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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 10,169 bands & artists, 54,874 albums (LP, CD and DVD), 1,491,542 ratings and reviews from 59,581 members who also participate in our active forum. You can also read the new visitors guide (forum page).
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 Rising Force by MALMSTEEN, YNGWIE album cover Studio Album, 1984
4.01 | 101 ratings

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Rising Force
Yngwie Malmsteen Prog Related

Review by Warthur
Prog Reviewer

4 stars It's rare that you can point to a specific artist and album and say that here, right at that moment, is where a particular musical subgenre got its start, but you absolutely can with neoclassical metal - Yngwie Malmsteen's Rising Force album is patient zero for this high-technicality, classical-influenced, guitar-worshipping brand of metal.

This style has been derided from time to time as being nothing more than empty technical showboating, exacerbated by the fact that whereas progressive metal (which also gets accused of such showboating from time to time) at least tends to put a spotlight on a range of different instrumentalists, your typical neoclassical metal act is essentially a virtuoso guitarist and a group of backing musicians who are there to help the guitarist look good. Whether or not you consider that stereotype to be an outrageous slur on the scene or a perceptive assessment of some of its trends, you can't say that Malmsteen hasn't contributed to that image just a little, repeating his formula over sufficient albums that it's become an overworked, tired-out cliche.

It would be unfair, however, to tarnish this excellent debut album with that brush. The difference between this and so much of Malmsteen's subsequent discography is that, as a result of coming out first, it wasn't laden down with the expectations people had placed on Malmsteen's work. The general compositional approach hadn't yet ossified into a formula from which albums could be churned out by rote, and Malmsteen hadn't yet fallen into the trap of pandering more and more to fan expectations and believing more and more in his own hype, until his music became an overwrought caricature of itself.

Instead, what you get here is some dynamite classically-influenced heavy metal, building on a foundation reminiscent of early Queen (especially when Jeff Scott Soto's vocals come in) and adding intricate classically-inspired guitar work from Malmsteen himself. The end result is an electrifying performance which not only provides an exceptional showcase for Malmsteen's guitar skills, but is also a downright entertaining album in its own right. Don't hold Malmsteen's late-career turkeys against him and listen with an open mind.

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 Staircase Infinities by PORCUPINE TREE album cover Singles/EPs/Fan Club/Promo, 1994
3.81 | 171 ratings

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Staircase Infinities
Porcupine Tree Heavy Prog

Review by thwok

4 stars One of the biggest reasons for the success of Steven Wilson's music is the variety of influences he presents. Of all of PORCUPINE TREE's music, the more space rock/psychedelic songs are the ones I usually like least. That personal preference affects my overall rating of Staircase Infinities. Since this music is performed by Wilson alone, I miss the brilliant playing of his PT bandmates.

My favorite songs on this release are "The Joke's On You" and "Yellow Hedgerow Dreamscape". The songs overall tend to sound similar to each other. However, even Wilson's lesser material is compelling. It's a testament to his considerable talent that he makes Floydian psychedelic rock this enjoyable. Many bands try & can't pull it off. I'm going to consider Staircase Infinities an "excellent addition." It's an enjoyable half hour for fans of PT/Steven Wilson.

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 5 by BANKS, TONY album cover Studio Album, 2018
4.64 | 5 ratings

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5
Tony Banks Crossover Prog

Review by Gary Preston

5 stars I have been so looking forward to the release of this album. I was not put off by the Peter Gabriel similarities: Phil Collins puts his face on his solo lp's or the fact that just like Peter Gabriel's 1.2.3.4 lp's Tony has used numbers to title his Classical releases.

My feelings on my initial playing of this work:

1.Prelude ​ ​To ​ ​A ​ ​Million ​ ​Years (15:34)

Perhaps a little like Delius - sadness, playfulness,slight pomp, wistful, grand,sweeping.

2.Reveille (08:58)

Oh what a marvelous movie soundtrack this piece would make! Is Tony Banks the best movie soundtrack creator never used,utilised and appreciated ever? Epic, positive, life enhancing,powerful,exuberant,passionate.

3.Ebb ​ ​And ​ ​Flow (12:49)

A graceful, thoughtful beginning. Tony's emotions surge from his neural pathways,down into his fingers,onto the keyboard and then it is marvelously arranged for the players here to encapsulate in an aural delight for us to enjoy - marvelous!

