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 Sweet Nothings by PLINI album cover Singles/EPs/Fan Club/Promo, 2013
2.67 | 8 ratings

Sweet Nothings
Plini Jazz Rock/Fusion

Review by memowakeman
Special Collaborator Honorary Collaborator

2 stars Australian majestic musician Plini has released so far a trilogy of EPs, being 'Sweet Nothings', launched in 2013, the second one of those. For those who don't know, this young man has been creating extraordinary music in this decade, but all of them spread in singles or EPs, not in full-length albums yet, something I hope he consider in the near future because I am sure that his quality and creativity will surprise us with a memorable album.

Meanwhile, it is possible to enjoy his music in the diverse online platforms such as bandcamp, where I particularly listen to his releases. Plini composes and practically plays everything here, though there are a couple of guitar players as guest musicians, along a piano guy on the final track. Well, Sweet Nothings has four compositions that make a total time of 16 minutes. It starts with 'Opening', whose jazzy flavor appears since the first seconds, however, later when that virtuoso guitar enters it adds a djent sound for a brief moment. The song prevails in that jazzy realm, delighting me a lot.

With 'Tarred & Feathered' Plini shows off again his amazing skills as composer and performer; the music has now a tendency to post-rock but also a bit of djent lives there as well. Besides guitars, which are evidently the main element, here I like a lot the atmosphere created by keyboards, which is more evident after 2 minutes where the song becomes more emotional. 'Away' starts with a lot of technique and string-complexity, again post-rock meets djent but in this track the guitar is played faster and with endless notes, so I think the best way to describe it would be math rock.

The final song is 'Sweet Nothings' which is another great composition. The melody is great, progressive jazz with some post rock hints, a constant piano and wonderful guitar riffs. It has several time changes, and after three minutes it becomes heavier, more in the metal vein. So it is a challenging composition that once again let us know about the fascinating skills of Plini, a musician that has kept me mesmerized in the last couple of weeks.

Now don't pay attention to my rating, because as a reviewer I have my "own rules" which don't allow me to rate releases under 20 minutes with more than 2 stars, unless it is the EP or single of my life.

Enjoy it!


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 Lunatica by LAOZI album cover Studio Album, 2013
3.54 | 3 ratings

LaoZi Progressive Electronic

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars I really love to belong to this endless progressive rock scene, because it is always a pleasure as a listener and reviewer, to find music from all around the globe thanks to the internet facilities. This time I was contacted by Sandro Tskitishvili who fortunately shares the same love I have for Vangelis' Mask. He is a man from Georgia, something that made me feel even more interested because I didn't know a single person or a single song that came from that country, so talent has no boundaries. He told me about his project called LaoZi and introduced me to it with his latest studio album released in 2013 and entitled Lunatica; an album that features five compositions and a total time of 35 minutes.

LaoZi offers a pretty nice electronic trip full of synthesizers, atmospheres and nuances, I don't know if this is the line that he has been following through his 7 studio albums or if this latest one represents a change on his music direction, I don't know, but I must find it out someday. Lunatica opens with "Set Me Free at Midnight", a 7- minute song in which two guest musicians appear, one playing moog and the other guitar. It starts slowly, creating a relaxing mood in which one can close the eyes and feel at peace. After two minutes and a half there are electronic drums and the music changes a little bit, and all gets better at minute four where the guitar appears. The music might be in the vein of Edgar Froese's solo albums or in some of the Vangelis' ones.

"23" is a short piece that has a completely different feeling. It brings to my mind both classical music and folk, I think it is a cute mixture of those genres. A nice short song that works as an interlude of the opener one and "Radiation". This one has a darker mood, I imagine myself walking inside a dark place where light vanishes and where I have to find out my way trusting in my other senses. There is a soft but deep sense of fear in the first part this track, some tension and constant warning; though after three minutes it changes and now a sense of hope appears, so light can be perceived once again.

