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 Seconds Before Landing II by SECONDS BEFORE LANDING album cover Studio Album, 2014
3.91 | 2 ratings

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Seconds Before Landing II
Seconds Before Landing Crossover Prog

Review by Lear'sFool

4 stars Seconds Before Landing has a prog soup whose ingredients include electronica, smooth jazz, and the dark sides of Sufjan Stevens, Bon Iver, and Wilco. The bands philosophy on their second release seems to be to throw everything they've got at the wall to see what sticks, and most of it does. All of this works to a theme of dystopia, but it doesn't always feel that way. "Hey Dad" and "My Perfect Girl" feel like missteps, but otherwise we have a good album chock full of ideas and directions, even if the theme suffers a bit. From the jazzy "Big Train", to the Gregorian-esque vocals opening "The Great Deceiver", followed by a wailing guitar, to the claustrophobically self- loathing "Don't Want To Feel This Way", to the nice electro-prog of the other good tracks, there's plenty to love here, and the album works in the end. If you loved "Corvus Stone II" and want a new and different buffet, try this obscure record out.

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 Obscura by GORGUTS album cover Studio Album, 1998
4.41 | 105 ratings

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Obscura
Gorguts Tech/Extreme Prog Metal

Review by Lear'sFool

5 stars Widely and immediately considered not just one of the classics, but one of the pinnacles, of tech death, "Obscura" is the magnum opus of Gorguts and the Unholy Grail of its genre. Its strength rests not just in its perfection of tech, but in its experimentalism, variety, darkness, and, surprisingly, its measured dose of emotion via the vocals of Lemay and Hurdle and the aforementioned darkness. Listening to this is to subject yourself to raw brutality and yet raw skill being put to wonderful use. The album sounds like how R'lyeh must look. All of this adds up to the record living up to its legend, making it a required listen for tech death fans and a recommendation for all other metalheads. The album is a grail for both how excellent and how rare it is; one listen to its tracks online and you'll be ready to search high and low for a copy of this masterpiece. Good luck.

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 Skullgrid by BEHOLD...THE ARCTOPUS album cover Studio Album, 2007
3.72 | 47 ratings

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Skullgrid
Behold...The Arctopus Tech/Extreme Prog Metal

Review by Lear'sFool

5 stars And here we thought we'd have to wait about a century to hear music made by robots. So, yeah, this is pretty much the logical conclusion of tech death: just about emotionless, highly complex, blazingly fast, and might be called math death by some. And loud, of course. For what it is it's excellent, with very skilled musicians playing tech to the fullest, with plenty of new ideas. Behold... The Arctopus does not rest on any laurel here. Listening to this album is an enjoyable experience, with much to savour in ~36 minutes - tech is fast, after all. For me, the best part, even after all that, is the end of "Of Cursed Womb", where after a beat of silence the guitarist lets out one final note, rather humourously. I did say ALMOST emotionless.

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 Passenger to Paramaribo by TOLONEN, JUKKA album cover Studio Album, 1977
3.71 | 11 ratings

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Passenger to Paramaribo
Jukka Tolonen Jazz Rock/Fusion

Review by Suedevanshoe

4 stars An exciting entry in the jazz/fusion with funk overtones category, "Passenger to Paramaribo" listens on par with Jeff Beck's classic fusion albums "Blow by Blow" and "Wired". The band is tight throughout, enhancing the funk feel along with the crispy clean almost glossy production. "Punks" and "Air Rock" are particular highlights from this 1977 release. A sorely underexposed figure in the jazz rock world, This album is waiting for inclined parties to dive in. If you like Isotope or Colosseum II or Sloche or Jeff Beck's two records I mentioned, give this one a try. It also reminds me of a Larry Coryell guitar fusion with funk release, "Aspects".

