Fantasizer!
Dean Watson Jazz Rock/Fusion

Review by b_olariu
Prog Reviewer

3 stars 3.5 really

Third album named Fantasizer from 2014 of this excellent multi instrumentalist, is another worthy release in jazz fusion prog realm. I really like all 3 albums released so far with a plus on Imposing elements, to me his best album so far. Here Dean Watson plays all the instruments and I might say that he is pretty good on every instrument, some more then ok passages overall. What I like more is that Watson has many ideas, covering a wide spectrum of genres from jazz fusion a la return To Forever, to more heavier jazz fusion aproach not far from Derek Sherinian solo albums combined in places with more symphonic parts, the result is good for sure, but not so great as on Imposing elements. Twig, Freak or Nomad are definetly highlights with spectacular guitar arrangements and furious keyboards here and there. All in all definetly worth purchase any of his albums, he is one of most talented musicians in last years and he need a wider recognition world wide. I personaly even find this Fantasizer good towards great, my number on album from him remains Imposing elements. Not to forget another intresting art work. 3.5 stars.

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 Disguise Serenades by ARLEKIN album cover Studio Album, 2014
3.26 | 22 ratings

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Disguise Serenades
Arlekin Neo-Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars "Disguise Serenades" is the sole project by Arlekin with all instruments and vocals performed by Igor Sidorenko from Ukraine. Unlike Igor's other band that is Post Rock instrumental, Arlekin have a retro Neo Prog sound familiar to those who have had their ears blessed by the magic of Marillion, especially when Fish was at the helm in the 1980s. Igor's voice at times has a theatrical quality like Fish or early Peter Gabriel in his Genesis art rock phase. This quality in vocal tone is noticeable on 'The Lost Path' and 'Dance of the Jester' and the music is dominated by staccato keyboards, with a Hammond sound. The mix on the vocals is a bit too loud at times, and wavering in melody becomes distinct. However the music is spellbinding with wall to wall passages of flute synth, heavy drums and bass rhythms, along with memorable guitar riffs. Igor is an accomplished guitarist and allows himself room to perform some amazing solos. I actually heard this album earlier before I received the album and did not realise this music was generated by one artist. This in itself is an incredible achievement. There is a great deal of passion injected into the songs, and Igor pours out his heart in the lyrics.

'Romance' has a similar intro melody to Pink Floyd's 'Empty Spaces' but the verses are very different. The vocals are a bit shaky but they improve on 'In This Puzzled Roundabout' the best song on the album. I love the bass on this, and the way that it builds into some aggressive distorted guitar riffs. The simple crashing cymbals are effective, and it really picks up when the tempo changes direction and a synth solo follows along ascending musical phrases. The length at over 15 minutes gives room for Igor to lash out on the keyboards and experiment with varying tempo changes and time signatures. There is a terrific lead break amongst all the prog, and Igor's voice sounds like Gabriel when it is multi-tracked. The twin guitar medleys are particularly effective, with a distinct Neo quality. Overall this song is worth checking out to experience Arlekin at it's best.

Arlekin will appeal to those who enjoy the likes of Babylon, Pink Floyd, early Genesis or Marillion. It is astonishing how one musician can create such beautiful music with so many layers and time signature changes. I can recommend "Disguise Serenades" to those who like their prog with experimental musicianship and lashings of keyboards and theatrical vocals.

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 Little Victories by KROBAK album cover Studio Album, 2013
3.62 | 18 ratings

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Little Victories
Krobak Post Rock/Math rock

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars Krobak's "Little Victories" album is the second studio release for this Post Rock band from Ukraine, following their album "The Diary of the Missed One" in 2008. The album is totally instrumental, encompassing atmospheric passages of emotional music consisting of violin played by Marko, bass by Asya, guitars by Igor and drums by Natasha. The musicscape generated has hints of Godspeed You! Black Emperor in the way that it builds gradually and patiently with repeated musical patterns, glazed over with some sweet slices of violin. It is the violin that tends to stand out often, played with finesse throughout. The medleys range from melancholy and dreamy to ferocious distorted guitar blasts. The music virtually pounds like a heartbeat and then softens to a lull in the quiet serenity of acoustic vibrations.

Each track is augmented by its own unique sound, very different than most instrumental albums I have heard lately. The music is housed in an attractive package with striking artwork by Kuba Sokolski depicting a deep sea fish, pencil drawn in an ancient Oriental style with simplistic lines and two tones. The artwork mirrors the music that is equally simplistic and to the point. When heaviness is required it is presented in the raucous distorted guitars, and when peace is needed, it is stripped back, brought forth in lush passages of violin and acoustics. Listen to 'And there by the River I lost my Glasses' and 'Amnesia' for some great examples of this band's style. "Little Victories" is an album that should appeal to those who enjoy the Post Rock style that has emanated from the likes of Godspeed You! Black Emperor, without the brooding darkness that usually accompanies such music.

