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 Nine Paths by KNIGHT AREA album cover Studio Album, 2011
3.69 | 77 ratings

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Nine Paths
Knight Area Neo-Prog

Review by steelyhead

4 stars This is the first CD I have of this band and boy! I was very surprised of the music they play. Let's remember that everything now It's a derivative but even in derivatives there are degrees of orginality. This is a record you could use to spin It two or three times just to get the sound travel right throught you and most of the songs are plain perfect but there are some fillers to mention. One of the fillers is the rock ballad "Please come Home" with the feminine touch but there are moments, I swear to God, I was listening to Tony Kaye play like It was still 1972. Check this out It is a mix of Genesis and Dream Theater but you'll enjoy It thoroughly the way I did.

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 L'Egitto Prima Delle Sabbie by BATTIATO, FRANCO album cover Studio Album, 1978
1.71 | 21 ratings

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L'Egitto Prima Delle Sabbie
Franco Battiato Rock Progressivo Italiano

Review by Guldbamsen
Forum & Site Admin Group Site and Forum Admin

2 stars Gazing at the sun

As a big fan of Franco Battiato and his ever changing sonic routes, this album completely threw me off balance. The man has always done things his own way, but the transition he made from his first four progressive rock albums to the minimalist approach found on subsequent albums made my head spin. I guess you could spot certain Stockhausen influences on an album like 'Clic', but they in no way prepared you for the white shimmering nothingness of this, his final minimalist installation, 'L'Egitto Prima Delle Sabbie'.

This album consists of two tracks performed solely on the piano. The opening title track instantly drives home one unequivocal fact: 6 piano notes repeated ad nauseum to the edge of infinity does not make for a cosy dinner soundtrack, and the girl sitting opposite you will most likely kindly ask you to put on an album that isn't stuck in a god forsaken vinyl groove.

There is method to his madness though. The echoing ripple effect of those 6 notes becomes increasingly hypnotic as the track unfolds. New slightly different shadings find their way into the music with a small change in the pauses between the clinkering, as well as a slight difference felt in the harmonics. Getting deeper and deeper into this raw piano abyss, you suddenly start questioning your sanity, sofa and sound system. It lulls you into a huge white landscape much like a Scandinavian wilderness drowned in sparkly snow - feeling as if you've gazed into the sun for far too long with small blobs of blue and purple forming around the corner of your eye in kaleidoscopic patterns and swirls.

The second cut 'Sud Afternoon' continues in it's predecessor's footprints, only here you get yet another acoustic piano chiming in. The emphasis on repetition and infinitely minuscule enhancement of a certain note still rules the coop, challenging the listener to be abnormally patient and to make something out of the, almost, blank canvas presented to him. It's a gift handed over to you, an abstract one at that.

I think of Battiato as a strange Italian take on Bob Dylan, no really. While they couldn't be further from each other sonically, they both have made their careers out of music without resolving to compromises. It comes from within...always. No sucking up to the fans - no interest in what makes the dollars flow - only a strict artistic focus on the musical journey of themselves, where they want to go next...and how. It may not be to everyone's taste (not even close!), but it's honest and pure. Making music starts with a fire in your stomach. Realising the music without enslaving oneself to certain principles of the day, certain sounds and trends, takes incredible amounts of balls and brains. Something dear ol Franco's never been in shortage of.

This record came out during punk and disco's heyday, and while it sported some of the same characteristics as the ascetic purity of the former - removing itself completely from the wild and shape-shifting days of his early releases, it still manages to convey a similar artistic prowess.....only conveyed majestically and repeatedly in white blinding light notes from a piano.

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 A Forest of Fey by GANDALF'S FIST album cover Studio Album, 2014
4.08 | 61 ratings

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A Forest of Fey
Gandalf's Fist Neo-Prog

Review by Calzino

4 stars Well what a surprise! Gandalf's Fist did it again! A Forest of Fey - I've had it on iTunes for about a week now and there's a lot of different sounding tracks here, each of which I have a different opinion but with a 100 words limit I highlight the three which I like best.

