Progarchives, the progressive rock ultimate discography
PROG ARCHIVES intends to be the most complete and powerful progressive rock resource. You can find the progressive rock music discographies from 9,681 bands & artists, 51,022 albums (LP, CD and DVD), 1,306,761 ratings and reviews from 56,562 members who also participate in our active forum. You can also read the new visitors guide (forum page).
Listen to progarchives.com radio ad presentation (30 sec.)

Latest 50 Free Mp3 Download (stream)


new Random Playlist (50) | Open up player | How to submit new MP3s ? | RSS New Mp3s

Latest Progressive Rock Music Reviews


Last 50 reviews
 Paix by ALPES & CATHERINE RIBEIRO album cover Studio Album, 1972
4.14 | 33 ratings

BUY
Paix
Alpes & Catherine Ribeiro Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

4 stars This sounds like a cross between Acid Folk and Psychedelic music, there's very much a hippyish vibe here especially on the first two tracks. The highlights though are the final two songs that clock in at over 15 1/2 minutes and 24 1/2 minutes respectively. Man Catherine is a beautiful woman, just a unique and gorgeous face while her voice is strong and deep.

"Roc Alpin" opens with guitar, bass and drums as vocal melodies come and go. An upbeat tune with keyboard-like sounds that come and go. This one's fairly straightforward and there's a 60' vibe with the vocals. "Jusqu'a Ce Que La Force De T'aimer Me Manque" opens with strummed guitar and vocals as the organ floats in. Keyboard-like sounds come and go too. Vocal melodies follow then back to vocals. The Psych/ Folk flavour to this one is strong. "Paix" has a sparse beginning with percussion-like sounds and atmosphere. The organ becomes more prominent then it's fuzzed out before 4 minutes. Nice! Catherine starts to speak before 6 minutes as the guitar melodies come and go while the bass, drums and organ continue. This is trippy yet her words seem serious. She starts to get more theatrical before 10 minutes and the music also turns more powerful. Love the fuzzed out organ that returns. Some almost avant sounding guitar around 11 1/2 minutes. Vocal melodies are back at 13 minutes. A psychedelic beauty right there, almost perfect and my favourite song on here.

"Un Jour... La Mort" is spacey with trippy guitar sounds to start. Vocal melodies and a change in sound after 4 minutes as bass and strummed guitar help out as well. Love the organ-like sounds after 5 minutes and also a minute after that. Vocals arrive just before 7 1/2 minutes and there's lots of depth instrumentally as she sings so beautifully. She starts to sing with more passion at 8 1/2 minutes. The vocals then stop as the music winds down until there's silence after 10 1/2 minutes. Then it kicks in with percussion, vocals, organ and more. Intense and determined is the sound here. Suddenly they seem to jam as the vocals stop. Organ and drums stand out here. The vocals are almost drugged-out sounding around 15 minutes, then she sings normally and man this all sounds so amazing. Silence before 18 1/2 minutes then solo picked guitar takes over. Strummed guitar and vocals follow. Bass and organ also join in. Some deranged vocal yells come and go over the last few minutes.

This is such an enjoyable album and it's often adventerous both vocally and instrumentally. A solid 4 stars and well worth tracking down.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Shamblemaths by SHAMBLEMATHS album cover Studio Album, 2016
4.16 | 6 ratings

BUY
Shamblemaths
Shamblemaths Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. SHAMBLEMATHS is the project of Norwegian duo Simen Ellingsen and Eirik Husum plus we get about nine guests helping out. This is one of those albums that I really think has something for every Prog fan out there. This contains a lot of variety as well as excellent lyrics. We get three long suites spread out over the 56 minute length of this album. I like in the liner notes where the band thanks... "both our fans out there: we actually could have done all this without you. But thanks anyway." The vocals remind me a little bit of Roine Stolt. Yes humour and lights out playing are the bands strengths I'd say.

We start with the almost 27 minute suite "Conglomeration" which opens with piano that is promptly blown away by vocals and heaviness. Check out the avant guitar work here reminding me of GARDEN WALL. The vocals here are shockingly Zeuhl-like all the way, I mean this is Zeuhl before 2 minutes. So good. Ripping guitar follows then a sax solo. Normal vocals after 3 1/2 minutes with strummed guitar as organ and bass join in. VDGG-like sax is back as the vocals stop as we get a killer instrumental section. A PORCUPINE TREE-like calm after 7 minutes as reserved vocals join in. It turns powerful again after 8 1/2 minutes. A calm with piano only at 12 1/2 minutes then reserved vocals join in. I like when the organ floats in replacing the vocals. Vocals are back at 14 1/2 minutes. Intricate guitar with piano after 15 minutes. Great sound 16 1/2 minutes in with that mellotron. Check out the guitar after 18 minutes. Oh my! And the bass too, then back to that intricate guitar as piano follows. The organ floats in again followed by mellotron and vocals. Another change before 21 minutes as the vocals return and the tempo picks up. Killer bass with drums and mellotron before 23 1/2 minutes. It's heavy before 25 minutes but it's brief. More amazing mellotron follows. Laid back vocals, guitar and sax end it.

"A Failing Ember" is the shortest song at just under 10 minutes. Strummed guitar and relaxed vocals to start but it builds quickly. It's fairly uplifting before 2 minutes then it kicks into gear as the vocals continue. Organ to the fore 3 minutes in then we get a really good instrumental section. It's pretty intense before 5 minutes then we get a calm. A bit of a hillbilly vibe(haha) after 6 minutes. A baby can be heard before 7 1/2 minutes, mellotron too. It kicks in majestically a minute later with vocals.

"Stalker" opens with strummed guitar and vocal melodies which reminds of MORTE MACABRE. It picks up and it's quite uplifting here as vocals and piano follow. It kicks in even more before 4 minutes. Nice. Contrasts continue and I love the organ 6 1/2 minutes in and the guitar ripping it up after 7 minutes. So good! Sax follows then more guitar but it's soaring this time. How amazing does this sound 10 1/2 minutes in, especially the drumming. A calm follows reminding me of MORTE MACABRE once again. Sax and a more powerful sound after 13 1/2 minutes, nice bass too. Another great section 16 1/2 minutes in with lots of energy and outstanding playing.

Man I could bump this up to 5 stars after more listens, it's that good. Without question a contender for Album of the Year in my World.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Ruggine by VUOTI A RENDERE album cover Studio Album, 2016
4.00 | 1 ratings

BUY
Ruggine
Vuoti a Rendere Rock Progressivo Italiano

Review by Finnforest
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Is it 2016....

or the dawn of the 1970s? I love how VaR are able to capture the low-fi "retro" late 60s sound. There are a number of early Italian bands that predated the 72-73 explosion and released albums that were somewhere between the later RPI movement and a dark/heavy version of 60s beat and rock. If you didn't know the release year you could easily mistake this album for one of those pioneering bands. (Yet there is also an economy to their playing which suggests more modern rock influences.) The 28 minute running time is another charming marker of the genre, so many short RPI albums.

Since the release of their debut album last year, the band played Italy's MEI event for independent bands but seemed somewhat disillusioned with the experience. Their sax player Annalisa departed the band last November and VaR continues on as a three piece unit with occasional guest sax parts. On their second album "Ruggine" (Rust), the three piece covers similar ground to the debut but with less sax, and perhaps more angst. The mood is again quite dark lyrically and this feeling is enhanced by the somewhat claustrophobic sound they have designed.

I miss the longer, melancholic and meandering piano that occurred on the first album, but I sense the guys were pushing harder here and there seems to be a palatable need for the release it brings. There are acid-psych-blues elements that recall the vibe of 60s Floyd (think Nick Mason plowing away with abandon over organ and guitar, with those rolling drums, ala Pompeii) mixed with bits of later bands like Laser or Metamorfosi. Vocals and guitars are not so much concerned with precision as with experimenting and creating anxiety, tension, mood. There's a bit of where The Doors might take things if they were able to lock Morrison in the basement and just jam in a small club as a trio. What I imagine Syd's guitar may have sounded like on particularly saucy versions of "Lucy Leave."

I think the three guys in VaR love to play and that comes through: after you listen several times you can hear the great instincts they have for weaving catchy and interesting parts. Anxious, caffeinated guitars, sullen, murky organ, and that early, long-haired Nicky Mason style of drumming from his short-lived salad days. These are short, economic songs which aren't trying to compete with PFM's glossy symphonic epics, they are all about communicating in a much more direct way. They aren't trying to be "progressive technical wizards" for a prog-only audience. It's very personal. I love the immediacy. They almost bring a bit of the Minutemen/Firehose philosophy to their brand, although of course, in a far less aggressive non-punk manner.

It all comes together well. While some listeners may not find this band "prog enough" for their royal tastes, "Ruggine" is a really tasty little album that I enjoyed very much. 7/10.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Sanctitude by KATATONIA album cover Live, 2015
4.15 | 8 ratings

BUY
Sanctitude
Katatonia Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Sanctitude" is a live album/DVD release by Swedish progressive/alternative rock/metal act Katatonia. The album was released through Kscope Music in March 2015. "Sanctitude" bridges the gab between the band´s 10th and 11th full-length studio albums "Dethroned & Uncrowned (2013)" and "The Fall of Hearts (2016)". It´s a split release featuring both an audio disc and a concert DVD of the same show, filmed and recorded May 16th 2014, in London's Union Chapel as part of the "Dethroned & Uncrowned (2013)" tour. In addition to that the DVD part of the release also features a documentary titled "Beyond the Chapel", which among other things features interviews with both Anders Nyström (guitars) and Jonas Renkse (vocals). "Sanctitude" is also available on vinyl, featuring only the audio material.

As the show is from the tour supporting "Dethroned & Uncrowned (2013)", which is an acoustic version of "Dead End Kings (2012)", it´s no surprise that "Sanctitude" features a predominantly acoustic show, with focus on acoustic guitars and vocals, but with the occasional use of percussion and programming/keyboards (and the occasional use of electric guitar lead themes). The setlist is culled from various releases in the band´s relatively large discography. The oldest track is "Day" from "Brave Murder Day (1996)", but tracks like "Tonight´s Music", "Teargas", and "Gone" also represent the older (although not early doom/death part of the band´s discography), while tracks like "In the White", "Undo You", "Unfurl", and "The One You Are Looking for Is Not Here" (featuring Silje Wergeland from The Gathering on vocals), represent the latter part of the band´s discography (up until then). A mid-period album like is represented by no less than four tracks in "One Year from Now", "Sleeper", "Omerta", and "Evidence".

The band´s performance is more or less flawless and Renkse, who is naturally the center of the attention, is skillfully backed up with harmony vocals and choirs by both Nyström and session guitarist Bruce Soord (The Pineapple Thief). The DVD part of the album shows a relatively relaxed band but also a pretty introvert one, and it´s not many words that are said between the songs. Renkse is an incredibly paatos filled and emotive singer, but his stage performance has always been a bit shy and lacking presence. Katatonia let the music speak for itself instead, and when you can do it with this high level of professionalism and impactful emotional delivery, you don´t necessarily have to engage too much in audience communication. When that is said Renkse communicates more with the audience here, than I´ve ever heard him do before, and he generally just seems to be enjoying himself, which contributes greatly to the relaxed atmosphere of the show.

"Sanctitude" features an organic and well sounding production and overall the CD/DVD set is a high quality release, immortalizing a speciel event in the band´s career. Some tracks naturally translates well to the acoustic versions, while others have been re-arranged a bit, but none of them lose their original melancholic atmosphere and they all work pretty well. To my ears highlights include "Teargas", "One Year from Now", "Day" (which is about 100 times more interesting in this version compared to the original), and the beautiful "Idle Blood" (that melody is enchanting...). So upon conclusion "Sanctitude" is another high quality release by Katatonia and a 4 star (80%) rating is deserved.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Brave Murder Day by KATATONIA album cover Studio Album, 1996
3.85 | 14 ratings

BUY
Brave Murder Day
Katatonia Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Brave Murder Day" is the 2nd full-length studio album by Swedish doom/death metal act Katatonia. The album was released through Avantgarde Music in July 1996. There have been a couple of lineup changes since the release of "Dance of December Souls (1993)", as drummer/lead vocalist Jonas Renkse has switched to clean vocals (only used sparingly on the album), and left the growling vocals to guest vocalist Mikael Åkerfeldt (Opeth). Bassist Israphel Wing is out of the band and the bass is therefore handled by Blackheim in addition to his guitar playing duties. Fredrik Norrman has been added to the lineup has a second guitarist. Edge of Sanity frontman Dan Swanö (here working under his pseudonym Day DiSyraah) plays all keyboards on the album. "Brave Murder Day" was also recorded at Swanö´s Unisound Studio with Swanö handling engineering.

"Brave Murder Day" was originally send to be pressed without having been mastered and it was not until the 2006 Peaceville Records re-release of the album that it was properly mastered. The Peaceville Records version includes the "Sounds of Decay (1997)" EP as a bonus. Other re-releases feature the "For Funerals to Come (1995)" EP and the Russian label Irond Records released a version were both EPs are included. As a consequence of the lack of mastering the original version of the album features some sound issues (low audio output and lack of EQ fixes), but it´s nothing too distracting and the sound production is generally well sounding and suits the music well.

Stylistically the music is doom/death metal, but ultimately quite different sounding to the doom/death metal style on "Dance of December Souls (1993)". Gone are the blackened elements (although Åkerfeldt´s vocals at times touch that territory) and the occult atmosphere of the debut album, and instead a deeply melancholic atmosphere and a dark heavy rhythmic foundation have taken their place. Some tracks have a repetitive almost ritualistic element to them but changes always happen to great effect, so repetitive sections never become tiresome. "Day" is a track which is quite different from the remaining material on the album, as it´s a quiet song with Renkse singing clean lead vocals. It´s melancholic and a bit monotone, and it´s obvious it´s an early experiement with clean vocals (which reminds me a bit of The Cure). Renkse sounds neither confident nor comfortable singing clean vocals at this point. The shoegaze influenced section on "Rainroom", which features clean vocals too, works a bit better. The growling vocals are delivered with raw power and great conviction though and Åkerfeldt deserves praise for his performance on the album.