4.Autumn ​ ​Sonata (10:16)

The Autumn brings to mind the golden crispy leaves that blow and flutter around the trees. A slight nip in the air as the season starts to tighten it's hold on the ever chilling wispy winds. Time to light the fire in the hearth and enjoy a warming hot drink and reflect on the years events. All these feelings,thoughts and musings are captured and evoked on this piece.

5.Renaissance (10:14)

'Renaissance' : a revival of or renewed interest in something - a re-birth.

Yes,after all these years it is finally Tony's time. His renaissance is now in full affect. These classical works have restored his confidence in his sublime songwriting abilities. No longer is Genesis to be considered Tony's 'solo career'. Through his extreme tenacity and indefatigable spirit of perseverance he has found real success.

Perhaps because he does not enjoy the limelight and want to throw himself into the public spotlight as much as others,his eventual achievements have taken him so much longer, taken much more hard work and have required a greater searching within himself to strive, achieve and attain - but boy has it been worth it.

This is a marvelous album - it will reward you all the more the more you listen and re-listen to it.

I had feared that Anthony Phillips was starting to leave Tony behind a little in my personal comparison of their classically based compositions - but this release puts the two 'Anthony's' - Tony and Ant back on a very equal footing indeed!

Buy 'Five' with confidence - listen to it with pleasure.

Gary Preston - February 2018

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 Dominion by JAKOB album cover Singles/EPs/Fan Club/Promo, 2004
3.96 | 8 ratings

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Dominion
Jakob Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

4 stars JAKOB are a Post- Rock band out of New Zealand and this EP was released in 2004. Love the album cover of that black and white picture of that Pontiac. This is one long track at over 29 minutes and it's mostly ambient but we do get a couple of breakouts in the Post- Rock tradition.

It's so quiet to begin with that I had to turn it up the first time to see if it was playing. It turns louder around a minute as we continue to get those guitar expressions. A beat follows in this relaxed soundscape. It does build a little more and then it begins to wind down until we have almost silence before 6 minutes. That previous sound returns as it trips along slowly. Beautiful music as it stays relaxed and repetitive.

It starts to wind down again until it's very minimalistic 15 minutes in and then it starts to build slowly before 16 minutes as a beat returns and the guitar continues. It turns surprisingly powerful before 20 1/2 minutes with plenty of distortion. It then settles back 2 minutes later as the distortion stops. After 24 minutes the distortion is back and that powerful sound. Sounds echo late as it winds down to end it.

There's a lot of fans of this EP and while there's nothing new here this is some high end Post- Rock folks. An easy 4 stars.

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 Center Of The Cyclone by EGOCENTRICS, THE album cover Studio Album, 2011
3.10 | 10 ratings

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Center Of The Cyclone
The Egocentrics Psychedelic/Space Rock

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

3 stars The :EGOCENTRICS have come back, with more acceptable, more stoner creation titled "Center Of The Cyclone" in 2011. It's said this album was recorded 4 months after their first album released. Although the debut one is full of traditional, orthodox space rock, the following stuff consists of 7 tracks each of which is shorter than everything in the previous album. Every single song has heavy, stoner moments, and pop, catchy melody lines. Guess their newer soundscape should be more appreciated on stage too, not sure such an obvious musical affinity has got to be their purpose or goal for constructing egocentric world though ? the most closest to the first album as for ultimate space world is the seventh call "The Unknown Sings" really.

The first golden road "A Road Less Travelled" sounds more leaning towards one of stoner rock legends Sleep rather than towards a space rock one. Quite comfortable are streaming guitar fuzz and smooth dreamy rhythmic parts, especially drumming. Simple but powerful melodic hurricane should be invasive also the last masterpiece "Lost And Found" apparently. The following "Off The Center" would remind the audience of the similar vein to 90s alternative grunge rock / metal that should be approved by every hard rock fan, I suggest. More of Crossover atmosphere can be heard via "Sink Or Swim" filled with explosive guitar plays and simple, mellow melodic strategies. Swift, mad distortion in "Blissful Idiot" will be squeezed into our inner mind and make us more idiotic. On the other hand, "Intuition And Coincidence" is created with more and more darker ambience like a grudge upon the inferno.

It's a pity they have not released any material since 2011 until now (February, 2018) but please let me say you could take time for your third album?

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 Pike 274 - Forneau Cosmique by BUCKETHEAD album cover Studio Album, 2018
3.00 | 1 ratings

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Pike 274 - Forneau Cosmique
Buckethead Prog Related

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

— First review of this album —
3 stars .

.

.

.

.