"Lightwalk" has a bit of the second song's essence, a folkish atmosphere created by a flute sound and some classical music reminiscences. There is a harpsichord-like sound that can be better perceived, but there is always a soft spacey atmosphere as background. In moments it reminds me of Rick Wakeman's Aspirant trilogy. Finally, the "Lunatica Suite" appears. It is a 13-minute song that starts with the sound of rain and some piano notes giving a sense of melancholy. The music continues with the same mood; after three minutes it stops and restarts with a child-like melody that might be melancholic as well, or even sad. I must say that if you are in the mood, you will like this, otherwise, I think there is a risk for you to skip it or feel it terribly slow, at least in the first five minutes. Later it becomes more interesting with fast piano notes and a sound that now is closer to Vangelis.

Lunatica is a very nice album under the electronic prog label, I think it is easier to enjoy in moments of tranquility, or when you need something to calm down yourself, however, though the third song was my favorite one, I don't think there is a true highlight here. Thanks again Sandro for writing and introducing me to your music, hope more people find it interesting and listen to it.

Enjoy it!


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 Warhorse by WARHORSE album cover Studio Album, 1970
3.59 | 46 ratings

Warhorse Heavy Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'Warhorse' - Warhorse (82/100)

Looking back on it today, there is scarce little to distinguish Warhorse from the early history of a little band called Deep Purple. Where Purple's subsequent success is widespread enough to have made any description of it redundant, Warhorse came into being when Ritchie Blackmore fired bassist Nick Simper, who was canned alongside vocalist Rod Evans. Many comparisons could actually be drawn between this and Evans' Captain Beyond. After being kicked by Blackmore, both went on to make hard rock that was even better than the early Purple observations. Warhorse may have only released one 'great' album (their follow-up Red Sea wasn't as solid) but this self-titled is among the finest classic hard rock albums I've ever heard.

I find the given reasons for Nick Simper's dismissal from Deep Purple to be fairly ironic, in hindsight. Ritchie Blackmore believed Simper's bass playing was too old fashioned for the band's direction. How strange, then, that Warhorse sounds even heavier than the Purple records Nick was a part of! Although I've found the 'proto-metal' label ineffectual when tossed at early 70s hard rock bands, Warhorse's debut warrants the label more than most. These guys weren't tapping into some yet-unprecedented level of distortion, but there are songs that foreshadow trends that were yet a decade away. If you're looking to see how hard rock would eventually become heavy metal, listen to "Vulture Blood". In addition to its impressive rock energy, the twin-harmonies and time signature change sounds like something Iron Maiden would have done with their own debut. A lot of the hard rock from this era sounds dated, even obsolete in the context of musical development. Though Warhorse still sound very much a part of their time, there is intelligence in their design that had me excited before the first song was even done.

If an album's quality may be determined by the strength and impression of its songwriting, Warhorse is in fine standing. Despite sticking close to Deep Purple-variety hard rock, Warhorse crafted a set of solid, memorable tunes here, most with their own unique pull to them. "Vulture Blood" is an essential hard rock song, and I might say the same of "Woman of the Devil", a song that easily rivals Black Sabbath for the ominous spook factor. Above all, my favourite song here might be "Solitude", powerful ballad with a much deeper vulnerability than hard rock machismo would like to allow. Warhorse may hit harder than many of their contemporaries, but they also feel harder as well. The album still has its bluesier exploits like "St. Louis"; it doesn't sound so coherent with the rest of the album, but they do it well.

While the Purple connection tends to have the effect of listeners focusing on Simper's contributions more than all else, Warhorse were a remarkably tight and well-balanced act on this debut. Frontman Ashley Holt can muster a quasi-operatic belt as much as rock star bravado, and his performance on "No Chance" and "Solitude" is some of the most passionate singing I've heard in hard rock. Warhorse won't writing their own rulebook the same way Deep Purple was, but in a genre with an almost overwhelming tendency for producing mediocrity with a short shelf life, Warhorse stand out. Despite their relative obscurity compared to the bands they're often associated with, this debut is practically essential listening for the genre, and an otherwise great album at that.


