Progarchives, the progressive rock ultimate discography
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PROG ARCHIVES intends to be the most complete and powerful progressive rock resource. You can find the progressive rock music discographies from 10,092 bands & artists, 54,436 albums (LP, CD and DVD), 1,463,521 ratings and reviews from 59,240 members who also participate in our active forum. You can also read the new visitors guide (forum page).
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 13 by BLACK SABBATH album cover Studio Album, 2013
3.71 | 272 ratings

Black Sabbath Prog Related

Review by Warthur
Prog Reviewer

4 stars Butler, Iommi and Ozzy reunited at last to construct what they were acutely aware may be the final Black Sabbath studio album, and perhaps under such circumstances it's understandable that they decided to take a long look backwards. Compare the structure of album opener End of the Beginning and the title track from the debut, for instance, and they're really rather similar, and final track Dear Father fades out into the sounds of a rainy thunderstorm just as the debut album faded in on one, tying the whole saga up in a blow.

In between those bookends, the boys deliver an album which, whilst I don't think it will ever rank on the same level as their early-1970s classics, is a more than appropriate swansong, taking the traditional metal style they originated and making it sing one last time and proving that they can still play slow, crushingly doomy metal which wouldn't sound out of place in a mix with Electric Wizard or Warning. If this truly is the end, it's not a bad way to go.


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 From Silence to Somewhere by WOBBLER album cover Studio Album, 2017
4.58 | 170 ratings

From Silence to Somewhere
Wobbler Symphonic Prog

Review by Mellotron Storm
Prog Reviewer

5 stars I'd be very surprised if this isn't the album of the year for 2017 on most Prog sites and on my particular list. I really feel that they've gone that extra mile this time going into ANEKDOTEN and ANGLAGARD territories. Mind you the previous four studio albums are all incredible in my opinion. The debut still has this mythical feel to it for me. I remember back in 2006 taking my oldest daughter to a friend's place, they lived in this little village on the mountain and I played "Hinterland" for our journey. Memorable music.

Since they hired a new vocalist for the "Rites Of Dawn" album there is a YES vibe because he does sound very much like Jon Anderson. Even instrumentally I felt YES was an influence at times on that "Rites Of Dawn" album but not nearly so much here, in fact hardly at all except for the vocals. I'm a little sad that the list of instruments that Lars Fredrik Froislie plays isn't listed on here, maybe because it's a paragraph long. Here it just says keyboards and backing vocals. How about organ, mellotron, clavinet, electric piano, synths, keyboards, zither and grand piano but there's actually even more details to this. Impressive!

"From Silence To Somewhere" is the 21 minute opener and we get a guest appearance from Ketil Vestrum Einarsen playing flute and he's from JAGA JAZZIST. He also guests on the closing track with flute as well. Atmosphere builds before a full sound kicks in quickly. Love that in your face bass and the distorted organ starting before 2 minutes. A beautiful calm arrives just before 3 minutes. The synths and atmosphere bring YES to mind but when the vocals arrive well this sounds like YES during their classic period. Mellotron before 4 1/2 minutes then it starts to build a minute later as the mellotron becomes more prominent. It then picks up with flute over top then the vocals return. A calm with mellotron, acoustic guitar and more after 6 minutes. It kicks in again before 8 minutes with flute over top and vocal melodies. The guitar starts to solo before 8 1/2 minutes. It steps aside as the vocals return. An experimental calm then kicks in sounding amazing before 10 minutes. Love the huge bass lines and old school keyboards. Another experimental calm then the keyboards and bass return before it kicks into an insane soundscape where it's every man for himself(haha). The flute is back then it's the guitar lighting it up as it grinds away before the mellotron returns before 13 1/2 minutes. An almost silent calm after 14 minutes as some sparse drums then vocal melodies join in. Acoustic guitar takes over ala GENESIS. Atmosphere then rolls in. It kicks back in before 17 minutes with mellotron storming the soundscape reminding me so much of ANEKDOTEN. Passionate vocals follow. A calm after 18 1/2 minutes as reserved vocals join in. What a beautiful way to end it.

