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 Tyranny by SHADOW GALLERY album cover Studio Album, 1998
4.05 | 268 ratings

Shadow Gallery Progressive Metal

Review by Prog Leviathan
Prog Reviewer

2 stars This is my first taste of Shadow Gallery's highly rated discography. Tyranny fits right in alongside the prog- metal stylings of the late '90's era; however, it does not strike me being anywhere near as close to the masterpiece it's currently scored at. It's not bad, in fact, the album's vibe, instrumental performances, and varied songs are artistically executed. The songwriting is highly competent and involved, but the result doesn't strike me as strongly as many other prog-metal groups out there. It's good, but not great or even that memorable.

Overall the band plays well. They're very tight and the production is crisp. Soloing is fair, regrettably not standing out among the various interweaving riffing and synthesizer textures. For a band that plays as fast and with as much complexity as Shadow Gallery, there aren't moments that make your hair stand up with excitement. This is probably my biggest issue with the album; the songs aren't memorable, and the instrumentalists rarely grab my attention, even though I can tell they're talented. Maybe this is a failing of the songwriting? Compare this to Metropolis II: Scenes From a Memory, which was released only a year later, and Tyranny's complexity and moments of frenzied riffing seem even more underwhelming. Again, they aren't bad, just sort of bland.

Let's talk for a minute about vocals. Baker gets credited as lead vocalist, and he's passable at best. His high-pitched vocals are typical of the era, in fact, they even have a strong '80's feel. His range is poor, phrasing tedious, but inflection strong and there's actually some emotion behind his singing. I don't care for his voice, but that's totally subjective; he's not for me. What's definitely not for me is this album's awful lyrics. Yes, I said awful. They're overly direct, unevocative, without rhyme, devoid of memorable choruses, trite, and pretentious. And there's so, so many of them. There's simply way too much singing on this album, and because all of the lead duties are handled by Baker... that's a problem. Some reviewers have commented about how Tyranny is thematically similar to Queensryche's Operation Mindcrime, which is totally understandable. The themes about technology and the internet feel very anachronistic and campy at this point, which is fine; what do not, are the songs about the second coming of Christ. Those lyrics just fall flat, but then again I'm bias in that regard. Again, not enough here to make me want to listen again.

One thing that Tyranny does have going for it is its variety. The first half is mostly fast-paced rocking that may appeal to more straight-ahead metal fans. Throughout we're given transitional songs that play like lush power ballads, pulling at the narrative's emotional heartstrings. The second half experiments more, with songs like "New World Order" and the exciting instrumental "Chased" standing out as highlights. In the end though I suffered from fatigue after the album's bloated 73 minute running time.

I didn't hate Tyranny, not by a long shot, I just didn't care about what it was accomplishing. To me, that says that it's one for prog-metal diehards or fans of the group (probably one and the same).

Songwriting: 3 - Instrumental Performances: 3 - Lyrics/Vocals: 1 - Style/Emotion/Replay: 2


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 ja tik butu... by ALVA album cover Studio Album, 1977
4.00 | 1 ratings

ja tik butu...
Alva Prog Folk

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

— First review of this album —
4 stars A female fronted Latvian group from the mid-Seventies that were actually based in England, Alva are regarded as a prog-folk group, but they're a lot more varied and complex than just that! Despite many of their tunes being grounded in more typically folk-based melodies, the tunes on their sole debut work from 1977 `Ja Tik Būtu' worked in everything from little traces of acid rock, psychedelic pop, Sixties garage toughness, loose jazzy runs and an almost punky murkiness (you can even hear the guitars struggling to stay in tune here and there throughout the album!), making for a very unpredictable and colourful album with a charming do-it-yourself production.

The title track opener is a melancholic pop tune with Diana Ābols' weary purring voice over chiming electric guitars , and `Pilsēta Kurā Piedzimst Vējs' is the first folkier interlude where one of the fellas takes the lead vocal (unsure which member), a gently manic tone to his voice! Buoyant bass and jangling ragged guitars on both `Kopā' and `Svesinieks' sound like lost proto-punky girl-group rockers from the early Sixties, and the much more ambitious seven minute psychedelic epic `Akts' holds wonderfully shambling acoustic guitars strums, dreamy keyboards , scratchy dingy pipes, rambunctious drumming, and Diana's treated voice taking on an eerie unhinged snarl to close the first side.

