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 Abandoned Dancehall Dreams by BOWNESS, TIM album cover Studio Album, 2014
3.83 | 55 ratings

Abandoned Dancehall Dreams
Tim Bowness Crossover Prog

Review by Gallifrey

4 stars I've never really liked No-Man. I'm one of those people that likes to treat Steven Wilson as some sort of god among men, and I am a huge fan of every single one of his musical endeavors with the exception of No-Man and I.E.M. (and to a certain extent Bass Communion). I feel that I should love it - Steven writing dreamy pop music, but none of their albums ever really clicked with me, even after giving the fan-favourite Together We're Stranger a good four or five listens during my 2003 focus last year. The compositions just aren't as melodically interesting, and even though at times I kinda get the vibe they were going for, I can never say a No-Man album is anything more than "ok", and I feel that a lot of it comes down to Tim Bowness' voice. It's just got such an irritating timbre, and he tries to be dramatic and breathy far too many times in his delivery. Give me a No-Man record with Sir Steven singing lead and it may jump up a full 2 points. Ironic, then, that the first thing I actually enjoy from this project, is an album with no Steven Wilson input.

And yes, to those wondering, this is a No-Man record, despite Mr Bowness' name being the one on the cover, since all of these songs were written to be a No-Man record originally, but with Steven abandoning him to continue sucking off Robert Fripp (I'm not complaining by the way), Bowness decided to release them himself, and at least had the courtesy to put it under a different name. But unlike the abomination of Blackfield IV, this actually wouldn't bring any real disrepute to the No-Man catalogue, since as I said before, this is actually rather good. This is easily the rockiest I've heard No-Man at, with some of these songs being quite heavy and grooving. Should the opening pair of tracks have been placed on a true No-Man record, nearly everyone would assume they were Wilson compositions, so it nearly seems that Bowness is rocking up his sound a bit in order to overcompensating for his missing boyfriend.

As I said before, it's the opening duo of "The Warm Up Man Forever" and "Smiler at 50" that really bring this album forward in my ears. The opener has the traditional sultry groove that No- Man has dabbled in in their trip-hop days, but with the stellar string parts and the jumpy rhythms from the bass and drums it becomes an entirely different beast - energetic and quite fun, but in a melancholic sort of way. The second track has a first half reminiscent of what No-Man have been doing on their last two albums (although with a good melody), with its dramatic piano and violin lighting up the melancholy. But the real treat comes at the end of the track, where Tim decides to imitate his best friend in the nicest way possible, bringing a noisy and chaotic wall of noise straight in, smothered in choirs and strings and flute, sounding directly off one of Steven's recent solo records. It's fantastically intense, and the intensity is what No-Man have always needed in my mind, since the rest of their music is so needlessly dreary.

But it's almost as if these two tracks, being more upbeat and exciting and energetic than the standard No-Man material, create a nice opening for the rest of the album, which more or less is standard No-Man material. An album like Together We're Stranger spends its entire length being moody and dark and repetitive and honestly quite dull, but even if some of the songs have moments, the entire record sounds pretty much the same, so they're drowned in boredom and sameyness to the point where I can't even enjoy them as moments. The remainder of Abandoned Dancehall Dreams isn't too far off from those records, being primarily ambient pop music with a focus on dreamy and dreary atmospheric grooves, but with the wonderful opening pair, the songs really start to open up, because they're not waves in an ocean, they're like the first sight of the ocean after a rocky climb over land. There are no real highlights of the remaining tracks, but all but a couple feature nice parts within them. I'll admit that I still can't really get into Bowness' voice, but the dreamy piano and guitar that flows through his structuring finally starts to open up to me on this album.

The one thing that Abandoned Dancehall Dreams has really done for me though, is give me a bit more hype for when Steven returns to No-Man. It's evident that Tim has tried to fill his absence with songs like Smiler at 50, but a full-on return from him could bring about some wonderful compositions in the vein of the Insurgentes record (still waiting for a sequel, Steven). But for now, Abandoned Dancehall Dreams is certainly my favourite record from Mr Bowness' career, and I'm really glad that I'm finally starting to appreciate and understand him, because he has evaded me for the longest time.


