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 Love, Fear And The Time Machine by RIVERSIDE album cover Studio Album, 2015
4.09 | 223 ratings

Love, Fear And The Time Machine
Riverside Progressive Metal

Review by BobVanguard

5 stars I've enjoyed Riverside for quite some time now. They've been right on the edge of being in with my favorite bands. Each album has been worthy of several plays, and I would go back to them on occasion. But now. Now that has changed. With this album, LOVE, FEAR AND THE TIME MACHINE, they have moved into my inner circle. Each song is really, really good.

They've created a heavy prog sound that revolves around the amazing talent of Mariusz Duda. It's his amazingly melodic vocals that are the centerpiece of the music and most of the songs are driven by his bass guitar. This is no ordinary bassist - he plays that thing like a concert violinist. The guitar of Piotr Grudziński remind me of DAVID GILMOUR in that it is high on expression and emotion. The drums of Piotr Kozieradzki are precise and not cumbersome and the keys provided by Michał Łapaj create the atmosphere behind it all.

Duda said that he allowed himself to be influenced b the 80s for this album, and it shows - this album is what some bands like TEARS FOR FEARS, THE CURE, and PETER GABRIEL might have sounded like in the wake of the influence of PORCUPINE TREE, OPETH, and DREAM THEATER. But they most remind me of 80s PINK FLOYD. And that, ladies and gentlemen, is the highest praise of all.

And the lyrics. For a person who admits that English is not his fluent language (Riverside is from Poland), these songs pack an amazing punch emotionally. Duda puts his feelings out there and I'm glad for it. Five Stars.


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 The Day of the Robot by BUCKETHEAD album cover Studio Album, 1996
3.13 | 5 ratings

The Day of the Robot
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars The third studio album THE DAY OF THE ROBOT proves a couple things. Firstly, BUCKETHEAD really likes robots and is becoming a focal point for album titles and secondly, he is very eclectic. After displaying his guitar virtuosity on the first two albums, the chicken lover takes a new approach here. While there is guitar virtuosity taking place at certain points in the album, the emphasis is on electronica for the most part.

The first track 'Destroyer' has four parts and begins quite aggressively with a type of industrial metal that churns on for a while but it eventually slows down into a thrashy power metal chords segment and ultimately winds down with a spacey echoey guitar accompanied by an ambient background. BUCKETHEAD displays a strange yet effective juxtaposition of musical genres.

The rest of the album is a combination by DJ Ninj who whips out the drum and bass (aka old school jungle) but also handles keyboards. Bill Laswell contributes to the lower bass and drums. There is plenty of piano jazz on the keyboards, big beat electronica and at times emerges a funky bass line.

This is a very eclectic album but not one of my faves from BUCKETHEAD. If you are really into the DJ scene you might enjoy this more than me and it is very competently done. I just prefer the more active albums, but i do like to spin this on occasion and it is certainly not a bad album. This is the debut of BUCKETHEAD's electronica side where the guitars take an even lesser role in the overall scene. 3.5 rounded down


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 28 Days Til Halloween: The Insides of the Outsides by BUCKETHEAD album cover Studio Album, 2015
4.00 | 1 ratings

28 Days Til Halloween: The Insides of the Outsides
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
4 stars A random sampling of BUCKETHEAD's pummeling release flow of 2015. This is the 78th album released this year and with the start of an album released every day in October counting down the days to Halloween. The mysterious chicken loving masked dude has gotten even weirder. 28 DAYS TIL HALLOWEEN: THE INSIDES OF THE OUTSIDES finds BUCKETHEAD in a progressive electronic mode with no guitars to be found. This sounds like a soundtrack of some sort. It does convey a certain level of spookiness but it sounds very classical musically oriented only disguised in a subdued darkened electronic hue. While i have not listened to most of his albums in the last ten years, i have to say that this one caught my attention thanks to a Zravkapt on PA who posted a video in the forum.