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 Heavy Weather by WEATHER REPORT album cover Studio Album, 1977
3.63 | 201 ratings

Heavy Weather
Weather Report Jazz Rock/Fusion

Review by Tarcisio Moura
Prog Reviewer

2 stars Sometimes you hear a lot about an album but you simply can´t get a hold of it for years. That´s exactly what have happend to Weather Report´s Heavy Weather in my case. A lot of people talked about it and I heard it was a kind of classic jazz-rock/fusion. Recently I finally got it on CD and Imust say I was not impressed. Condiering the talents of the people involved, it sounded bland, tamed, popish and, frankly, a bit boring.

Of course there are good moments like the second track A Remark You Made (a song Kenny G must have heard a million times when he was young) an their biggest success, Birdland. The inclusion of a live track Rumba Mama, which is a simply drum solo with some goofy spanish words thrown in, is a mystery. The rest is nice: Jaco Pastorius bass playing is realy awesome. I also enjoy Wayne Shorter sax a lot. But in the end I found everything here too slick and predicable.

Maybe I was expecting too much. Maybe it was innovative for the time and it got copied a lot. Maybe it is not as representative of their best work as I was told. I don´t know. What I do know is that there was much better and more exciting records in that genre during that year. Guess I´ll have to look for other WR stuff to see if I change my mind over their sound. But Heavy weather, despite its title, has nothing really heavy on it. On the contrary, is very light. Too light.

Rating: 2 stars.


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 Refuel by ROCKET SCIENTISTS album cover Studio Album, 2014
3.94 | 16 ratings

Rocket Scientists Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

4 stars The Rocket Scientists is a group of american musicians who balance their sound between Erik Norlander´s symphonic prog tendencies and Mark McCrite pop sensibilities. And it seems that, in the end, McCrite´s influences are more proeminent than Norlander´s. At the excellent, all instrumental, EP Supernatural Highways that preceded Refuel in a few months, wheren you can find the band in full blown symphonic prog mode, I was expecting more of the same in their next full lenghth. But that was not to be. Definitly, this is a much more "song" oriented stuff like most of their previous works.

Please, don´t get me wrong: these are surely sophisticated and well crafeted tunes, with several styles and moods. Besides, Norlander´s majestic keyboards are all over them. The band even brought some novelties like a brass trio to some tracks. It was also nice to see Don Schiff showing off his talents on cello, violin and mandolin, besides his already impressive work on the N/S Stick and bass. In other words: with all the pop leanings on much of the songwriting, you´ll still finds lots of progressive stutff here. Even some jazz and latin music bits can be heard here and there.

My only gripe about this record is that, after the monumental 26 minute epic title track of the EP, there are only three instrumentals on Refuel, all of them short ones. In fact the longest song here barely hits the 8 minute mark. Again, this is not a bad sign, and overall the songwriting on this album is excellent. There are no fillers. Still, considering the tremendous talents of all involved, they could have been a little bolder and take more risks. Where is the fuel to propel this rocket higher to the stratosphear?

If you like melodic prog rock with terrific performances and tasteful arrangements, this is surely for you. On the other hand if you´re looking for long instrumental passages, improvisations and jams, you might get disappointed. For my tastes, I liked Refuel a lot.

Rating: 4 stars.


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 Years Past Matter by KRALLICE album cover Studio Album, 2012
3.31 | 7 ratings

Years Past Matter
Krallice Tech/Extreme Prog Metal

Review by AndyJ

3 stars Krallice's 'Years Past Matter' is the fourth album from this very obscure and totally uncompromising progressive black metal band from New York City. This is an album which grabs you by the scruff of the neck and never lets go or gives you much time to breathe. The music on this record is utterly suffocating at times.