Originally written for my Facebook page/blog: www.facebook.com/neoprogisbestprog


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 Once More 'Round the Sun by MASTODON album cover Studio Album, 2014
3.63 | 77 ratings

Once More 'Round the Sun
Mastodon Tech/Extreme Prog Metal

Review by Gallifrey

4 stars For the first few songs on Once More 'Round The Sun, I finally start to understand Mastodon. Over the last decade or so, the Georgian four-piece have basically become one of the metal bands that the masses collectively beat off to. All of their records up to 2011's The Hunter have been praised beyond belief for various reasons, from the intense energy and crushing groove of their early material to the progressive-sludge linings of 2009's Crack the Skye, Mastodon essentially had the metal world (or at least the critics) begging for more. And honestly, I never really got it. I mean, I dig Crack The Skye somewhat, being a big prog nut, but I could never really hear what people were gushing over, it was just a pretty good album that merged two metal genres pretty well. I guess if I focused on the instrumentation solely then it is pretty damn tight, and they certainly have a knack for a good groove, but I never really enjoyed it.

So come 2011 and Mastodon are tired of being Mastodon and (gasp!) decide to go mainstream and accessible. And honestly, I still didn't get it. To me, The Hunter is basically the Mastodon of before with shorter songs and less screaming. The cries of "radio-friendly hard rock!" went straight through me, because "Curl of the Burl" is actually pretty bloody heavy for modern radio. Some people I know went as far as to condemn them to hell - a good friend of mine even saying "that band is basically on the same level as Nickelback to me now". But even "accessible Mastodon" evaded me a bit.

But man, the first three songs on this new album have really clicked with me. They take the 'radio friendly' hooks of The Hunter, and make them better and more memorable, but they have amped up the intensity and intricacy of the instrumentals around them, which honestly heightens both aspects immensely. "Tread Lightly" is [%*!#]ing insane, with Brann Dailor's spastic drumming (one of the best parts of this record, and one of the best performances from this year, even if he does use the same snare fill a lot) and Troy Sanders' rumbling bass keeping the energy up for five straight minutes of intensity. It's here that the intricacy of Mastodon's instrumentals really start to come through, but they're amplified by the insanely catchy hooks. You can't tell seriously me that the vocal chorus of "The Motherload" isn't the catchiest [%*!#]in thing you've heard this year. It's so majestic and fun, but it doesn't compromise complexity for a memorable hook. Lead single "High Road" also has a hell of a chorus, soaring high above the sludgy and tight verses to lift the song up so high. You combine tight grooves, insane playing and proggy riffs with majestic and insanely catchy choruses that make everyone want to sing along and you've got a recipe for whatever the metal equivalent of a 'banger' is.

And then it just floats away. I honestly don't think the term "top-heavy" can be more true here, because the rest of the album just never matches the tight intensity of the opening three. I guess it's kind of hard to construct an album to follow such an explosive beginning, because if you keep going down the same path then the album gets repetitive, and if you change and pull out some songs with different moods, the energy dies and the listener gets bored. It's not all bad though, and the mid-album duo of "Chimes at Midnight" and "Asleep In The Deep" are probably at the same level as the openers, but for different reasons. These two are both more linear tracks, following pretty much the same mood for the whole track, and both are without an extremely definable hook. Of course, the pleb in me really just wants a bitchin chorus to come in and lift it up, and the latter of the two nearly does, but the songs are pretty solid in themselves. The former is a groove-fest, with the entire song being driven by a paced and insanely tight triplet pattern on the guitars. The latter is a slower song, really bringing out Mastodon's influence from stoner rock on this album, with a guitar pattern that reminds me a lot of modern occult-rock bands like Jess and the Ancient Ones.