Other than "Day", which stands out as very different from the rest of the material, the 5 remaining tracks are all doom/death metal featuring simple heavy beats (almost too simple if you ask me), heavy downtuned riffs, melancholic lead themes, and an overall epic atmosphere. The tracks feature rather unconventional structures, and while riffs and memorable hooks do return during the tracks, the tracks aren´t vers/chorus structured, and therefore a bit more adventurous than usual. "Brave" for example features three long consecutive sections, before section number one returns to close the track. Tracks like "12" and "Endtime" also feature what I would characterize as progressive structures. Both tracks are also quite dynamic with both epic heavy sections and more melancholic quiet clean/acoustic guitar sections.

While Katatonia have a pretty unique sound, I hear quite a few nods toward early Opeth and especially early Paradise Lost, which must have been a great influence on Katatonia´s music. Listen to the guitar lead theme about 1:30 minutes into "Murder", and tell me that doesn´t sound one to one like a lead theme from "Gothic (1991)" (the sophomore studio album by Paradise Lost). Katatonia even get the guitar tone right. When that is said it is seldom during the album´s playing time that the Paradise Lost influence is that blatantly displayed, and as mentioned Katatonia generally have an easily recognisable and original sound.

Upon conclusion "Brave Murder Day" is a quality sophomore studio album by Katatonia. 1996 was probably not the best year to release an album in this style, but it is often mentioned as a seminal album in the doom/death metal genre, and rightly so. Katatonia took their music to a higher level on "Brave Murder Day" and despite a few sound production issues, and a few moments where their influences shine through a bit too much, this is a quality release featuring a unique sound and style. A 4 star (80%) rating is deserved.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Book Of Days by NEKTAR album cover Studio Album, 2008
3.22 | 59 ratings

BUY
Book Of Days
Nektar Psychedelic/Space Rock

Review by BigDaddyAEL1964

2 stars So what happened here? Nektar meets Nazareth or something?

This album has by far the worst sound of any Nektar album in my opinion. It's too electronic and digital, much less warm and human than usual. The songs are not bad, but definitely not great. "Where Are You Now" and the two "Book Of Days" that close the album are the best songs, and this is a strange feeling; it sound like a 2 stars album at the beginning, but it becomes a solid 2.5 stars at the end.

When I look back at the very respectable discography of Nektar and I only find one album worst than this (The Prodigal Son), then I can't give it more then 2/5. Generally forgettable.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Mare Vaporum by OÖPHOI album cover Studio Album, 2010
3.00 | 1 ratings

BUY
Mare Vaporum
Oöphoi Progressive Electronic

Review by admireArt
Prog Reviewer

— First review of this album —
3 stars Gianluigi Gasparetti, (26 March 1958 - 12 April 2013) known by the pseudonym Oophoi, had a keen and natural way to create and thread highly attractive melody lines, whose abundance and consistency could be the envy of 1000s of Rock/Prog acts , who have disguised this limitation with fireworks and stage lights or "provocative", (yet, more than once meaningless) , concepts.

"Mare Vaporum", remastered, reshaped, refinished and released in 2010, closes, a then ongoing, trilogy which started in 2001, and is no exception to what was before mentioned about his natural genius , which by the way, poses a true challenge when rating, which means that with this kind of music composition level, he surely outsmarts any , usually overrated yearly, "this current year's PA 5 STARS Phenomenon", which eventually just get lost in the crowd the following year and so on.

So in able to debug this tree, I will cast the "magic" words- Ambient and Deep Atmospheric Electronic Music......, that should do the trick!

Anyway, the wisest and more deserving way to rate Oophoi is to do it in his self created and unique fields, his own progressive/drone/electronic works, which , subtly and silently, turn out to be quiet a full load of works. (PA's Oophoi archive, still awaits for collaborators to chip in!)

Therefore in comparison to his own works 3.5 PA stars, in a general (and uneven) race, 4 PA stars, but as told I am going to stick to rating him against himself, he deserves it!

***3.5 PA stars.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Psycho Erectus by POLYTOXICOMANE PHILHARMONIE album cover Studio Album, 2003
4.22 | 20 ratings

BUY
Psycho Erectus
Polytoxicomane Philharmonie Psychedelic/Space Rock

Review by admireArt
Prog Reviewer

3 stars Electronic sounds + cool Jazz + Rock guitar's licks.

A blending of styles and influences, not that unique as I was meant to understand, but very well accomplished.

This is the kind of release which could have landed, here in PA, in any other of its sub-genres, from Krautrock to Prog-Rock/Electronic to Jazz/Fusion and of course Psychedelic/Space Rock.

Its variety in experimentation could also be tagged as Avant Garde inclined and Rock in Opposition un-structured, but of all those sub-genres I would have chosen Krautrock. It has lots of weird electronic noises and quirky time signatures, but always comes back to basic Rock or Jazz lines.

This band's sound, considering its date of release, should be thought as retro, meaning no real "new" groundbreaking directions, but a faithful extension of the roots they somehow reenact.

Polished yet raw, daringly blending simultaneously all type of these Prog-non-mainstream styles, tainted with Frank Zappa's or Resident's like colors, close to G.A.M.'s or Ash Ra's hypnotic trances, but not really that original in their own music compositions, nevertheless extraordinary in performances, ideas and sound quality. Sound quality which really was ignored or unattainable in those early Krautrock days, which brought back with this top-notch engineering sounds amazing.

Anyway, if you enjoy this release you are a sure candidate to enjoy any of the before mentioned Prog sub-genres ( or F. Zappa's style), which have gone through some very interesting changes up to these days...like this Polytoxicomane Philharmonie's "Psycho Erectus", 2003.

3.5 PA stars for people already acquainted with these stylings and bands and 4 stars for young and hungry for non-mainstream Prog cats.

***3.5 PA stars.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Agents of Fortune by BLUE ÖYSTER CULT album cover Studio Album, 1976
3.12 | 149 ratings

BUY
Agents of Fortune
Blue Öyster Cult Prog Related

Review by Prog Sothoth
Collaborator Prog Metal Team

4 stars There are albums out there in which a single song within it stands out so much from the rest of the tracks that it practically carries the rest of the album on its back while sometimes not even being a representative song concerning the band's style and general output. Agents of Fortune wound up being one of those albums, elevating the financial status of the band in the process. But what can I say...even I couldn't help but skip to that track back in the day; it was really something else and quite effective in conveying an atmosphere. It was only during subsequent listens when I realized there was more to this release than that one tune, and now I find the album as a whole as pretty fascinating, but yeah, that one defining hell of a track was quite a game changer.

But before I wax poetic about "Tenderloin", there's still the rest of the album to consider. First of all, along with an improved, clearer production, the band also ventured a lot more out of its comfort zone. The dark attitude was still there, but the branching out into occasional pop territory was a new exploration. Yet the album branches out into a lot of other things, resulting in an album that's almost schizoid in nature musically, held together by the strange unsettling undercurrent in the overall mood, lyrics and penchant for killer guitar solos.

Opener "This Ain't the Summer of Love" is actually cool as a cucumber with a heavy guitar tone kicking things off on the right foot. It's got the motorcycles, meanness and iconoclasm one would expect out of BÖC going by their prior three releases. Other heavy hitters include "E.T.I. (Extra Terrestrial Intelligence)", the lone cosmic number with a ballsy bluesy riff anchoring it before the chorus shoots the band out into space. It's one of those songs in which when I first heard it, I knew it was BÖC, because it sounds like no other band I can think of. It's a great number and could have fit right in with Secret Treaties or even the debut, but I'm glad it's here since I'm not sure those productions would have benefited the song. Then there's "Tattoo Vampire" which brings back some fiery Tyranny & Mvtation action while featuring seedy lyrics involving the urban underworld and its dark secrets. That's actually a running theme for a lot of these songs, with the album's lyrics exploring a city-life underbelly setting moreso than anything else I've heard in their catalog, and in a few cases it really works wonders.

Not so for "Sinful Love", which may be their worst song of their entire 70's output, although the guitar solo (as always) is great. In fact the solo is so good I think Buck Dharma wrote that solo first and as a joke the rest of the band built a real crappy tune around the lead track just to prank Buck. The fact that this song starts off side 2 instead of "Tattoo Vampire" is an actual travesty. "Debbie Denise" isn't the best thing ever either, being an ode to some girl who stands by her rockstar lout of a man, but it sort of works because Albert can really pull off that hungover warbly voice so well...could have been an authentic delivery.

I can't fault the other tunes really. "True Confessions" isn't great, but the Elton John/Rolling Stones mishmash comes off pretty cool and the slow fade out provides an excellent tension builder for the next song. Then there's also "The Revenge of Vera Gemini ", which is icy cool with a slinky swinging gait and Patti Smith's vocal contributions. Certainly one of the most memorable tracks on the album.

But now it's time for some "Tenderloin" baby. I always get this impression of a lavish hotel room with a red velvet couch, neon lights flickering through the window, sirens wailing outside, a wine glass with lipstick on the rim, lots of pills and other things on the table etc. Eric's vocal delivery is at once impassioned yet sinister, and the air of lavish decadence hangs all over this sort of proto-new wave thing. I can only imagine the amount of blow involved in the creation of the song, considering that it's also a main factor within the lyrics, which neither condemns nor praises the protagonists. "It's just like life, there's never quite enough." It's one of those epiphanies when I could wonder "Is this the best time I can see myself having?" "Doesn't it all go eventually downhill?" and other thoughts during a binge or something. Slick, sleazy and quite unusual for the band, it's kind of it's own thing. The other couple of songs I haven't mentioned yet are quite awesome too.

So despite the presence of "Sinful Love", a song so bad you'd have to be a pigeon to sing it, Agents of Fortune really turned out to be a grower for me to an extent that I think it was the right thing for the band to do at the time, not just economically, but creatively since there's too many interesting gems to glare at, plus the sheer variety is noble and not really detrimental after a few listens.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Arena by MARSUPILAMI album cover Studio Album, 1971
4.03 | 67 ratings

BUY
Arena
Marsupilami Eclectic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars Poor English group Marsupilami - forever destined to be confused for being an Italian band! But one thing they sure had in common with the vintage Italian acts on their second and final album `Arena' in 1971 (after a superb organ-heavy proto-prog flavoured self-titled debut the year before) was an energetic, unpredictable heavy sound jam-packed with filthy keyboard danger, thrashing drums, mangled guitar intensity and a deranged and coarse singer full of charisma! A concept album about the gladiator arena of the ancient Roman Empire, the LP was produced by Pete Bardens of Camel fame, but those expecting a similar lush symphonic ride similar to that will be rudely kicked in the plums right from the start of the disc!

Mostly performed in the studio live to best capture the lively spontaneous energy of the group, the album instantly rages to life from its opening seconds with possibly one of the greatest ever introductions on a Seventies prog album - just listen to vocalist Fred Hasson's unhinged and demented feral outburst - "We've come here today to rip the veil from your eyes, unhinge your heads and pull out your BLOODY MINDS!!" - Love it or hate it, `Prelude to the Arena' will instantly grab your attention! It goes on to bombard the listener with wailing guitar soloing, snaking thick bass punctuations and a breakneck pummelling of drums, with quieter breaks of careful organ, flute ruminations and nimble fingered jazzy electric piano runs. `Peace of Rome' holds lurking darker organ and flute-driven symphonic unease behind pained crooned vocals and fiery tearing electric guitar rumbles.

The schizophrenic thirteen minute `The Arena' presents dramatic narration alongside piercing twisted female cries, madly darting huffing flute, devilish stop-start organ blasts and dreamy piano passages before sauntering into some very exotic themes and drifting reflective passages that still manage to hold a serrated harshness. Some blasting up-tempo spots almost come close to Genesis and the shimmering reaching guitar strains briefly remind of Yes' Steve Howe.

After an echoing narration, mud-like Black Sabbath guitar snarls and droning treated vocals, `Time Shadows' tears into lengthy improvised passages, where jazzy piano sprints ripple with tension behind wisps of flute, harmonica and saxophone and warm humming dominating Hammond organ, and there's some cleverly executed reprises of earlier themes. After opening with aggressive panning organ stabs over rumbling drums and stormy brimstone-heavy electric guitar mangling, closer `Spring' is probably the nearest the album comes to a Camel-like moment with a recurring charming and breezier rejoicing melodic theme with pleasing flute, harmonica, piano and violin, the bass constantly pulsing with hypnotic unease.

Some will find the borderline flat vocals in parts to be a bit of a deal-breaker, but `Arena' contains all the symphonic grandiosity you could want from a Seventies prog album without the fancy production polish and politeness, and the welcome tougher edge and raging sense of danger is refreshing and highly distinctive. While it's far from a complete obscurity, `Arena', so close to being a minor masterpiece and not sounding like any other album or band before it, definitely hasn't received the attention it truly deserves over the years, and this gutsy symphonic rough gem deserves a complete reappraisal and rediscovery now.

Four and a half stars.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Evolution by NEKTAR album cover Studio Album, 2004
3.39 | 76 ratings

BUY
Evolution
Nektar Psychedelic/Space Rock

Review by BigDaddyAEL1964

4 stars What an inspired album! A major upgrade from the previous "Prodigal Son", with all the elements that make quality prog rock: nice melodies, reasonably lengthy songs, trippy lyrics, concept structure.

A very joyful work that flows very well and it's pretty listenable. If I was to choose one song as the stand-out one, that has to be "Old Mother Earth", but there is no weakness at all on this album.

