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 Bergtatt - Et Eeventyr i 5 Capitler by ULVER album cover Studio Album, 1994
3.97 | 100 ratings

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Bergtatt - Et Eeventyr i 5 Capitler
Ulver Post Rock/Math rock

Review by siLLy puPPy
Prog Reviewer

5 stars ULVER (Norwegian for 'wolves') has become one of the strangest and most eclectic bands in the universe over their two decade span of releasing albums and that uniqueness begins right here on their debut release BERGTATT ? ET EEVENTYR I 5 CAPITLER (Spellbound ? A Fairy Tale In 5 Chapters). The first thing you hear is a fast drum roll and then kicks in black metal riffing but what really grabs your attention is the Gregorian chant vocals that accompany it. Eventually the clean vocals give way to the expected raspy shrieks and screams more typical of the second wave but the interplay between the two styles is the basis of this entire album which was inspired by Scandinavian folktales. What's really going on here is two distinct styles of the album taking place. One is in an aggressive black metal style and the other is in an acoustic folk style with the monk-like chanting. These two styles usually trade off with each other but often they coincide with one taking the lead role at any given moment.

The album is actually considered part of the "Black Metal Trilogy"even though the second album lacks the metal part of the equation. In addition to the fusion of styles, ULVER set themselves apart from other black metal bands of the day by focusing their lyrics around myths and fantastical worlds instead of anti-Christianity, national pride or other hateful themes. The folk sections consist of beautiful classical acoustic guitar, cello and flute. The black metal parts pack in all the aggressive fury one would hope for but what really works is how well it is all mixed together and all the trading off of sounds is perfect. Before you know it the album goes by way too fast. A very unique album that obviously influenced later acts such as Agalloch and Deathspell Omega. Despite being lumped into the black metal universe it is clear from one listen to this beautiful beast that ULVER were on their own trajectory and it's one that i'm glad I have finally latched on to. 4.5 rounded up!

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 De-Loused In The Comatorium by MARS VOLTA, THE album cover Studio Album, 2003
4.22 | 969 ratings

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De-Loused In The Comatorium
The Mars Volta Heavy Prog

Review by TCat

5 stars This is probably the best place to enter the realm of The Mars Volta. Yes, it's frantic crazy music, but this album is probably the most accessible to the crazy walls of sound that would come later in the albums "Armputecture" and "Bedlam in Goliath". In The Mars Volta music, there is always so much going on and for some people, it just gets so overwhelming. The music takes some time to get used to because there is so much to hear. Some critics said that this album was "a sprawling mess", and if they were saying that about this album, they probably had no hope of ever getting their minds around the other two I mentioned.

This album is a masterpiece and the sound is nailed on it. I don't know how in the world it got so popular because it goes against everything that people were listening to at the time, but I'm so glad that finally a band got the credit and audience that it was deserving of, and the real fans have stuck with them. If only we could get the other great prog bands that are currently out there into public awareness the way TMV did.

But TMV's sound is dense in this album, but not as dense as it would become. This album has all the genius of the later albums, but it is so much easier to digest then what would come later, especially on the first listen. It is full of sound, but the sound is much more organized than it would be later, so if this album doesn't quite penetrate and you don't love this album after three or four listens, then you had probably stop your TMV research at this album. Because it only gets denser.

This is rock orchestration, classical music in rock form. This is the kind of rock that I believe the classical composers could appreciate. This is not easy music, it is well composed and performed flawlessly. It is very manic, but at least the mania is orderly on this album. Buried in the sound is a lot of ethnic-inspired music and layers of beauty. There is a lot of dissonance especially in the guitar and there is a lot of King Crimson (Fripp) influence throughout. This is especially apparent in "Cicatriz ESP" which is the longest track on the album. I love the way they expand on that sound. Vocals and instrumentals are frantic most of the way through the album. But, in future albums, it does tend to get tiring by the time you get to the end of the album, that is not the case with this album because this album is more concerned with dynamics and they are a lot more obvious, which textures the music here a lot better, making it easier to listen to.