But the rest of the album really just doesn't hold up, despite having moments. "Ember City" and "Halloween" both have relatively good hooks, but there isn't enough substance outside of the choruses to hold them up. Many of the latter tracks - notably "Aunt Lisa" and "Feast Your Eyes", have riffs that really don't lock into a solid groove and end up sounding like a slop of random notes, and then we have "Diamond In The Witch House", which is honestly just straight-up boring in its nearly 8-minute length, even though longer songs is something I normally lap up. The biggest problem with an album as top-heavy as this is that I want to turn it off as soon as I get to track seven. It's not bad in any way, but it just doesn't hold up its weight throughout. As for how it compared to the Mastodon discography, I can't really say, because as I said at the start, they have really not impressed me to this level in the past. I think that the combination of groove, melody, accessibility and complexity that they showcase in this album's opening quarter is really impressive, though, and even though this may be an 'accessible' album (I mean, I like it, so it must be), there's still a lot for the classic fans to love in here.


Originally written for my Facebook page/blog: www.facebook.com/neoprogisbestprog


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 Pink Floyd's David Gilmour (VHS) by GILMOUR, DAVID album cover DVD/Video, 1984
3.12 | 11 ratings

Pink Floyd's David Gilmour (VHS)
David Gilmour Prog Related

Review by Guillermo
Prog Reviewer

3 stars This concert video was recorded at the Hammersmith Odeon, London, in 30-April-1984. Gilmour did a tour to promote his "About Face" album in 1984. His band included two former members of URIAH HEEP`s last line-up before their 1981 split (Chris Slade on drums and Greg Dechert on keyboards), plus guitarist Mick Ralphs (ex-member from the bands MOTT THE HOOPLE and BAD COMPANY in the seventies), bassist Mickey Feat, sax player Raff Ravenscroft (who also played in PINK FLOYD`s "The Final Cut" album, and also in Roger Waters` "The Pros and Cons of Hitch-Hiking"), percussionist Jody Linscott, plus guest appearances from Roy Harper in one song, and Nick Mason playing drums in "Comfortably Numb". The band sounds very well. Gilmour and his ensemble (as he introduces his band to the audience) played some songs from his solo albums "David Gilmour" and "About Face", plus two songs from PINK FLOYD`s "The Wall" album ("Run Like Hell" and "Comfortably Numb" ). Most of the songs from Gilmour`s albums were a bit Pop Rock oriented, but with very good guitar playing and sounds by Gilmour. He also sang very well. Harper sang along Gilmour in "Short and Sweet", a song he co-wrote with Gilmour. "All Lovers are Deranged" is a song from the "About Face" album which Gilmour co-wrote with Peter Townshend, then former member of THE WHO. Gilmour also let play some guitar solos to Mick Ralphs, particularly in "Murder".

It seems that both Nick Mason and Rick Wright attended this concert but only Mason played with Gilmour in "Comfortably Numb".

There is also a documentary titled "Beyond the Floyd" which includes interviews with Gilmour, Harper, Mason, some members of his band and with members of his road crew. In the interviews Gilmour recognizes being somewhat nervous about doing a solo tour for the first time in his career. But anyway he looks very confident playing, singing and talking to the audience during the concerts.

There are also two promotional videos for two songs from his "About Face" album ("Blue Light" and "All Lovers are Deranged"), very "eighties fad" in style.

This video was only released in the U.S. but not in Europe due to apparent "lack of commercial interest". In fact, the 1984 tour was not a long tour but the "About Face" album had some success in the U.S. and in the U.K.


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 Transmission IV by PORCUPINE TREE album cover Singles/EPs/Fan Club/Promo, 2001
4.13 | 84 ratings

Transmission IV
Porcupine Tree Heavy Prog

Review by admireArt

3 stars A day in the life of Porcupine Tree!

Transmission IV (Moonloop), a forty minute long unedited improvisation, is at its best "inspired", although at close distance, a swirling tribute, here and there and everywhere to Mr. Pink's "trade-mark" guitar atmospherics. Why Steven Wilson intended to do so? I guess with such a vast discography, it could have been let pass by.

Maybe I did not check out and David Gilmour was an unexpected guest! (I am joking, but I did actually, checked out!)

