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 People No Names by KALEVALA album cover Studio Album, 1972
3.96 | 34 ratings

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People No Names
Kalevala Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Not to be confused with the more modern Russian folk-metal band, this KALEVALA is from Finland and was formerly named Vietnam before changing their name to the 19th century epic compilation of poetry by Elias L÷nnrot which is regarded as some of the most significant literary works in all of Finnish national identity. Well, if you're calling yourself the musical Finnish equivalent of Shakespeare then you should expect some pretty epic music delivered, don't ya think?

KALEVALA was formed in 1969 by bassist Juha "Lido" Salonen and the name actually came about by accident. When touring under the name Vietnam, one of the concert organizers objected to the name and forced them to change it. The band went through many line-up changes but it was the guitarist Matti Kurkinen who would steer the band into the progressive arenas of rock and wrote all of the tracks on PEOPLE NO NAMES, their debut album all by his lonesome. The original release was put out by Finnlevy Records but has since been remastered and is available on the Svart label.

The album was released in 1972 and many of the progressive rock influences of the day can be heard starting with the 9 minute title track which begins with a nice acoustic intro and turns into a nice hard bluesy rocker that has a Jethro Tull kind of riff with some of the frenetic energetic parts sounding like the intro to "Heart Of The Sunrise" from Yes' "Fragile" album. The highly energetic rockin' parts are pretty heavy for 1972, so this rightfully can be placed in the proto-metal camp as well alongside UFO, Uriah Heep, T2 and Led Zeppelin. On the prog side the compositions are much more varied and sophisticated than any contemporary hard rock bands of the day that still utilized blues scales as the basis for song structure. Harri Saksala does bring a deeper voiced Ian Anderson to mind in his vocal delivery at times but his styles vary as much as the tracks themselves.

After the frenetic title track, the second track "Where I'm From" is a light airy and breezy piano and acoustic guitar number with emphasis on a strong melodic development before bursting in a very Tullish sound complete with flute. The track despite the strong Tull influence manages to keep a couple steps away from diving too far in that direction especially as the piano part alternates to keep the piece unique. The third track "Waves" reminds more of Can rhythmically but with a nice symphonic keyboard embellishments and a beautiful guitar solo gives it the right amount of oomph. "In The Net" is probably one of the weaker tracks. Reminds a bit of Deep Purple. Maybe "Highway Star" type riffing. Vocals kind of weak but overall saved by an unexpected harmonica solo. "My Friend" is a short little piano ballad that is probably the least impressive track on the album. "Lady With The Veil" is a nice number that begins as a ballad but kicks into progressive heavy rock with excellent super fast drumming from Markku Luukkanen and excellent guitar work. One of my favorite tracks. "Escape From The Storm" is one of the most psychedelic tracks which incorporates acoustic and electric guitar codependencies and wah-wah splendor. Another excellent track. "Tamed Indians" is a strange little folky closer that sounds like a Finnish traditional complete with accordion and foot stompin' delight :)

This is a fairly obscure album even though it has been re-released and although it has been touted as a long lost masterpiece, i don't feel it quite reaches those lofty heights although i do find this to be a very welcome obscurity into my collection. The variation and Kurkinen's excellent guitar playing keep this album from ever drifting into mediocrity and although the band are master's of the cut, copy and paste approach to create a nice mix of ideas, they clearly hadn't quite sewn all the influences together to create a unique and totally original sound. Still an impressive early collection of heavy rockers mixed with nice mellower tracks. This album is available on CD despite there being no info that it exists (i found one by chance) but it is probably easiest to obtain as a two-fer-one with the second album "Boogie Jungle."

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 Until All The Ghosts Are Gone by ANEKDOTEN album cover Studio Album, 2015
4.16 | 129 ratings

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Until All The Ghosts Are Gone
Anekdoten Heavy Prog

Review by Einwahn

5 stars Eight years after their last, excellent album, this would class as a come-back for some bands. But Anekdoten have never been prolific, and it was previously usual for their cult following to have to wait four years between albums. Their guitarist, vocalist, and driving force Nicklas Barker has been engaged recently in the wonderful side-project My Brother The Wind, and that certainly has been a consolation for the silence from Anekdoten.