This is a dark ride into an electronic universe that starts off with a dark electronic synth that reminds me of Coil or other classic experimental electronic artists. As the album progresses it reminds me of everything from John Cage to the strangeness of Michael Masley's strange album "Cymbalennium" (who is known for his works on the Hungarian cymbalom). Lot's of strange pulsating electronic drones in the background. Weird as usual! I have to say that this one has caught my attention and thrown me back into the chicken coop. Now i feel inclined to put my hands under ever laying hen who has been impregnated with BUCKETHEAD's musical seed. This one is unlike anything i've heard before and i'm convinced that this dude is a modern day genius. He can simply master every possible aspect of music and pull if off better than anyone else around. I guess growing up in a chicken coop is good.


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 The Man in a Blue Turban With a Face by MAN MAN album cover Studio Album, 2004
4.00 | 1 ratings

The Man in a Blue Turban With a Face
Man Man RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
4 stars MAN MAN is a truly unique sounding experimental band that formed in 2003 in Philadelphia, PA. This is one of those bands that revels in defying classifications, expectations and anything even remotely cliché. Eccentricity is their motto and it all starts with the names of the band members themselves which includes the pseudonyms Honus Honus, Pow Pow, Turkey Moth etc. They wasted no time catching attention with their live shows where they don tennis gear and face paint and have a knack for a high energy level at shows where the songs run together with no breaks for the effect of building the concert experience to a high frequency crescendo. The music revolves around the piano abuse of the lead singer and chief major creative force Honus Honus (Ryan Kattner). Trying to come up with a description of their music has made me have to think a bit but i think i have come with this: MAN MAN sounds like a Balkan gypsy swing jazz caravan that picked up Tom Waits hitchhiking and joined an unemployed circus music band. The music is frenetic and energetic for the most part and drenched in a gazillion different instruments adding all kinds of flavors that you never knew you liked!

While Honus Honus' vocals do remind me of a more energetic Tom Waits and the music even has a vibe similar to his "Rain Dogs" era, the mix of Eastern European gypsy music and downright zaniness does lend the comparisons to Frank Zappa and Captain Beefheart to be valid, although the music itself sounds nothing like those respective artists, the experimental factor and the humor do put them in the same neighborhood. This band was a grower. I started out with the later albums with "Life Fantastic" being my first which i thought was hit and miss but on the first couple of albums i find i really dig the MAN MAN sound where they were less restrained and just unfurled their freaky flag to the world not giving a golly gee about much else than fulfilling their musical vision.

On their debut album THE MAN IN A BLUE TURBAN WITH A FACE you can expect a nice mix of gypsy swing jazz, Tom Waits inspired vocals and feel with marimbas, horn section, guitars, flute and a bunch of different guests including two female vocalists, violins, clarinets and various other unidentified noises. You can also expect a passionate vocal delivery often entering the insanity zone but mostly this is a nice melodic upbeat avant-garde swing fest that is instantly addictive but has a few elements that may give the first time listener pause. For me it took me a while to warm up to Honus Honus' vocals, but the music is so addictive that ultimately i succumbed! Almost all the tracks on this album are fairly well constructed with a few coming off as a bit mediocre ("Gold Teeth") and the last couple "Man Who Make You Sick" and "Werewolf (On The Hood Of Yer Heartbreak)" really raising the bar. I would say the album ends stronger than it begins but after a few listens it pretty much all gets under your skin. Excellent! Check em out


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 Keith Emerson With The Nice by NICE, THE album cover Boxset/Compilation, 1970
3.81 | 10 ratings

Keith Emerson With The Nice
The Nice Symphonic Prog

Review by No Quarter Given 2.0

5 stars One day, as I wandered aimlessly through the shadowy corridors of a music store that had survived the zombie apocalypse, my hand carelessly came to rest on a CD box, that, from all evidence, was very old. The out-of-focus cover picture only added to the other trace indicators of age (dusty, handled, multiple sale stickers). But I did not push it aside. The artist name on the cover brought back memories of the heady days of TARKUS and BRAIN SALAD SURGERY. What was the other name mentioned ... "THE NICE"? I struggled to remember the scattered voices I had heard many decades earlier and what they had actually said. I remembered "GOOD" and "TRY IT". But in those years long past there was a lot of new, and exciting music that needed to be explored.