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 The Silent Corner And The Empty Stage by HAMMILL, PETER album cover Studio Album, 1974
4.37 | 526 ratings

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The Silent Corner And The Empty Stage
Peter Hammill Eclectic Prog

Review by DrömmarenAdrian

5 stars Peter Hammill was born in London 1948 and has a huge discography of progressive rock. I know him particularly for his twelve Van der Graaf Generator record but he is also a solo artist which has done thirty-eight records. These records was in the beginning done with the same line-up such as Van der Graaf Generator so it's not strange that I like this record very much. "The silent corner and the empty stage" from 1974 is Peter Hammill's third studio album. It is amazing that this one celebrates its fourtieth birthday this year. The cover is discreet, showing something soft I don't figure out. The line up is Peter Hammill of course who plays guitar, piano, bass, harmonium, keyboards, mellotron and oscillator and sings, Randy California who plays guitar, Hugh Banton who plays organ, guitar and keyboards, Guy Evans who plays drums and percussion and David Jackson who plays flute and saxophone. So it's almost a common Van der Graaf Generator-record. But I would consider this record different from VDGG anyway. The compositions are more artistic and romantic and not as bombastic, even if they're bombastic enough.

I haven't heard this many times but I know that I love this record. If a musician wonder how to do rock music as pure art this is the answer. The music is brutal as punk and the vocal performance of Hammill is monumental. He extends the though of what you can do on an empty stage. When you listen to this record the stage is definitely not empty anymore. The record has also a longer playing time than other lp:s which is great. The record starts with the new thinking and heavy "Modern" which hits the romantic level this album happens to stand for(9/10). The "Wilhelmina" starts which is one of the most lovely songs I have found in a very long time. The lyrics, the melody and Hammill's vocals make my feelings swell over(10/10). "The Lie" is almost as fantastic, a track of a genius(10/10) and "Forsaken gardens" has a lot of drama and the famous Jackson saxophone and I love this too(10/10). The little acoustic piece "Rubicon" is the least fantastic part of this album(8/10) because the bottom is high. The final is of course "A louse is not a home", the longest track which is a fantastic symphonic tale for those ears which are not afraid of new thinking rock and cacophony. How I wish more musicians were blessed with a musical mind as Hammill(10/10). This record has a self-written place in every prog rock collection and I do not doubt a second to rate this high. A have hard to pick the best songs but "Wilhelmina" holds a special place in my heart, partially because I love the name, and the final "A Louse is not a Home" can you not hear to many times I pick them.

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 L'inferno dei musici by OLOFERNE album cover Studio Album, 2014
3.81 | 5 ratings

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L'inferno dei musici
Oloferne Prog Folk

Review by DrömmarenAdrian

3 stars First when I heard this record i wondered why this wasn't classified as rock progressivo italiano but after some listenings I understand it's because the music is so acoustic and modest that it is hard to consider it symphonic. The dominant use of violins and flutes adds another aspect to the music so the prog folk classification is perhaps not very wrong. I liked what I heard on this record immediately. Oloferne is an Italian band from Chiaravalle which has done four albums since 2003 and "L'Inferno dei musici" is from this year 2014. It is a short record with nine songs and the cover is beautiful. The colours remind me of the hell but it doesn't seem horrible there. I just see fine instruments.

The music is well played folk rock with happy enjoyable melodies and the vocals are sung in a pleasant way. I think I like the two first songs most. The first instrumental track is a lovely opener to this musical world and the next track shows it's also pleasant with song. The three "L'Inferno dei musici"-trakcs have nice little playful melodies which I like. I liked everything I heard on this record but I can't give it more than three stars. It is because it feels quite obvious that this music isn't striving towards the skies. The result is a bit weak in comparison with other records.

Alessandro Piccioni, Giacomo Medici, Gianluca Agostinelli, Giuseppe Cardamone and Marco Medici have done a great job with this record but perhaps they should have tried something harder. The cover of Premiata Forneria Marconi's "Impressioni di settembre" works well but a cover is a cover, and this one reminds me of the much greater PFM' version which I want to hear instead. I like the light and joyful spirit on "l'Inferno dei Musici" by Oloferne. Three strong stars!