But they are back with a vengeance, no question! Probably like many, I was expecting some intrusion of MBTW-like psychedelia in their sound - instead the jaw-dropping opener Shooting Star is replete with influence from Steven Wilson and Opeth; imagine a confluence of Luminol, Raider II and Slither, taken up a gear with a positive energy I did not think Anekdoten possessed. The second track Get Out Alive starts like a familiar middle-period Anekdoten number, but then again takes off like a torrent. Also in this vein is the final track Our Days Are Numbered. These tracks rank among the best this great band have ever produced. Like a few other reviewers, I feel Anekdoten's only weakness is the competent but characterless voice of Nicklas Barker, and I always feel uneasy on first hearing a track that sounds like he will over-vocalise. One or two of the other tracks fell into this category initially, but in every case the music takes over and I really don't have a criticism in the end. The deep concept behind the lyrics I detect to be religious, sometimes euphoric, sometimes despairing and I'm not qualified to judge the overall picture. But this is a masterpiece, no question.

Verdict: recommended to Steven Wilson fans. HIGHLY recommended.

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 Misantropicalia by SATANIQUE SAMBA TRIO album cover Studio Album, 2004
3.44 | 3 ratings

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Misantropicalia
Satanique Samba Trio RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars SATANIQUE SAMBA TRIO is a very strange band from Brasilia, Brazil. Their name and imagery suggest a black metal band, but this is more of a parody of black metal because this is nothing even remotely close soundwise. The name is also a misnomer as this is neither Satanic nor a trio. The band throughout its history ranges from five to seven members. This music is actually a hybrid of the avant-prog of such greats as Henry Cow or Univers Zero mixed with traditional Brazilian pop and avant-garde samba jazz.

The instruments consist of guitar, bass, drums, trumpet and cavaquinho which is a small Portuguese guitar with four strings. This music is very avant-garde to say the least utilizing the most dissonant avant-prog and RIO leanings as heard in the strangest offerings of Henry Cow, Art Zoyd or Aqsak Maboul only presented with samba-jazz instrumentation. The weaving of traditional Brazilian sounds into the mix is what makes this truly unique. While the samba sound can be discerned at times, it is often obfuscated and twisted with extremely complex time sigs and electronic manipulations.

While the best of what this band has to offer from their future releases is here on the debut album MISANTROPICALIA, they also have a strange fascination with "The Snow EP" from Coil on a few ambient tracks with the vocals and melody almost identical to that release. If you are not familiar with Coil's music this could be an interesting addition outside the avant-samba offerings heard here but i find it a little irritating to hear it here interspersed between the regular tracks. It sounds like they just throw in the ambient vocal tracks for filler and it is basically too much of a Coil rip off for my comfort. This is a decent slice of avant-prog-jazz by SST but it is better displayed on the following albums "Sangrou" and "Bad Trip Simulators 2 & 1" where they shine in their fullest avant-garde samba jazz regalia.

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 Giant Robot by BUCKETHEAD album cover Studio Album, 1994
4.08 | 7 ratings

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Giant Robot
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars We start off with a short intro that explains the origin of BUCKETHEAD. A kid simply asks "Who is BUCKETHEAD?" The father (i presume) explains that he is a guy who was raised in a chicken coop and that without the BUCKET on his head he is totally helpless. Welcome to another chapter of the strange world of BUCKETHEAD and on the second solo album GIANT ROBOT we get one of his better early releases. After the short intro we get a frenetic "Welcome To Bucketheadland" sizzling guitar solo which leads into a hard rocker remnant of an 80s metal throwback that sounds like it would fit nicely on an Ozzy Osbourne album. Randy Rhoads has been cited as a major influence.