B U C K E T H E A D ~ Pike 274 - Forneau Cosmique

1st album of 2018

Two tracks that clock in at 28:04

All instruments played by the chicken lover himself

"Forneau Cosmique" (11:49) begins with a familiar BH sound, that is a synthesized atmospheric backdrop with mellow echoey guitar parts, however it quickly bursts into a heavy alternative metal type of guitar riff with the bass and drums along for the ride. Not unexpectedly, guitar solos emerge here and there trading off with the riffs. Compositionally speaking, the main melody is one of those looped recurring series of chords that maintain a rhythm guitar, bass and drums as a lead guitar joins in to provide variety. Around the 3.5 minute mark, the heavy metal drops out and the echoey clean guitars steal the show with the same rhythm and melodic progression. When the distorted guitar joins back in its less frenetic as the a sizzling guitar solo extends for a lengthy period of time building up power and speed. As the track continues its long journey, it retains the basic melody but pumps out different variations but basically comes across as a tad uninspiring as we've heard this a million times before and this is really quite too tame despite some crunchy metal riffing that occurs.

"Endless Experiments" (16:15) is an even crunchier metal monster with heavy guitar riffs hitting the ground running. They alternate with some freaky electronica. Unlike the previous track, this one wastes no time changing things up and heads to the other extreme where totally unrelated riffs and melodies juxtapose and clash with avant-garde sounding guitar parts. After a while it jumps back into straight forward heavy metal, then electronica, then clean guitar parts and then heavy metal slowed down. It takes no time at all to realize that this is one of those tracks that changes things up often zigzagging in unpredictable ways from genre style to genre style with heavy riffs, solos, electronic bloops and bleeps and bluesy rock all trading off with each other. This track is basically like somebody randomly hits shuffle every several seconds and where it ends up is anyone's guess but all the styles performed are nothing new to the BH canon.

This PIKE is really nothing out of the ordinary however the two stylistic approaches generally do not sit side by side on the same release. The first track has been done to death at this point and is really quite boring whereas the second track is more unpredictably wild and more to my tastes but same problem. This style has been done to death and is performed in more interesting ways on previous PIKEs. This two track PIKE is really BUCKETHEAD by the numbers as nothing on it is new in any way, shape or form. While BH slowed down in 2017 releasing a mere 30 albums, many of them simply retread previous ideas sprawled out in the vast BH universe. Likewise the first PIKE of 2018 offers little insight that the new year will provide anything but the same. Decently played and performed but not inspiring.

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 The Slow Rust Of Forgotten Machinery by TANGENT, THE album cover Studio Album, 2017
4.08 | 193 ratings

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The Slow Rust Of Forgotten Machinery
The Tangent Eclectic Prog

Review by Walkscore

5 stars Poignant and Pointed.

Tillison wrote that after his heart attack he temporarily lost interest in music, and he even thought about wrapping up the band. But clearly inspiration struck, disturbed by the xenophobic politicking around the Brexit vote, and he again found his voice. This is one of the strongest and most poignant of the Tangent albums. Roger Waters has said that really all that matters about an album is whether it moves you, and in this album, the Tangent does this very well. It also happens to be an immensely musical album. It seems to me (and I said this in my review of the previous album too) that when Tillison is driven to write out of a concern for social justice, not only are the lyrics more original and inspired, but the music as well.

The band here is virtually the same as on the previous album (Tillison, Reingold, Travis and Machin - this continues the Luke Machin era), but with one exception. Morgen Agren (drummer for Kaipa, among others) does not appear. Yet, instead of finding another drummer for the album, Andy Tillison fills in on drums himself, and does an amazing job (!!). He had previously filled in on guitar on the album 'Down and Out in Paris and London' when they found themselves without a guitar player (before Luke Machin arrived). The drumming here - as you might guess given this is the Tangent - is difficult. Yet, Tillison pulls it off as if he were Agren - once again showing himself to be a really impressive multi-instrumentalist.