"Rendered In Shades Of Green" is a 2 minute instrumental with piano leading the way at first. It's melancholic as other sounds join in on this sad piece.

"Fermented Hours" builds right from the start and I really like this. A vocal melody follows then it kicks in heavily with keyboards over top. Vocals just before a minute in this uptempo section. Check out the bass! Some guest spoken words before 2 minutes and later on too. The singer is back signally a return to that uptempo and fiery instrumental work. A calm with keys, a beat and picked guitar follow as the mellotron helps out. Man this section starting before 3 1/2 minutes really sounds like IQ. It's building after 5 minutes with those guest spoken words. Love the mellotron and bass that follows. The vocals are back after 6 minutes followed by a mellotron storm after 6 1/2 minutes. Organ before 8 minutes as it settles right down. Here we go again! Not worthy!

"Foxlight" is the stunning closing track. It actually reminds me of CHICAGO's "Wishing You Were Here" classic until the vocals arrive. The flute flutters as the picked acoustic guitar and atmosphere continue. Some piano too as the vocals come and go. This really sounds good. Crumhorn too. It suddenly kicks in quite heavily with organ, drums, bass and more. Oh my! The vocals arrive as the bass leads the way into battle. Flute to the fore after 5 1/2 minutes then the vocals return. Back to the heaviness. So good! Check out the bass, drums and mellotron 7 minutes in as the vocals continue. Powerful is the word. Intricate sounds follow as we get a lighter but more beautiful section. Distant almost spacey vocals arrive before 9 minutes as it turns melancholic and mellow. Mellotron rolls in as the vocals step aside. Suddenly it all brightens as these upbeat vocals kick in with a catchy rhythm. Nice chunky bass and vocal melodies too. It's like a happy ending! I like happy endings.

I will be shocked if this isn't my favourite album of 2017. Got several more to get to yet.


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 Apoteosi by APOTEOSI album cover Studio Album, 1975
3.93 | 141 ratings

Apoteosi Rock Progressivo Italiano

Review by EnriqueD

4 stars One of the best Italian prog albums from the '70s.

Very young and skilled musicians, Apoteosi wrote only an album, but the construction of each track is almost perfect, delevoping each theme without boring the listener.

The sounds are very "vintage" but, since both songs and playing are solid and the recording quality is good, they add a "sign of the times" feel that in the end is nice.

I also like the voice of Silvana Id: some say they do not like her because of her heavy "southern-Italy" accent. In fact, her southern accent is undeniable, but in my opinion it adds sweetness to her singing, and it also reminds me of another, much more known, singer from southern Italy: Marcella Bella, a pop singer very famous in the '70s. All in all, I think this is an issue that non-Italian listeners will not get, concentrating on her nice clear soprano voice.

The only defect of this album is that her voice was kept a bit low in the mix, but for the rest Apoteosi is a really good album from the rich Italian Prog family!


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 Gnos Furlanis Il Timp Dal Sium by REVERIE album cover Studio Album, 2015
3.92 | 4 ratings

Gnos Furlanis Il Timp Dal Sium
Reverie Prog Folk

Review by EnriqueD

4 stars Up to now this is the best album made by this Italian ensemble.

According to the booklet (written in Italian only, but Google translator helps!) it is a concept album, based on the evolution of the relationship between Man and Time. The ensemble set to music some poems in Friulian (a language spoken in northeastern Italy, quite similar to Italian and as beautiful to hear as well) by several writers, among which the well-known Pier Paolo Pasolini.

There is an intrumental track as intro, three "chapters" and a majestic "a cappella" choir as coda.

Each chapter contains also an instrumental track, one of which has the same title of the cd (Gnos furlanis: Friulian nights).

Lots of percussions and acoustic instruments (flutes, clarinet, piano, guitars, mandolin) and electric instuments (mellotron, hammond, synths, here and there distorted guitars and drums) create an impressive range of sounds.