This is the only album I've heard by Krallice, but I'm led to believe that their other three studio albums are very similar to 'Years Past Matter'. One thing is for certain - Krallice are definitely a band for the brave listener. Without an extensive background of listening to extreme metal this might be dismissed purely as noise. To be honest even with an extensive background of black and death metal experience I consider this album to be right on the edge of my listening threshold.

The music here is extremely dense. It is primal, raw and totally crushing. The guitars form an impenetrable wall of sound made from ultra-fast tremolo picking in true black metal style. In some ways it reminds me of the early work of Ulver, but taken to its extremes. At first the music in 'Years Past Matter' might appear totally unstructured - and in many ways it is. How they can play this live I'll never know - but the diligent listener will also find some really amazing musical sections buried within the cacophony. But reaching them can prove a challenge! Pressed for a genre I'd probably class this as extreme avant garde progressive black metal - what a mouthful!...

As I've said the biggest problem I have with the album is the meandering lack of structure. There aren't really any hooks to pull you into this one. Maybe I'm getting old and today's young extreme metal fan will think this record to be pretty tame. Its had perhaps a half-a-dozen spins, which isn't really enough to write a review from but I'm not entirely sure I want to listen to this album any-more. It might be the most amazing extreme prog-metal release ever but I've run out of patience to try and decipher the music on offer here.

Anyway, to try and assign a rating to this album is going to be tough. Its definitely not a 1 or 2 star record as the music here is definitely very skilful, but I also can't give it more than 3 stars. There are clever moments here, and who knows this might grow on me some more if I can continued to listen enough times but as for right now I'll give this one 3-stars... But I'd definitely encourage anyone into extreme metal to try it out, you never know - it might click for you and become an instant masterpiece!


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 Disconnect by WESLEY, JOHN album cover Studio Album, 2014
3.15 | 33 ratings

John Wesley Crossover Prog

Review by Prog Leviathan
Prog Reviewer

3 stars John Wesley, known mostly to prog fans as a frequent Porcupine Tree collaborator, has created in Disconnect a fine collection of artistic, melancholy, and guitar heavy songs that show off his talents as song writer/singer/guitarist. Highly emotive and electric, Disconnect resonates with angsty melodies and guitar solos; not especially experimental or "prog", but nonetheless soulful and powerful.

In general, we could consider Wesley's songwriting as being a step above pop-rock standards. Songs on Disconnect are typically at the 5 minute mark, with a fair bit of variety. The Porcupine Tree influence is apparent, but this is definitely a Wesley project, and not a Steven Wilson imitation. We're given a range of tempos, dynamics, and moods; sometimes aggressive, other times lush and full.

Thematically Wesley's lyrics on Disconnect are dark, dealing with topics such as the loss of direction in one's life, failing to live up to moral expectations, walking away from those that love us, and nostalgia. Not exactly going to leave you in an upbeat mood, or strike you as being especially well written. The lyrics are fairly conventional; however, Wesley is a great singer, who soulfully sets the mood of the album with his distinct tenor.

Being known for his guitar work with Porcupine Tree, Wesley's playing here may be a key point of interest. In general, he's really good. Disconnect is heavy without being oppressive, electric without being shrill, creative without being pretentious, and emotive without bathos. There is an understatement to the Wesley's playing that gives the songs sort of a hand-crafted feel. On the flip-side, he doesn't dazzle us with virtuosity or complexity. Most of the songs are mid-tempo, and Wesley's soloing has sort of a meandering and bluesy feel. Enjoyable, but not going to grab hold of those coming to the show expecting to be blown away with guitar fireworks. Wesley's backup band compliments the tone of the album well, but the same commentary applies to them as well - there isn't much here that will make prog fans stand up and applaud.

So overall an enjoyable art-rock diversion from a solid singer/songwriter/guitarist. Disconnect will probably appeal to some more than others, especially those who (ironically) connect with the songs' theme of disconnection, though it may find only occasional playing in a prog fan's library.