I highly recommend this album for any prog lover who wants to explore new prog. This music would go on to further inspire other bands, so it is very influential and in my opinion, essential for your progressive rock collection. It is mostly beyond description and must be experienced, but all prog lovers should at least give it several listens and consider it an important album for all progressive music. Very influential and essential.....5 strong stars. One of the best new progressive albums and bands in existence. It's amazing how they have become such a popular band and I'm so happy that they are....it just proves that people are craving challenging and amazing music.

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 To Be Kind by SWANS album cover Studio Album, 2014
3.86 | 85 ratings

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To Be Kind
Swans Post Rock/Math rock

Review by Conor Fynes
Prog Reviewer

3 stars 'To Be Kind' - Swans (68/100)

Before even getting into To Be Kind as a musical work itself, it's an amazement unto itself that people are getting this worked up and divided over a rock album in 2014. Beyond my reservations for Swans' latest (for which I have many) that keep me far from agreeing with the considerable demographic backing it as the 'Album of the Year', I think that's a pretty awe-inspiring thing to see, particularly when the perceived mainstream has long-since declared that 'guitar music is dead'. Oh well, [%*!#] them; in my books they're proven wrong with every new day.

There's a bit of reservation that comes with the mere act of writing about Swans, a band who've amassed a mythology and fanbase willing to go to the graves with them if the need arose. More than that, as an undoubtedly 'experimental' band, Swans have a style and approach entirely to themselves; an antecedent knowledge of drone, post-rock or avant-garde music would do well to prepare a listener for Swans' sonic barrage, but never enough to the point where they wouldn't sound novel in some way. In other words, the only way to have truly been equipped to comfortably approach a new Swans record, would be to have already listened to Swans in the past. At some point in time, the initial discomfort is unavoidable.

I'd dabbled in parts of 2012's The Seer before approaching To Be Kind, but not nearly as much so to call myself experienced, much less a fan of their work. Much like The Seer, To Be Kind is a mammoth two hour investment, with a coy interest in stringing its listeners along the umpteenth degree of excess. Whether musical excess is appealing to you will largely determine your experience of To Be Kind.

I've listened to the album a few times from start to finish now, and while the familiarity certainly helps in appreciating the finer nuances of this maze, each listen makes Swans' excessive qualities less mystifying and a little more irritating. Regardless whether a song here is five or thirty-five minutes, they're usually given a similar amount of central ideas to draw upon. The album's centrepiece "Bring the Sun" has already nurtured some notoriety in this sense; after repeating a single crushing note ad nauseam (a hundred times, maybe?) there is a transgressively slow build in tempo and intensity. From there, indecipherable noise is contrasted with dark ambient soundscapes and sampling. By that point, twenty minutes have passed. The remaining fourteen minutes in the track ("Toussaint L'Ouverture") is an almost Floydian exploration in the "Set the Controls for the Heart of the Sun" tradition; Michael Gira screams French revolution-era slogans atop this, and eventually it reverts to the ear-splitting noise. This is less a criticism of "Bring the Sun / Toussaint L'Ouverture" than it is a blunt description. Even basic accounts of the music here will have a tendency to come across as hyperbole.

Repetition and patience is arguably stretched to an even greater length with the track "Oxygen", barraging the listener with a few dissonant ideas, repeated and blatantly overused. Experiments in excess like the repetition on To Be Kind give the impression that the repetition is used as an end unto itself; where supposedly cutting-edge artists try to 'one-up' their predecessors by getting more extreme in some sense, Swans have taken otherwise palatable and contemporary motifs and overused them to the point where I wonder if enjoyment hasn't given away completely to superficial irritation by the time Swans finally unveil a new idea.