The lead singer (Fanny Fortunati) has a beautiful and expressive voice. If you love singers such as Annie Haslam and Loreena McKennitt, you will surely like her as well. Also the other musicians seem to be very skilled, being poli- instrumentalists able to shift from folk/ethno/jazzy/rock/symphonic mood even in one song-

There is also a real choir performing on two tracks, adding depth and a mystical and baroque feel to the album.

Not much known, but a treasure for lovers of the most symphonic side of "Rock Progressivo Italiano".

Highly recommended!


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 Pampered Menial by PAVLOV'S DOG album cover Studio Album, 1975
4.07 | 323 ratings

Pampered Menial
Pavlov's Dog Crossover Prog

Review by VianaProghead
Prog Reviewer

4 stars Review N 150

Pavlov's Dog is an American progressive rock band formed in 1972 in Saint Louis, Missouri, out of the ashes of a local cover band called High On A Small Hill, formerly of the minor folk-rock act Touch. Originally Pavlov's Dog was composed by David Surkamp, Steve Levin, Mike Safron, Rick Stockton, David Hamilton, Doug Rayburn and Siegfried Carver, who was born Richard Nadler. Levin left the group and was replaced by another Steve, this time Steve Scorfina.

For those who aren't familiar with this group, one of the most important characteristics on the Pavlov's Dog sound is their vocals. Their front man Surkamp owns a very peculiar and strange voice usually compared with Geddy Lee's voice from Rush. So, for those who don't know the band yet and don't like Lee's voice, compared by many as a sound of strangling a cat, certainly Pavlov's Dog isn't the best band that they are looking for. Anyway, their music style was very song based and actually not all that far from some British bands but still with an American touch into their sound.

"Pampered Menial" is their debut studio album and was released in 1974. The line up on the album is David Surkamp (vocals and rhythm guitar), Steve Scorfina (lead guitar), Rick Stockton (bass guitar), David Hamilton (organ and piano), Doug Rayburn (mellotron and flute), Mike Safron (drums and percussion) and Siegfried Carver (violin, viola and vitar, a cross between a guitar and a violin). However, Carver left Pavlov's Dog soon after the album was released.

Here it's an interesting story about the release of "Pampered Menial". When the album was released, it was briefly released on ABC Records and quickly re-issued by Columbia Records. The final result was that both versions of the album appeared at the same time in the same stores, which became a little bit confused for many people in those times.

"Pampered Menial" has nine tracks. The first track "Julia" written by Surkamp is one of my favourite songs on the album and is an excellent track to open it. This is a very simple ballad, very beautiful, with a nice piano work in the starting of the song and it has also an interesting acoustic guitar work. The second track "Late November" written by Scorfina and Surkamp is a very good song, simple, very melodic and melancholic as the month mentioned on it. This is a light rock song perfectly well commanded by the mellotron sound. The third track "Song Dance" written by Safron is a fabulous song and is my favourite track on the album and is also, for me, one of the best compositions made by the group. It's a great rock classic song, very progressive and it has fantastic individual musical performances by all bands' members and where Surkamp's unique voice reaches its maximum. This is a real must for our ears. The fourth track "Fast Gun" written by Surkamp is a beautiful song with good instrumentation commanded by violin. However, it's far from being one of my favourite tracks on the album. The fifth track "Natchez Trace" written by Scorfina is a typical oriented hard rock song and sincerely is probably, from my point of view, the weakest song on the album. The sixth track "Theme From Subway Sue" written by Surkamp is another good and nice song with a fantastic and beautiful piano work. This is a song that sounds like a classic rock song with a very great vocal work. This is really a great track. The seventh track "Episode" written by Surkamp is another good and nice song with a nice piano and violin works, very well commanded by Surkamp's voice, with the mellotron sounding at the background. This is also a great song. The eighth track "Preludin" written by Carver is the shortest song on the album and opens the way to the last track on the album. Despite being a short track, it's, in my humble opinion, one of the best on the album, and is a totally progressive song. It's a song that reminds me Gentle Giant, with classical and medieval musical influences and with great orchestration. This is another fantastic track. The ninth track "Of Once And Future Kings" written by Surkamp is a good and nice track to close this very interesting album. This is a song with very good individual musical performances by all members of the band with the mellotron sound at the background, and as usual, it has also a very good orchestration.