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 Ótta by SOLSTAFIR album cover Studio Album, 2014
4.00 | 17 ratings

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Ótta
Solstafir Experimental/Post Metal

Review by Gallifrey

4 stars "So, you know how post metal seems like a great idea in concept, but the vast majority of it is overlong and dull atmospheric sludge? This one like, isn't." - me, on the discovery of Sólstafir's 2009 album Köld, circa 2013

The whole debate that is continuously raging about post-metal/atmospheric sludge metal and whether or not post-metal is a genre or if it's all atmosludge or whatever really begs a big, glaring question - if all post-metal is atmosludge, then why doesn't actual post-metal exist. All it needs to do is take a good post-rock album and add some heavy guitars to it, why is it that every notable band in this area feels the need to fill their music up with godawful vocals and repetitive as hell riffs straight out of the sludge metal camp? It's not as if post-metal and sludge are intrinsically linked, you can certainly have one without the other, but it seems that in order to be a post-metal band you either need to be instrumental or have sludge metal vocals and riffs thrown all over the place. Where is the metal equivalent of Sigur Rós? Or even just Explosions in the Sky?

While Köld did sort of attempt to answer my question, by playing heavy, texture-oriented metal music that had an appreciated shortage of sludge metal elements, instead electing for clean vocals a good deal of the time, and even bringing some faster, non-doomy riffs into the fold for the heavier sections, I was never fully grasped by it. Stylistically it was nearly what I wanted from post-metal, but compositionally it fell short in a good number of ways. It was overlong and repetitive, and the semi-harsh vocals bordered on cringeworthy and annoying, not to mention that the sheer density and heaviness of this sort of music gets very draining as a listener.

Ótta, admittedly, is only my second encounter with this band, so any comparisons are a bit uneducated and are only really with regards to Köld, but I definitely feel that at least some of the compositional troubles I had with that record have been remedied here, even if they have been replaced with some other problems. The most obvious stylistic changes that Sólstafir have made with this album are the overall reduction in metal elements and the choice to sing all lyrics in their native Icelandic, which, combined with the fact that string group Amiina appear on this record, gets a few hundreds of people screaming "SIGUR ROS WORSHIP" at the top of their lungs. But despite the similarities, and my honest wish for a heavier, darker version of ( )-era Sigur Rós, this isn't really all too similar. The quiet moments with piano and strings that feature Ađalbjörn singing Icelandic in a softer and more emotive voice do kind of sort of bring them to mind, but the influence is nowhere near as clear as some are claiming.

As for the dropping of the metal elements, I am all for it in this instance, despite my well-known love for crushing crescendos. It does feel that every timbre and sound that the band build their softer sections out of sounds excellent and smooth and well placed, but I can't say the same about their heavy sections - the guitars are still linked too heavily to sludge, and have a tone that is so over-distorted that it loses power, so I find myself being drawn to the softer parts far more. The standouts on this album happen around the bookends, with the opening and closing tracks being my particular favourites. "Lágnćtti" is pretty much a classic long-winded post-rock-with- vocals build track, steadily raising the intensity every minute or so to a slightly elevated level. But what really makes it fantastic are the piano melodies, especially when accentuated with Amiina's strings. The motif melodies throughout this album are excellent, and along with some of the ambience in the softer sections, is definitely the album's best point. Although it does get a bit crescendocore, "Náttmál" is the albums culmination and highest point, carrying a wonderful energy throughout the track starting with an awesome section at around 2:30. The album's title track is another interesting one, with a rather strange lead motif that sounds straight out of Devin's Casualties of Cool album, ambient and driving, with a bit of a country twang to it. And as corny as that might sound on paper, it works quite well, with some of the strings soaring around the top reminding me of the way country artists use harmonicas for atmosphere.

However, as much as I enjoy some of the compositions here, and I do think Sólstafir have somewhat remedied the long-winded and boring parts I've found from them in the past, the one thing I just simply can't enjoy too much are their vocals, and despite my love of Sigur Rós, they seem to have gotten even more irritating with the change to full Icelandic lyrics. When Jónsi sings in Icelandic, it's ambient and ethereal, and you can barely hear any of the syllables he makes. But on Ótta, Ađalbjörn's vocals have to change between relatively clean sung to ferocious bellowing, and it really makes you realise what a hard, consonant-heavy language Icelandic is. And it just doesn't fit, at all. The softer vocals are tolerable, but the loud, intense, semi-harsh vocals just don't work at all. Similar to a language like German, there are just too many hard sounds and changing syllables to properly get any impact. And it doesn't help that I'm not the biggest fan of his vocal tone, either.