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 Two from the Vault by PESTILENCE album cover Boxset/Compilation, 2003
4.00 | 1 ratings

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Two from the Vault
Pestilence Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars "Two From The Vault" is a boxset release by Dutch death metal act Pestilence. The boxset was released through Roadrunner Records in September 2003. "Two From The Vault" is a concept Roadrunner Records invented to give people a chance to purchase two albums for the price of one and also to reissue some out of print albums. Other than Pestilence, releases by artists like King Diamond, Suffocation and Gorguts, have also been given the same treatment.

This particular "Two From The Vault" box set features Pestilence 2nd and 3rd full- length studio albums "Consuming Impulse (1989)" and "Testimony Of The Ancients (1991)". Both "classic" death metal albums by one of the greatest Dutch death metal acts from the late eighties/early nineties. Although both albums were released under the Pestilence monicker, they are actually very different in style. "Consuming Impulse (1989)" is relentlessly raw and brutal death metal while "Testimony Of The Ancients (1991)" is generally a lot more sophisticated and at times even semi-progressive. Both were groundbreaking releases when they were originally released though. Few albums from 1989 sounded as raw and brutal as "Consuming Impulse (1989)" and few death metal albums from 1991 sounded as sophisticated as "Testimony Of The Ancients (1991)". A shift on the lead vocalist spot between the two albums is one of the explanations behind the very different sounding albums, but overall it´s actually just the first sign that Pestilence were never a band to make the same album twice...

Both albums are high quality death metal releases and definitely worth a purchase. Both because of historical value, but certainly also because of the high quality songwriting, musicianship, and sound productions contained within. If you can get a hold of this "Two From The Vault" version, I can definitely recommend a purchase. A 4 star (80%) rating is deserved.

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 Clessidra by LOCUS AMOENUS album cover Studio Album, 2013
4.00 | 1 ratings

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Clessidra
Locus Amoenus Rock Progressivo Italiano

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

— First review of this album —
4 stars Forming back in 2010 at Irpinia, Italy, and spending a couple of years touring and eventually recording, Locus Amoenus released their debut album `Clessidra' (Hourglass) on September 28th 2013, and it keeps up the strong tradition of dynamic Italian progressive releases from recent years. However, what sets them instantly apart is that band work at the darker, noisier and dirtier end of RPI, more influenced by the likes of Biglietto per L'Inferno and the dark jazz of Delirium due to the heavy attacking presence of sax and flute. The musicians contrast soft and heavy, electric and acoustic passages with plenty of building, brooding atmosphere, and despite moments of heavy riffing, they never simply fall back on heavy metal clichés.  Listeners who don't enjoy the often pristine and polished production of modern RPI albums should appreciate this one more too, as the band favour a scuzzy, more dangerous murkiness to their sound.

The opening instrumental `Tra La Mente...' welcomes droning immersive and slightly creeping feedback atmosphere, metallic King Crimson-styled electric guitar razor blade slices through sludgy stomping riffs over huffing flute and filthy mucky sax. A skipping beat over `Inverno's looping electronics and galloping bass quickly turn to harsh noise, buzzsaw electric guitar wailing and thundering drumming. There's wild disorientating flute, unexpected tempo-change surges back and forth and passionate pleading vocals, with just dark addictive grooves all around. The next two tracks lull you into a false sense of security, `Il Suono Di Lei' beginning with more gentle chiming guitars, an up-tempo beat and warmer voices, `Lettera di un Folle' a reassuring classical acoustic guitar warmth and soft soothing vocal. But before long, the band roars into aggressive tsunamis of Osanna and Van der Graaf Generator-styled sax violence, smoky dark Delirium-like jazz strolls with nimble little fiery electric guitar fills and thick bass eruptions.

Flute flitters around cool mysterious electronics and ranting droning fragments of other-wordly treated voices on the disturbing psychedelic jazz of `Amleto', the sombre `Anima' twists into a boisterous storm of hard guitars and urgent forceful vocals. The final track is the deeply melancholic `I Segni Del Mio Tempo', lost flute and careful acoustic guitar beauty offers a great deal of loneliness, with drifting lonely saxophone and blistering electric guitar filled with a grinding frustration that ensures it's a deeply emotional and powerful closer.

Confronting, powerful, often frightening...there's a grit, an unpredictable approach and a sense of daring that reminds of the best vintage RPI albums to this band that is often missing from modern Italian prog groups, and fans who don't mind getting a bit of dirt under their nails should investigate this exceptional debut right away. By adding a youthful heaviness, Locus Amoenus are a very modern sounding kind of RPI that respects and acknowledges the vintage masters without ever feeling the need to merely imitate them, while also bringing them screaming into the present era, and the band have more than enough talent and edge to make a strong impact in the modern RPI scene.

Four stars.