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


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 La Crudeltà Di Aprile by UNREAL CITY album cover Studio Album, 2013
4.24 | 272 ratings

La Crudeltà Di Aprile
Unreal City Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

4 stars This is UNREAL CITY's debut album released in 2013 and it certainly created a buzz back when it came out. I really like the cover art as well as the picture of the band in the liner notes. Unfortunately all of the written notes are in Italian so I can't relay any information from there. I really like the fact that I can hear some of the classic RPI bands at times when listening to this album but there's also a modern flavour in the Neo vein at times. So while i'm very impressed with this recording i'm also not blown away by any means. Great singer here singing in Italian and lots of mellotron which I appreciate. Some guest violin on a couple of tracks as well.

"Dell'Innocenza Perduta" opens with piano as outbursts of power come and go. They then get in this groove until it settles back before 2 minutes then the laid back vocals arrive. Mellotron follows and it will come and go. Some nice guitar after 3 1/2 minutes then it all picks up 5 minutes in sounding like classic RPI with the drums and organ out front. Violin 6 1/2 minutes in to the end. "Atlantis(Conferendis Pecuniis" starts with mellotron as synths, piano and drums join in. The guitar starts to solo slowly over top. Vocals before 2 1/2 minutes as it settles back but then it quickly turns more powerful. Great sound 3 1/2 minutes in with the vocals and mellotron shining bright. A cool instrumental section follows then vocals are back after 5 minutes. Lots of synths and vocals in the second half of this song. "Catabasi(Descensio Ad Inferos)" features lots of organ and drums to start as vocals and mellotron join in. It kicks in at 3 minutes with the violin over top. Passionate vocals follow with a heavy sound. A calm before 5 1/2 minutes as the mood changes completely with fragile vocals and a lighter sound. I like the guitar after 7 minutes as it reminds me of Conny Veit's playing.

"Dove La Luce E Piu Intensa" is uptempo at first with lots going on. It settles with mellotron a minute in as vocals follow. It picks up again at 3 minutes but this is different from the beginning of this track. Another change after 4 minutes, vocals too. It picks up again with vocals a minute later. "Ecate(Walpurgisnacht)" opens with some gorgeous mellotron as piano and drums join in. It starts to pick up, guitar too. Vocals after 2 1/2 minutes as it has settled back some. Mellotron too, as we get a light and catchy sound. An interesting soundscape after 5 minutes as it turns dramatic then it picks up again around 7 minutes with vocals. A heavy ending to this one. "Horror Vacui" is the almost 18 minute closer. Synths and a fairly heavy sound a minute in as the mellotron rolls in. Catchy stuff. I like the piano/mellotron combo that comes and goes. Some aggressive guitar before 4 1/2 minutes followed by vocals as it settles, lots of synths too. There's an excellent pastoral section from around 10 1/2 minutes to 14 minutes when the guitar, drums and mellotron spice things up.

Without question this is one of the better modern RPI bands out there and this their debut is a very solid 4 stars in my opinion.


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 In Extremis by THINKING PLAGUE album cover Studio Album, 1998
4.31 | 129 ratings

In Extremis
Thinking Plague RIO/Avant-Prog

Review by marcobrusa

5 stars First time i thought it was crap. Second time too. Third time i was maybe more intrested because of some moments but nothing more. And after listening a few more times, it began to hit me. This is one of those albums that needs at least ten listenings to experience it properly. First, production is practically perfect (except for the compression maybe... sometimes instruments sound packaged). Second, this album has a variety of moods and instrumentation in every track that coud seem a little excessive. The truth is that the compositions are so good and different that instead of bothering me (like the first time i listend to this album) they began to attract me. Everything is complex all the time. After several listenings y developed the taste for the dissonance in these songs! This is a necessary album for the ones that are looking for obscure feelings through music.