The music is really excellent through and through. It begins with song that is both emotional and intellectual at the same time, "Two Rope Swings", which compares the lives of, on the one hand, kids growing up in Britain, like Tillison, and on the other, those whose otherwise very similar dreams and needs take a very different direction in Africa. The song is wonderfully evocative, very human, yet at the same time a devastating critique of the trade and foreign policies that have meant deforestation, poverty and poaching in developing nations. The music is equally great. The second track ("Doctor Livingstone I Presume") is an extended instrumental, and one of the best-ever Tangent compositions. Luke Machin really shines on this track - really musical soloing. This makes you wish the Tangent wrote more instruments. The title track is "Slow Rust", is a 22-minute epic in the usual Tangent vein, but lyrically focussed on how a lack of standards, professionalism and morals among the tabloid media in the UK have used xenophobia, hate, and racism to sell newspapers in the face of the internet onslaught. Musically this is again very strong, although it perhaps could have been a bit shorter. Following this is another excellent track "The Sad Story of Lead and Astatine", musically similar to the opening song, which wraps a discussion of the effects of aging on friendships together with a social commentary on the difficulties of having a real public discussion in which opposite voices are not talking past each other. The album ends with the tune that Tillison posted on the Tangent website early, well in advance of the publication of the album, "A Few Steps Down the Wrong Road", a 17-minute epic of sorts but which is narrated, more like a radio play (in similar vein to Wakeman's 'Journey to the Centre of the Earth'). Here, Tillison compares the politics of right-wing populism, like that in the Brexit vote, Marine Le Pen's politics in France, or the Trump administration, to previous historical epochs. The inside of the album jacket contains a wonderful political cartoon on the same theme from a UK perspective by Mark Buckingham. Despite the clear political agenda here, the music is still very good, with a number of musical themes returning and intertwining to match the political story, making this worth listening to not only for the voice-over/lyrics, but also for the music (although one cannot help but hear the story, making this one track perhaps less flexible than the others). Thus officially ends a fantastic album. A bonus track ("Basildonexit") follows, however, continuing the general theme, although very different musically - a somewhat dancy-electronic number. It is weaker than the rest, but if one ends the album right after "A Few Steps..." and skips the bonus track, one still gets a full 74 minutes of excellent music. Really high value for money.

This album is clearly political. Some may not like this, wishing for a return to the more prosaic lyrical themes often found in regular rock. But when the lyrics are as good as this, I think they really add to the music. Furthermore, on this album I happen to think that the politics have been an important inspiration for the creation of some really great original relevant music. On the Tangent website news and blog section, there is a picture of refugees caged behind a fence, with the question "If these guys were in a band, do you think they would say "politics does not belong in music"?". As a life-long fan of Floyd, Waters, Wyatt, and a host of others, I can't help but identify with this general sentiment. Tillison acknowledges in the liner notes the situatedness of the album, that it came out of a very specific time and place, and suggests that years in the future, listeners may look back and consider it dated. This may be true, but I think the underlying message is one that transcends the here and now. It is a very human message, and like Waters in his recent song "Deja Vu", something tells me this is a message that not only will remain relevant for future societies, but one that we probably will need to keep hearing. But regardless of all that, the album is truly a musical accomplishment - one could ignore the lyrics entirely and just focus on the music, and would be thoroughly impressed. It takes a few spins though, with the lyrics so foregrounded, but once you have listened to it a number of times, the sheer musicality becomes evident.

Overall, a really fantastic album. One of the Tangent's best, and a stunning comeback from the less inspired previous album. I rate this album 9.1 out of 10 on my 10-point scale, which places it in the 5 PA stars Masterpiece category. Highly recommended.

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 Below The Radar by BREATHING SPACE album cover Studio Album, 2009
3.74 | 25 ratings

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Below The Radar
Breathing Space Crossover Prog

Review by Tarcisio Moura
Prog Reviewer

4 stars I did not know what to expect from this album: all information I had at the time was that it was formed by Mostly Autumns keyboards player Iain Jannings and that it had a female singer. So I took a hot and got the CD thinking it was probably one of those ego trips by a lesser talented member of an important band. How wrong I was! Breathing Space turned out to be a group of its own, and Below The Radar a terrific album! Granted, they do sound a lot like Mostly Autumn in parts, but they have their own personality overall. And what a fantastic voice Olivia Sparnenn has! She sings like an angel!

The album starts very nicely with the title track , a quite rocking and melodic ditty that shows clearly that their songwriting department is very well served. Jannings is definitely a team player: there is room for all the musicians to breath (pun intended!) and give their contribution in the delivering of a powerful album, full of fine tracks that reveals a band to watch for. Nothing really new or groundbreaking, ok, but still excellent on what they do. I have been listening to this album almost non stop for a the last two weeks and I must admit I cant have enough of it. It shows more subtlety, variety and small details every time I put it on. It is one of those CDs that sound simplistic at first, but after some time you end up realizing how well crafted and arranged it is. Best tracks: Behind Closed Doors, the 9 minute epic Questioning Eyes, the poignant Drowning and the aforementioned Below the Radar, but they are all at least very good. And they are all delivered with a passion and conviction that is hard to see (or hear) nowadays.