Anyway! The best parts of the improvisation, is when PT sounds like PT, and not PF, which ironically are, the more "electronic ambiental" parts or the "funkier" ones. Maybe as a "live" experience, it could have been haunting, but as such, it is good but not essential. (Unless you collect all of PT's records, which I don't).)

***3 PA stars.


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 Underground by JOBIM, GUSTAVO album cover Studio Album, 2014
2.00 | 1 ratings

Gustavo Jobim Progressive Electronic

Review by admireArt

— First review of this album —
2 stars A factory of useless noises!

I never learn. Anyway! Gustavo Jobim's 2014, two piece album "Underground", is, to put it simply, unbearable. Maybe that was its intention. Who knows, who cares? (As I write, I am listening to it for the 2nd time.)

If you kind of missed or skipped 70 years (give n take) of electronic music experiments, maybe, and maybe then, you will fall for this raw electronics,experimental project.

I went to his Bandcamp page, bought this one and downloaded other for free. I sure wish it had been the other way around, although I have not listened to my other pick! (also 2014.)

Ok! Two 25-30 minutes long "compositions" , based to call it somehow, in the conceptual tone of raw, abstract, electronic experimentation with noises. So, what's new? Absolutely nothing, not even on the "sound-programming" mode. Não!, Nicht!, Ni madres! , 別, Not at all!

Pretentious electronic "Art", for those audiophiles who never have had the privilege of playing, less owning, a synth, forget about 2 or more!

As for me, I repeat, a useless factory of "a zillion times heard", cacophonic, raw, experimental and over-indulgent progressive electronics.

**2, " I don't fall for this pseudo intellectual "Art" (which is not necessarily intelligent) , that only exposes the lack of creativity and original composition in music.", PA stars.


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 Planned Obsolescence by DISCONNECT album cover Studio Album, 2014
3.82 | 21 ratings

Planned Obsolescence
Disconnect Crossover Prog

Review by Progrussia

3 stars To picture this Mid-Atlantic American duo, take bits and pieces of your favorite prog bands on the rockier side - mid 70s and 80s King Crimson, mature Rush, Floyd, Kansas - with a poorer vocal. Despite some laid back sections, overall mood is gloomy (though not crossing over to metal, like many do nowadays). It's bad now in a middle-aged male's life and will get worse.

This is not your riff-keyboard melody-long bridge kind of prog. Songs are very long, with multiple sections and those odd-time thingies. It doesn't always gel together, but not without anthemic moments. Erich O'Dell uses a lot of different guitar tones, including clean ones, and backing synths, but seriously overuses Discipline-era King Crimson ascetic guitar lines. If you're familiar with Disconnect, this sounds like Twisting the Knife - the longest but least consistent song off their Enough Blame to Go Around album. If not, that album is a better introduction to them. And, uh, guys, really mature of you to get offended at a review. You know what I'm talking about.


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 Вперед и вверх / Vpered I Vverkh by ORGIYA PRAVEDNIKOV album cover Live, 2014
5.00 | 1 ratings

Вперед и вверх / Vpered I Vverkh
Orgiya Pravednikov Eclectic Prog

Review by ProgShine
Collaborator Errors & Omissions and Crossover Team

— First review of this album —
5 stars I discovered the Russian band Orgia Pravednikov in 2005 when by accident I've found their first album in a Russian musical website. I was so impressed with that album (Oglashennye Izydite - Оглашeнные Изыдите) that I ended reviewing it to the first version of Progshine website, back in 2006. This review, by some miracle, was found by the vocalist/acoustic guitar player of the band Sergey Kalugin, that impressed with my review and the fact that a faraway person from Russia was able to understand their music, contacted me and sent me all of the band's CDs. Since them I receive all of their albums for review and I can say I'm Sergey's friend.

The last studio album by the band (Dlya Teh, Kto Vidit Sny Vol.1 - Для тех, кто видит сны. Vol.1) was a bit of a different step from their previous three albums and the EP Шитрок (Shitrock) was just but a taste. The fact is, the live album I review now shows exactly this change of sound.