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 Round the Edges by DARK album cover Studio Album, 1971
2.65 | 18 ratings

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Round the Edges
Dark Heavy Prog

Review by GruvanDahlman
Prog Reviewer

2 stars There was a time when all things obscure attracted my mind, due to the fact that albums were mysterious, hailing from the mists of time. There are alot of albums deserving a break, since they never made it in the past, but there are those I find that do serve a purpose of reference point. What do I mean? My point is that some bands made music of progressive nature and poured their ideas into the melting pot and thus created some sort of tapestry. All things may not be great but it can still serve a purpose of being interesting. The only album by Dark is such an example.

I bought "Round the edges" several years ago but the music printed into the CD was not all that great, I found. And still find. It is interesting as a moment in time but not groundbreaking. It is an obscurity whose main value lies in the strife of amateur musicians and the will to produce music. The progress of prog is an equally thrilling thing to examine as listening to all the truly great music of the genre.

The music of Dark is certainly sort of heavy. Do not expect it to be in Sabbath mode. Unfortunately a lot of people throw that comparison around when it comes to describing heavyness. It is true, however, that the music could be described as proto-metal, or something like that, but it has more of a jam feeling to it, a jam performed by less competent musicians than the guys in Sabbath. That however is not te reason as to why I find the music less interesting. The overall feel to the music is one of forced, that the music is really not all that thought through. It is a private pressing, so the sound and time spent on recording certainly contributes to the end result. One has to bear that in mind.

I would not really recommend this album to any one in particular. It is obscure and interesting as an image of a time long gone but it really is too amateurish, I think. That need not mean that the music lacks in true power or worth. In this case, however, it makes the end result poor. Not that good but interesting. Sort of.

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 Pure by PENDRAGON album cover Studio Album, 2008
3.90 | 510 ratings

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Pure
Pendragon Neo-Prog

Review by FragileKings

3 stars When you decide to check out a band for the first time and you see they have nearly a dozen albums, how do you choose which one to start with? Do you listen to samples on YouTube or download it from somewhere? Do you read the reviews on PA or other sites? Do you choose by the cover or year of release? When I first decided to purchase a Pendragon album, I listened to bits on iTunes, read some reviews, and decided that I would probably like "Pure" best because of the cover.

Pendragon are known as one of the big neo-prog bands from the early eighties, but it seems that by "Believe" they shifted their sound to something heavier. Indeed, I now own two of their older albums and "Pure" (as well as "Passion") are much heavier and rock out more. By now, heavy prog would be a better subgenre to put them in, at least as far as their last two albums are concerned (and I see a new album is due out anytime).

For me, a fan of heavier stuff, "Pure" was an excellent choice for getting acquainted with Pendragon. The guitars rock, the drums are exciting, things get pretty bombastic at times and there are nice shifts in the music to lighter shades as well. The guitar solos sound like Nick Barrett was a big fan of David Gilmour; however, he puts a lot of his own feeling into his playing and there's an extra bit of "umph" that sets him apart from the Pink Floyd legendary guitarist. This is refreshing as I have heard a couple of Gilmour clones in the last couple of years and though I am sure the flattery is nice, original playing is appreciated.

About Barrett's vocal abilities, it's been said that he can be an acquired taste. Having heard a couple of the older albums by now, I have concluded that he is stronger when he sings harder. The slow, gentle approach is his weakness, or rather perhaps it could be where his uniqueness shows through better. I, however, think he holds a note better when he puts more power in his voice. Barrett doesn't do slow and gentle well in my opinion.

The first three tracks are for me where the real highlights are. "Indigo", "Eraserhead", and "Comatose I: View from the Seashore" show the band steeped in their heavier new sound. Of course they shift to melodic passages and show off lots of emotive guitar soloing. That's part of Pendragon's legacy to have such pleasant interludes. But the guitars have more crunch than before and the drum sound is ripe for the energetic bursts and fills that Scott Higham blasts in. "Comatose I: View from the Seashore" begins with some slow piano but after a bit the song thunders into an almost metal section. I love how the heavy minor chords abruptly change to bright major chords, giving the song a 70's AOR rock sound for a few moments.

Parts II and III of "Comatose" begin to loose me a little, especially in the third part. All those spoken lines about being alone make me wonder if I have misunderstood the song. Then things get weirder. "Fear is the most powerful weapon we have," says someone. "This world is an illusion." "Are we alone?" asks another voice. "What does it mean? Nothing can save you now. The beginning of the end." OK. The song ends.

"The Freak Show" is a normal length song with a very heavy intro but soon changes to a melancholy tale of someone's insecurity. I like this one quite a bit, though it's not as "progressive" or shall we say musically complex as the previous tracks.