Forest of fey: Largely instrumental with more low whistles. Some dark lyrics and a contrasting catchy chorus that was stuck in my head for most of yesterday. Tempo changes keep things interesting.

Circus in the Clearing: Man what a song! I can hear some mellotron wheeling away in the background with pshychadelic distorted vocals and crunching guitar. A really trippy midsection that I really dig with some Bouzouki again provided by Donockley followed by some wakemen- style moog! Really great! More of this please!

Forest Rose: If this isn't an homage to Jethro Tull I don't know what is ? breathy vocals, folky acoustics and flutes-a-tooting left right and center! Whimsical for the most part but has quite a punchy, almost commercial chorus?. Fades seamlessly into: Return from the tournament: this is again the return to the motif we encountered in the circus in the clearing but this time 100% folked up! Donockley again on Bouzouki is accompanied by acoustics (and maybe mandolin?) with lead vocals by Gryphon's Dave Oberle'. What a blast from the past! It made me want to go and give "the unquiet grave" another spin!

All in all, recommended! Not yet on par with the great ancients like Jethro Tull but close!

Edit: got it all wrong! More words!

So here's to the other songs:

Childhood Ghosts: this is essentially an opener/narrative piece, it's rather dark and broody and sets the scene nicely? very malevolent sound effects add to this. There are some flanged (phased?) vocals towards the end that forshadow the mood of the record to follow? sounds of footsteps siege nicely into?

Gardens of the Lost: Great female vocals and acoustic guitar passages. The vocalist here reminds me of Kate Bush during the intro but then takes on a different tone later in the song. Some heavy guitar riffing and flute seem to, bafflingly, recall both thin lizzy and Jethro tull at the same time. Whistles from Troy Donockley add a cool 'celtic' vibe ? probably my favourite track on the album

Figure speaks: Really a narrative track?a low voice that recalls the intro to "the number of the beast" moves the story on onto the next song? The world we created: Interesting track that mixes spacey/verby vocals and Floyd-style guitar with a catchy female hook. Interesting song and very different from everything else in the set.

Blood for a royal pardon: Another narrative track which does it's job quite well. Short vocal section towards the end. Drifter on the edge of time: Another different track ? this time led by some excellent interplay between a male verse and female chorus. This plays to me like the ballad response to 'circus' ? very nice, almost dream theater in places and a groovy little synth solo from Clive Nolan at the end ? probably tied for my second favorite here!

Return from the tournament: this is again the return to the motif we encountered in the circus in the clearing but this time 100% folked up! Donockley again on Bouzouki is accompanied by acoustics (and maybe mandolin?) with lead vocals by Gryphon's Dave Oberle'. What a blast from the past! It made me want to go and give "the unquiet grave" another spin! Stories old and stories told: Another guest vocalist here in the guise of Arena's John Mitchell ? This recalls latter era genesis as well as returning to the themes set up in the first song ? very clever. The song switches to a minor key with the arrival of female vocals and has a very mournful ending ? up there with "drifter" for my second favorite! A poison tree ? very moody closer using the lyrics from a William Blake poem. The vibe again is very different and really seeks to end the story on a cliff hanger. Its short but sweet and then brings in some narrative parts from the intro ? everythings comes full circle!

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 Commercial Album by RESIDENTS, THE album cover Studio Album, 1980
3.67 | 56 ratings

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Commercial Album
The Residents RIO/Avant-Prog

Review by TCat

3 stars What would happen if The Residents decided to take their music and attempt to make it pop? And then what if they decided to take out all of the repetition? What would happen? This album would happen. 40 songs all at just over 1 minute long. If you get the re-issue then you get more of the same in bonus tracks.

The Residents are so weird! That's Barbara Streisand and John Travolta's faces on the cover.

If this album sounds intriguing, then you will probably enjoy it.

I would love to elaborate more but that would mean I would be repeating myself. Not only that, but my one minute has elapsed. Feels incomplete right? There's your review.