The mostly acoustic nature of the album makes it even more trippy, with the piano playing a major role supporting the whole concept. This is maybe the last great album by Nektar; I guess we have seen it all from them and they will be officially disbanded soon, since Roye Albrighton died.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 The Edges of Twilight by TEA PARTY, THE album cover Studio Album, 1995
4.38 | 75 ratings

BUY
The Edges of Twilight
The Tea Party Crossover Prog

Review by Warthur
Prog Reviewer

5 stars Take Jim Morrison, put him in front of Led Zeppelin, and stick them in an isolation tank full of bong smoke and early 1990s goth albums and you might end up with something resembling The Tea Party's The Edges of Twilight. Although they don't sound very similar, I kind of think of this crew as being a bit like a Canadian answer to early Porcupine Tree, in the sense that in both cases the artists in question apply some of the production styles and motifs of 1990s indie/alternative rock to a progressive rock agenda, though they are rapidly distinguished from each other by their choice of influences. Porcupine Tree mashed up trippy psychedelia with aspects of trance music and jangle-guitared British indie pop, whereas The Tea Party take the most progressive moments of the Doors and Zep, taken the progginess a few steps further, and give them a Sisters of Mercy sort of aesthetic. It's a weird, weird plan, but somehow it works.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Zarathustra by MUSEO ROSENBACH album cover Studio Album, 1973
4.30 | 691 ratings

BUY
Zarathustra
Museo Rosenbach Rock Progressivo Italiano

Review by ALotOfBottle
Prog Reviewer

5 stars "God is dead!"

The above statement is one of the maxims of Friedrich Nietzsche's work published between 1883 and 1885, Thus Spoke Zarathustra. Unorthodox, independent, critical, simply different, and much misunderstood, Nietzsche's hopes were for the work of his life to become somewhat of a guide for lost humanity. The philosopher, however, was met by great disappointment, dying in horrid suffering and depression.

Exactly 90 years after the first part of Thus Spoke Zarathustra, a group of young musicians from Italy, Museo Rosenbach, were getting ready to record what would later turn out to be one of the lost treasures of Italian progressive rock music. But first, let's have a look at the act's roots. "Museo Rosenbach was formed in Bordighera, a seaside town in the Liguria region, a few kilometers, from the French Côte d'Azur, in December 1971," recalls Alberto Moreno, the band's co-founder, bassist, and composer. Museo Rosenbach emerged from the fusion of the groups Quinta Strada and Il Sistema. In fact, Moreno and Co. inherited some material from the latter. However, the young musicians felt they were in need of a vocalist. The guitarist, Pierluigi "Pit" Corradi, suggested they recruit blues-influenced Stefano "Lupo" Galifi, whom he had met during his military service. The current trend in Italy was to name bands after buildings, so Moreno came up with an idea of a museum (Museo) fused with the last name of a German publisher, Ottoman Ernst Rosenbach, which he really liked the sound of. After many live performances around the country, the band was offered to record an album and entered the studio in February 1973.

Similarly to Nietzsche's book, Museo Rosenbach's debut album Zarathustra is a bold, uncompromising statement. Musically, it could be said to derive its inspiration from many of contemporary bands like Genesis, Uriah Heep, Van Der Graaf Generator, and Pink Floyd, from the United Kingdom, as well as their countrymen, Banco del Mutuo Soccorso, Le Orme, Osanna, and Premiata Forneria Marconi. However, make no mistake, Museo Rosenbach's music cannot be compared to anything else in the world of music. Taking the power and might of Strauss' and Wagner's classical compositions, Museo Rosenbach make their elements shake hands with the heavy, raw quality of rock music, finding several common characteristics somewhere along the line. The music on Zarathustra is as heavy as it is finesse and tasteful - full of crunchy, overdriven guitar sounds, deep, expressive Hammond organ tones, and mellow, cloudy Mellotron soundscapes alike. Furthermore and probably even more importantly, Rosenbach's debut, similarly to Nietzsche's original work, is rich in evocative images, in this case musical images. Numerous tensions and their releases, a wide plethora of constantly changing atmospheres and auras, emotional, soulful storytelling - all these elements predominate on Zarathustra.

Side one of the album is fully occupied by a multimovement suite "Zarathustra", consisting of five parts. "We decided to build a suite that recounted Zarathustra's descent from the mountain after a period of meditation and his encounters with certain characters, who represent different schools of thought that the prophet criticizes," Confesses Moreno. He also remembers composing the piece in fragments - writing for a piano and then transcribing the piece for the whole band. The first movement, "L'Ultimo Uomo" opens in a gentle, yet confident manner. This part somewhat resembles the very first notes of Richard Strauss' piece Also Sprach Zarathustra, which the band admitted to, allegedly even opening their concerts with a portion of that composition. Then, the listener is suddenly approached by a more self-assured motif, creating an effect similar to a rising curtain. A silent part with Walter Franco's vocals follows, accompanied by echo and reverb, representing Zarathustra's descent from the mountain cave. After several repetitions, which are less gloomy, yet still very delicate, the majestic, heavy main theme of the movement kicks in with an interplay of Hammond organ, Mellotron, and guitar accompanied by a very heavy-hitting rhythm section. Only a few minutes in, the listener is already successfully invited to take part in the unique journey Museo Rosenbach are taking them on. The next movement, "Il Re Di Ieri", dominated by organ and piano, both drenched in reverb, alters the atmosphere, making it a bit unsettled. When the listener becomes slowly familiarized with the part, comes a short solo, utilizing a crispy Moog synthesizer timbre. Next come vocals from Giancarlo Golzi. All of the sudden, the rhythm section accompanied by a distorted guitar joins the spectacle, leading to "Al Di La Del Bene E Del Male." This one takes no time to hesitate, since the very first notes, the character is heavy and rather aggressive. The movement features the whole band singing to illustrate the mass of the priests who denounce Zarathustra and his teachings. The following "Superuomo", pictures Zarathustra experiencing a moment of weakness, as Moreno explains. The mood here is rather melancholic and halting, before going through numerous dynamically contrasted, diverse passages, representing Zarathustra reclaiming his power. The closing movement, "Il Tempio Delle Clessidre", opens with a haunting, celestial Mellotron, recalling Genesis' "Watcher of the Skies", until the main theme from "L'Ultimo Uomo" returns in its full glory, featuring a very emotional guitar solo in between the layers of organ, strings, bass, and rapid drums. This longer moment, very powerful and majestic, is the moment capable of bringing tears to one's eyes. The theme slowly descends towards silence.

Although the epic resonance of the title suite might seem hard to top, side two stands very strong, somewhat complimenting "Zarathustra." "Degli Uomini" opens with a high pitched Mellotron melody, which is quickly joined by the huge-sounding guitar and rhythm section. Going through dynamically contrasted sections, some based on the same melody put in different musical contexts, the track proves to be no worse than the overwhelming epic from side one in terms of composition and performance. "Della Natura" exposes its sophistication in the very first bars with a twisted organ melody. It is followed by a quieter vocal part, bringing Le Orme's most romantic moments to mind. It comes back after a brief instrumental interlude. The tension built is resolved in quite an opposite, baffling direction with a funky electric piano line. This leads to the loud chorus, which features very eccentric vocal parts. At one point, the atmosphere mellows out, repeating the Le Orme-like moment, which leads to a solo of interplaying Hammond organ, a Moog synthesizer, and screaming guitar. The closing track, "Dell'Eterno Ritorno" opens with a moment of abrupt heaviness, which quickly hides behind the constantly-developing passages, which, in my mind, really highlight every strength of the band - excellent compositional skill, a tremendous amount of instrumental know-how, and the ability to forge beautiful, striking instrument sounds. The track seems to finally settle in parts, but it's rather deceiving. After a few echoes of the previous motifs, the album closes with a symbolic Mellotron line.

It's worth remarking that the album caused a lot of controversy when it first appeared on the market. Not entirely due to being a tribute to Friedrich Nietzsche and his controversial work Thus Spoke Zarathustra, but rather to its artwork. It features a collage portraying a strange face, as Moreno indicates, that of Zarathustra, using images of jail bars, a countryside landscape, ancient buildings, and... a face of Benito Mussolini, a Nazi dictator from the period of World War II. Museo Rosenbach were accused of fascism, which in conjunction with poor marketing of the release and sheer bad luck (political protests at one of their biggest concerts, in Naples, unrelated to the band) led to the breakup of the band.

Zarathustra, Museo Rosenbach's only opus before their reformation in the 90's, is, in my opinion, one of the best, most creative, original, accomplished records to come out of Italy. Although stylistically, it is closer to rock music, I believe this to encourage many of the qualities of classical music of the highest order. Zarathustra is an astonishingly addictive journey and something to be experienced. Words cannot truly reflect the nature of this music. A jewel of progressive rock music!

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 The Prodigal Son by NEKTAR album cover Studio Album, 2001
2.86 | 53 ratings

BUY
The Prodigal Son
Nektar Psychedelic/Space Rock

Review by BigDaddyAEL1964

2 stars The most prog thing about this album is it's (mediocre) cover artwork.

More of a soft rock album with prog elements, it has nothing exceptionally memorable to offer. Some of the lyrics are good, but musically it's nothing fancy, compared to other Nektar works and in general. There is not even a single stand-out song to elevate the general reputation of the album.

Nektar release an album after 21 long years, and the result is this? Through all of those years they should have arranged some masterpieces! That's what we were expecting at least... It's not a bad album in any way, maybe closer to 2.5/5, but how can I rate it higher when after the first listen I have no intention to replay at least a single song?

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Underworld by SYMPHONY X album cover Studio Album, 2015
3.89 | 208 ratings

BUY
Underworld
Symphony X Progressive Metal

Review by Warthur
Prog Reviewer

5 stars I'd always found that consistency was a bit of a weak point for Symphony X, with only V: the New Mythology Suite being much of a keeper among their early work. Then Iconoclast made a very positive impression on me, and now I actually think Underworld has all their previous work beat, offering a true classic of their power-prog metal style. The band have developed a really nuanced sense of when to be a bit more restrained and when to let forth with full force, having learned that cranking things up to 11 for the entire album isn't always the best way - sometimes your assaults hit harder when you give people a bit of breathing space between them.

Whilst Iconoclast was fantastically heavy and Underworld is no slouch in that department, I sense some of their prog inclinations returning to the foreground this time, and I'd be really interested to see where their sound evolves next. To my ears, at least, Symphony X seem to have hit the most consistently high levels of quality they have achieved over their entire career, and I sincerely hope they can keep it up.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 A History of Madness   by THINKING PLAGUE album cover Studio Album, 2003
4.14 | 69 ratings

BUY
A History of Madness
Thinking Plague RIO/Avant-Prog

Review by Warthur
Prog Reviewer

3 stars Thinking Plague's History of Madness demonstrates that a little thinking goes a long way. Often cited as being difficult, the fact is that none of the Plague's output has exactly been simple and accessible, and the avant-jazz stylings of this album don't feel like an enormous departure from past precedent. To my ears, each Thinking Plague album since the debut saw a fairly major development of their sound, but by this point they are more evolutionary than revolutionary, and this evolution takes them a little too far into the realms of complex technical execution without a distinct and strong idea behind it. Competent, but not classic.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Les Morts Vont Vite by SHUB-NIGGURATH album cover Studio Album, 1986
4.08 | 102 ratings

BUY
Les Morts Vont Vite
Shub-Niggurath Zeuhl

Review by Warthur
Prog Reviewer

4 stars Keeping the flame of avant-prog alive in the mid-1980s, on Les Morts Vont Vite Shub-Niggurath prepare a release that exists partway between zeuhl (especially in Ann Stewart's operatic vocals) and the dark chamber RIO of Heresie-era Univers Zero (the later of which is evoked in particular by Jean-Luc Herve's harmonium). The end result takes a while to sink in, but over time I have found its finer elements begin to shine through bit by bit. The ensemble is large enough to attain a real chamber music sound, and Shub-Niggurath may be one of the few prog rock bands out there with a dedicated trombone player (in the form of Véronique Verdier), who is about to add a certain off-beat air to things.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Tangram by TANGERINE DREAM album cover Studio Album, 1980
3.90 | 245 ratings

BUY
Tangram
Tangerine Dream Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Tangerine Dream's sound underwent a long transition in the second half of the 1970s, with various changes to the sound and different avenues explored, but in retrospect (once you set aside dead-ends like the interesting but flawed experiment Cyclone) the general direction seems to have been an evolution from their classic mid-1970s progressive electronic style as captured on Phaedra and Rubycon to a more accessible approach that would become the foundation of much of their 1980s soundtrack work.

Though this approach would gain wide exposure when applied to the soundtrack of Thief, it is on Tangram that its first pure expression is found, the new lineup of Franke, Froese, and Schmoelling gelling almost immediately to present a peaceful, meditative long-form piece with melodic almost-cyberpunk elements, offering a purist electronic sound which casts away some of the more rock-oriented accretions that Tangerine Dream had added and finds them adapting to new technologies as perfectly as they had the synthesisers of the 1970s.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Godbluff by VAN DER GRAAF GENERATOR album cover Studio Album, 1975
4.49 | 1662 ratings

BUY
Godbluff
Van Der Graaf Generator Eclectic Prog

Review by Modrigue
Prog Reviewer

5 stars The resurrection of Van Der Graaf Generator

Fans of alternative prog, rejoice! After four years of silence, Peter Hammill, David Jackson, Hugh Banton and Guy Evans unexpectedly reunite in 1975 and simply offer one of VAN DER GRAAF GENERATOR's best albums! "Godbluff" inaugurates the band's second era in the mid-70's and proves that miracles exist. After "Pawn Hearts", Hammill started a solo career and his works were a bit different from VdGG's style. Same goes for the other members, who released average jazz-rock albums, under the name "The Long Hello", without their singer. These three separation years thus demonstrates that Peter Hammill is not VAN DER GRAAF GENERATOR all by himself, and, vice-versa, that VAN DER GRAAF GENERATOR cannot exist without its lead vocalist.