Now is a different age. The old icons of Prog are long dormant if not completely silent. The CD in my hand started to create a longing for the old carefree days when Progressive rock ruled the music store aisles. The gravitas of that style had even caused Led Zeppelin to issue Houses of the Holy - therein contained the singular most important song of the Progressive rock age - NO QUARTER. I could not see getting back to my home at Bag End fast enough and flip the CD in my computer, download it into iTunes and hear it on my iPod.

It is important to have a clear understanding that I am not one who is easily impressed, and my first hearing of KEITH EMERSON with The Nice was not impressive. But, many things did capture my attention. Why did a Bob Dylan song (with no Folksy stylings) stay in my head. Also, the vocalist, who seemed to bring to mind a rustic, pastoral setting fronting a "rock" band. Plus the nearest thing to a lullaby - "Hang On To A Dream" - I had heard in a long time, caused me to want to press replay (which I had not done since Peter Gabriel I).

Obviously there were astounding goings on. This CD in many ways seemed more like ELP than the real ELP. Things meshed together - classical, rock, jazz, all keyboards, guitars and vocals. Mr. Emerson was not kidding around. He had seen the future in 1967 and it was Progressive music. During the next three or four albums the band set about setting down the infrastructure and boundaries of Classical Rock. They really dropped the big one. The war was over before it started and The Nice were the rulers of the Progressive Rock Universe (nay the creators of Classical Rock). It has taken this long for me to see the light. Arrive at the fact that all of the tired dinosaurs or Art Rock are only the offspring of The Nice and mere reflections of the one true Prog band.

Let this be my first epistle: Romans, Corinthians, Thessalonians, cast aside your golden calf and other false idols. Follow the one true path to aural inspiration. The Nice is the band that will lead you to the promised land only hinted at during the 1960s and KEITH EMERSON with The Nice is the gateway entrance to the lands of milk and honey. The rest of their catalog is an adventure waiting for you. Take your time, enjoy - ye who read are saved.




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 Bloodmoon Rising - Night 4 by ROACH, STEVE album cover Studio Album, 2015
4.00 | 2 ratings

Bloodmoon Rising - Night 4
Steve Roach Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

4 stars The slow and heavy movements of our lonely satellite.

If one could accurately paint a clear musical picture of massive planetary heaviness (for real) and its slow paced transitions, well Steve Roach's "Bloodmoon Rising - Night 4", 2015, ceratainly does the trick with impeccable results.

I do agree with fellow reviewer Aussie Byrd Brother, that this release, is the perfect way to introduce yourself to Mr Roach's "Bloodmoon" saga. If you are already familiar with it, this project portraits true refinement in both music composition and sonic/visual results, that all of his Bloodmoon's projects possessed, but not so perfectly achieved and as accurate as this one.

It is hard not to fall and feel this hypnotic rendition of this cosmic phenomena (at least for us earthlings), while one can not help wonder how high Steve Roach is setting the bar for electronic music in general.

Anyway, the real deal about this release, as in many other of his low-keyed masterpieces, is his concept of beauty. Beauty, in Roach's world, has freed itself of any common places usually misused or abused by his peers in all fields of music. Beauty is attained by straight forward music composition, it is a consequence of contrasts counterpointed by good and unique songwriting and in Steve Roach's case, years of experience. Beauty is a mystery found, it is dark as it is bright as it is in the middle and Steve Roach is well aware of this.

Another great mystery, at least in this Prog sub-genre, is how easily one can find expensive and overrated works by minor (but proud and polite, I suppose) musicians and inexpensive masterpieces by superior artists like Mr. Roach. A total mystery!

If you miss this one you are on your own!

****4.5 PA stars


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 Gottes Synthesizer by SANKT OTTEN album cover Studio Album, 2011
3.00 | 1 ratings

Gottes Synthesizer
Sankt Otten Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
3 stars Great drafts but what about the paintings?