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 Time Control by UEHARA, HIROMI album cover Studio Album, 2007
4.32 | 180 ratings

Time Control
Hiromi Uehara Jazz Rock/Fusion

Review by marcobrusa

4 stars I love Hiromi. I started with this album. It has guitar and that attracted me, however, the most important thing about this excellent album is that Hiromi created beautiful compositions and she is an outstanding piano player. Before listening to this album i had very little interest in jazz. Hiromi made feel interested in jazz. And that is because she mixed it with other ingredients. Listen to that piano, those grooves! Sentimental songs are lovely too. Everything is very well made and produced except that personally i thing the drums lack hi end. An album that opened my mind to jazz for being accesible, groovy, funny and sentimental.


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    Jethro Tull
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    Pink Floyd
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    King Crimson
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    King Crimson
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  21. Relayer
  22. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  23. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  24. In A Glass House
    Gentle Giant
  25. Darwin!
    Banco Del Mutuo Soccorso
  26. Si On Avait Besoin D'Une Cinquième Saison
  27. A Farewell To Kings
  28. Kind Of Blue
    Miles Davis
  29. Birds Of Fire
    Mahavishnu Orchestra
  30. Aqualung
    Jethro Tull
  31. The Silent Corner And The Empty Stage
    Peter Hammill
  32. Crime Of The Century
  33. Hot Rats
    Frank Zappa
  34. Still Life
  35. Ommadawn
    Mike Oldfield
  36. Meddle
    Pink Floyd
  37. Depois Do Fim
  38. In a Silent Way
    Miles Davis
  39. Hand. Cannot. Erase.
    Steven Wilson
  40. H To He, Who Am The Only One
    Van Der Graaf Generator
  41. Images And Words
    Dream Theater
  42. Permanent Waves
  43. The Yes Album
  44. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  45. The Lamb Lies Down On Broadway
  46. Scheherazade And Other Stories
  47. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  48. The Road Of Bones
  49. The Snow Goose
  50. The Grand Wazoo
    Frank Zappa
  51. Mëkanïk Dëstruktïẁ Kömmandöh
  52. Still Life
    Van Der Graaf Generator
  53. One Size Fits All
    Frank Zappa
  54. A Trick of the Tail
  55. Rock Bottom
    Robert Wyatt
  56. In The Land Of Grey And Pink
  57. Free Hand
    Gentle Giant
  58. Zarathustra
    Museo Rosenbach
  59. Octopus
    Gentle Giant
  60. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  61. Arbeit Macht Frei
  62. K.A
  63. The Power And The Glory
    Gentle Giant
  64. Second Life Syndrome
  65. Blackwater Park
  66. In Absentia
    Porcupine Tree
  67. Spectrum
    Billy Cobham
  68. L'isola di niente
    Premiata Forneria Marconi (PFM)
  69. Misplaced Childhood
  70. Felona E Sorona
    Le Orme
  71. The Inner Mounting Flame
    Mahavishnu Orchestra
  72. Emerson Lake & Palmer
    Emerson Lake & Palmer
  73. Viljans Öga
  74. Acquiring the Taste
    Gentle Giant
  75. Hatfield And The North
    Hatfield And The North
  76. Ghost Reveries
  77. Bitches Brew
    Miles Davis
  78. Fear Of A Blank Planet
    Porcupine Tree
  79. Space Shanty
  80. Radio Gnome Invisible Vol. 3 - You
  81. Pale Communion
  82. Rubycon
    Tangerine Dream
  83. Hamburger Concerto
  84. The Perfect Element Part 1
    Pain Of Salvation
  85. Doomsday Afternoon
  86. Script For A Jester's Tear
  87. Elegant Gypsy
    Al Di Meola
  88. Crimson
    Edge of Sanity
  89. If I Could Do It All Over Again, I'd Do It All Over You
  90. Lateralus
  91. Voyage Of The Acolyte
    Steve Hackett
  92. We'll Talk About It Later
  93. Grace for Drowning
    Steven Wilson
  94. Part the Second
    Maudlin Of The Well
  95. Anabelas
  96. Ocean
  97. Choirs Of The Eye
    Kayo Dot
  98. Caravanserai
  99. Leftoverture
  100. Uomo Di Pezza
    Le Orme

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


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