The baffling and out-of-place tough psych rocker `Vilcienu dziesma' opens the second side with the guys growling unbearably, but thankfully the ragged electric guitars and runaway bass keeps things interesting! `Miglā' is bookend by spiky up-tempo indie rock guitars, and despite being sweetly sung, there's a weary tone to `Ziemeļvēji'. Reaching electric guitars drone manically and twist between pumping bass and bashing drums throughout the raga-like `Es Izkūlu' (with the second half throwing in a deliciously putrid and rough-as-guts reinterpretation of the melody of `Mary had a Little Lamb'!), and `Jo Beigas Ir Klāt' is a sombre and contemplative folk rumination to close on.

Despite a variation on the group reactivating in the new millennium, `Ja Tik Būtu' remains the sole Alva release to date, which makes it even more unique and precious. Many rare and mostly unknown prog-related albums are seeing reissues these days, and while many turn out to be forgettable, lost to the ages with good reason, some are exciting little obscurities in desperate need of fresh exposure and reappraisal. In that respect, `Ja Tik Būtu' is a refreshingly out-of-time album that proves to be hugely addictive and enjoyable, and prog/acid-folk and garage/psych fans should investigate this welcome female-led curio immediately!

Probably really a three star album, but well worth four stars if you come to love it!


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 All You Can Eat by SLIVOVITZ album cover Studio Album, 2015
4.10 | 12 ratings

All You Can Eat
Slivovitz Jazz Rock/Fusion

Review by schizoidman

4 stars "All You Can Eat" is a great instrumental album bordering on classic. Slivovitz have their own unique sound based on Jazz/Classical/Rock/Funk/Blues elements. Influences that I can detect are Weather Report, Return to Forever, early Stanley Clarke, the jazzier side of Steely Dan and the like. Each piece of music is written with careful attention to structure and melody but allowing room for just enough improvisation. These guys can play, be it written on paper or flowing from their minds. The music is beautifully melodic ("Hangover"), humorously complex ("Barotrauma") with elements of tight, slippery funk ("Passanante") and their use of harmonica in this genre is truly ground breaking. To my ears their sound is "clean", the only distortion effects used sparingly are on the guitar.

If any of the group happen to be reading this I must certainly take the opportunity to say Thank You to all of them from the part of my essence that needs the beauty of music to help me get through this thing called life.


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 Plaeiades' Dust by GORGUTS album cover Singles/EPs/Fan Club/Promo, 2016
4.91 | 3 ratings

Plaeiades' Dust
Gorguts Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars Always in a league above the competition, Luc Lemay and his GORGUTS project continue to deliver some of the most innovative and technologically constructed death metal the world has ever heard. Never resting on the legacy of "Obscura" alone, this Canadian band from Quebec always creates exciting releases by combining the most demanding, frenetic and brutal ear abuses while entering myriad intellectual pastures tackling the subject matter of esoteric history in far-flung geographical places such as "Tibet" such as on the previous release "Colored Sands." On the follow-up PLEIADES' DUST, an EP which is basically a solo track clocking in at 32:59, Lemay and company dish out a concept telling the tale of the "House Of Wisdom," which references the rise and fall of a library based in Baghdad in the periods between the 8th and 13th centuries and it's importance in containing ancient knowledge that contributed to many scientific discoveries including algebra, astronomy as well as other disciplines that aided and abetted Europe to evolve past the dark ages and into the Renaissance.

Always based on evocative intellectual subject matter, the likes of which are once again competently accompanied by the signature brutality complete with Lemay's grizzled growls laced with atmospheric passages, exotic sounds of distant lands and the ever graceful dance of melodies and dissonance swirling about like an oceanic eddy, GORGUTS takes the exotic flair of "Colored Sands" and once again creates a meandering flow of sounds that alternates the brutal death metal aspects with softer passages bringing a Middle Eastern dusty caravan to mind displaying guitarist Kevin Hufnagel and bassist Colin Marston dishing out a strong dual string assault with newcomer drummer Patrice Hamelin picking up where John Longstreth left off and easily duplicating and exceeding his technical percussion abusing skills and creating one of the most important aspects of GORGUTS' music.