German duo Sankt Otten's, 2011, "Gottes Synthesizer", is full of attractive ideas. Some elegant Pop-synth sounds combined with close to Prog electronics, some obscure and menacing atmospheres counterpointed with bright melodic lines or the other way around, some relaxed cosmic moments which by contrast enrich this release's directions. As such, in paper, this all seems captivating.

Now, the not so good news. Even though the songs (there are 13), are original in their stylistic musical language and the music itself would not offend your ears, the creative ideas stay short of their possible development and lack the explosive substance to launch all of its splendors and trascend themselves into something groundbreaking or truly memorable.

The prime matter is there and maybe a little twist and turn in the mixture of those ideas into single compositions and not single ones for each song, will have turned a bit more daring in its songwriting and experimentations and would have brought, probably, a less comfortable and clean cut result for a far more ambitious and explosive goal.

Nevertheless, "Gottes Synthesizer" has its amazing peaks and moments, but they are not all over this release.

***3.5 PA stars.


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 Impermanent Resonance by LABRIE, JAMES album cover Studio Album, 2013
3.50 | 54 ratings

Impermanent Resonance
James Labrie Progressive Metal

Review by Prog Leviathan
Prog Reviewer

3 stars James LaBrie, the voice of the top rated prog-metal band here on Prog Archives, delivers his third solo offering with Impermanent Resonance. It continues LaBrie's tradition of creating music that is more melodic and straight-forward than the intricate and ambitious songwriting of Dream Theater. Moreover, he's worked with the same group of musicians in this solo effort long enough that he's developed a recognizable style. The result is an enjoyable hard-rock experience that features his trademark vocals, very well-sung.

Let's get the Dream Theater comparison out of the way right away: Impermanent Resonance is not a Dream Theater album... not by a long shot. If you read my reviews of DT's recent offerings, you'll see that for me this is a very, very good thing. LaBrie has essentially phoned in his Dream Theater performances over the past half- decade (or longer). His vocals here are powerful, soulful, genuine, and all around superior to anything we've heard him on in Dream Theater, at least since Octavarium. The thing that will strike you most is the melodies and hooks, which LaBrie nails here. If you're DT fanboy and enjoy his singing, you'll love Impermanent Resonance, guaranteed.

Lyrically this is familiar ground for LaBrie. He's singing about F'd up human experiences, often with a glimmer of optimism or defiance hidden amid the gloom.

But what about the rest of the music? Well, it's pretty damn good, actually. Going into the experience knowing that it isn't strictly "prog" music will help your enjoyment though. This is very modern hard-rock/metal, with somewhat more artistic sensibilities than you'll hear when compared to more well-known groups. Don't expect lengthy instrumental passages, dueling keyboard/guitar solos, or crazy time signature changes mid-song. This is a hard-rock album without delusions of grandeur, and it's very good at accomplishing what it's going for.

In general the tone is heavy and aggressive. Songs are short and punchy, not necessarily following the conventional verse-chorus-verse-chorus-bridge-chorus pattern, but still fitting into their 3.5 - 5 minute running times nicely. This gives you a quick dose of a memorable combination of hooks and melodies, then moves you right in to the next one. There are tempo and dynamic changes mixed into the track list, but most of this nuance comes from LaBrie himself. One surprise is the aggressive screams and growls of backing vocalist Guillory, which is a punchy addition. Sfogli's guitars bear special mentioning as well. This is his third collaboration with LaBrie, and at this point his riffing and soloing brings as much to the experience as LaBrie's singing itself. Sfogli is exceptionally competent, creating the tapestry of riffing that accompanies the melodic singing; unfortunately we aren't given enough time to enjoy his soloing more than a few short highlights.

In my mind Impermanent Resonance is a weak "prog" release, but I don't think it's going for an epic metal experience. This is LaBrie's chance to make the music he's interested in making, giving him the opportunity to break with the songwriting mediocrity of recent Dream Theater. That's not to say that the songwriting in this solo album is going to knock your socks off... but it stands on its own strongly, and LaBrie simply sounds like he's having fun singing, which is a welcome feeling.