To To Be Kind's credit, each one of the songs here is distinctive. "Screen Shot" is about as accessible as Swans' monotony gets here. "Just a Little Boy" sounds like David Lynch might have conjured with a more expansive set of sounds. "A Little God In My Hands" is a favourite of mine, where the dissonance and excess gives way partially to a playful (though undeniably tense) atmosphere. While the song is far from the album's strong suit, To Be Kind offers a considerably stronger first half. Even then, there are some highlights; "She Loves Us" is probably my favourite track of the whole two hours; a dark psychedelic reconstruction that doesn't seem to get boring in spite of its repetition. The album's title track- capping off the album- is also memorable and, at least relative to Swans' recent output, surprisingly tender. O'course, on most of the other albums you've likely heard this year, "To Be Kind" would stick out like a necrotic, lovelorn thumb for its ominous atmosphere.

Maybe it's unfashionable to say so, but I don't think Swans' songwriting is so impressive, especially not considering the lavish acclaim that's heaped upon them. Rather, any strained appreciation (most often an odd fascination rather than outright enjoyment) I've had for To Be Kind lies in the balls-out bizarre and nuanced way the music is arranged and recorded. The sampled laughter on "Just a Little Boy" never ceases to feel terrifying on the heels of Gira screeching about his vulnerability and humanity (of lack thereof); it gives the impression that some ungodly force is making a mockery of human suffering. An unhindered enjoyment of "Screen Shot" is made difficult by the band's trademark longwindedness, but the calculated manner Gira steadily builds layers of sound is impressive. Even the most violent, visceral portions of the album have been arranged with a master's attention to detail. The noise comes by as a jagged whoosh, but if you listen hard enough, there are plenty of individually things going on at once; it's like pulling back a strip of bark on a rotting tree and seeing a world of life at work below the surface. It's often disgusting and ugly, but there's a sure beauty in the way it all comes together.

Try as I might, To Be Kind doesn't offer up its secrets easily. Decryption has been one thing, but actively enjoying the album is worlds more difficult. Things like Michael Gira's incessant repetition of the opening note on "Bring the Sun" are fascinating as novel experiments in concept, but actually listening to it, the innovation often feels more annoying than sincere. Still, the fact that a single album could stir so many conflicting views in me says something for Swans' power, both as artists and as enduring provocateurs.

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 Momento by BAKERY album cover Studio Album, 1972
3.41 | 15 ratings

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Momento
Bakery Heavy Prog

Review by Lear'sFool

5 stars Yet another lost psych album, and yet another one of such that stands as a masterpiece. Bakery mixed not just light and heavy guitar psych, but also some soft keyboard psych too. The long opening track shows off their range wonderfully. Going forward, they alternate from beautiful softness and rockin' heaviness, both to great effect. Going on through Side One, for instance, "Pete for Jennie" is a nice little piece, while then "Living With A Memory" opens with soft keys, and then breaks into heavy and dense psych with interludes. The singing is wonderful, the keys strange and well played, the guitar is just nailed. Excellent and highly recommended.

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 Kappa by CURTIS AND SAMURAI, MICKEY album cover Studio Album, 1971
4.14 | 9 ratings

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Kappa
Mickey Curtis And Samurai Heavy Prog

Review by Lear'sFool

5 stars A trip through both light and heavy prog psych, this is an oft forgotten but excellent lost gem of psychedelia's golden years. Mickey Curtis leads his wonderful band to carve new soundscapes and lay down some kickin' tracks. "Trauma" opens the album with a ten minute long journey through both the light and hard aspects of the band's style, in a great instrumental romp. The rest of Side One is a few cut and dry, though well done, bits of hard psych. Side Two is a psych epic through the realm of King Riff, an ever rockin' and mind blowing country. Keys are the hidden weapon here, for while guitar leads and flutes chime in, the keys add extra texture, and then shine brightly in the lands of King Riff. Another excellent hidden treasure from psych, highly recommended to psych and heavy prog fans.