I've read a fair bit of praise for the last track "It's Only Me", a slower number with a strong melodic chorus. Personally, I find it a little non-captivating. I gave it a good listen again the other night and it's pleasant enough but still the first half of the album is where it's at for me.

This album has received some great reviews and is an excellent effort by the band. I am wavering between calling it an excellent addition to any prog collection or good but not essential. I'll say it's very good but not essential and give it three stars. But I may decide to change that to four later.

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    Premiata Forneria Marconi (PFM)
  16. Hybris
    Änglagård
  17. Larks' Tongues In Aspic
    King Crimson
  18. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  19. Mirage
    Camel
  20. Moonmadness
    Camel
  21. Hemispheres
    Rush
  22. Si On Avait Besoin D'Une Cinquičme Saison
    Harmonium
  23. The Road Of Bones
    IQ
  24. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  25. Relayer
    Yes
  26. Kind Of Blue
    Miles Davis
  27. Darwin!
    Banco Del Mutuo Soccorso
  28. A Farewell To Kings
    Rush
  29. Birds Of Fire
    Mahavishnu Orchestra
  30. In A Glass House
    Gentle Giant
  31. Crime Of The Century
    Supertramp
  32. The Silent Corner And The Empty Stage
    Peter Hammill
  33. In a Silent Way
    Miles Davis
  34. Still Life
    Opeth
  35. Ommadawn
    Mike Oldfield
  36. Hot Rats
    Frank Zappa
  37. Aqualung
    Jethro Tull
  38. Meddle
    Pink Floyd
  39. Permanent Waves
    Rush
  40. Depois Do Fim
    Bacamarte
  41. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  42. H To He, Who Am The Only One
    Van Der Graaf Generator
  43. Images And Words
    Dream Theater
  44. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  45. One Size Fits All
    Frank Zappa
  46. Scheherazade And Other Stories
    Renaissance
  47. The Yes Album
    Yes
  48. The Lamb Lies Down On Broadway
    Genesis
  49. The Grand Wazoo
    Frank Zappa
  50. A Trick of the Tail
    Genesis
  51. Still Life
    Van Der Graaf Generator
  52. The Snow Goose
    Camel
  53. Second Life Syndrome
    Riverside
  54. In The Land Of Grey And Pink
    Caravan
  55. The Inner Mounting Flame
    Mahavishnu Orchestra
  56. Spectrum
    Billy Cobham
  57. Octopus
    Gentle Giant
  58. Hatfield And The North
    Hatfield And The North
  59. Time Control
    Hiromi Uehara
  60. The Power And The Glory
    Gentle Giant
  61. Free Hand
    Gentle Giant
  62. Rock Bottom
    Robert Wyatt
  63. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  64. Arbeit Macht Frei
    Area
  65. Zarathustra
    Museo Rosenbach
  66. Blackwater Park
    Opeth
  67. Radio Gnome Invisible Vol. 3 - You
    Gong
  68. The Perfect Element Part 1
    Pain Of Salvation
  69. Rubycon
    Tangerine Dream
  70. Mëkanīk Dëstruktīẁ Kömmandöh
    Magma
  71. Misplaced Childhood
    Marillion
  72. Viljans Öga
    Änglagård
  73. Ghost Reveries
    Opeth
  74. Acquiring the Taste
    Gentle Giant
  75. Space Shanty
    Khan
  76. Felona E Sorona
    Le Orme
  77. Emerson Lake & Palmer
    Emerson Lake & Palmer
  78. Fear Of A Blank Planet
    Porcupine Tree
  79. Elegant Gypsy
    Al Di Meola
  80. In Absentia
    Porcupine Tree
  81. Hamburger Concerto
    Focus
  82. Doomsday Afternoon
    Phideaux
  83. L'isola di niente
    Premiata Forneria Marconi (PFM)
  84. The Snow Goose (Re-recording)
    Camel
  85. ~
    iamthemorning
  86. Lateralus
    Tool
  87. K.A
    Magma
  88. Script For A Jester's Tear
    Marillion
  89. Bitches Brew
    Miles Davis
  90. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  91. Crimson
    Edge of Sanity
  92. Operation: Mindcrime
    Queensr˙che
  93. De-Loused In The Comatorium
    The Mars Volta
  94. Anno Domini High Definition
    Riverside
  95. Ocean
    Eloy
  96. Remedy Lane
    Pain Of Salvation
  97. Voyage Of The Acolyte
    Steve Hackett
  98. Leftoverture
    Kansas
  99. Romantic Warrior
    Return To Forever
  100. Memento Z Banalnym Tryptykiem
    SBB

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

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