As heard on the more recent albums, if one has an ear for classical music compositional skills it is apparent that Lemay is a gifted composer who utilizes the techniques of the centuries and applies them to suit his music in a death metal context. While the imagery and brilliant album cover created by the renowned Polish artist Zbigniew M. Bielak sync well with the death metal brutality bash and distortion blowout, the ebb and flow of the musical composition lends more to pre-metal past masters rather than contemporaries in the field continuing Lemay's utter brilliance in juxtaposing these elements into a seemingly effortless manner. The music on PLEIADES' DUST is excellent at the proper pacing of the more energetic brutal passages and the more subdued cadences. It appears that GORGUTS scores once again in creating a memorable soundtrack to some nebulous place and time from the history books. The musicianship is once again impeccably performed and the segments of the album are well connected and despite literally eschewing all the cliches that a 21st century tech death metal band can fall into, GORGUTS still succeeds in delivering all the death metal goods while wowing us with intense musical workouts delivered with outstanding intellectual eloquence.


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 Merci by MAGMA album cover Studio Album, 1984
2.52 | 166 ratings

Magma Zeuhl

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars Wow! Is this MAGMA or Earth, Wind & Fire? Christian Vander, are you there somewhere?!! Did the Kobaians beam you all back up to your planet? Or did they implant those dreaded disco soul chips in you again. What can we think of the most hated album in the MAGMA discography. After the excellent run of originality and channeling of otherworldly forces that lasted from their debut in 1970 to "Üdü Wüdü' in 1976, it seems even advanced technology could not help the Kobaians hold back the backlash that dethroned progressive leaning music of the early 70s. While some bands like King Crimson were wise enough to call it a day before the great shift, others who stuck around found themselves watering down their output album by album, whittling away their loyal fan bases and becoming shallow caricatures of their innovative glory years.

Even the Kobains succumbed to these pressures as heard on the watered down "Attahk" in 1978, add to that the financial pressures of operating such a huge number of musicians on board with an ever chaining cast of members and it's really not hard to imagine the temptation to dummy down the innovations and go for the gold in the highly profitable pop music world of the 80s. Perhaps a good idea at the time but considering this is a whole different band of musicians on board (at least 25!), Vander could have had the decency to at least release this under a different moniker that wouldn't tarnish the image of one of the 70s' most unique forces in the prog world. After six years of inactivity the album was a hodgepodge of tracks recorded throughout the early 80s and at this point Vander was bored with the whole MAGMA thing anyway and after the release of MERCI would suspend activities with the band and focus on his jazz-fusion oriented Offering albums.

"Call From The Dark" begins the album and after a few tinkles of some strings and immediately begins what sounds like something you would hear on a disco soul album around 1979 leaving a first time listener accustomed to all the zeuhlisciousness of previous MAGMA offerings totally bewildered and just a few notes away from pumping out "Boogie Wonderland." While the music itself is perfectly decent for that type of sound, complete with beautiful vocals, a horn section to die for and a nice booty shakin' rhythmic section, it's like whoa!!! Is this MAGMA? WTF?

The second track "Otis" is less danceable and at least has a faint trace of the vocal trade offs of Vander and female vocalists from the past, but this song is particularly weak although perhaps acceptable for aging Kobaians in nursing homes or doctor's offices. Vander's screams in the middle sound like a mating cat and totally out of step with this mellow repetitive soul music. "Do The Music" is a rather strange little track as it sounds like zeuhl is battling it out with disco leaving the listener with no clear winner but admittedly a unique experiment that does make me think of going to the disco on Kobaia! I mean, they need to get a little light now and again too! "Otis (ending)" is a gospel sounding organ track with Vander screeching. Hmmm. No comment.