Conclusion: Like most of us know, in the 70's, the progressive rock music was practically a European phenomenon. So, it was with some great expectations that, at the time, I saw the birth of some progressive rock bands out of Europe, such as Kansas, Starcastle, Blue Oyster Cult, Pavlov's Dog and of course Rush. Despite, I only bought this album few years ago, but I know it since 1974, the year it was released, I confess that I always loved this group, and particularly this album, which I always considered a fantastic musical work. But I know this is a band and an album that isn't for everyone. This isn't one of the most progressive albums, but sincerely who cares, when we are faced with an album of great, simple and unpretentious music like "Pampered Menial". Sincerely and for my taste, I think Pavlov's Dog made a very powerful and balanced album which deserves to be discovered and appreciated without any mental reservation and preconceived opinions. It appeals to progressive rock fans that enjoy strong melodies without great complexity.

Prog is my Ferrari. Jem Godfrey (Frost*)


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 Musiciens - Magiciens by ATOLL album cover Studio Album, 1974
3.52 | 88 ratings

Musiciens - Magiciens
Atoll Symphonic Prog

Review by poito

3 stars 3.5 La France gave birth to some of its main prog acts in 73-74, although it already had great grandpas in GONG. I have to admit I don't like French singing in prog, well, I generally don't like singing at all, but French is got a strong accent that distracts even more of the music. The coetaneous band Ange had this problem, even aggravated. Modern prog French groups are less aggressive in this, such as LAZULI or the impressive GENS DE LA LUNE. The vocals in ATOLL are more restrained too. The music is complex, with clear Yes and some jazz influences. To note, the album is coetaneous with YES first and more brilliant epoch, but it is not a copycat band anyway. Probably, the musicians were more mature than ANGE's, though the style is rather different. Spite of the pleasant listening, I miss some highs. It reminds me of some modern bands also following YES, they treasure great musicianship but they lack the genius composition. At least not in this one. The most accomplished tracks are the epic Le Baladin Du Temps and the closing Je Suis D'Ailleurs.


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 Novak by PORCUPINE TREE album cover Singles/EPs/Fan Club/Promo, 2008
2.86 | 5 ratings

Porcupine Tree Heavy Prog

Review by thwok

3 stars This single is somewhat hard to find. It was available earlier this year on Discogs and on EBay for $35, which is a lot of money for two songs. Transmission is a London-based independent label. These songs fall into the calmer, spacier end of the PT spectrum. Of the two tracks, I like "Buying New Soul" more than "Novak". Its length allows the band to develop the basic material more. Without any vocals, this single is background, not center stage, music. However, Wilson shares a common trait with Bach and Beethoven. He seems almost incapable of putting out music that isn't at least thoughtfully put together. If you're a PT fan & you can get it, this is a worthy single.


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 With Us Until You're Dead by ARCHIVE album cover Studio Album, 2012
3.74 | 59 ratings

With Us Until You're Dead
Archive Crossover Prog

Review by poito

4 stars 4.5 stars. Welcome lovers of rhythm. There seems to be a debate as to how catalog this band for its trip-hop origins. Maybe they just realized they wouldn't get a Cadillac in the crowded highways to Hopland, and we won with the prog detour. This is the first album I listen to of this band, and can't put it well in context. The tracks linger between experiment and composition. They use a heavy rhythmic hoppian section that takes over sometimes, which I do not like, but had to admit the hypnotizing notes kind of relax, you now, as long as it is not used as an alibi for modern troubadours and complainers, it is not necessary to pay attention, just let it flow into you. But there is plenty of ambient-melodic great moments too, as the opening Wiped Out that features a heartbreaking singing, the closing Rise, Stick Me In My Heart, a perfect choral tune that fuses with the theme Conflict into a repetitive percussion section till it hooks up with a Philip Glass part playing Vivaldi, or in Calm Now (the title says it all), an instrumental piece that is fused with another track, Silent, of a subtle manufacture with beautiful female singing alla Sally Oldfield and a sort of waltz-like rhythm. Globally, the album has no weak tracks and contains great moments and fairly original blends that demand for a second listening, maybe a few more. It produces some responses in my brain, not emotional, but powerful enough, of the type I got while listening to Pink Floyd or Tangerine Dream, though the music has no resemblance. In the end, it caught me, I think I will keep it in my library, it must have something; probably it is just talent. It kind of unhooks me for a while off the complex prog I'm usually in without feeling I am alienating myself. I think it deserves 4 well-earned stars, even more.