Composed of four mini-epics, "Godbluff" is their first self-produced opus, as well as their most accessible. Again, the music, somber depressive, tortured and dominated by keyboards and saxophone instead of guitars, investigates the depths of the human mind. This time, the atmosphere is maybe even more bitter and aggressive than on "Pawn Hearts". In addition of his raging and theatrical voice, Hammill makes an important usage of clavinet and Jackson's saxes are literally possessed here. Also featuring various changes and complex rhythms, the songs are perhaps a little less demanding than those of VdGG's first era, but still as interesting, creative and touching.

Opening with whispering vocals and saxophone, "The Undercover Man" is sad and beautiful. Melodies to cry for. The tension then rises with the raging and somber "Scorched Earth". After its heroic overture, the music goes crescendo, stronger to conclude with a surprising distorted guitar section. A powerful track, driven by the organ and Jackson's demented sax.

Do not trust the ambient free jazz introduction of "Arrow": this song is the most violent and darkest of the record, but also the maybe the most heartbreaking. A magnificent explosion of mastered wilderness! Back to calm with the more melodic "The Sleepwalkers" and its strange bossa-nova interlude. This ethereal ender contains also quite spacey keyboards and a grandiose finale. Epic!

Out of time, "Godbluff" is much more than just the return of a major progressive band, it's a miraculous resurrection, a musical black meteorite darker than most other disc of the same time-period. Each track is superb and offers its own variety of ambiances. A little gem of tortured and frightening impressions, so human...

Most accessible record from the band, this fifth opus is definitely the one to start with for newcomers. "Godbluff" is a masterpiece of depressive prog, VAN DER GRAAF GENERATOR's creative peak, with "Pawn Hearts" of course...

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Terminal Redux by VEKTOR album cover Studio Album, 2016
3.98 | 62 ratings

BUY
Terminal Redux
Vektor Tech/Extreme Prog Metal

Review by friso
Prog Reviewer

4 stars Vektor - Terminal Redux (2016)

Vektor is an US technical thrash metal / progressive metal band. I haven't heard another album of this band, but this conceptual space techmetal album caught my eye. I don't listen to anything much louder dan Iron Maiden that often, but I do like Voivod, Devin Townsend's Ziltoid and Pestilence. Vektor has a sound with a bit of every band mentioned here, but more fierce and speed death metal like. Furthermore, the vocals / grunts of David DiSanto are high-pitched and rasping in a way I never heard before. The guitars sound surprisingly mid- ranged for such a heavy record, which spares some room for bass-guitar in the mix.

The album tells the story of a rising ruler in the Cygnus part of space. Aiming for a society that is orderly and endless he first wages war with 'technogenetic' weapons and more traditional space weapons. Ruling with advanced mind control techniques the ruler slowly becomes aware of himself again after being sucked up in his own lifeless mind controlled society. After that he decides to introduce change and transience - knowing it will lead to his own demise and the end of his empire. Life is incomplete without death.

Impressive.. most impressive..

Every track on this seventy minute long 2lp is very technical and well written, but the real gems are in the beginning and the end. Charging The Void (9:11) and Cygnus Terminal (8:15) make up the first side with an endless stream of musical ideas and lyrics that work best together. When listening this album with the lyrics sheet it really 'opens up' so to speak. The music hasn't much space rock sounds, but when you get involved in the story you will start imagining galaxies and mind control devices. On the second and third side of the record the music gets into more 'regular' speed thrash death metal territories and I feel like the songs could have been a bit more concise. Still high quality playing, but it's not THAT easy to listen to seventy minutes of this kind of music. A bit more focus on melody and catchy parts would not hurt here. On side four Vektor treats us with two of the albums best songs. Collapse (9:22) starts of as a ballad type song. Yes it does, with clean vocals that remind me a bit of psych folk. The second part of the song has a lot of melodic death metal parts before being launched into the epic Recharging The Void (13:36) with some added female vocals and a great folky middle section. The lyrics on these two last songs form the philosophical crux of this concept album. The self-conscience and hopeful dive into self-destruction for the greater good makes up a great lyrical sheet for the intense ending.

Conlusion. This music is probably too heavy and intense for most listeners, but I really like this album and I think the concept and the music work well together. Vektor creates an album with moments of true epical proportions and impact. It requires six listens (ast least one with lyrics) to get into it, but it's more then worth it for me! In this niche of progressive / metal music this one of the best albums ever made I guess. Four stars, but I might come back to add another star later.

It's full of stars..

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Light Ages by WIGWAM album cover Studio Album, 1993
2.81 | 24 ratings

BUY
Light Ages
Wigwam Jazz Rock/Fusion

Review by Matti
Prog Reviewer

3 stars After making three studio albums in 1975-77 (the first one, Nuclear Nightclub, being highly succesful) WIGWAM had to call it a day in sad feelings. The next decade wasn't happy for the old Finnish prog legends in general. There was a group called Filthy Rich featuring Jim Pembroke and other seasoned prog musicians, but they collapsed before managing to record an album.

The first step towards the comeback of Wigwam was taken in a gig of Filthy Rich in the late 80's: guitarist Rekku Rechardt was invited to climb on the stage during 'Grass for Blades' in the encore. In 1991 Provinssirock, one of the biggest Finnish rock festivals, succeeded in getting the legendary band on the stage. The reception was encouraging and they continued touring. But it all was only about the old nostalgia; everyone understood that something new had to be done, too. The first member to leave was keyboardist Heikki "Pedro" Hietanen who was replaced by Mikko Rintanen. He in particular thought that it's the old classic stuff that the audience wants. while Pembroke and Rechardt preferred to move on.

There are several renditions of old tracks (from Wigwam or Jim Pembroke's solo material) on this album. In a way, Light Ages was more like a document of things that had to be preserved than a brand new studio album, the drummer Jan Noponen has said (the original Wigwam drummer Ronnie Österberg had committed suicide in 1980). According to Noponen, some excellent new compositions were left out, as the album was made with safety. Another criticized thing was the rather 80's-sounding production of T. T. Oksala. For the contents, Light Ages is quite uncoherent and uneven, and not very progressive.

'Borders to Be Crossed' and 'Pleasure Street' are throwaway American-style rock polished with saxophones, and Rechardt's old composition is given a rock'n'roll treatment on 'Skyscraper' . Of the recycled songs, 'No New Games' originating from Pembroke's second album and 'Friend from the Fields' (a.k.a. 'Marverly Skimmer' from Being) are more worthy that the other two.

Some new tracks dated from the Filthy Rich times, such as 'Talking Brought Me Here' to which Mats Huldén wrote lyrics based on a zulu folktale. The best new songs are written by Rechardt: 'Absalom' and 'The Next Breakfast'' both resemble the mid-seventies stuff to a suitable degree. Atmospheric 'Crystal Ball' features a nice, hazy synth riff, and 'Planetstar' has a strong, relaxed feeling.

Considering the complete Wigwam discography, this album is clearly among the least essential ones, but I feel more sympathy for it than for the last two studio albums. 2½ stars rounded up.

(I wrote this with my book script in front of me, which explains the large amount of background information.)

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Ce Très Cher Serge, Spécial Origines by AQUASERGE album cover Studio Album, 2010
3.62 | 8 ratings

BUY
Ce Très Cher Serge, Spécial Origines
Aquaserge Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

4 stars While I don't think that this album matches the magic of their most recent release "A L'Amitie", it still casts a spell over this fan. This French trio are helped out by nine guests adding vocals, viola, violin, trumpet, flute, clarinet, organ and guitar. The latter by the way from Makoto Kawabata from ACID MOTHERS TEMPLE. Man this one grew on me a lot as it took a while for it to unfold it's mysteries. Once again we get plenty of intricate and repetitive sounds and those understated vocals. This is very French sounding and I love their sound.

Part of what took me a while to get into this album was the opening track called "La Genese" as we get laid back multi-vocals only and nothing else. Thankfully it's short at under 1 1/2 minutes. But yes this is called getting off on the wrong foot. "Un Soir Tempete" is the guitar/ drum show to start but then some very prominent bass lines arrive as it turns avant sounding, vocals follow as the avant vibe continues. We now get a run of some great sounding tracks starting with "Errance". Percussion leads early on as this repetitive melody slowly builds as the bass then horns then vocals eventually join in. Check out the horns late. Nice. "Ce Cher Serge Est Perdu" opens with what sounds like strummed bass as a beat and more joins in. Catchy stuff as the vocals arrive after a minute. Such a cool track. "Un Monde Englouti" is similar to the previous tune, at least the melody seems to be. This one has more of a psychedelic style and it becomes much more experimental when the vocals stop after a minute. This is so interesting to listen to. Horns after 2 minutes as spoken words come and go.

"Es Algues" is powerful with some screaming guitar. "Vers Le Neant" opens with intricate sounds as the vocals arrive briefly then we hear water sounds. Flute follows in this laid back start. An almost native vibe with the chanting and drums before 2 minutes but it's brief. A relaxed tune overall. "Visions" is by far the longest track at over 11 minutes. Piano and violin to start. A slow beat takes over 1 1/2 minutes in then the piano and strings return. It's building very slowly then bass joins in after 4 minutes along with some guitar expressions. It turns somewhat spacey after 6 minutes and the vocals join in as well. This is good! Love the spacey synths and sound. A change before 9 minutes with some interesting guitar as the bass and drums continue. "Retrouvailles" ends it and this is different from the rest as it brings to mind Brian Eno solo as in "Another Green World". Strummed guitar, horns and multi-vocals with plenty of energy.

I feel this is well worth the 4 stars despite paling somewhat to their 2014 release. This is a band that certainly has a sound that I can't help but appreciate in a major way.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Pike 13 by BUCKETHEAD album cover Studio Album, 2013
3.91 | 5 ratings

BUY
Pike 13
Buckethead Prog Related

Review by aglasshouse

4 stars Buckethead's Pike 13 is one dedicated to his indisposed father (who died not long after it's release), Tom Carroll. Buckethead, a guitar virtuoso who can be described as a freakshow with the musical stamina of a demigod, turned down his sound into something a bit more lackadaisical and emotional.

Pike 13 is a collection of ambient quasi-progressive rock songs which are all untitled, so they're generally referred to as "Track ___" depending on where they land on the album. They are all extremely slow and melodic, with a space rock vibe, but where most would fail with this laidback concept but Buckethead uses it to his advantage to create some pretty emotional pieces. Much of the album is very compact, usually only with Buckethead's echoing guitar doing the work. The longer parts, mainly the fantastic 'Track 6' is where he uses some simplistic yet effective drum fills for background sound.

Pike 13 is a short but sweet album from the recent years and is good for any occasion you want peace and quiet. I'd recommend to fans of soundtrack music (very Buckethead) or just soft prog in general.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Anderson, Bruford, Wakeman, Howe by ANDERSON BRUFORD WAKEMAN  HOWE album cover Studio Album, 1989
3.20 | 288 ratings

BUY
Anderson, Bruford, Wakeman, Howe
Anderson Bruford Wakeman Howe Symphonic Prog

Review by aglasshouse

2 stars This place ain't big enough for stars and stripes.

Yes was in a downward spiral in the late 80's- no-one can deny that. Drastic sound changes were starting to shake the band's ideals, and the lineup was practically broken compared to when the band started. Jon Anderson, Yes' proclaimed golden boy, was fed-up of the boundaries of pop-music presented by the eighties, and thrived to create some prog solo work reminiscent of the band's old days. However as these ideas began to take birth so did it's scope. Old Yes members eagerly started jumping on board, those being Bill Bruford, Rick Wakeman, and Steve Howe, as well as King Crimson's Tony Levin. The new-old mostly Yes amalgamate renamed themselves cleverly to "Anderson Bruford Wakeman Howe" and released their debut in 1989.

The structure of the songs on the album are what you'd consider to be progressive- multi-sectioned neo-classical rock epics that prog musicians are so fond of. Whilst these tended to be rather good in classic Yes days, they sort of fall short here. For the most part. Remember this was not two years after Yes' Big Generator, arguably their most pop-indulgent album to date, so there's still much of a trace left over. The most musically infuriating part of this era for me was doubtlessly the keyboards, where it was always a decision to either use these dinky electro-pop keyboards or over-the-top pseudo-epic synthesizers. Even the legendary Wakeman's keyboards sound horrendous here, except of course for the Genesis-like 'Birthright', which gives me the idea that I think Wakeman could take a lesson here or there how to do good pop keyboards from Tony Banks. Bill Bruford, outstanding on the skins, is reduced to using heavily programmed drums that sound nigh insincere. Levin is practically nonexistent for the majority of the album, but Howe and Anderson are the two that sort of remain consistent even if they are bleating out cheesy music. The band's cohesiveness is palpable but it doesn't have a trace of the overwhelming sophistication or supreme talent I know they've displayed. The styles bounce all over the place, from slightly subtle prog to annoying Latin-infused songs. 'Teakbois' is nothing short of an auditory insult, awfully reminiscent of Genesis' 'Illegal Alien' in 1983.

But I digress. Let's take a look at where the album shines. The aforementioned 'Birthright' is quite a creative piece and is rather rich lyrically. Has great and powerful drumming from Bruford to, for a moment abandoning the terrible robotic drums. Unfortunately the longer 9-10 minute epics can't really stay away from the 80's cheese pop style for very long, that is except for the extremely awesome 'Brother of Mine'. Other than that, the "bad" songs are pretty innocent. They aren't offensive for the most part and are I suppose enjoyable to an adjusted ear.