Recommended for LaBrie fans, of course, for those like me who love classic DT and feel the pangs of heartache at their recent offerings, and for anyone who just needs a good kick in the teeth with some good, clean, heavy rock.

Songwriting: 3 - Instrumental Performances: 3 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 4


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 Imaginations from the Other Side by BLIND GUARDIAN album cover Studio Album, 1995
3.92 | 170 ratings

Imaginations from the Other Side
Blind Guardian Progressive Metal

Review by Prog Leviathan
Prog Reviewer

3 stars This finely produced and performed album by Blind Guardian sees the prog-metal group blazing ahead at full speed, shredding out a savage assault of power metal showcasing shrieking vocals, blistering drumming, and lightning fast riffing. The effect is intense and dramatic. It definitely makes a forceful impression, but it isn't necessarily a great one.

When it comes down to it, Imaginations From the Other Side is artistic speed metal (with the occasional bit of Renaissance fair style), that fits very well alongside Blind Guardian's other offerings. It's fast, intense, absurd, and raw. There's nothing to criticize in this album's songwriting, which is dramatic and densely composed, or the band's playing, which is razor sharp - it's simply a sound that is hard to really enjoy.

I'm a casual fan of the band, and gave their highest rated album (Nightfall in Middle Earth) a pass because the lyrics were shrieking about Morgoth and Noldor elves... without that nostalgia connection I find Blind Guardian's sound bland, despite its intensity. It isn't bad, it's just not approachable for those of us preferring nuance, dynamics, emotion, or style in our prog metal.

If you need some monster speed metal mixed with your madrigal, then check out Imaginations from the Otherside. In fact, check it out even if you don't, because you may find yourself liking the screams and fireworks, but in my opinion it doesn't reach the heights produced by others in the genre. Songwriting: 3 - Instrumental Performances: 3 - Lyrics/Vocals: 3 - Style/Emotion/Replay: 2


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 Bloom by CALIGULA'S HORSE album cover Studio Album, 2015
4.71 | 5 ratings

Caligula's Horse Progressive Metal

Review by crashandridemusic

5 stars If it weren't for progressive/alternative rock/metal band Caligula's Horse, I might've simply passed over some of my current favorite records, including their 2013 hit 'The Tide, The Thief & River's End.' A modern staple in the alt-prog scene, it only took two albums from Caligula's Horse to grab the attention of major music label Inside Out Music, who signed them earlier this year. Now with their first release with the label, Caligula's Horse has released a contender for album of the year in 'Bloom.'

If fronting two different (and successful) bands with conflicting writing styles wasn't hard enough, just ask vocalist Jim Grey about the timetable for their newest album 'Bloom.' In a prior interview, Jim Grey recalled the different direction the band took in writing this album:

'Our approach was to not edit anywhere near as much as standard in modern progressive music' Everything else is minimal editing and very live sounding. A lot of the vocal takes we were attempting to get long, one-take blocks of performance to try and capture something. It wasn't perfect, but it was special. I feel like it's a very natural sounding album in that way.'

Consisting of eight songs at around 45 minutes long, 'Bloom' feels longer than it lets on. With the opening title track and closer 'Undergrowth,' the attention is focused on an acoustic guitar, something I cannot easily recall ever occurring on any previous album of theirs. Spotlighting Grey's incredible vocals, the melody is simple but passionate, effectively pulling the listener to take their seat and catch their breath for the ride that awaits them. It isn't until the halfway point of the song where the rest of Caligula's Horse comes charging in, picking up where 'The Tide'' left off. I remember flinching my first listen because of the sudden sonic rise, my heartbeat quickened and a smile graced my face. Caligula's Horse is back.