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 A Sense Of Change by SIEGES EVEN album cover Studio Album, 1991
4.01 | 145 ratings

A Sense Of Change
Sieges Even Progressive Metal

Review by poito

3 stars 3.5 stars Rough beauty. That's how I would label this album by the German band SE. They have such a clear and pounding sound that it may appear a bit crude at first, straight to the brains. Had it had a bit of lubricant wax it might be more digestible and accessible to a larger audience. If I were to credit cliches, this is the way I would expect German prog would be, but we know quite a few examples of smooth and mellow bands from Kant's homeland. I think the rudeness comes from the trio format of instruments (guitar, bass and drum) plus a singer (a bit dull). The music is made of a succession of instrumental additions instead of layers. It reminds Rush and second King Crimson era (the bad one), with the powerful guitar filling everything. No keys, and the bass is a bit shy, what leaves the drums alone in the front to duel with the guitar or the voice. The drummer is passable, a bit frugal and stiff for my taste. A couple of tracks are kind of melodic, such as Change of Seasons played with cello, viola and violins, my favorite, while the others experience with Rush/KC derivatives, but never reaching the brilliance and musicality of the Canadians. Worth to step by Dimensions, with some surprises, as a Spanish guitar, and in which the singer and the bass get the marks. The album lacks high moments and some recognizable motifs. It is excessively aseptic in my view. While it is pleasant for listening, it leaves little afterwards.


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 August In The Urals by DELUGE GRANDER album cover Studio Album, 2006
4.03 | 139 ratings

August In The Urals
Deluge Grander Symphonic Prog

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars OK, i have to admit that my mind is in the gutter because every time i read this title it translates as "August In The Urinals" which makes me think of unthinkable stinkiness on the streets of San Francisco freshly excreted by the burgeoning homeless population. But wait! I digress before i even get started! Thankfully when Dan Britton left Cerebrus Effect, he didn't waste any time taking his passion for progressive oriented rock and taking it to the moon and back and this album in reality is the exact antithesis of that misconstrued mistranslation. The debut album by DELUGE GRANDER is a triumph in the one, two punch that the 90s provided in the prog revival scene with bands such as Anglagard and Dream Theater leading the way. The correct title of the album, ah hem, is AUGUST IN THE URALS and debuted in 2006 but despite its release well into the 21st century, this band was in love with not only the usual suspects of the past but also the lesser known prog acts such as Cathedral, Kenso, Maneige, Miriodor, Semiramis, Asia Minor, Kotebel and Crucis. This rich palette of influences gives this music a true classic feel although the complexity meter is turned up to 11 and counting.

Britton explains that the DELUGE GRANDER debut album was a work of passion that lasted 8 months right after he finished grad school and before he found full employment. Inspiration occurred in the sleepless cycles where he would labor away in 26 to 30 hour cycles and catch a nap whenever time would permit. This frame of mind in this period of his life explains the labor of love which resulted in a staggeringly complex behemoth of prog that nearly hits the 71 minute mark. While this was the period of time when Britton admits he didn't have a lot of musical equipment and even incorporated on this album an old analog Univox synthesizer that he found lying outside his apartment complex all covered in snow. While the money and equipment may have been in short supply, the passion and inspiration were clearly not lacking. This is the type of album where every single stroke of the key and pluck of the string is cleverly crafted and adroitly animated in a serious never-ending stream into the prog universe.