On "I Come In Peace" we get a sampling intro followed by an AOR sounding bit before it changes into an exciting narration about a 50 ft man with a chicken bucket on his head who is attacking Tokyo with an enormous guitar that purportedly when a note is played, the sonic waves topple entire buildings. The chorus is a reassuring response "I Come In Peace." This is an awesome track that exemplifies the fantasy amusement park world that BUCKETHEAD has built up over the years. The bit about his liberating all the enslaved chickens and leading them to Mt. Fuji is hilarious!

As with many BUCKETHEAD releases we get lots of guest musicians on board. Bootsy Collins from his Praxis days is here but there are no less than 15 guest musicians including Iggy Pop, Sly Dunbar (of Sly & Robbie), Jerome Brailey (Parliament, Funkadelic) and actor Bill Moseley. There are as many styles on board here as there are guests. The heavy metal element is only one style making its way into the mix. There is a strong emphasis on funk, jazz fusion, progressive rock, ambient and just plain weird experimental elements. There is first and foremost an emphasis on humor and of course chickens! "Want Some Slaw" is a avant-metal piece that dishes out some serious proggy time sigs and a constant narrative teasing that emphatically declares "BUCKETHEAD's a psycho."

There are plenty of short little ditties as well as fully developed constructed songs. They mix and mingle creating a collage effect of different and seemingly unrelated styles and ideas with his virtuosic guitar playing being used fairly sparingly in unexpected places. "Warweb" is a strange guitarless symphonic string track with a kid semi-singing like Laurie Anderson where he rants on about being lost with BUCKETHEAD. Other notable tracks include: "Buckethead's Chamber Of Horrors" which is a bombastic industrial metal vs symphonic classical piece where the styles alternate, the strange electronically altered vocal track "Chicken," the tender acoustic "I Love My Parents" (a style that would find whole albums like "Electric Tears" and "Colma"), the super funky "Robot Transmission," which displays his unique robot funk guitar soloing, the electronic reworking of "Pirate's Life For Me" from the Disneyland ride and the metal version of the "Star Wars" theme!

This album is one of BUCKETHEAD's more eclectic releases and it is simultaneously accessible and plain weird for most of this wild ride. There are just too many things going on to mention. While the creativity is turned up to 11 on this one and is clearly a major step up from "Bucketheadland" there are still some parts that wear out their welcome and perhaps a few tracks could have either been trimmed down a bit or nixed altogether and some of the dialogue is a little lame at times, however this is a solid BUCKETHEAD release that anybody even remotely interested in him at his most untamed should check out. There is plenty of really, really cool and strange music to be had on GIANT ROBOT, making it a very solid and weeeiiirrrd release.

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 Brother of Mine (2) by ANDERSON BRUFORD WAKEMAN  HOWE album cover Singles/EPs/Fan Club/Promo, 1989
3.16 | 11 ratings

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Brother of Mine (2)
Anderson Bruford Wakeman Howe Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Themes

This single by Anderson Bruford Wakeman Howe released in 1989 is interesting for Yes fans primarily because of the non- album b-side (or c-side actually) Vultures In The City. This song is in a similar style to the ones that ended up on the album and it would not have been out of place on that album. Personally, I wouldn't have minded this song instead of Teakbois, the least good song on that lone Anderson Bruford Wakeman Howe album.

There are two other tracks here. The a-side is an edited version of Brother Of Mine which is cut down to six and a half minuted from the original ten and a half minutes. It is a beautiful song and even though I prefer the uncut album version, it works also in this shorter version. Themes is however left untouched and is thus the same as on the album.

Overall, we get here some 18 minutes of very good music, one song of which is not available elsewhere (though it has since been made available on a bonus disc with recent re-releases of the Anderson Bruford Wakeman Howe album).