The only other major problem with this record is one that many others have pointed out, and is one that is common with a lot of music in this area - it runs out of steam rather quickly. I can say that every song has a motif or idea that I like, and the band have no shortage of melodic skill, but this is very tiring and draining music to sit through, and this album's 58-minute length can feel like 80 sometimes. I wouldn't call much of this 'filler', but a song like "Dagmál" could have been easily dropped with no loss, especially given the fact that it just sounds like a shoegaze-ier and Icelandic version of "Love is the Devil" from Köld.

From a melodic and compositional perspective, this is an undeniably strong album, bringing some wonderful and beautiful melodies into the fold. From a stylistic perspective, this is a pretty decent change, the songs feel more concise (but not concise enough), and the sludge metal parts are used more sparingly, although I am definitely not a fan of the Icelandic lyrics shift. On the whole this is certainly a better album than Köld, and shows Solstafir shifting their sound enough to try and stay relevant, but I can't help but feel they have something more in them that they aren't fully giving.

7.4

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

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 Leviathan by ANNOT RHÜL album cover Studio Album, 2014
5.00 | 1 ratings

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Leviathan
Annot Rhül Psychedelic/Space Rock

Review by Lear'sFool

— First review of this album —
5 stars When the tracklist immediately reads like a walking tour of Lovecraft, "The Odyssey", and Jules Verne, you know you're in for something awesome. Annot Rhul centres a rather eclectic album on various nautical themes, crossed deeply with those of madness. This is an album where you sail out too far, encounter sea monsters, dark auroras, and maddening islands, and then go through a horrifically constructed city of the damned to have some tea with The Elder Ones and The Other Gods. As for the all important sound, the whole gamut from soft and Floydian to dark, heavy, and reminiscent of Motorpsycho is crisscrossed wonderfully. Rhul does an excellent job of conveying spookiness, unease, and terror with a lot of the music here. You might forget that this is in fact a space rock album, at least at its core. Altogether, this is a masterful journey through all four corners of space and all seven seas. Recommended, especially in pairing with "The Death Defying Unicorn".

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 Belighted by IAMTHEMORNING album cover Studio Album, 2014
4.27 | 144 ratings

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Belighted
iamthemorning Crossover Prog

Review by chuckyfunk

5 stars This album is indeed an excellent addition to any prog rock music collection. BUT! It is an essential listen for anyone who appreciates a greatly crafted piece of art.

I fell in love with iamthemorning's music by listening to their first album. They were my companions in one of my trips this year. Walking around Times Square and Central Park while listening to Marjana's voice is quite a beautiful experience. I have to be grateful to this amazing page for publishing artists like these.

Now, their second album. This time iamthemorning sounds more like a prog band. I got the first hint even before listening to the record just by realising that they are now part of the Kscope label. I quite enjoyed the intermissions on the first album, they give the whole "concept piece" (if I may) a very classical touch. This time, the intermissions sound more experimental, which, for me is not a bad thing at all because it shows an sonic evolution for the band.

The songs are just, plainly, amazing. The opener "The Howler" gives you the idea that this band now wants to rock by now using more prominently an electric guitar and a more rocking drum beat. A very different approach to what the previous album showed. Then, starting the second song "To Human Misery" we get that "iamthemorning" harmony with a lot of experimentation, I believe that a lot of it has to do with the inclusion of master Harrison on drums. Me as a drummer immediately identified his chops which give the whole album an excellent touch. There are far more prog elements on this album than the predecessor, like I said, mainly thanks to the drummer's input but also we hear now longer compositions like the beautiful "Crowded Corridors" and now more complex time signatures like the 9/4 on "K.O.S."

This band had set their bar extremely high with their first record and, with this second album they just blew past that bar and created one of the best prog albums from this decade. I don't feel like that's an overstatement because prog is about finding new sounds, creating original, and artistic musical expression, which this album does in one of the most beautiful ways. I really hope we get to hear more from them and that I get the chance to see them live!