Вперед и вверх ? Vpered I Vverkh (2014) ? meaning Onward And Upward ? was recorded in 2010 in the release concert of Dlya Teh, Kto Vidit Sny Vol.1 (2010) and it comes in a beautiful (as every of their albums) cardboard/papersleeve box with 2 CDs and a DVD, the art emulates the artwork of that studio album too.

To say that Orgia Pravednikov is an extremely competent band is being redundant. The professional side of things, like the execution of the songs, are just perfect and even the overall feeling of the concert can be felt through the audio of the CDs and later on confirmed on the DVD. The band in this concert, as it could not be different, plays Dlya Teh, Kto Vidit Sny Vol.1 (2010) in its entirety in the CD 1 of this live release. Just the order of the songs are a bit different here (to be honest didn't understand why). My favorite tracks on this first disc are 'The Catcher In The Rye', 'По тонкому льду' (Po Tonkomu l'du), 'Дорога ворона' (Doroga Vorona) and especially the fantastic 'Гимн' (Gimn). Another track from the CD 1 that is a surprise is 'Скименъ' (Skimen) because of its aggressive feeling but at the same time full of flutes, also the closing track on the CD 1 'Школа Мудрости' (Shkola Mudrosti) is a great track, upbeat and a perfect ending!

In the CD 2 we have the classic tracks of the other Orgia Pravednikov albums, we have 'Офис' (Ofis), 'Das Boot' and 'Армагеддон FM' (Armageddon FM) from the album Уходящее солнце - Ukhodyashcheye Solntse (2007) and 'Туркестанский экспресс' (Turkestanskiy Ekspress) from the debut album Оглашенные изыдите - Oglashennyye Izydite (2001). We also have a track that would be recorded only 2 years later on the EP Шитрок ? Shitrock (2012). Oddly we don't have any songs from their second studio album, the experimental Двери! Двери! ? Dveri! Dveri! (2005).

In the DVD we can see very clearly what a concert of the band is all about, not to mention that the video/audio are from excellent quality, redeeming the band from the medium quality of their previous DVD Солнцестояние ? Solntsestoyaniye (2008).

Вперед и вверх ? Vpered I Vverkh (2014) for sure closes a cycle for Orgia Pravednikov and we can see that they're pointing to new directions with their music and, to be honest, I hardly can wait for their next studio album!

Вперед и вверх ? Vpered I Vverkh (2014) is simply essential for the fans of the band and it's a perfect introduction to the new ones. If you like music that don't see any problem in not being labeled and if you like to know new quality music I can highly recommend this album for you!


(Originally posted on progshine.net)


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 Live Ballroom Ritual by GOAT album cover Live, 2013
3.59 | 4 ratings

Live Ballroom Ritual
Goat Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars As exciting as the debut Goat album was ("World Music", 2012), it gave little indication of the spectacle the band presents on stage. Music aside, the sartorial splendor of their concert attire alone is something to behold, resembling an explosion in a counterculture fabric and costume factory. The colorful masks and robes might only be a canny (I almost wrote 'corny') promotional gimmick. But they work to focus attention on the ensemble playing and foster a symbiotic alliance with the audience.

The real enigma behind the masquerade is the actual size of the tribe itself. The flimsy cardboard CD case (perhaps designed in homage to the cut-and-paste artwork of Klaus Dinger) shows two guitarists; a bass player; one drummer plus a separate conga player; and a pair of sultry odalisques from the perfumed harem of a Middle Eastern sultan. So who's playing the saxophone, in the song "Let It Bleed"? The instrument appears out of nowhere, interrupting another monster funkadelic jam with a sudden frenzy of Free Jazz noise, while the twin nymphs shout the song's title like a life-or-death incantation, until their voices are hoarse. A quintessential Goat moment, in other words...

This is a group with something for (almost) everyone. Krautrockers will feel at home with the power chords of the concert opener "Diarabi" (originally a sub-Saharan folk melody), and the imposing one-chord monolith named "Det Som Aldrig Forandas...etc." Party animals will appreciate the uninhibited revelry of "Golden Door" and "Disco Fever" (catch it, and die happy). Connoisseurs of heavy-duty Funk Rock will thrill to the elemental grooves of "Let It Bleed" and "Run to Your Mama". And rebellious star-children born under the sign of Capricorn will embrace the songs "Goathead", Goatman", "Goatlord", and "Stonegoat".