The song smoothly transitions to their single 'Marigold,' one of two heavy tracks on the album. Using the same volume changing techniques as 'The Tide'', the listener is treated with another record filled with epic highs and eloquent lows. In fact, I would say the band improved on this skill, since one of my only complaints with their last album was the too-drastic ups-and-downs in tempo. Caligula's Horse finds their groove by balancing these highs and lows in a more effective manner. This is perfectly shown in the lead-in to the song's chorus, with Grey singing 'taking what's mine, with soil below and nothing above me (me me me me).' The echoing of that last word is timed perfectly with the deep booming sound of the drums and guitar, giving me goosebumps every time. It's a headbanger, especially with the quick-paced solo by Sam Vallen and bass-pedal drum beat of Jeff Irish. At this point, we're only two songs in and the listener will want to storm around the house in vigor. A little later in 'Bloom' we're introduced to 'Rust' and its angsty, passionate lyrics. Grey's grumbling vocals is accentuated by the heavy drumming of Irish, purposefully building in intensity as the song progresses. Kudos to Irish for providing enthusiastic yet appropriate percussions not only on this track, but on the entire album.

If you're expecting an album jam-packed with heavy, gloomy, and dark themes as its predecessor, you'll be pleasantly surprised. As Grey mentioned in our interview, 'Bloom' is the response of a band seeking something lighter, brighter, and more luminous. Evidenced in upbeat tracks 'Firelight' and 'Turntail,' most of the album finds the band exploring a more emotional side, utilizing clear guitar arrangements and lighter drum sections. The lead guitar in 'Turntail' alone dances along lines of pop, interspersed between crunchy guitar chords and the ridiculously quick picking of Sam Vallen in the song's bridge. The album's longest song 'Dragonfly' also provides plenty of moments of livelier songwriting, including the Jeff Buckley-inspired, improvisation vocals in the first half of the song. The fluttering vocals carelessly float over the clean guitar sections like, well, a dragonfly. The album continues in this manner up until their closer 'Undergrowth,' containing a lone acoustic guitar and Grey's delicate, falsetto vocals. Being more approachable and less experimental than prior albums, the lighthearted 'Bloom' is the perfect album to introduce to new listeners. The sound of this album will please longtime fans while simultaneously collecting new listeners. And it doesn't hurt to be signed to a major record label, too.

The eight minute 'Daughter Of The Mountain' competes with 'Marigold' as my favorite track on 'Bloom,' simply because of the thoughtful lyrics and soft-natured orchestration. With all the effect-laced guitars, piano arrangements, and simpler guitar rhythms, the bass guitar is able to stand out from the rest. Although simple, the statement is made, especially as it accompanies the passionate cry of Grey in the lyric ''This is my choice father,' she said.' It's the song with the most drastic shifts between high and low, but is marvelously composed.

As much as Grey attempted to describe the thought process behind this album, it couldn't have been better represented than in the music itself. He said the music is upbeat; the music more than delivered on his words. He said it was raw, using single takes on many vocal tracks; the vocal quality seethes through my earbuds with every word. There currently isn't a better representation of Australian progressive and alternative rock. This is the pinnacle, and it's only Caligula's Horse's third album. Congratulations guys on the impressive release.