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 Dodecahedron by DAAL album cover Studio Album, 2012
4.08 | 202 ratings

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Dodecahedron
Daal Eclectic Prog

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars On their fourth full release the duo known as DAAL (DA-vide Guidoni and AL-fio Costa) deliver an impressive eclectic electronic smorgasbord of sonic weirdness once again only this time instead of different track names, they take the title of the album DODECAHEDRON and simply make XII different tracks, each taking you on a different trip through the psyche and subliminal universe of mellotron dream worlds enriched with every sonic possibility you can think of and then some. The Pink Floyd influences are omnipresent as usual but DAAL have a masterful way of making these sound unique and different enough never to stray even close to classic album plagiarism. Once again there is an entire ensemble of guest musicians on board incorporating all the usual suspects of rock instruments (guitar, bass, drums) as well as the exotic ones such as the Greek bouzouki, bardic harp and two that i have never heard of called itchemba and kehru.

The music flows brilliantly from one DODECAHEDRON movement to the other with some tracks rocking out with Floydian guitar solos while others delivering silky and smooth lush string sections accompanied by brilliant piano riffs. The melodic flow often has slight dissonant counterpoints to add a nice salty taste to the sweetness. I would say this album is more melodic and contains less frantic time sig changes than other releases. There is much more emphasis on atmosphere and a nice leisurely ride down a river of electronic sounds and atmospheric changes much like clouds drifting in the sky changing subtly into something entirely different. With this music the cello led string sections can morph into a tribal drumming with jazzy sax combo with nice atmospheric synths and then off to something else entirely. This is also an entirely instrumental affair which allows the band to flutter off like a butterfly anyway the wind blows. The only thing that comes to mind for comparison is a progressive rock equivalent of Shpongle.

I have listened to this album in many ways and on different stereo systems just to compare. I have listened completely focused on every detail and i have listened while preoccupied with something else banishing it to background music and i have come to the same conclusion either way. This album somehow manages to sound great as active and passive music on higher quality sound systems and even on my crappy car system. There is a fundamental basis in melodic development that keeps it interesting and lots of bells and whistles to add lots of extra yumminess to the whole thing. Once again DAAL deliver the eclectic progressive rock and electronic goods keeping me thoroughly entertained. This is one of those albums that is nebulous enough to sound different depending on mood and setting. This is definitely one for the musical wanderer. One for the restless listener who likes a lot of unpredictability in their world. One full of excogitative fecundity keeping the listener wondering just which sonic bloom will sustain into maturity or simply fizzle out into the great void. Welcome to tripper's paradise!

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 What Once Was... Liber II by BLUT AUS NORD album cover Singles/EPs/Fan Club/Promo, 2012
4.00 | 1 ratings

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What Once Was... Liber II
Blut Aus Nord Experimental/Post Metal

Review by CassandraLeo

— First review of this album —
4 stars The What Once Was series (which shares a name with infamous black metal band Burzum's second album) is self-styled as Blut aus Nord's 'back to basics' series of EPs, intended to throw in some old-school death metal influence into their unusual mix of black metal, industrial, and progressive metal. For all that it's intended to be more primitive, the series still throws the band's signature odd time signatures and dissonance everywhere, and it's still unmistakably the work of Blut aus Nord.

Of the three releases in the series thus far (more are evidently planned), Volume II is probably the strongest. It's also likely to be the most interesting to fans of progressive metal, what with the nine-and-a-half-minute opening track (the longest track on any of these releases to date). The other tracks are quite solid as well, especially the last one, which to my estimation has one of the best riffs on any Blut aus Nord release (right up there with the riff in Memoria Vetusta II's 'The Formless Sphere').

The release still has the odd textures, tremolo picking, blast beats, harsh vocals, and warped dissonance one would expect from any of the band's non-Memoria Vetusta/Ultima Thulee releases, so black metal-phobic fans are forewarned. It may also be difficult for people who don't own a vinyl player to track down a digital recording of this release, because there isn't an official one (although vinyl rips do circulate the internet). But for those who are open to such things, there is quite a bit of enjoyable listening to be found here.