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 Deliverance by OPETH album cover Studio Album, 2002
3.76 | 706 ratings

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Deliverance
Opeth Tech/Extreme Prog Metal

Review by TCat

4 stars Typically, Opeth is a study in contrasts, loud contrasted with soft, dirty vocals contrasted with clean vocals. Their best songs have an excellent balance of both. This album is weighted towards the loud, dirty side, but still has it's quieter and clean moments. The reason why the balance is a little out here is this album concentrates on the hard side while the album "Damnation" which was released 5 months later would be weighted very much towards the softer side. Between the two albums, progressive elements reign supreme. However, having an album leaning to the loud side is a little detrimental to the overall sound of the album. But, not enough of a detriment to still not be considered an excellent album. In contrast, Damnation in my opinion is a 5 star album where this one suffers a little at 4 stars.

It's not that I don't like heavy music, I love it. "Blackwater Park" is the better album out of that one and this one and there is plenty of hard music on that album. The part I don't like as much is the growling vocals. Mikael has a beautiful voice when he sings clean vocals, but I just don't get the harsh growling vocals, to me it distracts from the overall music. But the progressive elements of the metal instrumentals is amazing. The music is ever changing, tricky rhythms, dynamism and challenging at times. That is what makes this album worthwhile. To me, this was the first heavy Opeth album I heard and it was only because it came with the set I got that included "Damnation", which I fell in love with immediately, so naturally I listened to this also, and that opened my mind to other tech metal progressive bands, so this album has it's personal value to me. I actually discovered Anathema, Agollach, Ulver and others through this album.

So, it's not the best of their albums, but is one of the better ones. I give it 4 stars. A good way to introduce yourself to Tech metal along with "Damnation"

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 Slav To The Rhythm by FARMERS MARKET album cover Studio Album, 2012
4.50 | 13 ratings

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Slav To The Rhythm
Farmers Market Jazz Rock/Fusion

Review by Lear'sFool

5 stars Another great album from Norway's great jazz parodists. The particular satiric edge they are most known for, especially on the truly masterful "Surfin' USSR", is mostly gone, but they still have the energy and the open mindedness that are their other hallmarks. So in some ways not as good, or at least as humourous, as their earlier material, but otherwise still excellent. They here add some particularly Asiatic sounds to their usual mix of fusion and Slavic folk to great effect. Their powerful, flawless playing allows for the sound to make their usual entertaining romp through the varied genres they indulge in. The title track and "Shiny Happy Gizmos" are the best tracks amongst a spectacular bunch. Recommended to fans of their earlier work, and anyone interested in crazed genre mixes.

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 10cc by 10CC album cover Studio Album, 1973
3.51 | 47 ratings

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10cc
10cc Prog Related

Review by TCat

5 stars For years, I had convinced myself that I was a huge 10CC fan based on a few songs that I absolutely adored and from hearing this album and "The Original Soundtrack". After finally having gone through all of their albums now several times, I find that the two full albums that I had originally are their best ones, with an honorable mention to "Bloody Tourists". All of the other albums I have finally given up on since I have only found a hand full of songs on them that I find interesting and the rest are just not living up to the original high bar that I had set with the band from the two previously mentioned albums.

So what makes this album one of the two favorites from this band? I love the variety here in the same manner that I love the variety in the best Queen albums. I love all the tweaks that they put in the simple melodies that elevate their pop music to a higher level, that actually begin to give pop music a progressive edge. On this album, most of the music is "sort-of" 50s and 60s style doo-wop and rock n roll, especially in the first 5 tracks, and there is absolutely nothing wrong with that. But, like I said before, they add little bits of ingenuity throughout that keep things interesting. The remainder of the tracks are more 70s pop oriented and all throughout the album, satire and sarcasm abound making it all a big poke of fun at the radio-friendly sounds that were around at the time. The humor is in the words as in "The Hospital Song" and "Sand in My Face". The humor is in the music too as in "Fresh Air for My Mama" which is as sarcastic of a ballad as you can get, so much so that if you are not careful, you might find your eyes welling up until you realize it's just making fun. Same applies to the song "Donna" which is a well sung poke at the simplistic lyrics of old 50s music and the utter silliness of it all, yet it is done so well that you can easily miss the humor of it all and think that it's in all seriousness. Subtle humor exists throughout and so does the subtleness of the progressiveness of the music, careful or you might miss it, which makes it even more enjoyable when you do get it.