Taken from crashandridemusic.com


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  70. Cygnus X-2 (353)
  71. fuxi (352)
  72. Andrea Cortese (348)
  73. EatThatPhonebook (326)
  74. lazland (321)
  75. Guldbamsen (318)
  76. Negoba (316)
  77. richardh (314)
  78. Tom Ozric (304)
  79. Kazuhiro (299)
  80. Flucktrot (293)
  81. Proghead (289)
  82. OpethGuitarist (287)
  83. progaardvark (286)
  84. Second Life Syndrome (266)
  85. daveconn (266)
  86. Trotsky (264)
  87. Muzikman (263)
  88. clarke2001 (254)
  89. Slartibartfast (254)
  90. The T (253)
  91. Andy Webb (236)
  92. Bj-1 (233)
  93. 1800iareyay (225)
  94. js (Easy Money) (222)
  95. poslednijat_colobar (220)
  96. GruvanDahlman (219)
  97. Syzygy (216)
  98. The Crow (216)
  99. aapatsos (216)
  100. avestin (214)
Remaining cache time: 63 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. 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. Pawn Hearts
    Van Der Graaf Generator
  13. Nursery Cryme
  14. Per Un Amico
    Premiata Forneria Marconi (PFM)
  15. Larks' Tongues In Aspic
    King Crimson
  16. Moving Pictures
  17. Hybris
  18. Mirage
  19. Moonmadness
  20. Hemispheres
  21. Relayer
  22. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. Si On Avait Besoin D'Une Cinquième Saison
  25. Darwin!
    Banco Del Mutuo Soccorso
  26. Kind Of Blue
    Miles Davis
  27. In A Glass House
    Gentle Giant
  28. A Farewell To Kings
  29. Hand. Cannot. Erase.
    Steven Wilson
  30. Aqualung
    Jethro Tull
  31. Birds Of Fire
    Mahavishnu Orchestra
  32. Crime Of The Century
  33. Still Life
  34. Meddle
    Pink Floyd
  35. Ommadawn
    Mike Oldfield
  36. Hot Rats
    Frank Zappa
  37. Depois Do Fim
  38. The Silent Corner And The Empty Stage
    Peter Hammill
  39. H To He, Who Am The Only One
    Van Der Graaf Generator
  40. In a Silent Way
    Miles Davis
  41. Images And Words
    Dream Theater
  42. Permanent Waves
  43. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  44. The Yes Album
  45. The Lamb Lies Down On Broadway
  46. The Road Of Bones
  47. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  48. Scheherazade And Other Stories
  49. The Grand Wazoo
    Frank Zappa
  50. One Size Fits All
    Frank Zappa
  51. Mëkanïk Dëstruktïẁ Kömmandöh
  52. The Snow Goose
  53. Still Life
    Van Der Graaf Generator
  54. A Trick of the Tail
  55. In The Land Of Grey And Pink
  56. Rock Bottom
    Robert Wyatt
  57. Free Hand
    Gentle Giant
  58. Octopus
    Gentle Giant
  59. K.A
  60. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  61. Second Life Syndrome
  62. The Power And The Glory
    Gentle Giant
  63. Zarathustra
    Museo Rosenbach
  64. Arbeit Macht Frei
  65. Spectrum
    Billy Cobham
  66. Blackwater Park
  67. Viljans Öga
  68. Misplaced Childhood
  69. In Absentia
    Porcupine Tree
  70. Time Control
    Hiromi Uehara
  71. Emerson Lake & Palmer
    Emerson Lake & Palmer
  72. L'isola di niente
    Premiata Forneria Marconi (PFM)
  73. Hatfield And The North
    Hatfield And The North
  74. Ghost Reveries
  75. The Inner Mounting Flame
    Mahavishnu Orchestra
  76. Fear Of A Blank Planet
    Porcupine Tree
  77. Hamburger Concerto
  78. The Perfect Element Part 1
    Pain Of Salvation
  79. Acquiring the Taste
    Gentle Giant
  80. Space Shanty
  81. Rubycon
    Tangerine Dream
  82. Until All The Ghosts Are Gone
  83. Bitches Brew
    Miles Davis
  84. Radio Gnome Invisible Vol. 3 - You
  85. Remedy Lane
    Pain Of Salvation
  86. Script For A Jester's Tear
  87. Doomsday Afternoon
  88. Felona E Sorona
    Le Orme
  89. Lateralus
  90. Elegant Gypsy
    Al Di Meola
  91. Pale Communion
  92. Part the Second
    Maudlin Of The Well
  93. Anabelas
  94. If I Could Do It All Over Again, I'd Do It All Over You
  95. Voyage Of The Acolyte
    Steve Hackett
  96. Choirs Of The Eye
    Kayo Dot
  97. Memento Z Banalnym Tryptykiem
  98. Caravanserai
  99. Ones & Zeros: vol. 1
  100. Symbolic

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


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