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 Carrion Skies by FEN album cover Studio Album, 2014
4.05 | 2 ratings

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Carrion Skies
Fen Experimental/Post Metal

Review by Conor Fynes
Prog Reviewer

4 stars 'Carrion Skies' - Fen (75/100)

Any discourse I've had regarding 'post-black metal' doesn't last long without me bringing up Fen's second album, Epoch. The popular belief seems to be that their debut The Malediction Fields was a better record, but I stand by Epoch not only as Fen's best, but one of the (if not the) greatest post-black album ever made. To me, it was the fusion of precise songwriting and sonic vastness; whereas most bands would be lucky to succeed at one or the other, Fen were a rarity. To date, Epoch is one of that handful of albums that still begs me to listen to it, years since I first heard it.

There's no denying that unbeatable precedent has weighed heavily on the way I received Dustwalker, its 2013 successor, and now Carrion Skies. At first I loved Dustwalker, but a lacklustre second side has since dimmed my approval. I don't mean to infer that Carrion Skies is a bad album by any means, but with Fen's latest, my strongest reaction is one of disappointment, for the widening schism between the my idealized imagining of Fen, and the work they've actually been doing. Yet, Carrion Skies deserves to be heard; its merits nonetheless outreach its less subjective shortcomings, and though it falls short of the consistency and excellence I keep hoping to hear from this potentially world-class act, there are more than enough flashes of brilliance on the album to excuse Fen's less inspired moments.

In most senses, Carrion Skies represents a continuation of the approach and execution of Dustwalker. Once again, Fen are blessed with a pleasantly 'earthy' production, perhaps a nip murkier than Dustwalker, conjuring swampy images of the fens for which the band was so-named. If Epoch represented the aether and Dustwalker evoked earthly hardiness, let Carrion Skies be seen as their swampy equivalent; earth marred with the muddling effect of water. These superfluous associations with nature are unnecessary and pedantic, but it's only to Fen's credit that the images are evoked in the first place.

Musically, Carrion Skies is perhaps more riff-based than its predecessors, but the sound is instantly recognizable. Atmospheric black metal (with muddy reverb aplenty) and effective post-rock segues are once again the breadwinners of Fen's style. I might have hoped to hear some greater stylistic innovations over the course of four albums, but with a rare blessing of an already-identifiable style, switching things up is by no means an immediate concern for Fen. As such, most of my thoughts relating to the execution of Carrion Skies could just as well be transposed to any of their other works. I am usually as impressed by The Watcher's snarled vocals as much as I'm impressed by their surroundings. If the given passage feels evocative and purposeful, chances are the vocals will strike me the same way; ditto for whenever they dawdle. Fen's vocals (perhaps save for the effete cleans, about which I've had mixed views throughout their career) sound rightly placed in their black metal setting, although his aggressive delivery places The Watcher more along the lines of John Haughm's (of Agalloch) rasp than the average basement shrieker.

For better or worse, with the exception of the first and last tracks I remember the songs on Carrion Skies for particularly strong passages rather than the composition as a whole. The bending guitar part at the bass- heavy intro to "Our Names Written in Embers Pt. II" is very good. The mid-section of "Sentinels" has great lead riffs and cleverly atmospheric use of clean vocals. The build-up of "The Dying Stars" (accented with a brilliantly effective pick slide as the vocals emerge) possibly stands as the best passage on Carrion Skies. Even the post-rock introduction (a trope usually handled by bands with the same somnolent attitude they would approach wallpaper and how-to knitting videos) feels driven and motivated. With that excellent momentum, it's a shame that "The Dying Stars" seems to lose focus shortly thereafter, diving into a sleepy post-rock segue and re-emerging like a different song altogether. I get that impression from many of the songs here. There are masterpiece-worthy ideas here, but the songs they're part of are rarely perceptive enough to make full use out of them.

"Our Names Written in Embers Pt I" is a memorable track; nowhere near as powerful as Dustwalker's respective opener (and one of my favourite Fen tunes) "Consequence", but it's one such track with a pleasantly defined beginning, middle and end. However, nothing on the album could prepare for "Gathering the Stones". This track brings me back to the shock and awe I felt with Alcest's "Delivrance" earlier this year, a spectacular end to an otherwise underwhelming album. The central motif is run through a series of stages, each one more enticing than the last. It's a gorgeous monument that highlights Fen's skills with melody and atmosphere alike. Unlike much of the album, "Gathering the Stones" identifies its best ideas and actually [%*!#]ing sticks to them. Whereas the rest of the album was generally a frustration in that regard, "Gathering the Stones" sees it realized beautifully. This is the Fen I wanted to hear. If anything, it goes to show that Fen's potential can be seen on every album; the resulting quality of each album is determined by how much of the album is defined by that potential.