Anyway, I have come to the conclusion that I was wrong initially by trying to base my love of this band on only hearing 2 great albums. I should have been more familiar with their discography, but at least I can say that they had 2 masterpieces when it comes to pop-progressive music because if anyone knew how to do it well, it was these guys at least twice, which is more than most pop groups who can't even get close to a 2-star album throughout their entire career. 5 stars. A progressive-pop masterpiece if there ever was one.

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 Discipline by KING CRIMSON album cover Studio Album, 1981
4.10 | 1335 ratings

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Discipline
King Crimson Eclectic Prog

Review by HoldsworthIsGod

5 stars King Crimson, never a band to be predictable, after a six-year hiatus releases a New Wave album? And with the seven billionth lineup? Could this possibly work in their favor? Well, much like Rush's Permanent Waves and Moving Pictures, yes. A resounding yes. With new guitarist/singer Adrian Belew (Frank Zappa, Talking Heads, David Bowie) and bassist/Chapman Stick extraordinaire Tony Levin (later to join up with future Dream Theater members in Liquid Tension Experiment) and longtime members Bill Bruford and Robert Fripp, their sound veers towards a more mainstream, Talking Heads-esque style, with influences from Javanese Gamelan music showing. The opener, "Elephant Talk", fuses go-go finger-tapped basslines with animal noises and alphabetical synonyms for the word "talk". Adrian Belew (one of my favorite guitar players) makes the song entertaining, and sort of comical (working with Frank Zappa will do that to you). "Frame By Frame" follows, with rapid Fripp guitar leads and syncopated rhythms, leading up to a really nice slower section in 7/8. "Matte Kudasai" (Japanese for "please wait") opens with seagull imitations from Belew, which is the vehicle to a ballad. The side ends with "Indiscipline", a heavier song that recalls KC lineups of yore. Side 2 opens with "Thela Hun Ginjeet", a paranoid funk track rivaling anything David Byrne ever wrote. The side concludes with two instrumentals, "The Sheltering Sky" (a reference to the Beat poets that would influence the next album, Beat) and "Discipline" (which is Danny Carey from Tool's favorite track). The album is a relatively easy listen, without many offensive tracks.

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 In The Wake Of Poseidon by KING CRIMSON album cover Studio Album, 1970
3.79 | 1472 ratings

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In The Wake Of Poseidon
King Crimson Eclectic Prog

Review by HoldsworthIsGod

4 stars This album, even though it sounds like a carbon copy of In The Court..., is still a great piece of Prog's more experimental side. The first track, "Peace-A Beginning" opens with a Greg Lake A cappella, portraying himself as wind, and other natural beings. Then, the similarities start: "Pictures Of A City" sounds extremely similar to "21st Century Schizoid Man", right down to the heavy riff and lightning-fast unison playing. "Cadence And Cascade", the only song on the album sung by Gordon Haskell, the vocalist on the next album, Lizard, sounds like another version of "I Talk To The Wind", with its pastoral mellotrons and whatnot. The side-closing title track is a ripoff of "Epitaph", yet with slightly less pretentious lyrics. Then we get another reprise of "Peace", which ends the side for good. Side 2 opens with "Cat Food", a jazz fusion piece in the vein of Frank Zappa's Hot Rats album. I highly recommend listening to the Pressurehed version for a more modern take on the track. Then, "The Devil's Triangle", a rewrite of Gustav Holst's "Mars" from the Planets Suite, does what King Crimson does best: shatters the conventions of songwriting. A sample from "In The Court Of The Crimson King" is inserted over top of the track about 3/4ths of the way into the song, which confused me at first, but then learned was part of a technique called "xenochrony", which Zappa used to effect on songs like "Inca Roads". And to close the album is yet another reprise of "Peace". All in all, it's a great album. If you like to be shocked and surprised by music, this album is for you.

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

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

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