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 Hiraeth by NE OBLIVISCARIS album cover Singles/EPs/Fan Club/Promo, 2015
4.00 | 1 ratings

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Hiraeth
Ne Obliviscaris Tech/Extreme Prog Metal

Review by CassandraLeo

— First review of this album —
4 stars Consisting of the band's earliest material, the band's Hiraeth EP reveals the band emerging fully formed as if from the head of Athena. While it's not entirely clear if the material has been re-recorded, the compositions here are very strong, not at all what one would expect from a band yet to record even its first demo. The performances, regardless of whether this is a re-recording, are of the high standard one would expect from this august band, and the recording quality is particularly good for a limited release (although the mastering could be better; there's some clipping). This material isn't as good as the material on The Aurora Veil or the band's two full lengths, but it is still well worth hearing for fans of this band. It will probably be almost impossible to track down a physical copy of this release, but it's possible the band will release the material digitally at some point in the future, and it's strongly recommended you acquire it if they do.

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 Sarabande to Nihil by NE OBLIVISCARIS album cover Singles/EPs/Fan Club/Promo, 2015
4.00 | 1 ratings

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Sarabande to Nihil
Ne Obliviscaris Tech/Extreme Prog Metal

Review by CassandraLeo

— First review of this album —
4 stars It's not entirely clear where in the Ne Obliviscaris chronology the compositions on Sarabande to Nihil fit. Some sources have claimed they are Portal of I outtakes, while others claim they predate The Aurora Veil.

In any case, they have been re-recorded for the band's limited edition Sarabande to Nihil EP (one of a pair of limited-edition EPs they handed out to supporters of their crowd funded tour campaign), and they sound great. It's not entirely clear why the band chose not to release these the first time around; they're not as lengthy as the tracks on The Aurora Veil, but they're hardly embarrassing throwaways. The quality of the material may have been perceived as slightly less than the three tracks that did make the cut, which isn't exactly untrue, but when one considers the overwhelming quality of the band's demo, this really isn't a fair comparison to make.

As with Hiraeth, the recording quality here is great, although there is once again clipping in the mastering. And as with Hiraeth, this will probably be impossible to locate in physical form, but interested fans are urged to track down digital versions. Given the paucity of this band's output to date, every little bit of new material is a revelation, and what's here doesn't disappoint.

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 Secrets Of Astrology by LANE, LANA album cover Studio Album, 2000
3.73 | 14 ratings

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Secrets Of Astrology
Lana Lane Prog Related

Review by Tarcisio Moura
Prog Reviewer

3 stars Well, after the highly successful Queen Of The Ocean, I guess Lana Lane faced the same problem of everyone who finally releases a masterpiece: what to do next? Instead of risking repeat the formula, Lane and her husband, keyboardist/arranger/engineer/producer Erik Norlander, decided to try something new. Norlander and Lane had already guested on Arjen Anthony Luccasen┬┤s Ayreon project, so they decided to say goodbye to the musicians they have worked so well thus far and go to Holland. Not surprisingly several musicians featured here are Lucassen┬┤s sidemen (only bassist Tony Frankim went along with them).

As one can expect, the resulting material is considerable heavier than on Lane┬┤s previous albums. There┬┤s a subtle but strong Ayeron influence all over the CD. Even if the progressive elements are right there, especially on Norlander┬┤s part, the classic rock/hard rock is not, replaced by heavy metal riffing and arrangements. if the new formula is better or worse, it┬┤s a matter of your personal taste. Generally speaking I liked the album, although Secrets Of Astrology never reaches the beauty and elegance of Queen Of The Ocean, and much of her previous stuff for that matter. There are several fine moments like the title track (a real classic) and Long Winter Dreams (the closest they got here to their former sound. It is no surprise that it┬┤s also the album┬┤s best track). As usual, no sing is really bad or weak. The production and engineering are also terrific: Erik Norlander is definitely a Jack Of All Trades!

Conclusion: an interesting move and a nice album. If you like Lane┬┤s more prog metal leanings you┬┤ll certainly love it. My rating keeps shifting from3 to 4 stars, but 3.5 would be more precise.

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

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

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