In more ways than one, I've linked this album to the recent fare by Agalloch, The Serpent & The Sphere. Not only do the bands overlap stylistically (they've toured together, if I'm not mistaken); in both cases I expected masterpieces in keeping with their past work, and both times the result was an otherwise solid album that fell short of the game-changer I was hoping for. Carrion Skies is the least impressive album from Fen so far, and in a sense, saying that should only serve to emphasize what a strong career they have had up until now.

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 Mediocrazia by RUMORE BIANCO, IL album cover Singles/EPs/Fan Club/Promo, 2013
3.72 | 8 ratings

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Mediocrazia
Il Rumore Bianco Rock Progressivo Italiano

Review by Windhawk
Special Collaborator Honorary Collaborator

3 stars Italian band IL RUMORE BIANCO is a young, recent and enthusiastic unit of musicians with a strong affection for progressive rock in general and the vintage oriented varieties of it in particular. They were formed in 2012, and released their first EP "Mediocrazia" in 2013 as a self released production through the Bandcamp website.

That this is a band that know their classic rock as well as progressive rock is easy to hear on opening piece Tutto on Sugno (Pt. I), a composition that opens in a Deep Purple sounding manner and then expands upon this initial foundation with psychedelic and jazz-oriented details in the nice and suitably theatrical manner many would expect from an Italian band that appears to navigate in vintage oriented landscapes. The more atmospheric laden Il Vestitio Buono expands their sound with an ominous sounding, cinematic tinge that for someone at my age gives rise to associations to a TV-series like Twin Peaks, with hard prog tendencies, psychedelic details very much present and some funky, jazzrock vibes thrown in for good measure.

The darker, more distinctly jazzrock oriented Il Primo Attore is the highlight for me however, here the band takes a step up in terms of creating an interesting, compelling and often haunting mood at least as I experience them, taking on both harder edged, dramatic instances and more delicate and fragile variations of a core jazzrock oriented expression successfully here. The EP then concludes with Totto Un Sogno (Pt. II), an almost epic length affair where the band explores their classic hard rock and progressive rock tendencies alongside their psychedelic tendencies quite nicely and then elevates the total experience by incorporating passages closer to the darker toned, haunting jazzrock tendencies more thoroughly explored in the preceding creation.

In sum an EP that range between the pleasant and the compelling, documenting a band that are highly familiar with vintage era classic rock and progressive rock, and at least as far as I'm concerned at their most successful when exploring darker sounding material with an emphasis on jazzrock using piano, organ and saxophone as the dominant instruments.

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 Painted Mantra by MUSHROOM GIANT album cover Studio Album, 2014
4.00 | 1 ratings

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Painted Mantra
Mushroom Giant Psychedelic/Space Rock

Review by Finnforest
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars An epic instrumental journey

From the land of our own dear Aussie Byrd comes Melbourne's amazing Mushroom Giant. Their roots go back to about 2002 and this is their third full-length release. Their live shows are very well received as they attempt to marry aural with the visual presentations that enhances the themes of their music.

Mushroom Giant are an entirely (currently) instrumental rock experience and what a journey this album is. My best description might be to start with Djam Karet level jamming, but with a bit more post-rock/metal feel than just space-psych. There are also similarities to popular favorites. If you are one of those prog fans who are always looking for that mystical missing link band that is a cross of Floydian landscapes with Rush-like power, this might be just the band you've been searching for. A dual-guitar attack joins keyboards and a powerful rhythm section, balancing technical virtuosity with emotion, and sending both to the edge of instrumental rock imagination without crossing into avant or dissonant realms. It is imaginative but it maintains accessibility as well. They move effortlessly from the serene and subtle to the heavy and epic allowing one to be absorbed, listening can become something more than just song, song, song. This is one of those albums that can be like a prog-rock fan's version of a rave, except rather than dance beats you have something much more winding and not repetitive, but still with a trance-like effect. Generally the sound is a powerful rock but they also employ Hammond and Rhodes as great contrasting sounds, as well as some ambient sounds. The 14 minute "Scars of the Interior" is a good starting track to get a summary taste of what Mushroom Giant does.