More than just a live album, the disc is also an omnibus collection of everything the band had recorded to date: the entire "World Music" album; plus non-album singles and B-sides, including the mini-epic Space Rock mantra "The Sun The Moon", their first recorded song and a killer encore to an already lethally attractive show. And the performances don't simply regurgitate the studio material: most of the songs have been extended for maximum visceral impact, an important consideration with two barefoot pagan goddesses gyrating and jumping all over the stage.

It would be wrong to say the album is the next best thing to being there. In concert Goat is more alive than most live bands, and without the visual cues this live companion album is only a two- dimensional facsimile of a typically eye-catching, toe-tapping, mind-frying Goat gig. But it still manages to capture the all-consuming, psychedelic Mardi Gras spirit of the event: not a concert but "a harvesting of souls", in the band's own mock-portentous vernacular. So until the herd arrives in your hometown the old cliché will have to stand: the album is the next best thing to being there.


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 A New Gate by ANNON VIN album cover Studio Album, 1996
4.00 | 1 ratings

A New Gate
Annon Vin Progressive Metal

Review by Ovidiu

— First review of this album —
4 stars Definitelly,this is a masterpiece album and it could be considered a forgotten musical pearl!ANNON VIN managed to release only this album in their short career,but what a damn good album they made!A NEW GATE is heavily influenced by SIEGES EVEN-we can call it ANNON VIN being a copy of the wellknown technical prog metal band-now disbanded unfortunatelly-but,they had a better vocalist than Thomas Herde,the awful vocalist of SIEGES EVEN on the first 2 albums!What we have on this album is a display of technical capacities of this 3 young and ambitious musicians-sometimes we can feel that they try to do a little more of what they are able to do-pushing the technical aspect of this album at an unbelieveble level!The whole audition of the album is a test of will,but ,in the end we can say that this album is almost a masterpiece!Amazing technical chops,twists,change of rhytms-impressive bass lines and an almost scarry versatility of the drummer !The guitarist/vocalist is out of this planet too-he is totally impressive when we think that the guy is in charge vith the vocal duties ,plus the sophisticated guitar work-WOW!!!Hard to say which song is the best one-all the album is a difficult to chew album,and there are necessary many auditions,and to dig deep into it ,to understand the complexity and meanings of such a fantastic album!Very good production,an uninspired cover-but the music is fabulous!4.75 stars for me!


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 Högtid by AGUSA album cover Studio Album, 2014
4.08 | 23 ratings

Agusa Psychedelic/Space Rock

Review by rdtprog
Collaborator Heavy Prog Team

4 stars If you enjoy Retro Prog with some psychedelic rock and Krautrock influences, this is an impressive output from this Swedish band. Mostly instrumental, the music is a display of swirling Hammond organ and ragged guitar riffs that takes you back to the 70's. Despite the longish songs, the melodic themes are running throughout the experimental and spacey excursions with a nice flow. The organ and guitars interplay is what the emphasis is on the album, but on the song "Stigen Genom Skogen", the drums gets their chance to build a momentum to follow the frenzy organ pace while the guitars take a first break before come back screaming at the end. If this album has some progressive rock structures, the guitars and organ soloing is definitely psychedelic. But everything fits so well that you don't get lost in the music searching for a melody. There's only 3 minutes of what seems like a bit of muddling passages at the beginning of the song "Östan om Sol, Västan om Måne", and where you can start wondering if the band is losing focus, but it was intended to create a interlude of stranger atmosphere before getting back to the flow of the music. Recommended!


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Vpered I Vverkh by Orgiya Pravednikov album rcover
Vpered I Vverkh

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Вперед и вверх / Vpered I Vverkh by Orgiya Pravednikov album rcover
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Remaining cache time: 621 min.

List of all PA collaborators

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

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


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