The album begins with the monstrosity near 27 minute long "Inaugural Bash" which slowly begins with a simple keyboard and guitar riff that ratchet their way into a complex web of sonic subtleties and compositional prowess that ebbs and flows like a never-ending stream wending its way through a lush verdant vale in some bucolic setting. This piece is mostly instrumental with only scant few vocals poking out of the moody mist of layered synthesizers and irregular time signature workouts with bass and drum marching along like a jazz-addicted clown on Bourbon Street in New Orleans after a few drinky-poos circulating in the old blood stream. While the grooves and melodies are all over the place, there are some that recur for an anchoring effect but mostly, this one drifts off in a musical march that takes you on a ride that you never want to disembark. The title track is only about half as long but still at a near 16 minute time run is another prog behemoth that continues the symphonic bombast with tender and heart-felt melodies fluttering into your ears and directly into your center of prog sensibilities. This one has a lot of interesting guitar workouts performed by Dave Berggren that are sort of flamenco-esque yet very unique and frenetically displaying a rotisserie of complex time signature workouts. While musically this is another beauty of a prog standard on steroids, one of the weakness of the band occurs with Britton's vocals much like the same style of vocal tracks on his debut Birds and Buildings album. While not unlistenable in the vocal department, the style seems to be substandard for the type of vocals that such dynamic music seems to be calling for. Nevertheless, the title track is another winner of proggy yumminess guaranteed to win a high place in the prog museum on that far away world that only exists in a Roger Dean album cover.

The third track "Abandoned Mansion Afternoon" is yet another behemoth track that slightly exceeds the 12 minute mark and ushers in yet more moody symphonic laden prog rock workouts that shuffle time sigs, dynamics and tempos into a mystifying blender of spits them out in incremental deliveries. This is another vocal track that sounds most like the title track with Britton's baritone and detached sounding vocals that cruise along in a rather monotonous manner residing on a lower octave. The quirky bass lines and guitar riffs meander and wander aimlessly at times into completely new pastures but always result in extremely precise and bizarre instrumental interplay. The final two tracks "A Squirrel" and "The Solitude Of Miranda" are all instrumental and show more varied tempos with emphasis on some of the more energetic passages on the album. Without the vocals keeping them on the leash, the individual instruments are allowed to run free range and conjure up whatever mojo they can muster up and with keyboard riffs run amok, bass slaps and guitars whizzing up and down the scales, we get a satisfying ending of prog workouts to end the album.

AUGUST IN THE URALS is a contumacious display of unbridled prog that knows no limitations and provides the utmost efficacious pomp and awe that many a modern act is incapable of dishing out in such lofty doses. This is one of those albums that is just so grand in scope that its intransigent serpentine flow of ambitiousness will surely leave even the most hardened progger having to gasp for air. While the melodies and grooves are rather airy and light-hearted, there are just so many twists and turns that it's almost impossible to grasp upon first listen. This is one truly for those who love it dense and complex as possible and in that regard DELUGE GRANDER deliver the goods in an unapologetic procedure of symphonic prog overload. This is exactly the type of music that floats my boat the most. This is a brilliant album slightly bogged down only by the vocal parts that don't do the music justice but even on those parts, AUGUST IN THE URALS is a splendidly well constructed album that displays all the passion and devotion that went into it. Excellent debut!


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  83. OpethGuitarist (287)
  84. progaardvark (286)
  85. Second Life Syndrome (268)
  86. daveconn (266)
  87. Trotsky (264)
  88. Muzikman (263)
  89. FragileKings (262)
  90. The Crow (261)
  91. Slartibartfast (257)
  92. clarke2001 (254)
  93. The T (247)
  94. aapatsos (245)
  95. rdtprog (245)
  96. GruvanDahlman (241)
  97. Andy Webb (237)
  98. Bj-1 (235)
  99. poslednijat_colobar (227)
  100. 1800iareyay (225)

List of all PA collaborators


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Pike 273 - Guillotine Furance


Tales from a Dark Christmas by IQ album rcover
Tales from a Dark Christmas


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Earthquake by Psicolorama album rcover



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