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 Bansheeface by PSEUDO/SENTAI album cover Studio Album, 2015
4.00 | 1 ratings

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Bansheeface
Pseudo/Sentai Crossover Prog

Review by TCat

— First review of this album —
4 stars I was contacted by Greg, one of the frontmen for the band Pseudo/Sentai to do a pre-release review for this album. Since I haven't actually done a review by request before, I was happy at the prospect of getting to know some of the forum members and musicians that wander around this site looking for more of the music they love and inspiring each other. So, without knowing a lot about the band other than being able to listen to the amazing sounds on this album, I venture forth to do a review simply of this album not being able to compare it to other releases by the band, but with the hope that I can learn more about them, because, after listening to this album a few times, I must admit that I am impressed and want to hear more.

The band is categorized under Crossover Prog. I'm not exactly sure where that designation came from. Because of their similarity in form and style to The Mars Volta, I would be inclined to put them under Heavy Prog with an edge towards avant garde styles. This leaning comes from a very impressive use of chromatic scales and harmonies throughout their work on this album. The chromatic use is to help better harmonize the weaving of several melodies that play over and under each other throughout the tracks. This is done both in the layers of vocals and instrumentals that are worked into each track. But even when the tracks are not dense with multi-layered themes, the chromatic modes are still used.

If you are wondering just what I'm talking about, then you can again compare the style to The Mars Volta or maybe even Coheed and Cambria. The music from these bands can be quite dense sounding because of the use of many themes throughout their albums. They also use chromatic scales, more so on the part of The Mars Volta. That will hopefully give you a better idea of the complex sound that is going on in this album. Now, I have to say that one major distinction in the sound is that Pseudo/Sentai doesn't turn this multi-layering into a impenetrable wall of sound like the Mars Volta did on a few of their albums and this makes P/S's sound a lot more accessible. This is a great thing because even a lot of MV fans couldn't take the inaccessibility of the sound. With P/S, what you end up with is a sound that is somewhere between MV and Rush which is a very good place to be.

Now lets talk about the vocals. The vocals are great and strong. There is usually a really untraditional harmony going on a lot of the time which at first can be hard to get use to, but it doesn't take long to figure out that it all fits and is not really irritating, so you will come to accept the sound. The minor complaint I do have about the vocals is that they are at times unsure. Sometimes this works as a vulnerability, but not always. When using a chromatic mode, it is important to hit the odd harmonics spot on so that there is no confusion as to what kind of sound you are trying to convey. Without that surety, an odd harmonic can sound like it was unintentional to a casual listener. So if anything, I would work on making the vocals more certain. Also, at times it seems that quality in the singing suffers a little bit because the vocalist is trying too hard to make the lyrics understood. This preoccupation can be dangerous. It is better to maintain the quality of the vocals even if the lyric translation doesn't always come out so clear. Listen to most rock bands and you'll find that most of them don't care if you can understand the lyrics or not. Besides, most people will look up the lyrics themselves if they are not printed in the program notes somewhere. Anyway, like I said, these are not huge issues, just personal preferences.

So, now that I got the minor issues off my chest, I want to reiterate the fact that this is an awesome album and, if this album is indicative of their other works, I don't understand why this band is not at the forefront of the prog spotlight. Instead of saying "This band sounds like The Mars Volta", we should be comparing other bands to P/S. There are some stellar tracks here. Namely, the title track, "Sleeping Closer to the Ground", "Black Matter of Machinations", "Seeping Closer", and "March of the Selkies" just to name a few that stand out as unique. "Black Matter..." is more of a quieter track with some excellent vocals, "Seeping Closer" is a short intermediary track that has some ingenious and unique sounds (I love how the vocals have been manipulated here) and "March of the Selkies" has this traditional guitar solo that is bookended by the signature sound throughout the album. Does this traditional solo and rhythm sound out of place? Not at all. I wish that more bands would explore this style and I would welcome seeing traditional rhythms and solos interspersed more often in unique "neo-classical" techniques, as long as it is done tastefully and not leaving an inconsistent sound. This track is a good example of how it should sound. This also will help with accessibility as long as it is not overdone and it will still not endanger the quality of the music.

Another high point in this album is that the shorter tracks work in so nicely with the longer tracks. They don't seem like filler at all and for the most part, are just as essential and interesting as the longer tracks and that is something you don't find very often.