"They've always been a band with a talent for creating epic, cinematic soundscapes, but with "Painted Mantra" Mushroom Giant have taken it a step further. The sheer scope of the album is incredible. This isn't a record you can just drop in and out of at random. It's an experience, an hour-long voyage through a spectral brew of prog, post-rock, metal and Eastern-influenced rock. And they manage to do it all without vocals..." -WAYNE MARSHALL - Beat Magazine

You can sample or buy "Painted Mantra" on Bandcamp by clicking the band page link on their front PA artist page. It will definitely make my end of year list.

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 Belighted by IAMTHEMORNING album cover Studio Album, 2014
4.26 | 140 ratings

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Belighted
iamthemorning Crossover Prog

Review by LakeGlade12

5 stars 4.5 stars. A big step up from their debut.

iamthemorning made some big waves with their debut "~". Even though the Prog content was not very high the combination of Marjana's beautiful voice, the well thought out Chamber music, the incredibly lush melodies and Prog inspired rock music created something really unique and captivating. For this reason ~ was one of the top Prog albums of 2012 and 2 years later it stills competes for the No 1 spot.

Now 2 years later they have released their second album "Belighted" which has backing from the significant Prog label KScope. Its fair to say there was a lot of pressure on the band with this album. Their debut was so new and interesting that its only natural that the second album has a harder time due to it not being original anymore. I gave ~ 5 stars for its originality and beauty and in order to get another 5 stars from me Belighted had to be significantly better than their debut.

Well its a great joy to say that this album is a clear step up from their last album. The overall sound and structure of this album is very similar to the debut, but in every area possible the band have clearly worked their socks of trying to make it more complex, melodic, professional, Proggy and varied than their last work. Its just a better version of their debut with some newer ideas to keep things interesting.

These new ideas were possible due to the bigger budget which lets them incorporate other instruments into their sound. Another big addition was Gavin Harrison of Porcupine Tree fame who played the drums for all of their songs and therefore added another layer of quality to the music. The band also took some risks on the album, for example they use a recorded conversation on " The Howler" in the middle of the high energy instrumental section, which is something that again PT are very well known for doing but is new ground for the band.

With their being 15 songs I am only going to cover the noteworthy ones. "5/4" is probably their most quirky song, it goes though multiple changes however does not lose its catchiness at any point. "Crowded Corridors" is the band's first attempt at writing a long song and is very successful. The first section is incredibly beautiful and gentle. It progresses into a piece of pure classical music which is centred on the piano and then into a brief ELP sounding section. The song naturally reprises to the beginning section and they add electric guitar to give the song more energy and drama. Its a very good song.

"Os Lunatum" also goes though multiple phases while remaining coherent and infectious, it also makes for a good summary song for the whole album. Then there are other simpler but still very beautiful and well written tracks such as "Gerda" and "Reprise Of Light / No Light"

In terms of weakness's I am still not fully convinced on all these "Intermission" tracks which are either pure classical or ambient music. Some work well while others don't and like with their debut its a hit and miss affair. I would personally have fewer of them and those that are included should function as proper mini songs instead of half baked ideas. You may have noticed that all of my favourite songs are found from the middle to the end of the album. Its not like the first half of the album is bad but its not at the same level as the other half.

Rating this album has been tricky, its definitely better than their debut but the question is if its worth 5 stars when its no longer original? I thought to myself what could they have done to make Belighted better and I could not think of a solid answer beside removing some of the intermissions which is a very subjective viewpoint. Especially as all of these mini songs do fit well enough into the flow of the album. That combined with the fact that the band really have worked hard to better themselves on this album and succeeded (when the bar was already high) is enough in my opinion to justify the 5 stars.