The one long track on here "Eliphas Levi" is the anomaly. It actually feels more like the zeuhl music we were expecting albeit more serene, pacified and stripped down in both instrumentation and feel. It does however have those ratcheting vocal deliveries that build in repetition accompanied by piano and percussion. This one is actually pretty enjoyable although very much on simmer as opposed to the full intense pyroclastic flow MAGMA usually delivers as the track drags on for over eleven minutes and feels like it never gets up to expected speed. The vocals are quite pleasant though and this is probably the best track on board and has a pleasant complex interchange at the end.

The album ends with the appropriately titled "The Night We Died" suggesting a now neutered MAGMA calling it a day and throwing in the towel. This is basically a sombre piano ballad with the Kobain females singing in unison. Overall i end with the same impression as i began. WTF? This would be perfectly good music for the most part for a Motown act trying to revive their career although a little unfocused but this MAGMA! Those who are held to a higher standard of complexity and innovative incremental progression as well as a higher energy level. This album is too mellow for its own good with the most energetic track sounding like a Michael Jackson B-side with Earth, Wind & Fire backing it up. Nothing on here is bad per se but for a band that carved its own niche in music and continued to ratchet it up album by album, this is surely a let down. After hearing this, it's very hard to believe they would come back stronger than ever 20 years down the road. 2.5 rounded down


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 Bansheeface by PSEUDO/SENTAI album cover Studio Album, 2015
4.02 | 17 ratings

Pseudo/Sentai Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars PSEUDO / SENTAI is a unique musical entity indeed that is a bit baffling. The partners in crime Greg Murphy and Scott Baker have been conjuring up their own eccentric and eclectic genre bending musical weirdness since their formation in 2007 but only continues to up the sophistication of their approach to their semi-poppy, semi-proggy, always intriguing brew of musical madness. If i didn't know better i'd swear they are a more whacked out version of Muse, well maybe i don't know better and that's what they are, but one thing's for sure: these guys wanna do things their own way and for that, i salute them! BTW, this album is available free of charge so please take the time to indulge your audio frequency appreciations and enjoy it for it is a pleasing product of profound profundity that is fairly easy on the ears to boot.

BANSHEEFACE is their third overall full release and what started out intended to be their first five song EP evolved into a major concept album that took 5, yes FIVE years to finish. As with many prog artists, it's easier to visualize and conceive rather than create so the old adage that a great album is 98% perspiration and 2% inspiration seems to be the case with BANSHEEFACE. As the ideas kept flowing so did the plot and ideas that poured through the fecund minds of these guys. Fast forward to 2015 and lo and behold - BANSHEEFACE is finally released! And it's wild. It's weird! And filled to the brim with all kinds of references to all kinds of creatures of their imaginary unknown world. There are three races: humans, likho and selkies and then there is a whole script of characters. It seems PSEUDO / SENTAI has gone all "Tales From Topographic Oceans" on us with ridiculous amounts of detail, but please take a deep breath and be assured that the focus of this detail isn't in sprawling epic musical movements. It resides in the storyline and the music itself, while very eclectic, is still quite easy on the ears and to grasp. The album is only 44:05 long so don't expect a triple album or anything that takes years to comprehend, however with a concept like the one on board here, perhaps it could warrant a multi-album time length.

Quantum Cardboard (1:53) is the opener and begins with helicopter sounds and quickly becomes a spastic bouncy electronica beat with some accompanying keyboards that build up intensity. This sets up a meteor landing on Earth and negotiations with The Loricle on how to retrieve it. There are no lyrics so you have to read the story to have any clue about the meaning whatsoever. Luckily you can totally ignore the story at first and just listen to the music.

Sleeping Closer to the Ground (3:41) begins with more strange electronic effects but then becomes a guitar driven rocker with lyrics and tells the story beginning with the funeral of BansheeFace, 33 years after she came from the underground worlds. It continues the story about her. Turns out she has goo that makes a clear shell around her. Whoah! Goo!

Terraformed Transcendence (4:26) is an indie rock sounding acoustic guitar rocker with keyboards and slightly off vocals that picks up intensity. This tells of Bansheeface's rise to power and how she used her powers to to so and all the escapades that ensued. Trying not to give away too much because there's too much to go into!