Anyway, for what it's worth, these are my feelings after hearing the album a few times. I believe this is a legitimate progressive band that needs to be recognized. Hopefully, the things I have talked about will pique your curiosity enough that you will search this album out when it is released. I believe this would be an excellent addition to any prog collection and, with some smoothing out of a few rough edges that I have mentioned, has the potential of being an essential recording. However, hearing the version that I have heard, I would rate this as a strong 4 stars. Very smart musicianship and great production with plenty of variety and dynamics.

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 Last Epic by A.C.T album cover Studio Album, 2003
4.11 | 221 ratings

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Last Epic
A.C.T Eclectic Prog

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Last Epic" is the 3rd full-length studio album by Swedish progressive rock/metal act A.C.T. The album was released through Atenzia Records in January 2003. "Last Epic" was re-released through InsideOut Music in 2007 and thereby given a wider distribution and publicity.

The music on the album is an interesting combination of 70s influenced art rock and a soft type progressive metal. The band are incredibly skilled musicians and pull off both complex rhythmic playing and more mellow type playing too. The vocals are especially impressive with both skillfully executed choirs and harmony vocals. I´m often reminded of the theatrical nature of Queen but actually even more of 10cc. There´s a tongue in cheek kind of humour about the music that points in the direction of the latter mentioned. The progressive metal element isn´t dominant on the album but when it appears the band can actually play some pretty heavy riffs and intriguing instrumental parts. I´m reminded slightly of early Dream Theater in a much more simple form. The predominantly brief instrumental parts are usually cleverly placed in the otherwise predominantly vers/chorus structured tracks. There are several highlights on the album, but I´d mention tracks like like "Wailings From a Building" and the wonderful "Mr. Landlord" as some of my personal favorites.

The sound production is clear, powerful, and detailed and suits the music well. So "Last Epic" is overall a quality release and while I sometimes feel the band could have cut down on the more ballad type tracks in favour of more hard rocking tracks (which is where I feel the band excel), even the ballads are a means to an end and upon conclusion "Last Epic" is a pretty well balanced album with a good flow. A 4 star (80%) rating is deserved.

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 The Gift of Awareness by P.A.W.N. album cover Studio Album, 2014
3.35 | 9 ratings

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The Gift of Awareness
P.A.W.N. Heavy Prog

Review by b_olariu
Prog Reviewer

3 stars A young and intresting band from Germany little know so far named .P.A.W.N formed around 2002 from ashes of a ghotic metal band Querimonia. The band manageing to release their debut this year 2014 named The gift of awarness. Well, I like what I've heared here, really, specially the instrumental section are quite great, well done and the sound is crystal clear. After tragical death of guitarist Daniel Müller-Ramien in 2104 , the band remaing as a duo with a help from female vocalist Lisa-Marie Rothe here and there. The album is lenghty, the pieces are lomg, elaborated, I like very much the guitar sound , has that prog metal feel to it, but in the end P.A.W.N is not an entirely prog metal band. There are some crossover prog elements thrown in, some eclectic moments aswell, all in all good stuff. Is like is combining Dream Theater with Ayreon with Pain of Salvation, etc. I must confess I like more this album then anything Pain of Salvation released after Be album ten years ago. The gift of awareness worth only for the title track, is 26 min a tour de force for the band where are incorporated all the great elements this band has in this moment. The guitar sound and manner of playing is truly inspired, the drums aswell, all is great and well made. Another worthy track is the opening Sailors of the Sky, the best apart of Lisa Marie Rothe, nice vocal passages. If the lowest thing here on this release are the vocal arrangements, are far from great , but not really bad, only uninspired and usualy made. The instrumental passages are awesome and great. All in all a nice album and for that reason 3 stares, a good one, maybe rounded to 3.5 here and there.

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  77. Flucktrot (289)
  78. OpethGuitarist (287)
  79. progaardvark (286)
  80. daveconn (266)
  81. Trotsky (264)
  82. Muzikman (263)
  83. clarke2001 (254)
  84. The T (253)
  85. Slartibartfast (250)
  86. Second Life Syndrome (248)
  87. Andy Webb (234)
  88. Bj-1 (231)
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  90. js (Easy Money) (222)
  91. poslednijat_colobar (220)
  92. The Crow (216)
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  98. aapatsos (206)
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  100. TheGazzardian (196)
Remaining cache time: 455 min.