The production is very good: you can hear everything in a well balanced mix. I especially liked Liam Davidsons tasteful guitar lines, even if I was attracted by Jennings gorgeous keys at first. Not a single note wasted, everything falling into place at the right moment. And, top of it all, Olivia Sparnenn beautiful voice. How could I ask for more?

If you like melodic rock with generous doses of folk and prog elements all over it, then this is for you. Less Pink Floyd influenced than Mostly Autumn (although not devoid of), Breathing Space proves here that they are much more than just a side project for MAs keyboards player. Im really looking forward to listen to their other works.

Rating: 4,5 stars. Highly recommended

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 Life & Times by MORSE, NEAL album cover Studio Album, 2018
2.40 | 11 ratings

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Life & Times
Neal Morse Symphonic Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

2 stars Here I was at a local record store, with a gift certificate.

I noticed that there was a brand new Neal Morse album at a good price, so I checked it out.

The song titles didn't indicate that it was one of his religious albums, and I do love most of his musical work, so I bought it.

Big mistake.

I should have been warned by the sticker announcing that this was a very personal collection of songs by Morse, but I wasn't prepared for this.

With the above mentioned sticker, I didn't think this would be like his other albums, but I expected some evidence of Morse's progressive rock background to come through.

Pretty much what this disk contains are a group of song with simple music and simpler lyrics. I felt like I was in soft rock hell as I forced my way to listen to the entire album. Every time it appeared that the music was about to take off, instead of soaring, it veered into mundane AOR.

And the lyrics, as I listened, I was surprised at how often I could anticipate the next line of a song before it was sung.

The only mentionable songs here are "He Died At Home", a moving ballad about a troubled veteran, and "Manchester", where Morse (or maybe cowriter Geoff Bailie) brightened up the song with some actual humor.

Those two track are all that raise this from the depths of a one star rating.

Sorry, Neal.

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 Halloween 77 by ZAPPA, FRANK album cover Live, 2017
3.96 | 4 ratings

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Halloween 77
Frank Zappa RIO/Avant-Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

4 stars As the title suggests, this album was recorded at the 1977 NYC Palladium Halloween Zappa show. Some of this show is familiar to the long-time Zappa fans, as it was used for an hour long (including commercials) recording used for a radio broadcast. Since I was a rabid Zappa fan in those days (some things don't change), I taped the broadcast (I still have the cassette, and somewhere a digitized version of that tape). But the tape contains only about a quarter of what is on this set.

If you are a fan of the "Sheik Yerbouti" album, it is noted in the liner notes that the band recorded many of that album's basic tracks during the pre-show rehearsals for the series of shows that this one was a part of.

To me, the best parts of this set belong to Tommy Mars (keyboards) and Patrick O'Hearn (bass), two of the most talented musicians Zappa ever brought into his band (that is saying alot, considering the number of of amazing musicians that played for Frank). The fact that Zappa gave them both plenty of solo spots during their tours indicates that the master appreciated their abilities as well.

I won't go too much into the set list, as there are no rarities performed at this concert, but I will pick out a few notable selections.

The rendition of "Conehead" barely resembles the well known version of the song. Here it is barely developed, has no lyrics, and is used as just a riff for an extended guitar solo. The riff sounds a bit like the later versios, so I suppose it could be called the same song.

The real highlight is "Wild Love", extended to just over thirty minutes, including many solos, and some hijinks. Which brings me to the one drawback of this album. A lot of the improvised bits Zappa and his band performed on stage don't translate well to an audio-only release. This can be heard on other albums as well. Throughout this concert, Zappa repeatedly leads the band and the audience through a strange bit of dialogue, that may or may not have made sense at the time. He also brings out Roy Estrada to do his odd sort of conducted vocals, that to me doesn't stand up to repeated listenings.

However, the performances of all of the songs, and there are about thirty of them, are all outrageously good, and make this a great album.

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  87. Trotsky (264)
  88. FragileKings (263)
  89. Muzikman (263)
  90. The Crow (261)
  91. Slartibartfast (257)
  92. clarke2001 (254)
  93. rdtprog (248)
  94. The T (247)
  95. aapatsos (246)
  96. GruvanDahlman (243)
  97. Andy Webb (237)
  98. Bj-1 (235)
  99. poslednijat_colobar (228)
  100. 1800iareyay (225)

List of all PA collaborators

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