Immaculation (2:59) sounds a bit like a Daevid Allen rant on a Red Hot Chili Peppers album with a funky rapped type vocal style and lots of strange musical sounds coming from guitars and keyboards all dressed up in a proggy veneer with nice time sigs and a strange melodic development. This track gets into how the Bansheeface built the Holy Matmorphacity and the growth over the next 30 years and how the future technology allowed everything to be free and also about how she plants bombs under the cities to immaculate humankind.

Bansheeface (5:42) begins with some voices and then a nice hard rockin' guitar riff and drums. More hard sounding than other tracks. This track is about the Likho and how they destroyed many villages and how new technology has destroyed natural sun protection. It also continues the story about how the Likho were trying to assassinate the Bansheeface.

Trap of Assassination (1:27) is a short little oddly timed acoustic guitar track with fast percussion. Love the dynamics between the two. It changes into sounds that imitate bombs and gunshots. It ends sounding quite violent.

Black Matter of Machinations (4:05) is a more subdued almost ballad sounding track but still in an off kilter timing and symphonic sounding. The drums sounds a little too harsh for this track as it The Loricle doubts if murdering the Bansheeface was the thing to do. It's basically a contemplative track asking all the questions about The Bansheeface as there are many uncertainties.

Sleeping Closer (1:37) a strange noisy electronic number with female vocals at the beginning. Sounds like radio static and a swarm of angry hornets which represents a flashback to the funeral.

The Holy Metamorphacity (6:13) is a classic sounding prog rocker with heavy guitars, bass and drums. The vocals are quite nice on this as there are some good vox box workouts. This one goes into the soap opera of how the Selkies believe that the humans assassinated the Bansheeface and how all the politics involved have led to the start of a war.

A Taste of Endangered (1:25) is another short electronically led ditty that has some breathing as a rhythm and then breaks into a vocal section with good harmonies. This is Lution narrating the diminishing quality of relations between Selkies and humans and tries to resolve them through diplomacy.

Classic Tactics of Xenocide (4:12) starts off with eerie keyboards and crunchy guitars. This one reminds me of something Muse might conjure up but definitely sounds unique in approach. It breaks into a heavier rocker and tells about how the Selkies have been destroying the humans.

March of the Selkies (3:49) is another heavy rocker with cool time sig changes and simulates a Lord Of The Ring style Two Towers battle and all the havoc that ensues. As the humans battle the Selkies at the last major stronghold, they are utterly defeated. Nice guitar solo on this one!

Mound of Seed, Seed of Earth (2:36) is an energetic anthemic type outré that tells about how the famous mound is now in the shape of a tree and the album ends with the same rhythmic march as the album begins. There is a bit of silence before an acoustic guitar comes from nowhere at the end and strums chords for a while which fades out.

Let it be known, i never would have figured out this story without the tutorial attached or the help of Greg Murphy himself and to be honest, i still don't get it all! While i love the music on board here i think this is far too ambitious of a story to stuff into forty some minutes! I understand that these guys wanted to get this out and be done with it and not sit on it for decades but the whole concept seems like a mini-series like Battlestar Galactica or something! So i can't say the story is the driving force to listen to this one for me but it's still a rather nicely packed bonus heaped upon a musical delivery itself stuffed with all kinds of delicious progginess. The rhythms and interludes are all nicely dispersed and the whole album no matter how short does echo an epic type of feel to it. While it does seem like there could have more sound dynamics and more clear cut delineations between characters, it is a fun listen nonetheless considering it's a homemade production on a shoestring budget. Kind of an opera for hyperactive eclectic types. Nice!


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 Union by YES album cover Studio Album, 1991
2.50 | 861 ratings

Yes Symphonic Prog

Review by _Mike

3 stars For a record that has received such harsh criticism from so many directions, not least from several of the band members who contributed to it, I have to say that this is a pretty good hour's worth of music, and one which I enjoyed a great deal more than I expected.

Yes, it may be a less "pure" Yes album than some from their classic era, but what I hear are more or less distinctively classic Yes songs, some showing varying amounts of influence from Trevor Rabin's 90125 flavour of early 80's US- influenced Yes. Kind of what you'd expect. There's plenty of musical interest, and it's quite accessible, at least to me.