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 Going Mobile by STEELY DAN album cover Live, 2013
3.00 | 1 ratings

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Going Mobile
Steely Dan Jazz Rock/Fusion

Review by Suedevanshoe

— First review of this album —
3 stars A terrific document of the incarnation that got this crew up and running, with the addition of Michael McDonald's smooth croon and gutbucket piano and Jeff Porcaro on an additional kit. Sound is mehhh but the excitement generated easily envelops the listener. Since live Dan is poorly documented, one wishes there were more songs, but "Boston Rag" "Do It Again" and "Rikki Don't Lose That Number" lend themselves well to the live treatment. The last three songs are the highlight for me, with "Mobile Home" being a weird curiosity in the Dan catalog. Going back to the "You Gotta Walk it Like You Talk It" era, sometimes the band extended this 14+ minutes.

Good for the Steely Dan fan, I'd say poor for your average progressive rock fan, I'll go with a middle rating for this site's purposes.

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 The Gift of Awareness by P.A.W.N. album cover Studio Album, 2014
3.39 | 4 ratings

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

Review by friso
Prog Reviewer

3 stars P.A.W.N. - The Gift of Awareness

This album was offered for free by the band for this review.

This young German project of two very gifted musicians has managed to record a very well sounding debut album in progressive & technical metal genre, though some tracks are mainly symphonic. The recording quality is really good, especially if you take into account the fact that the band states it is a product of homerecording. My only complaint is the frequent use of electronic samples of orchestral instruments that usually end up sounding a bit cheap after a while, especially without the layers of heavy guitars that hide the artifical sound. Soundwise the band reminds me of Dream Theater and Ayreon.

Sebastian Rudolph plays all keyboards and guitars, the technically developed drums are played by Dennis Matzat and the main vocalist is Lisa-Marie Rothe. Her vocal performances really ad to the liveliness of the album, her thick sounding voice reminds me a bit of modern Kayak's Cindy Oudshoorn. PAWN likes the use elements of classical music, including big percussion sounds and orchestral sounds. The band likes to suprise us with frequent tempo-changes.

The six tracks add up to almost 80 min of material. I can't help but asking why the band didn't choose for picking only the very best of the material and make a strong 50 min album? So many modern progressive records are ruined by the weight of length and the addition of non-essential songs.

The over twelve minute long opening track 'Sailors in the Sky' is a strong and varied progressive metal track that shows the full potential the band has. 'The Princess is Out Today' is good continuation and shows the band is able to write a shorter track. 'A Voyage of Uncertainty' a thirteen minute track of the beforementioned orchestral imitations that really breaks up the rockin' atmosphere, but perhaps I just fail to appriciate the folksy piratesque feel of the song. 'Vessels' has a strong symphonic metal ending but otherwise lacks the power to impress, which also counts for 'Fatal Wounds' - a track that just doesn't find a melody that gives the song a core or base. The 26 minute long titletrack is a way more adventerious and inventive composition, just like the opening track. The band sounds way more enthusiastic and all ideas just work out.

Conclusion. Now, I'm not a frequent listener to modern prog, and it is hard for me to rate an album like this. I liked the fresh opening song and the adventerious ending track and without the rest this would have been much better in my humble opinion - and you'd still have a 40 minute album. As it is now I'll give it three stars, but I think many progressive metal listeners will find a very interesting and sophisticated album.

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Remaining cache time: 306 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
    Änglagård
  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. Ommadawn
    Mike Oldfield
  32. Crime Of The Century
    Supertramp
  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. Time Control
    Hiromi Uehara
  56. Second Life Syndrome
    Riverside
  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
    Änglagård
  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. The Perfect Element Part 1
    Pain Of Salvation
  73. Rubycon
    Tangerine Dream
  74. Mëkanīk Dëstruktīẁ Kömmandöh
    Magma
  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. The Snow Goose (Re-recording)
    Camel
  88. Script For A Jester's Tear
    Marillion
  89. Lateralus
    Tool
  90. Crimson
    Edge of Sanity
  91. Bitches Brew
    Miles Davis
  92. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  93. Memento Z Banalnym Tryptykiem
    SBB
  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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