My rating would be higher if ABWH dropped some of the typical eighties pop style for the album they wanted to be containing less of. Like Anderson I yearned for something different from pop-rock Yes, but unfortunately ABWH just doesn't deliver that very well.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 A Day At The Races by QUEEN album cover Studio Album, 1976
3.73 | 449 ratings

BUY
A Day At The Races
Queen Prog Related

Review by poito

1 stars What a deceiving continuation of the album hosting the trademark of this band Bohemian Rhapsody. After they abandoned Prog and gave up themselves to the commercial and entertaining music, they appear kind of lost in this album, not knowing how to go ahead. The themes are dull and uninspired. Only the classic ballad Someone To Love stands out. One feels so sorry having lost the music by such a great composers to have this little piece of nothing. You may skip this album, whether you are a fan or just a music lover. Even the title seems to point to a complete absence of ideas, following the Marx brother's classic movies so they do not have to put the brains at work.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 A Night At The Opera by QUEEN album cover Studio Album, 1975
4.27 | 796 ratings

BUY
A Night At The Opera
Queen Prog Related

Review by poito

3 stars In this album Queen enters the commercial era, they became worldwide superstars and as it could not be otherwise, this is achieved through an enormous simplification of the music that definitely goes mainstream. There are a few winks to prog but the theatrical turnaround is a fact and becomes dominant. Spite of being the best known album it contains several fillers. The universal Bohemian Rapsody, and the entertaining polyphonic section in the Prophet's Song are the highlights of this album. A more convenient title would have been a Night at the Cabaret. We lost a great band and the world gained a lot of entertaining music.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 In a Foreign Town, In a Foreign Land by CURRENT 93 album cover Studio Album, 1997
3.92 | 5 ratings

BUY
In a Foreign Town, In a Foreign Land
Current 93 Prog Folk

Review by Warthur
Prog Reviewer

4 stars This is a bit of a side-project for Current 93, with David Tibet stepping back to the dark ambient territories that the project had begun in but had largely drifted away from for the past decade. The inspiration for this was a chance to work with Thomas Ligotti, the legendarily reclusive horror author; the four pieces here are composed as a soundtrack to a clutch of four stories that accompanied the original release. (They have since been reprinted in Ligotti's excellent collection Teatro Grottesco).

Interestingly, going away from ambient music and coming back seems to have allowed Current 93 to produce a rather different piece from they once would have; there's a bit more drone to it and much less abrasiveness, the atmosphere - in keeping with Ligotti's style - being more of a slowly and gently developing dread than a sudden shocking terror. It shows more restraint and subtlety than, say, the all-out assault of Nature Unveiled, and on that level I find it an interesting and worthwhile exercise in returning to the old stomping ground with several years' worth of experience and growth away from it.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 In The Land Of Grey And Pink by CARAVAN album cover Studio Album, 1971
4.27 | 1413 ratings

BUY
In The Land Of Grey And Pink
Caravan Canterbury Scene

Review by Rodrigo Andrade7

5 stars This is my introduction to CARAVAN and aswell to the caterbury scene. I am astounded with the music produced on this album from the beginning to the very end, this is solid 5 stars for me in just one single listen. All the tracks on this album are solid and mark a very unique sounding and highly intelligent music like I never had listen before. You can clearly hear jazz and psychadelic elements all over the place, making it such a good combo in a album. The epic "Nine Feet Underground" is literally a ocean of music, 22 minutes of amazing musicianship, this band has amazing vocals and very clever song writting. The only bad thing about this album is that I cannot find any flaw or bad thing about it. Hehe seriously, this is a masterpiece of a album which remains as one of the most quintessential albums of the canterbury scene and to this day, it is between my favorite albums of all time without any doubt.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Man Coda by QUASAR album cover Studio Album, 1981
2.18 | 3 ratings

BUY
Man Coda
Quasar Jazz Rock/Fusion

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

2 stars The second obscurity from this avant-trio down under, "Man Coda" is very much a return to form from their debut, "Nebular Trajectory". Once again an all instrumental affair, this second album sees four extended jazz compositions that veer into chaotic avant-garde territories. The music is once again very improvisatory, with a meek bass and drums rhythm section and distorted guitar from Len Henderson leading the course. The results of this expedition are less fruitful than on "Nebular Trajectory"; the opening and closing tracks tend to devolve into very sparse noodling and the overall focus of the album seems less inspired. While "Force Funk" produced a riveting opening on the debut, the only energetic playing to be found on "Man Coda" is the second track, "Zeitgeist", with its more active percussion and heavy Robert Fripp-like riffing. "The Little Prince" is also a nice tune, offering a more mellow, laid back feel that hasn't been very present in Quasar's generally eerie sound.

This one, along with the debut, is a 2-star release for me, since it has a very limited appeal; there really is much stronger avant-garde jazz out there to appreciate. In fact, I'd probably recommend "Nebular Trajectory" over this one, since it has a more varied soundscape. Nothing that you're really missing out on.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Mirrors by BLUE ÖYSTER CULT album cover Studio Album, 1979
2.39 | 87 ratings

BUY
Mirrors
Blue Öyster Cult Prog Related

Review by Finnforest
Special Collaborator Honorary Collaborator

4 stars No sacred cows down this stretch of road

If some BOC fans had their way the band would have simply rehashed their first three albums ad infinitum. Many seem to base every judgment about the band through the prism of those albums. Thank God the band didn't listen to them because it is their second trilogy of albums (from Agents through Mirrors) that expanded their legacy by providing some of the most refreshing and quality music of their long career. These albums do not tarnish their name as many believe, they enhance it, they add much to the diversity of sound that distinguished BOC from some of the other hard rock bands of the day. For a brief moment we were treated to some different shimmering stars of the BOC universe.

Looking back at the most loathed "Mirrors" and allowing it to stand on its own it is amazing how it closes their second trilogy with such class. This is a moody album at times (some darkness, some light), a perfect album for cruising the highway at dusk or dawn-and thus, managed near perfection in the album cover art. While not quite the devious masterpiece that "Agents" was, "Mirrors" at first sounds like a continuation of "Spectres" but there is a noticeable shift to sonically cooler places. This makes sense because this was BOC's "west coast" album, their only 70s album made in Los Angeles. To get even further from their comfort zone they chose a new producer, the legendary Tom Werman, who true to his reputation challenged the ingrained notions (and with one band member even the musicianship) of the band. While not perfect it is a delicious 70s rock album if one can forget about things like "how progressive" it was or whether it pleases the first trilogy purists.

"Mirrors" is for the Cult as "Cornerstone" was for Styx. Released just four months apart, both presented a version of their respective bands with earnest precision and pop sentiments encouraged. Perhaps the charge of chasing FM airplay is fair but who gives a [&*!#] when the results are such ear candy? These are talented folks who didn't miss the plate much in the 1970s. There are a couple of classics on Mirrors that rival their best. "The Great Sun Jester" is full of warm acoustic guitar and an almost Lindsey Buckingham-like attention to detail. "The Vigil" could sit anywhere on Agents or Treaties and hold its own. A great mysterious vibe with a multi-section song construction, beautiful harmonies and guitar solos. "You're Not the One" is an odd but fantastic track, sounding at times like The Cars and featuring a Kim Deal guitar sound which makes me laugh when I hear it. See if you can spot the part I refer to. "Moon Crazy" is pure pop shine but listen to the killer playing! "In Thee" is a sweet track from the late great Allen Lanier who may have been influenced by Patti Smith, I actually think her vibe did creep into a few BOC albums and improve them. Same with "Lonely Teardrops" which closes the album with a beautiful musical sunset, via the background harmonies, soft keys, and great guitar solo.

I'm the odd man out on this title, never a surprise, but I think it is great. If you can't let your hair down and just enjoy a catchy album once in a while, you're really missing out on part of the pleasure of music. Kudos to whomever in the BOC camp was responsible for engineering this sunny Los Angeles fork in the road. The sacred cows would return soon enough.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Pawn Hearts by VAN DER GRAAF GENERATOR album cover Studio Album, 1971
4.41 | 1772 ratings

BUY
Pawn Hearts
Van Der Graaf Generator Eclectic Prog

Review by Modrigue
Prog Reviewer

5 stars Heart touching progressive music

Fourth opus by Peter Hammill and co., "Pawn Hearts" marks the end of VAN DER GRAAF GENERATOR's first era as well as its pinnacle. After three interesting but somehow uneven and still experimental albums, the band fully defines its own musical identity and proudly enters the heights of the progressive sphere, in 1971. Driven by saxophone and keyboards instead of guitars, their style and sound are unique, tortured and delicate, depressive and beautiful, exploring the depths of the human mind. This was completely different from what other prog bands were proposing at the time.

Initially planned as a double album, only the first half of the recordings was finally released as "Pawn Hearts". These three lengthy, sophisticated and varied songs were composed one year before major progressive milestones such YES' "Close to the Edge" or GENESIS' "Supper's Ready". Maybe not as accessible as the aforementioned suites, but certainly as inspired and magical.

The first mini-epic sets immediately the tone. Oppressive and frightening, "Lemmings" offers complex structures and rhythm breaks for calm floating passages and plaintive anguishing moments. Organ and saxophone create a particular troubled watery atmosphere that supports perfectly Hammill's haunting and aerial vocals. Great, easily one of the best tracks from VAN DER GRAAF GENERATOR! "Man Erg" is a musical transcription of our internal conflict between good and evil. The first part alternate melancholic and glorious passages representing the opposition of the "angels" and the "killers" inside us. Opening like a piano ballad with a beautiful melody, the pace suddenly accelerates, the instruments start a brutal fury illustrating the battle between the two entities. Cosmic and jazzy ambiances then interlace until the rhythm slow downs for the ballad reprise and a quite terrifying finale. What a journey!

The record concludes with THE VdGG epic, the band's "Supper's Ready" before it even exists: the satiric "A Plague Of Lighthouse Keepers". The story narrates the helplessness of a lighthouse keeper to save the stranded bodies on the coast. Its spacey powerful overture mutates into a mysterious sonic chaos, letting the listener lost through the immensity of the sea. Unpredictable, this suite features numerous changes, slow and fast sections. Sublime, dark, touching, depressive, demented are one of the few adjectives that could describe this unbelievable piece. Beware: combined with Peter Hammill's possessed voice, you'll find yourself at the gates of despair and delirium. The finale is just not of this world...

Although lesser-known compared to the other progressive milestone records, "Pawn Hearts" shines like a lighthouse inside the night of the obscure side of prog. A creative and pioneering album, that may have influenced the representative bands of the genre in 1971. The songs offers a wide range of different atmospheres as well as delightful melodies to cry for. No weak passages, every section stands at its right place.

Demanding, intimidating but not the least accessible from the band, "Pawn Hearts" is undoubtedly VAN DER GRAAF GENERATOR's best album, with "Godbluff". An essential and major opus, resembling no other. If you don't know Hammill and co., you'll discover a new universe of truly progressive 'non-rock' music. You may not fully appreciate it at first listen, but its treasures will reveal themselves over time...

This fourth effort will gain a surprising success in Italy. One year later, Peter Hammill will embrace a solo career and other members will go their way. Fans of this unconventional prog will have to wait three years until the band reunites...

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Claymation Courtyard by BUCKETHEAD album cover Studio Album, 2014
2.09 | 4 ratings

BUY
Claymation Courtyard
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars BUCKETHEAD - PIKE 51 - CLAYMATION COURTYARD

10th album out of 60 in 2014 and 81st overall

All sounds brought to you by Buckethead and all instrumental

This one has 4 tracks that clock in at 30:15

"Claymation Courtyard" (5:02) begins with a heavy alternative metal guitar riff with bass and drums. It begins to alternate with slower arpeggios but wait! This sounds like one of those recycled tracks that's been done a million times. It may be heavy and distorted and all but oh so familiar. It continues the same groove and has a little slow down with a lead guitar solo ripping around it but still sounds like the same old grunge track that has been done. It alternates again with a quiet passage. Meh

"Disintigration Mirrors" (14:01) the longest track that takes up almost half the album starts out as another alternative metal rocker with a quickly plucked riff, bass and drums with some arpeggiated sections coming into play. A solo erupts. And then the melody repeats on and on and the lead guitar dances around it and it goes on for almost half the album. This is another totally recycled idea done to death. There is absolutely nothing going on in the songwriting department. It's merely a jam session with nothing new to offer. Meh

"Chainsaw Slide" (2:25) slows things down with a clean guitar arpeggio intro but quickly jumps into heavy crunchy metal territory. This one has a more interesting melodic development and riff tradeoff than the other two but it's nothing special either. Tones and timbres are pretty much the same as well is the style. Mercifully it's quick and to the point

"Eerie Canal" (8:47) begins with heavy metal chords sustaining with a guitar lick rambling over them and then bursts into a chugga guitar riff and then turns into anthemic type of melody and then turns into a lightning fast guitar riff and then thrashy metal riffage. This is already more interesting than the rest of the album combined. It stays thrash riffage for a while and then adds a solo and then jumps into the hyperdrive riffage again. As it continues it trades off heavy passages with mellow ones and the riffs recur but are different enough to make it feel like a real song instead of some canned jam session. I like this one!

Thank bleep for the last two tracks. I was getting pissed after the first two overlong filler tracks. Overall this one is average. Two weak tracks, two much better ones. Average is average and half of 5 is 2.5 rounded down

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Pitch Dark by BUCKETHEAD album cover Studio Album, 2014
1.22 | 4 ratings

BUY
Pitch Dark
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

1 stars BUCKETHEAD - PIKE 50 - PITCH DARK

9th album out of 60 in 2014 and 80th overall

All sounds brought to you by Buckethead and all instrumental

This one has 3 tracks that clock in at 29:58

"Pitch Dark" (12:42) begins slow and mellow with a clean somewhat echoey guitar riff, bass and drums. As it continues i'm realizing this is yet another one of those overlong mellow tracks that repeats the same riff promoting the kind of apeirophobia (fear of infinity) that only BUCKETHEAD can dish out with these boring and rather pointless types of tracks. How many of these sorts of albums need to be made? While a few like "Electric Tears" were actually brilliant in how they were constructed, this just loops like a record that skips. Yeah, there's subtle variations and it does pick up a bit at the end with bluesy solos and all but there's just not enough to ever want to hear this again :(

"Drifting Ice" (8:03) begins with clean guitar parts, bass and drums on slow speed. This one is more echoey and the guitar lick part is semi-distorted. This one is a little more melancholy in its sound. Well, as feared this is as exciting as "Drifting Ice." It glaciates its meandering melodic recurrences with frosty guitar licks superimposed upon them. This is another one we've all heard a million times before as just like a piece of ice floating randomly on a mountain lake takes its sweet time to go nowhere. Yawn

"Water Drops" (9:13) is yet another placid, inoffensive piece of easy listening with clean guitar riff, bass and drums. Slightly different melodic development than the rest but same overall song structure. It has the same echoey guitar which is nice and the tones are quite pleasing but once again we're given a recycled pile of goods. There have been so many tracks like this on previous PIKEs i've lost track. BH has proven he can create beautiful mellow tracks just as awesomely as his heavy metal rockers but when he's on automatic pilot he just pumps out one recycled piece of filler after another.