List of all PA collaborators

TOP PROG ALBUMS
  1. Close To The Edge
    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. Nursery Cryme
    Genesis
  13. Pawn Hearts
    Van Der Graaf Generator
  14. Per Un Amico
    Premiata Forneria Marconi (PFM)
  15. Moving Pictures
    Rush
  16. Hybris
    Änglagĺrd
  17. Larks' Tongues In Aspic
    King Crimson
  18. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  19. Mirage
    Camel
  20. Hemispheres
    Rush
  21. Moonmadness
    Camel
  22. Si On Avait Besoin D'Une Cinquičme Saison
    Harmonium
  23. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  24. Relayer
    Yes
  25. The Road Of Bones
    IQ
  26. Darwin!
    Banco Del Mutuo Soccorso
  27. A Farewell To Kings
    Rush
  28. Birds Of Fire
    Mahavishnu Orchestra
  29. Kind Of Blue
    Miles Davis
  30. In A Glass House
    Gentle Giant
  31. Crime Of The Century
    Supertramp
  32. Ommadawn
    Mike Oldfield
  33. The Silent Corner And The Empty Stage
    Peter Hammill
  34. Still Life
    Opeth
  35. In a Silent Way
    Miles Davis
  36. Hot Rats
    Frank Zappa
  37. Aqualung
    Jethro Tull
  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. A Trick of the Tail
    Genesis
  51. Still Life
    Van Der Graaf Generator
  52. Rock Bottom
    Robert Wyatt
  53. The Snow Goose
    Camel
  54. In The Land Of Grey And Pink
    Caravan
  55. Second Life Syndrome
    Riverside
  56. Time Control
    Hiromi Uehara
  57. Zarathustra
    Museo Rosenbach
  58. The Power And The Glory
    Gentle Giant
  59. Arbeit Macht Frei
    Area
  60. Octopus
    Gentle Giant
  61. Free Hand
    Gentle Giant
  62. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  63. Hatfield And The North
    Hatfield And The North
  64. Viljans Öga
    Änglagĺrd
  65. Blackwater Park
    Opeth
  66. Radio Gnome Invisible Vol. 3 - You
    Gong
  67. Misplaced Childhood
    Marillion
  68. K.A
    Magma
  69. The Inner Mounting Flame
    Mahavishnu Orchestra
  70. Spectrum
    Billy Cobham
  71. Space Shanty
    Khan
  72. Rubycon
    Tangerine Dream
  73. Mëkanďk Dëstruktďẁ Kömmandöh
    Magma
  74. The Perfect Element Part 1
    Pain Of Salvation
  75. L'isola di niente
    Premiata Forneria Marconi (PFM)
  76. Pale Communion
    Opeth
  77. Elegant Gypsy
    Al Di Meola
  78. Felona E Sorona
    Le Orme
  79. In Absentia
    Porcupine Tree
  80. We'll Talk About It Later
    Nucleus
  81. Ghost Reveries
    Opeth
  82. Emerson Lake & Palmer
    Emerson Lake & Palmer
  83. Acquiring the Taste
    Gentle Giant
  84. Doomsday Afternoon
    Phideaux
  85. Fear Of A Blank Planet
    Porcupine Tree
  86. Hamburger Concerto
    Focus
  87. Script For A Jester's Tear
    Marillion
  88. Lateralus
    Tool
  89. Crimson
    Edge of Sanity
  90. The Snow Goose (Re-recording)
    Camel
  91. Bitches Brew
    Miles Davis
  92. Memento Z Banalnym Tryptykiem
    SBB
  93. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  94. ~
    iamthemorning
  95. Anabelas
    Bubu
  96. Operation: Mindcrime
    Queensr˙che
  97. Symbolic
    Death
  98. De-Loused In The Comatorium
    The Mars Volta
  99. Part the Second
    Maudlin Of The Well
  100. Caravanserai
    Santana

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

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