The track which particularly impressed me was "Silent Talking". I also really enjoyed "The More We Live - Let Go", and wasn't offended by the fact that this latter song does not sound much like a Yes song (as indeed is logical enough given the level of involvement of Billy Sherwood).

I would rate this at about three and a half stars. In my view it contains almost as much musical interest as the more highly-regarded classic albums by this band in my collection.


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 All You Can Eat by SLIVOVITZ album cover Studio Album, 2015
4.10 | 12 ratings

All You Can Eat
Slivovitz Jazz Rock/Fusion

Review by dNZh

4 stars This album is impressive, an enjoyable jazz prog album, each track contains a set of violin solos, with the correct melodies becomes an exciting journey through songs such as Persian Nights, Passannante, Hangover. The trumpets are manifested throughout the whole album, Barotrauma and Persian Nights are a good example of this, also you can hear harmonica, which is not often used in jazz. My favorite songs are Mani in Faccia and Passannante. At different points of the album you can feel an air of 70s prog bands, maybe a little bit of King Crimson. It's an excellent album, from the beginning to the end, Slivovitz was a surprise for me, i had not heard any of his albums, but from now, I will have all their discography. Sorry for my English.


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 Ages by FROESE, EDGAR album cover Studio Album, 1977
3.62 | 49 ratings

Edgar Froese Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars First double solo album by Edgar Froese, "Ages" was recorded after the departure of Peter Baumann from TANGERINE DREAM in 1977, and before a new progressive rock orientation was found with "Cyclone". This was quite a specific blank period for the band, and that's why the music is very sensitive and emotional.

Whereas his previous records were rather ambient or experimental, "Ages" marks the true arrival of melodies in Froese's music, however not always inspired. It also features the participation Klaus Krieger at drums and percussions, who will join TD the same year.

The first disc contains only a few good passages. "Metropolis" is inspired by the well-known Fritz Lang movie. The introduction has (very) slight reminiscences of "Clockwork Orange"'s theme. This peaceful track has some interesting ideas, but is unfortunately too long. Although also repetitive, the soft "Era Of The Slaves" is delicate and rather enjoyable. "Tropic Of Capricorn" is inspired by a book of Henry Miller. This massive melancholic suite suffers from the same drawbacks as the opener and does not justify its 21 minutes duration.

The second disc is better and more original. "Nights Of Automatic Women" features fast drumming coupled with a short minimalistic sequence, therefore prefiguring "Madrigal Meridian" in TD's next album, the controversial "Cyclone". Trippy. The slow and futuristic "Icarus" is also pleasant, while "Children's Deeper Study" possesses an unusual and intriguingly beautiful melody. Then comes the aerial "Ode To Granny A", soothing and relaxing. "Pizarro And Atahuallpa" may be the most surprising composition here, as it features exotic percussions and (kind of) spanish guitar.

The eight minutes bonus track "Golgatha And The Circle Closes" features cool spacey guitar playing.

Despite its title, this record did not aged very well and could have been shortened. Only double studio album and weakest 70's release from Edgar Froese, "Ages" is uneven and too long. This first melodic attempt will however be successfully refined and polished one year later, on his next opus "Stuntman".

Nonetheless, this personal solo effort remains a turning point in Edgar's discography, as it opens new electronic horizons.


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 Affinity by HAKEN album cover Studio Album, 2016
3.87 | 125 ratings