Another complete of a dud for an album. Nothing on here is remotely original, interesting or worth the time of day unless you simply can't get enough of this formula and long for another release of it. Not me

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Monument Valley by BUCKETHEAD album cover Studio Album, 2014
3.04 | 6 ratings

BUY
Monument Valley
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BUCKETHEAD - PIKE 49 - MONUMENT VALLEY

8th album out of 60 in 2014 and 79th overall

All sounds brought to you by Buckethead and all instrumental

This one has 4 tracks that clock in at 29:32

"Monument Valley" (7:17) starts things off on mellow mode with clean guitars, a nice bass and minimal percussion. While i usually dislike these mellow albums by BUCKETHEAD because they all tend to sound the same, this one is sounding a bit nicer than many of these by-the-numbers releases. This one has a nice sort of military march percussive drive at times but why this one works better than others is because it doesn't drown out the mellow vibe with too harsh of percussion. The string section is also more intricate and the melody is actually pleasant to listen to. There are more variations than the average mellow track and this one is actually of the quality found on albums such as "Electric Tears." No mellow is not a bad thing, but boring is and this one is not that

"Fembot" (11:47) begins a little more upbeat but not much with echoey clean guitars, a very electronic drum beat and a bass. This is a bit different as the guitar is slow and mellow and the drum is a bit more hyperactive. There is also some ambient background swirling of sounds to offer some atmosphere as well. Nope. These elements don't work together well for me. I just find the whole thing unsatisfying. First of all, the riff is the same recycled mellow progression that a million of these mellower tracks on PIKEs offer and the electronic drums are woefully not suited. Give this one a miss because it more than outstays its welcome. Hell it's not even welcome

"Attic Floor" (1:19) is another clean guitar mellow track that begins unaccompanied and stays that way. It's basically an intro to the next track

"Lirtson Nostril" (9:09) picks up the mellow guitar sequence and expands it. It becomes two guitar parts working together to create a richer tapestry of sound with the bass and cymbal action underneath it all. This one is cool in that i has different segments. It doesn't just repeat the mellow parts to infinity. It picks up steam in the middle with a heavier plucked bass and bluesy guitar licks around it. It reverts back to the mellow parts but has some variety which keeps me interested. It is a nice lush mellow dreamy soundscape that really does feel like a fluffy cloud gently rolling over the great desert landscapes of the American Southwest as depicted on the album cover

This album is half good, half not. The title track and "Lirtson Nostril" are actually quite good for BH's mellow album material but the other two tracks sandwiched in the middle are pretty much business as usual with nothing exciting to add but still about 2/3 of the album i like

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Hide In The Pickling Jar by BUCKETHEAD album cover Studio Album, 2014
2.86 | 3 ratings

BUY
Hide In The Pickling Jar
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BUCKETHEAD - PIKE 48 - HIDE IN THE PICKLING JAR

7th album out of 60 in 2014 and 78th overall

All sounds brought to you by Buckethead and all instrumental

This one has 4 tracks that clock in at 30:52

"Hiding In The Pickling Jar" (9:21) begins with a heavy bluesy rock guitar line before breaking into funk rock and then becomes haunted house guitar lick and then just a funky bass line and then a keyboard spooky riff and then wah-wah infused funky bass. Well, you get the picture. This changes things up every few measures with funk, blues and avant-garde strangeness. The steady drum beat keeps it all churning along fairly steadily but there are some strange time sig changes that serve as transitions to other segments but basically this marches on in 4/4 timing while changing the whole atmospheric mood setting often. Around the four minute mark it becomes heavy distorted metal and then it starts changing things up in a metal context. As the track progresses it gets loud, it gets mellow, it changes up the timing a little and ventures all over the place. This one is pretty cool and probably the only song title ever to reference a "Pickling Jar!"

"Countersunk" (7:41) begins less frenetic with a slow, clean and mellow guitar and then breaks into a higher distorted guitar riff and then reverts back to the clean guitar and then back to the grungy guitar riff and it pretty much follows this pattern. The melody is pretty much the same and nothing exciting actually. This is very much like a million other PIKE tracks only the different styles have been mixed up which makes it more interesting. It does add more bluesy elements and production effects as it proceeds with a heavy echoey almost foghorn type sounding type of distortion. This one turns out to be varied enough to be pretty cool itself but not as good as track one

"Squirrel On A Perch" (3:45) is a funky rocker that reminds me of the best of the 70s with a heavy funky bass line and lots of guitar licks dancing around. While not bursting with originality, it is a pretty cool slice of funk rock that immediately brings Hendrix to mind

"Sabertooth Saw" (10:05) starts out as another funky rocker. This one is trades off heaviness with cleaner funkiness. It has a basic melodic development and doesn't deviate too much from it throughout its run. It has some moments of staccato chord heaviness and other heavy production induced fuzziness freak outs but really just sticks to the melody underneath it all. This one is ok but not terribly exciting either. Certainly not worthy of its time length.

This PIKE starts out fairly good with the first two tracks being of interest but the last two while not bad aren't super exciting either. There's enough on this one to call it good but not essential. Especially after a super exciting album like PIKE 47

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Roller Coaster Track Repair by BUCKETHEAD album cover Studio Album, 2014
3.87 | 4 ratings

BUY
Roller Coaster Track Repair
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars BUCKETHEAD - PIKE 47 - ROLLER COASTER TRACK REPAIR

6th album out of 60 in 2014 and 77th overall

All sounds brought to you by Buckethead and all instrumental

This one has only 2 tracks that clock in at 30:06

"Room 7" (15:21) begins fast and furious with heavy thrash metal riffs and scorching guitar solos right from the beginning. What a contrast to the previous PIKE :P This one is as energetic as it gets. The solos are the loose electrical wires on the gonad type of wankery just whizzing up and down the scales at a million miles per second. The guitar antics continue with strange guitar licks as well. This one basically continues an extreme parade of variations for the ultimate guitar abuse workout. This is probably the most extreme, lengthy and energetic guitar tracks i've ever heard not only from BUCKETHEAD but from any given shredder out there. This is one is spectacular not only because of the skill sets needed to pull off this guitar playing Olympic marathon run but because the bass has interesting counterpoint melodies at times and it all feels like a metal band swirling around in a vortex at times. Pretty cool! Despite the lengthy time span, this one keeps things changing up and therefore quite interesting!

"Room 12" (14:45) starts off with a weird staccato guitar chord and then without mercy is accompanied by a rip roaring guitar solo at a million miles per second. This track is less thrashy although it's equally as intense. This one incorporate more alternative metal chord backings with lots of dissonance and time sig freak outs occurring and then being accompanied by more face melting (beneath the mask of course) freak outs and making it clear why BH's hands are surrounded by yellow energy fields on the album cover. This one has melodies that come and go and kind of morphed into one another with some being very circus like. As it continues it really is like riding a roller coaster where the speed and twists and turns are just like everyone's favorite amusement park ride. And then it dawns on me that this album is supposed to be the entertainment while the ride is under repair and it's supposed to simulate the riding experience. Bravo!

This is one of BH's most progressive and hard hitting albums and instantly jumps to the top of my PIKE list as it contains all the ingredients that i love most by the chicken lover. It is over-the-top aggressive, highly experimental and progressive and unpredictable in that it changes things up often in bizarre and unforeseen manners. It is relentless and not for the faint of heart. It is a rare glimpse into the fully unleashed nature of BUCKETHEAD who is capable of some of the most advanced pyrotechnic guitar workouts in the musical world and also sews them all together with pseudo-jazzy meets extreme metal valor. If you loved the extreme metal prowess of "Twisted Branches" or "You Can't Triple Stamp A Double Stamp" then this one was made for you!

Excellent! 4.5 rounded down

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Rainy Days by BUCKETHEAD album cover Studio Album, 2014
1.67 | 8 ratings

BUY
Rainy Days
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

1 stars BUCKETHEAD - PIKE 46 - RAINY DAYS

5th album out of 60 in 2014 and 76th overall

All sounds brought to you by Buckethead and all instrumental

This one has 4 tracks that clock in at 31:07

"See-Through Cloud" (9:03) begins slow and mellow lazily with clean guitar, sleepy bass and subdued percussion. Oh no. This is going to one of those endless recurring looped tracks that never goes anywhere. I predict i'm about to waste a half hour of my life reviewing this one! Yep, it goes on too long as suspected with NOTHING interesting

"Underwater Rain Drops" (9:41) see description for previous track. It describes this one perfectly

"Light Through The Fog" (9:30) while it does have a little bit more energetic drive with a slight chugga chug into its mellow melodic development and has a slightly more rockin' feel, it still hovers just below the above simmering stage and is still easy listening. This is the best track on the album but for an album that totally bites the big one, that ain't saying much. Like the other tracks, it's too repetitive, too uninspiring and waaaaaaaaay too long

"Rainbow" (2:53) finally a short track! Guess what! It's slow and mellow! Surprise! It has a nice clean guitar riff and all is pretty much in sync with the other tracks. Another canned and recycled track

This is one of those excruciatingly dull PIKEs designed to punish us between the few and far between exciting ones. I know some have a taste for bland and repetitive music that has been done to death at this point but not i. If you have no musical standards and find this crap entertaining more power to ya but for me, there is really nothing redeeming about this one

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 The Coats of Claude by BUCKETHEAD album cover Studio Album, 2014
2.05 | 3 ratings

BUY
The Coats of Claude
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars BUCKETHEAD - PIKE 45 - THE COATS OF CLAUDE

4th album out of 60 in 2014 and 75th overall

All sounds brought to you by Buckethead and all instrumental

This one has 7 tracks that clock in at 29:59

"The Coats of Claude" (13:26) is by far the longest track at nearly half the album's length and begins with a distorted alternative metal type of guitar sound that is somewhere between mid and fast tempo. It has a recurring melodic chord progression but does change it up a bit by guitar licks, chord phasings and sizzling solos over those very progressions. It is a bit repetitive as it's only a few chords passing the ball but the icings on the cake are decent and energetic. To be honest i'm totally done with this at 3:26 and it goes on 10 minutes longer. Yawn

"Ghost in the Rocking Chair" (2:59) continues the thrashfest and starts out super heavy and aggressive with some proggy touches and stays that way

"Animatronic Party Goers" (2:31) sounds a lot like the last track. Thrashy and heavy as hell with oddly timed time sigs and guitar riffage at a break neck speed. Sounds too much like the previous track actually.

"Dancing Backwards" (2:25) continues the previous track only faster and more furious. Stays so for the entire run

"Forked Beak" (1:48) continues with hard and heavy thrashy riffing metal madness with off kilter time sigs but is still as relentless

"Dimly Backlit Eyeballs" (2:29) is yet another hard and heavy thrashy metal track that offers strange time sig workouts and energetic outbursts of heavy metal delight but nothing not heard before on this album

"Headless Reflection" (4:21) is finally something slightly different with a weird guitar lick intro and then jumps into the expected thrash metal mode. It's ok but nothing extremely inventive or exciting

This one is ok but it really is just one track after another that is too similar to get my attention. All of these highly headbangin' thrashy metal tracks are good on their own but they sound too much alike for the most part with only little snippets standing out. Pretty meh actually

This one is just too samey and uninspired. Lots of furious hardcore thrash metal action but no substance. I really want to like this more but in the end there's just too little variation and originality to even care when these PIKEs are a dime a dozen

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Triple Stamp a Double Stamp by BUCKETHEAD album cover Studio Album, 2014
3.78 | 4 ratings

BUY
Triple Stamp a Double Stamp
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars BUCKETHEAD - PIKE 44

3rd album out of 60 in 2014 and 74th overall

All sounds brought to you by Buckethead and all instrumental

This one has 13 tracks that clock in at 29:44

"You Can't Triple Stamp a Double Stamp" (2:27) begins with a church organ and then breaks into extreme heavy metal with frantic distorted guitar and bass and pummeling drum action. Caustic and unhinged to the max. As the metal drops out it has a strange hyperly plucked guitar with less energetic drums. Wow. This is excellent!

"Avalanche" (2:03) is another brilliantly super friggin' fast metal behemoth with guitar strings being plucked at a million meters per second and the chord and melodic progression being slightly alternative in a progressive sludge metal type of way. Another cool track

"Cripes" (1:46) begins with heavy guitars fading in and out quickly and then jumps into heavy spastic metal. It has a progressive time sig approach with a thrash metal delivery system on speed. It also has the cool dynamic range that ups and downs the volume of the distortion at various moments. Quick and to the point. Excellent

"Silent City" (2:30) alternates weird jangly clean dissonant chords with super heavy dissonant sludgy adrenaline fueled guitar riffing. The drums are just as energetic as the bass and guitar. Lovein' this one as whell. Nice weird progressive ending. It's all proggy and headbangin!

"Treedotted Hillside" (1:44) starts out as a volume control exercise of taking a chord and playing with its ups and downs and then erupts into a extremely heavy riff based metal behemoth

"Wormfarm" (1:50) i love worms and have always wanted to start a worm farm. What am i waiting for? Worms rule! This is a very strange piece that has an angular rhythmic approach with lead guitar and after establishing itself bursts out into frenetic heavy metal

"Prominent Ghosts" (3:18) is yet another super fast and heavy metal rocker. Nice thrash riffage, nice stop and go staccato features which incorporate all the drums, bass and guitar. When it mellows for a moment it is very dissonant in a hyper type of progressive atmospheric sludge post metal way. It picks up again in full fury. I love it!!!! Ghosts are as cool as worms

"Flickering Lights" (2:03) has a very strange time sig presentation. This displays BH's full-on regalia in the progressive realm as well as the heaviest headbangin' metal he has to offer. There is also a nice atmospheric keyboard part at times to smooth out the madness. Another winner

"Extra Gloves" (2:18) slows things down but still offers a strange somewhat dissonant jazzy semi-distorted groove while a heavy metal riff joins and then overtakes. The metal riff becomes a jangle chord and then jumps into extreme heaviness again. Possibly the most extreme and fast track on the album. Merciless and brutal and heavy as a lead-lined brick collection on the Titanic

"Portrait Gallery" (2:31) pretty much follows suit with jangly arpeggios and an extremely brutal metal guitar delivery with time sigs bursting out of their holding cells just bouncing back and forth like insane asylum escapees. Freaking cool outro

"Tea and Strumpets" (2:10) slows things down a bit with a more expected alternative metal type of riff but doesn't stay that way too long and jumps into a thrash metal extravaganza that reminds me of the later heavier parts of "One" by Metallica. It then jumps into strange guitar jangly licks that are dissonant and jazzy. It then goes back to extreme thrashy mode

"By The Moon" (1:58) is the mellowest track at least in intro when BH combines echoey effects with extreme thrashy aggression and then slows things down to simply an echo guitar part and then back to thrashy however this isn't breakneck speed thrash. This is more like the standard alternative metal affair on many releases. The slow parts display full dissonant chord structures in action

"Snow Owl" (3:06) continues on the slower side. It does pick up but would be more suited on the alternative metal albums, well, until it starts picking up steam and turns into a thrash metal number that wouldn't sound out of place on an early Megadeth album. OK, not bad but not terribly original either

This is a really good BUCKETHEAD PIKE if you like both hardcore intensity and experimental features. This is satisfying on an intensity level as well as a creative one. This album is a prime example of why i sift through this PIKE series despite countless duds. I have to work for the cream of the crop but when i get there i am so very happy to have finally found a treasure in the slunk stack. If you like avant-garde extreme metal that isn't too far removed from reality then you will love this PIKE. Not perfect but very close

Excellent! 4.5 rounded down

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 43 by BUCKETHEAD album cover Studio Album, 2014
2.91 | 3 ratings

BUY
43
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BUCKETHEAD - PIKE 43

2nd album out of 60 in 2014 and 73rd overall

All sounds brought to you by Buckethead and all instrumental

This one has 6 tracks that clock in at 33:07

All tracks are untitled just like the album

This is one of those hand made albums that never got repackaged and retitled

First track (4:16) begins mellow with clean guitar and extra soft percussion. It remains that way. Yawn

Second track (7:33) also begins mellow with clean guitar and soft percussion. It is a bit more interesting in the melody department but sounds pretty much the same. The drums do pick up a bit more than the first track but only slightly. It turns into an echoey guitar run which and the drum and bass project it into mid-tempo range. Much better. This one is OK for the mellow side of BUCKETHEAD. All the echoes and clean mellow elements seem to work out on this one. It does rock out at the end with a guitar solo and distorted rhythmic guitar

Third track (8:14) starts out with clean guitar but is more of an acoustic classical guitar intro and then reverts back into a recognizable BH pattern of a recurring riff although the percussive drive on this one is fairly interesting as it has a certain flare to it unlike others of its ilk. Unfortunately it goes on too long and loses its luster but i do like the sleigh bells chiming along :P

Fourth track (1:13) is, surprise!, another mellow clean guitar track although the drums are a bit more energetic than they should be for this mellowness. This is a throwaway track as it adds absolutely nothing to the album experience

Fifth track (10:31) and this longest on the album behemoth begins even slower and even mellower with the usual clean guitar, bass and snail's paced percussion. This could definitely qualify as slowcore. It's not as bad as most of these types on his other albums. It has a nice melancholy and the slowness is observed by all individual aspects. It has a soft wah-wah guitar effect and evokes a sadness that just aches to infinity. I usually hate these soft and tender BH ballady types of tracks but this one actually balances out all of the proper ingredients to create a haunting and chilling effect. It does extend a bit too long but it has a staticky kind of background while the slowcore presentation unfurls into infinity

Sixth track (1:20) ends the PIKE with an echoey clean guitar run, bass and drums in mid-tempo. It's a nice little number that is neither OMG brilliant nor offensive. It slightly picks up steam and subtly grows and grows faster.

While i usually hate these totally mellow PIKES, this one is not bad. It captures me in the melody department which is the key for these unenergetic releases that don't have much else to offer. All of the elements are balanced for the most part making this a decent but not outstanding listen. I was quite surprised that i found this interesting to be honest :P

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Backwards Chimney by BUCKETHEAD album cover Studio Album, 2014
2.91 | 4 ratings

BUY
Backwards Chimney
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BUCKETHEAD - PIKE 42 - BACKWARDS CHIMNEY

1st album out of 60 in 2014 and 72nd overall

All sounds brought to you by Buckethead and all instrumental

This one has 5 tracks that clock in at 29:02

'West Of Arkham' (10:02) begins with a clean guitar, bass and drums but becomes crunchy alternative metal. It slows down after a short lick and becomes clean and echoey. It basically continues too long alternating these attributes. I'm not too thrilled by this one and it's a third of the album. Generic BUCKETHEAD fodder that needs to be fed to the chickens

'Backwards Chimney' (3:33) starts out distorted and heavy right from the start. An alternative metal rocker with a nice catchy melodic riff going on. Much more interesting that than the first track and much shorter! Thank bleep. Get to the point and entertain me and then shut the bleep up already. Nothing against long tracks if they warrant the time expanding qualitative principles of such. This one has nice transitions from heavy to spacey and echoey

'Cloth Held' (6:30) begins heavy and distorted and has a nice riff going on. A little bluesy and thrashy at the same time and lots of cymbal action. Kinda liking this one. Something about the drum beat and the melodic development with the timbres of the grunginess and pacing of the different parts that makes this one work pretty well even though it has all the same ingredients as the first track. It's not what you use, it's HOW you use it! Duh

'Sentinel Hill' (6:15) is another clean guitar starter but a little more on the mid-upper-tempo time range and has drums that seem to want to race ahead before the rest of the other instruments. It becomes another alternative metal rocker with a nice riff but not as good as the last two tracks. I like the slow clean guitar parts that kinda have a chicken clucking swagger to them. He really does love chickens :P

'Other Paths' (2:32) begins cleanly and light and fluffy in the mid-tempo range but bursts into a heavy alternative metal riff and then a sizzling guitar solo erupts into the scene and then all subdues and becomes mellow again. Meh, this one is nothing special

First and last tracks are BORING! The middle is actually pretty interesting although it is so only in melodic developments and interesting arrangements otherwise it sounds similar in the tone and timbre department. I still like this enough for 3 stars

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Kocytean by KATATONIA album cover Singles/EPs/Fan Club/Promo, 2014
4.00 | 2 ratings

BUY
Kocytean
Katatonia Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Kocytean" is a compilation EP release by Swedish rock/metal act Katatonia. "Kocytean" was released through Peaceville Records in April 2014 as a special limited edition 12" vinyl (limited to 2.000 copies) as part of the annual records store day. The 6 tracks on the 26:35 minutes long release, have all been featured as either single/EP B-sides or bonus tracks on the last couple of albums by the band (releases from the 2006 - 2012 period). Katatonia have previously released the two compilation albums "Brave Yester Days (2004)" and "The Black Sessions (2005)", which in addition to being "best of" type compilations, also featured B-side single/EP tracks and rare bonus tracks. So Katatonia are generally pretty good at catering for their listeners and making sure that they get the chance to gain access to their more rare material. Being a vinyl only release "Kocytean" is however slightly more exclusive in nature compared to the two above mentioned compilations.

Stylistically the music on "Kocytean" isn´t at all surprising if you are familiar with the 2006 - 2012 period of Katatonia´s discography. The tracks are maybe slightly more quirky in nature than the "regular" album tracks from the same period, but they aren´t odd or experimental in nature as some B-side/bonus tracks sometimes are. The most unusual tracks on "Kocytean" are "Unfurl", which features some electronic trip hop type beats, which reminds me of fellow Swedes in Paatos, and the closing "The Act of Darkening", which is a more acoustic oriented track than what we usually hear from the band. But the music style is overall still dark and depressive rock/metal like Katatonia have played for many years now. There are some heavy parts featured on "Kocytean", especially on "Ashen", but it´s generally not the band´s most heavy release.

"Kocytean" is well produced, and although the six tracks were recorded at different recording sessions, there´s still a stylistic red thread which seamlessly binds the tracks together to a coherent release. While most of the tracks featured on "Kocytean" could easily have been included on the band´s full-length studio albums, I still think the little extra quirks are quite charming, and make most of them stand out a little more than your regular Katatonia track. So upon conclusion "Kocytean" is a great high quality release by Katatonia and a 3.5 - 4 star (75%) rating isn´t out of place.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Dethroned & Uncrowned by KATATONIA album cover Studio Album, 2013
3.49 | 20 ratings

BUY
Dethroned & Uncrowned
Katatonia Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Dethroned & Uncrowned" is the 10th full-length studio album by Swedish metal act Katatonia. The album is the first Katatonia release to be released through Kscope instead of Peaceville Records, which is the label that has released all their preceeding releases. "Dethroned & Uncrowned" was released in September 2013.

The album is not as such a new studio release with original material but rather a semi-acoustic version of their last studio album "Dead End Kings (2012)". The two albums feature the exact same tracklist. While the basic vocal melodies and track structures are the same, the arrangements of the tracks are very different on the two albums. Almost all distorted guitars and heavy drumming are removed from "Dethroned & Uncrowned" and instead acoustic guitars and soft orchestral backdrops are the order of the day. Apparently this is how the band initially imagined "Dead End Kings (2012)", but they changed their mind along the way.

The more subtle and mellow arrangements of the tracks work well for the most part. Tracks like "The Parting", "The One You Are Looking for Is Not Here" (which features Silje Wergeland from The Gathering on guest vocals), "Hypnone", "Buildings", and "Ambitions" are some of the tracks where the new arrangements work pretty well, but there are some of the other tracks, which didn´t stand out on "Dead End Kings (2012)" either, that don´t work as well. Not because of the arrangements but it simply becomes even more apparent in these more stripped down arrangements, that the vocal melodies just aren´t that memorable on those tracks. It´s a bit more disguised in the more busy and heavy arrangements on "Dead End Kings (2012)", but here the naked truth is revealed.

The melancholic and paatos filled vocals by Jonas Renkse are as always one of the highlights when listening to a Katatonia release but the new arrangements of the tracks genereally work well too. In that respect Katatonia pull it off with great skill and conviction. The album features an organic and well sounding production and "Dethroned & Uncrowned" is overall a very pleasant, atmospheric, and melancholic release by Katatonia. As an experiment it works well, but I could have wished they would have chosen to write a whole new set of songs and arrange them in this way instead of re-arranging existing tracks. A project like that would probably have been slightly more interesting. Still a 3.5 star (70%) rating is fully deserved.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Dead End Kings by KATATONIA album cover Studio Album, 2012
4.17 | 23 ratings

BUY
Dead End Kings
Katatonia Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Dead End Kings" is the 9th full-length studio album by Swedish metal act Katatonia. The album was released through Peaceville Records in August 2012. Since the release of "Night Is the New Day (2009)", there have been a few lineup changes as Fredrik Norrman (guitars) and Matthias Norrman (bass) have left the band. "Dead End Kings" was therefore recorded as a trio with Anders Nyström handling bass, keyboards, guitars, programming and backing vocals, Jonas Renkse handling lead vocals, programming, guitars, keyboards and drums, and Daniel Liljekvist handling drums and percussion. The album also features a guest vocal performance by Silje Wergeland (The Gathering) on the track "The One You Are Looking for Is Not Here".

The music on the album pretty much continues where "Night Is the New Day (2009)" left off. Which means a dark, melancholic, and emotional type of rock/metal that has Katatonia written all over it. While Jonas Renkse possesses a relatively "regular" voice, the paatos filled/emotional delivery of his vocals has always been something special. Here is a man who bleeds melancholy and who is able to greatly impact the listener with his singing. You have to be in the mood for it though, as he sometimes borders the pathetic. The instrumental side of the music features a lot of dark/light effects and dynamics between heavy loud parts and mellower more quiet parts. As such nothing new when it comes to Katatonia. It´s a sound they have fine tuned and developed upon since "Viva Emptiness (2003)". Keyboards/synths take a prominent role on some tracks and the music also features tight rhythms and both heavy chugging riffs and dynamic clean guitar work.