Haken Heavy Prog

Review by TheWall7

4 stars I just recently got into Haken's stuff, and some of it utterly blew my mind. Tracks like "Celestial Elixir", "Visions", or basically anything on "The Mountain", made this album one of my most highly anticipated releases of the year. If you go in with such high expectations, I'll say that it does live up... but not completely. Don't get me wrong, Affinity proves to be an excellent album, no doubt about it. It's just that there are some parts that are a little forgettable at times. The album starts with "Initiate", which I initially didn't like but grew to love. One of the main treats of the album is "1985", a track that is elegant in its absolute cheesiness. It sounds exactly like the type of 80's prog song you hear from bands like "Rush" or "Yes", but it still has the Haken-ness that makes it one of the highlights of the album. The next highlight of the album is their juggernaut of a track, titled "The Architect". Now, as much as I liked this track, the growling was so very unnecessary and out of place. I've never been a fan of Haken growls. I didn't like them in "Aquarius", I definitely did not like them here. Otherwise, this song has an amazing bass solo, an excellent chorus, and is overall one of Haken's strongest tracks yet. Just... the growls. Anyway, one of the problems in this album is that some tracks are less memorable than others. That's the one issue that prevented me from giving this a solid five. Tracks like "Lapse" and "Red Giant" were pretty good tracks, they just don't hold up when compared to the amazing amount of experimentation and musical genius found on the rest of the album. I might be nitpicking a little, but I'm merely giving my full thoughts. Overall, this is an extremely strong outing that displays amazing musicianship, and if it weren't for a few setbacks, I would definitely call it an absolute masterpiece. Seriously though, no growls.


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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. Nursery Cryme
  13. Pawn Hearts
    Van Der Graaf Generator
  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. Darwin!
    Banco Del Mutuo Soccorso
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. In A Glass House
    Gentle Giant
  25. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  26. A Farewell To Kings
  27. Si On Avait Besoin D'Une Cinquième Saison
  28. Kind Of Blue
    Miles Davis
  29. Aqualung
    Jethro Tull
  30. Birds Of Fire
    Mahavishnu Orchestra
  31. Crime Of The Century
  32. Meddle
    Pink Floyd
  33. Hot Rats
    Frank Zappa
  34. Still Life
  35. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  36. The Silent Corner And The Empty Stage
    Peter Hammill
  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. Permanent Waves
  43. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  44. The Grand Wazoo
    Frank Zappa
  45. Mëkanïk Dëstruktïẁ Kömmandöh
  46. The Yes Album
  47. The Lamb Lies Down On Broadway
  48. In a Silent Way
    Miles Davis
  49. One Size Fits All
    Frank Zappa
  50. The Snow Goose
  51. Still Life
    Van Der Graaf Generator
  52. Scheherazade And Other Stories
  53. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  54. The Power And The Glory
    Gentle Giant
  55. Octopus
    Gentle Giant
  56. Free Hand
    Gentle Giant
  57. A Trick of the Tail
  58. Rock Bottom
    Robert Wyatt
  59. In The Land Of Grey And Pink
  60. The Road Of Bones
  61. Zarathustra
    Museo Rosenbach
  62. Second Life Syndrome
  63. Blackwater Park
  64. Ghost Reveries
  65. Arbeit Macht Frei
  66. Misplaced Childhood
  67. In Absentia
    Porcupine Tree
  68. Fear Of A Blank Planet
    Porcupine Tree
  69. Emerson Lake & Palmer
    Emerson Lake & Palmer
  70. Viljans Öga
  71. Acquiring the Taste
    Gentle Giant
  72. Spectrum
    Billy Cobham
  73. Hatfield And The North
    Hatfield And The North
  74. K.A
  75. The Inner Mounting Flame
    Mahavishnu Orchestra
  76. Space Shanty
  77. Hamburger Concerto
  78. Pale Communion
  79. Rubycon
    Tangerine Dream
  80. Radio Gnome Invisible Vol. 3 - You
  81. Script For A Jester's Tear
  82. The Perfect Element Part 1
    Pain Of Salvation
  83. Remedy Lane
    Pain Of Salvation
  84. Lateralus
  85. L'isola di niente
    Premiata Forneria Marconi (PFM)
  86. Time Control
    Hiromi Uehara
  87. Doomsday Afternoon
  88. Elegant Gypsy
    Al Di Meola
  89. Uzed
    Univers Zero
  90. Voyage Of The Acolyte
    Steve Hackett
  91. Part the Second
    Maudlin Of The Well
  92. Anabelas
  93. If I Could Do It All Over Again, I'd Do It All Over You
  94. Caravanserai
  95. Felona E Sorona
    Le Orme
  96. Bitches Brew
    Miles Davis
  97. Symbolic
  98. Operation: Mindcrime
  99. Choirs Of The Eye
    Kayo Dot
  100. Romantic Warrior
    Return To Forever

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


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