To my ears tracks like "The Parting", "The One You Are Looking for Is Not Here", "Hypnone", "Buildings", and "Dead Letters" are some of the highlights, but "Dead End Kings" is quality wise a consistent album. It´s also very well produced, featuring a clear, detailed, and powerful sounding production, which suits the material perfectly. While "Dead End Kings" is undeniably yet another high quality release by Katatonia, I do feel it´s time that the band try something radically new. "Dead End Kings" is a great album but it´s also a very "safe" album, and I´m missing a bit of an edge or maybe a more adventurous spirit to set the album apart from the last couple of albums by the band. Isolated seen "Dead End Kings" fully deserves a 4 star (80%) rating though.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Affinity by HAKEN album cover Studio Album, 2016
3.97 | 297 ratings

BUY
Affinity
Haken Heavy Prog

Review by Einwahn

5 stars The artwork for this album mimics a floppy disk sleeve, and has the perfect green phosphor colour of CRT screens... it is so nostalgic for anyone who remembers the era of MS-DOS, NewWord & Space Invaders. Of course, a 1980's inspired album does require the listener to have retained some positive feelings about the sounds of that least-favoured decade for prog fans. I am definitely in that category and the 'Affinity' concept sounded interesting from the start for me. The album opens with a short track called 'affinity.exe' that is surely a Morse code transmission, not particularly 1980's ... and then the first real track, 'Initiate' rather threw me on first hearing, because it simply sounded like the Dream Theater-inspired music that makes up so much of Haken's first couple of albums (this is not a complaint). But with '1985' (I guess around when this band's members were born), the decade's influence becomes explicit and several of the tracks are in the same vein. But this always sounds like Haken nonetheless, they have a very distinctive sound that could only be mistaken for Dream Theater at times - though with much wider invention.

There is a short episode of 'growling' from Leprous's amazing vocalist Einar Solberg, who can really sing if he wants to. Like others, I am not a big fan of growling, but I note the first two Haken albums each have a growling episode, it isn't an innovation for them. Anyway, it has its artistic purpose I am sure, and it's short.

Well I said I didn't mind the 1980's, and if more of that period's music sounded like this Haken album, I would have absolutely loved it. Every single album of this band is 5 stars for me, they are a major presence in prog rock.

Verdict: the 1980's, improved.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Sheer Heart Attack by QUEEN album cover Studio Album, 1974
4.00 | 502 ratings

BUY
Sheer Heart Attack
Queen Prog Related

Review by poito

5 stars 4.5 This is for many the crowning achievement of this omnipresent band. One thing is true, it is when musical composition and musicianship are at their best, which leaving aside the commercial success, is about all that matters, isn't it? A rocker for the best glory of Brian May, the Brighton Rock, opens this fantastic album, followed by the immortal Killer Queen. Themes like the Floydian rocker Tenement Funster are sang with an emotion proper of Gillan's best (but who else could do it). This track is fuse-blended with Flick of the Wrist and Lilly of the Valley, which jointly make one of the most creative and emotional runs of the band, a musical wonder to listen once and again. It follows one of the first universal hits, Now I'm Here, and a lovely delicatessen In the Lap Of Gods where Mercury shows how far his voice can go and that you may find revisited in a version made for the choral singing in drunky days. There are a couple of weak themes like the spacey She Makes Me and Misfire that make the album to stay one hair away of perfection.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Frank Zappa For President by ZAPPA, FRANK album cover Boxset/Compilation, 2016
3.83 | 4 ratings

BUY
Frank Zappa For President
Frank Zappa RIO/Avant-Prog

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

4 stars It is my opinion, now 23 years after his untimely death, that any newly released Frank Zappa music is a very good thing. But since (supposedly) all of the albums Mr. Zappa himself prepared for his family to release have been issued, there can only be a dwindling amount of fresh material to be found.

This album is a collection timed to coincide with the 2016 US Presidential election (I won't get into my personal feelings about the process here).

The collection consists of three previously unreleased (I think) Synclavier tracks, one FZ interview piece backed by some Synclavier accents, one remix/re-edit of a very classic track, and two live tracks from the '88 tour.

Let's start with the Synclavier music, as these pieces are the best reason to purchase the album. "Overture To "Uncle Sam"" is easily the most outstanding work. It's a Stravinsky tinged opus that sounds to me like it was meant to be a guitar concerto. That the synth guitar lines would probably confound nearly every guitarist on the planet is a moot point. I would love to hear what a group like Ensemble Moderne could do with this.

"Amnerica" is a Synclavier piece that I believe appeared in orchestral arrangement as "Questi Cazzi Di Piccione" on "The Yellow Shark". This one has lyrics sung by Napoleon Murphy Brock, and is quite hypnotic. Although this is nice, there is a 10 minute live version on Youtube performed by the Ensemble Moderne that is far better than either this one or the Yellow Shark version.

"Medieval Ensemble" I do not believe has been released elsewhere. It's nice, but sounds like many of FZ's Synclavier works, meaning just a little too formless for me to listen to repeatedly. "If I Was President" is FZ in an interview speaking about what he would do if he was President, with synth noises behind him, similar to what he did to the politicians bloviating on "Meets The Mothers Of Prevention".

"Brown Shoes Don't Make It" is a slightly different edit and mix of the original "Absolutely Free" version. Ears familiar with the original will hear the differences.

"Finally, there are two tracks from the '88 tour. "When The Lie's So Big" is not very different from the "Broadway The Hard way" version, and just as dated by the topical references in the lyrics, and "America The Beautiful", played gospel style, with a fantastic FZ solo.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Fetish by SEVEN STEPS TO THE GREEN DOOR album cover Studio Album, 2015
3.97 | 211 ratings

BUY
Fetish
Seven Steps To The Green Door Neo-Prog

Review by Warthur
Prog Reviewer

4 stars A very capable neo-prog release which sort of reminds me of the sound that Thieves Kitchen may have evolved into had they taken a different path before the Water Road. Seven Steps to the Green Door certainly have an unusual lineup for a prog band, with two dedicated vocalists in the form of Lars Köhler and Anne Trautmann, but that's because they have a really keen sense of the use of the voice as a musical instrument in its own right, and through working complex vocal harmonies into their work and aptly choosing when to use which vocalists accomplish possibilities which are of substantial benefit to their compositions.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Ballet Statique by SCHNITZLER, CONRAD album cover Studio Album, 1978
4.06 | 24 ratings

BUY
Ballet Statique
Conrad Schnitzler Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Conrad Schnitzler had already established a decent electronic krautrock pedigree prior to this, due to his involvement in the early careers of Kluster/Cluster and Tangerine Dream, but this solo album - its title varying between "Con" and "Ballet Statique" depending on which issue you are looking at - is a striking effort in its own right, offering a progressive electronic soundscape highly reminiscent of a middle ground between the sort of direction his former bandmates in Tangerine Dream had taken in mid-1970s albums like Rubicon and would soon take in their late- 1970s/early 1980s work like Thief or Tangram.

This sort of cyberpunk electronic mood music is not for everyone, but for those who like this sort of thing, this is the sort of thing they will like very much indeed, and somehow manages both to provide a precedent for much of the work in this vein that would emerge in the 1980s and seems less dated than many of its imitators.

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
 Three Friends by GENTLE GIANT album cover Studio Album, 1972
4.11 | 1027 ratings

BUY
Three Friends
Gentle Giant Eclectic Prog

Review by Modrigue
Prog Reviewer

4 stars Three reasons to love this album

Not often cited by fans, "Three Friends" yet remains one of Shulman brothers and co.'s best opuses as well as their most accessible. First concept-album and first auto-production from the band, the lyrics narrate the story of three childhood friends who will later belong to different social class and cease to understand each other's way of life. A track is dedicated to each character: the worker, the painter and the white collar. Less adventurous and demanding than its predecessor, "Acquiring the Taste", this third effort includes shorter compositions with more catchy melodies. This stylistic direction might not always satisfy complex and always changing songs hardcore fans, however this time the musicians somehow take a break by proposing very pleasant and inspired spacey symphonic progressive rock.

Alternating rocking passages and mysterious aquatic keyboards sonorities, "Prologue" is quite an efficient opener. With its modified vibraphone opening, the nice and strange "Schooldays" is pure gentle giant-ish, to then turn into a calm jazzy piano tune. Now come the three songs of the friends. "Working All Day" is the worker's song and may be my least favorite of the disc. A saxophone rock piece with a cool Hammond organ solo. Not bad but fails a little to really lift off.

The painter's song, "Peel The Paint", is rather misleading. Starting discretely, the music becomes suddenly raging and heavy. There are even unexpected furious Hendrixian guitar sections! Wow! Are we still listening to GENTLE GIANT here? Surprisingly, the record concludes with its two best tracks. "Mister Class And Quality?" is the white collar's song. This powerful composition possesses catchy melodies and great instrumental sections. It rocks! The title track simply finishes the album in apotheosis. Quite atypical in the band's discography, it features a religious- like chorus offering a particular ethereal and contemplative ambiance, like if you were about to enter the heaven. Superb!

As promised, here are the three reasons to love these three friends. First, the music remains sophisticated, playful, featuring many changes, while never going too complex or elitist. Second, there are nice rocking passages and catchy melodies. Finally, the particular aquatic organ sound and floating chorus displays a specific floating atmosphere, which is rather singular for the band. Although the middle of the album may contain weaker moments, this is probably my favorite opus from the Shulman brothers and co.

A bit apart considering GENTLE GIANT's other releases, "Three Friends" is their spaciest record, as well as one of their most accessible. The one to start with for newcomers, with their self-titled debut, and an essential listen for symphonic prog rock fans!

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password
Reviews list is cached

Latest Prog News, Shows and Tours


Prog News & Press Releases (10) | More ...
Prog Gigs, Tours and Festivals (10) | More ...

Latest 3 Progressive Rock Videos


All videos
MOST POPULAR ALBUM (last 24h)
Buy this album from PA partners
FORUM NEW TOPICS

Prog Lounge

Prog Polls

Prog Interviews

BUY PA T-SHIRTS & MORE
Arjen Lucassen (AYREON's mastermind) wearing the classic long sleeves PA t-shirt
Arjen Lucassen (AYREON's mastermind) wearing the classic long sleeves PA t-shirt.
To buy Progarchives.com custom items: t-shirts, beer steins, coffee mugs, mouse pads, bumper stickers, go to http://www.zazzle.com/progarchives, select the ones you like and checkout (PayPal support). All orders are handled by Zazzle from invoicing, printing to shipping.

Thanks in advance for supporting us and for spreading the purple prog !
100 MOST PROLIFIC REVIEWERS

Collaborators Only

ratings only excluded in count
  1. Mellotron Storm (3894)
  2. Sean Trane (3159)
  3. ZowieZiggy (2929)
  4. apps79 (2629)
  5. Warthur (2342)
  6. Easy Livin (1928)
  7. UMUR (1924)
  8. b_olariu (1916)
  9. Gatot (1811)
  10. Conor Fynes (1600)
  11. SouthSideoftheSky (1571)
  12. Evolver (1404)
  13. Windhawk (1395)
  14. Bonnek (1332)
  15. Tarcisio Moura (1322)
  16. AtomicCrimsonRush (1273)
  17. snobb (1216)
  18. erik neuteboom (1201)
  19. Finnforest (1130)
  20. kenethlevine (1078)
  21. ClemofNazareth (1011)
  22. Cesar Inca (928)
  23. tszirmay (903)
  24. Matti (896)
  25. loserboy (895)
  26. Rune2000 (869)
  27. octopus-4 (848)
  28. memowakeman (845)
  29. kev rowland (844)
  30. Marty McFly (834)
  31. BrufordFreak (801)
  32. siLLy puPPy (790)
  33. Guillermo (782)
  34. Chris S (753)
  35. Eetu Pellonpaa (722)
  36. Rivertree (690)
  37. greenback (685)
  38. Neu!mann (672)
  39. progrules (666)
  40. Seyo (642)
  41. Epignosis (624)
  42. Prog-jester (623)
  43. lor68 (601)
  44. Prog Leviathan (561)
  45. Ivan_Melgar_M (555)
  46. philippe (540)
  47. hdfisch (492)
  48. admireArt (491)
  49. friso (489)
  50. Chicapah (483)
  51. stefro (482)
  52. Aussie-Byrd-Brother (476)
  53. Dobermensch (462)
  54. colorofmoney91 (459)
  55. DamoXt7942 (456)
  56. zravkapt (451)
  57. J-Man (449)
  58. russellk (435)
  59. Atavachron (430)
  60. ProgShine (421)
  61. Menswear (413)
  62. Sinusoid (402)
  63. andrea (397)
  64. Queen By-Tor (396)
  65. TCat (377)
  66. Greger (365)
  67. tarkus1980 (363)
  68. Nightfly (363)
  69. Zitro (359)
  70. Cygnus X-2 (353)
  71. fuxi (353)
  72. Andrea Cortese (348)
  73. EatThatPhonebook (326)
  74. lazland (322)
  75. Guldbamsen (321)
  76. Modrigue (319)
  77. Negoba (316)
  78. richardh (314)
  79. Tom Ozric (306)
  80. Kazuhiro (299)
  81. Flucktrot (293)
  82. Proghead (289)
  83. OpethGuitarist (287)
  84. progaardvark (286)
  85. Second Life Syndrome (267)
  86. daveconn (266)
  87. Trotsky (264)
  88. Muzikman (263)
  89. Slartibartfast (256)
  90. The T (254)
  91. clarke2001 (254)
  92. Andy Webb (237)
  93. Bj-1 (235)
  94. GruvanDahlman (233)
  95. aapatsos (228)
  96. 1800iareyay (225)
  97. js (Easy Money) (222)
  98. poslednijat_colobar (220)
  99. Raff (217)
  100. The Crow (216)

List of all PA collaborators

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

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

More PA TOP LISTS
NEW RELEASES

A Way You'll Never Be... by Wesley, John album rcover
A Way You'll Never Be...

John Wesley

Between Waves by Album Leaf, The album rcover
Between Waves

The Album Leaf

Live At Rockpalast - Hamburg 1981 by Hammill, Peter album rcover
Live At Rockpalast - Hamburg 1981

Peter Hammill

New World by AnVision album rcover
New World

AnVision

The Four Season - Part 1: Spring by Tamas, Jonas album rcover
The Four Season - Part 1: Spring

Jonas Tamas

INTERACTIVE

Twitter, RSS feeds

+ more syndication options
Twitter RSS

Share this site

| More

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives