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RED SAND

Neo-Prog • Canada


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Red Sand picture
Red Sand biography
Founded in quebec, Canada in 2003

RED SAND was created by guitarist Simon Caron, a self-proclaimed David Gilmour, Andy Latimer, Steven Rothery, IQ, BB KING and Albert COLLINS fan. At age 18, he started a couple of progressive rock bands (FÉNIX and OCÉAN) and then left the music scene for a while. Unable to stay away from prog very long, however, he started to write again, searched for a band to perform his music and was soon surrounded by seasoned musicians most willing to oblige. Thus RED SAND was born. There has been a few personnel changes since and the band now consists of Caron himself on guitar, assisted by classically trained vocalist Stéphane Dorval, ex-DAGMAHR keyboard player Pierre Massicotte, renowed Québec bassist Mathieu Gosselin and (newcomer) drummer Perry Angellilo. They released a first album in 2004 titled 'Mirror of Insanity" and then a second a year later called "Gentry". All music and lyrics are penned by Caron.

What strikes the listener is how "early-MARILLION" the band sounds without seeming to imitate them. The compositional style, breaks and moods, the Rothery-like guitar play and the Nolan-like keyboard flights all contribute to this impression - even the albums' artwork bears that early MARILLION touch; yet for some reason, it all sounds very much RED SAND. Well produced and expertly crafted, their music flows naturally and the themes blend into one another with remarkable ease. The lyrics never sound forced or imitative (the vocalist sings in English but doesn't sound at all like FISH). The band may not offer anything original in terms of style, but they do deliver first-rate neo prog that oozes charm, refinement and professionalism.

Highly recommended if you're into early MARILLION, PENDRAGON, ARENA, CLEPSYDRA or SHADOWLAND.

: : : Lise (HIBOU), CANADA : : :

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RED SAND discography


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RED SAND top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.94 | 107 ratings
Mirror Of Insanity
2004
3.73 | 80 ratings
Gentry
2005
3.27 | 56 ratings
Human Trafficking
2007
3.29 | 66 ratings
Music For Sharks
2009
3.71 | 73 ratings
Behind The Mask
2012
3.61 | 66 ratings
Cinéma Du Vieux Cartier
2013
3.45 | 35 ratings
1759
2016
3.82 | 53 ratings
FoRsAkEn
2019
3.85 | 61 ratings
Crush the Seed
2020

RED SAND Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

RED SAND Videos (DVD, Blu-ray, VHS etc)

4.18 | 17 ratings
Live Au Cabaret du Liquor Store
2008
3.50 | 2 ratings
From Quebec to Germany
2017

RED SAND Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

RED SAND Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.83 | 6 ratings
World
2005

RED SAND Reviews


Showing last 10 reviews only
 Crush the Seed by RED SAND album cover Studio Album, 2020
3.85 | 61 ratings

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Crush the Seed
Red Sand Neo-Prog

Review by TenYearsAfter

3 stars I am familiar with the first four albums (between 2004 and 2009) by this Canadian prog band, but then I lost Red Sand. So this is my first musical encounter with Red Sand after more than 10 years, the new album Crush The Seed is from 2020, the precursor FoRsAkEn was released in 2019. On this new effort I notice that Red Sand still make simply structured prog with the focus on colouring the music with wonderful work on guitar and keyboards. Singer Steff Dorval joined the band since the second album, he has a distinctive voice, very intense and with a strong melancholical undertone.

After the short and compelling opener Crush The Seed Part 1 (with a beautiful blend of twanging acoustic guitar, Mellotron choirs, moving electric guitar with howling runs and dramatic vocals) the next mid-long track sounds like an inspired tribute to Shine On You Crazy Diamond (reminding me of German prog legend Eloy on Silent Cries, Mighty Echoes), the guitar player turns into the second coming of David Gilmour!

The other mid-long track in the first part of this album entitled Human Claim has also obvious Pink Floyd hints (but more Eighties) featuring Fender electric piano, lush Hammond, harder-edged guitar and emotional vocals, the moods shift from dreamy to a catchy beat. The compositions Crush The Seed Part 2 (Mellotrons) and Crush The Seed part 3 (halfway an accellaration with heavy guitar) deliver wonderful interplay between piano and moving electric guitar, this is trademark Red Sand.

In the second part Red Sand sounds more like early Marillion, especially in the epic Woman (over 17 minutes), the highlight on this new album, and also the most elaborate composition. I starts with a mid-tempo featuring fiery guitar runs (like Rothery, with use of the tremolo arm), delicate Fender piano and melancholical vocals. Then the music turns into bombastic with majestic Mellotron choirs and powerful emotional vocals (this is how I remember early Red Sand). Next an explosive guitar solo with volume pedal and tremolo arm, in the vein of Rothery and Gilmour, later again joined by that awesome Mellotron choir sound, Red Sand at its full splendor, mighty Trons and howling guitar, wow! In the second part lots of flowing shifting moods and some surprising musical ideas. The conclusion delivers a compelling atmosphere with howling guitar, again this is the band at its full splendor. The bonus track Dust And Hope contains a slow rhythm, wonderfully coloured by moving guitar and a pleasant Hammond sound and topped with mellow vocals.

The Red Sand fans will not be disappointed by this new album, and I had another pleasant musical encounter with Red Sand, no more or less.

My rating: 3,5 stars.

This review was previously published on the website of Background Magazine, the oldest Dutch progrock source.

 Mirror Of Insanity by RED SAND album cover Studio Album, 2004
3.94 | 107 ratings

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Mirror Of Insanity
Red Sand Neo-Prog

Review by Hector Enrique

4 stars It is probably the Red Sand record most clearly influenced by Marillion of the Fish era. The atmosphere of the entire album, soft and relaxed, with keyboards that accompany us during the journey of its almost 40 minutes lead us to imagine being listening to parts of Script for a Jester's Tear and parts of Misplaced Childhood at times. Simon Caron's guitar shows similarities that at times we cannot differentiate from Rothery's. Not for that reason, the marked influence being evident, Canadians manage to present an excellent album, in which the 3 songs of more than 10 minutes (Blame, Children Memory, and the one that gives the title to the album Mirror of Insanity ) show us a compositional quality that must be among the best of the neoprogressive genre.

We can place very clear reminiscences in the middle and towards the end of the songs Children Memory and Mirrow of Insanity, Bitter Suite / Heart of Lothian, and in the song that closes the album (Cradle) a clear influence of the end of Heart of Lothian . Additionally we find in Cradle the use of acoustic guitars in its beginnings, something that marks a variation regarding the influence of Marillion.

Mirror of Insanity is an excellent debut album by Red Sand, and I consider it the highest of their discography, and who they also represent as more than worthy representatives of the genre.

 Crush the Seed by RED SAND album cover Studio Album, 2020
3.85 | 61 ratings

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Crush the Seed
Red Sand Neo-Prog

Review by alainPP

5 stars RED SAND comes here to release its 9th album by offering a variation on the sounds of PINK FLOYD, Gimour being one of the masters of SImon. This opus therefore radically changes the sounds of the MARILLION Fish era with which it had quite a few similarities. RED SAND has just released a neo prog wonder quite simply. "Crush The Seed pt1" attacks the album with an intro on acoustic guitar and a phrased voice, a bit in the vein of ARENA and its "Crying For Help", a quick interlude, a mouthful before the first slap from the album, "Were They Born Like That? »A gilmourian digest on a variation of" Shine On You Crazy Diamond "and" One Slip ", a title that reminds, reminds, hangs but also gives a free trip to the past-present, let me explain: l 'intro is well worked and gradually stands out from what the PINK FLOYD masters were able to create at the time; it also reminds me of the work done by RIVERSIDE to take 2 notes from "Wish You Were Here" to go elsewhere, a musical variation in fact as I like to say, a musical space between dinos memories and a recent updated sound; an airy, orgasmic title that cannot leave you indifferent, and in which time seems to stop. "Crush The Seed p2" then arises as ... interlude, again a little nursery rhyme that allows you to recover from the previous powerful title; declination on the minimalist piano supported by a synth and the aerial guitar, all wrapped at the ends by children's voices in schoolyard. "Human Claim" gives directly tracks with the recognizable bass and the belching pigs, here it will be "Animals" and "The Wall" as main dish: the 2nd piece of almost 10 minutes takes us to an air known by scraps, a few voiceovers reminiscent of a certain intro from SUPERTRAMP, PINK FLOYD strikes hard in our ears and recalls that RED SAND has nothing to do here with MARILLION that many said to be his clone; the end is in the prog diagram at 'donf' as the young people like to say, to listen in fact in replay. "Cruh The Seed p3" begins the second part of the album, a more symphonic piece even than "Crush p2" with the piano more nervous and airy also, with the same air, on a flight of guitar and a clear drums rhythmic with crescendo , the title that makes you dream, the title limits spleen by moment, piece of introspection surely then final acceleration, an orchestral title of any beauty, simple and effective. "Fight For Us" comes here as the first bonus, a title to the typical 70's organ, from the Hammond which plunges back to the time when we could only take the time, the synth of PROCOL HARUM, the ballroom music of Saturday evening where we came there to do his slow with his blonde, basic song, metronomic drums, posed voice more spoken than sung and this guitar, ah Simon sends notes here! Come to think of it, my girlfriend tells me that there is a little voice to David BOWIE and a happy internet user tells me that the instrumental parts make him think of CAMEL, in short, you see that it goes in many musical regions in made! Personally, a little PENDRAGON, surely RED SAND no doubt; a magnificent slow with a neo progressive nursery rhyme and a touch of romantic ballad. "Woman" and the title of the album! After two great songs, you have before you the symbiosis of the best that can be done currently in neo prog; a captivating intro, a crescendo rhythm, a first part based on a dreamlike and greasy guitar, latent atmospheres; a simple track, a melting pot of tunes from previous tracks with this intoxicating Hammond organ again; around 2'45 '' it goes into battle order in a very basic way, we could get bored for a while because it is agreed with choirs during the chorus, but it is well organized to give more effect solo stratospheric and dreamlike guitar, solo in two stages as for the title "Comfortably Numb". And then there is the other moment around 10 minutes, break, drawer with effect then this declination on the piano and bass on an agreed air English pop atmosphere of the 70's, this military drums and to finish piano and voice for a confidential final, a tone eyeing the intimate titles of "The Wall" with a last solo more posed, more electric and the voice of Steff which comes to close beautifully this epic moment. A long and very easy piece of access. "Dust And Hope" comes to finish the album with the second bonus which does not denote absolutely, which leaves on the same tone as "Fight For Us", a little more nervous however with more airy solo, which takes the repercussions of the voice metronomic; the redundant synth weft becomes mesmerizing to the ears with recessed keyboard air that hooks the ears; a very beautiful title at the end of the course which sounds a neo-prog renewal in this year 2020.

 FoRsAkEn by RED SAND album cover Studio Album, 2019
3.82 | 53 ratings

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FoRsAkEn
Red Sand Neo-Prog

Review by alainPP

4 stars RED SAND is a Canadian group who released his first album in 2003 and happened to my ears in 2004 with "Gentry"; I had directly stamped 'rock neo-prog to MARILLION! A great group said second area that had the atmosphere kept him MARILLION period FISH; subsequently, their sound had evolved to produce a neo-prog rock a little beefier than their parents and give moods worked as the wonderful time "Misplaced Childhood"! This eighth album, calibrated barely 45 minutes of music is going to give us an overview of their musical progress. For me it is an honor to review a group that participated in making me take the painful course of 2000, but I will focus even more strict on their latest. At level musicians, it is good to note that the guitarist Simon Caron says absolute fan of Marillion, but PINK FLOYD, CAMEL, IQ. Personally, I will quote PENDRAGON for flights millimeter guitar, ARENA sequences for titles, some of SHADOWLAND for its neo-prog and therefore the period MARILLION- FISH.

Immediately, "Forsaken part 1" starts the festivities with a nagging voice intro with NASA, with a mod 80s synth and an air guitar and fat at the same time, all complemented by a voiceover sneer, throwing fact "Forsaken part2" and an atmosphere typical RED Sandian with all that makes the happiness of their illustrious elders: station wagons, crescendos, guitar solos and synths, calm atmosphere with soft drums, guitar vibrations and energetic again. The voice accompanies this piece beautifully. "All the life" denotes chained him with a rhythmic guitar, rockier and more imposing voice, more forward; however quickly a break at the piano and choirs bring the title to ARENA and voice and with a more powerful solo. The sound is present, just what his predecessors were also included on the outskirts of the 2010s by giving more relief, more energy, more eloquently to their music. "Hello Goodbye to the last" always chained arrives with a pace even stronger, more aggressive voice for a title while power; Note keyboards them back but still present either in dynamic form or as more serene; at that point, it becomes clear that the groups mentioned form only a beautiful orientation, an overview of the genre described; titles each have their own uniqueness: we can imagine or recognize an air of said groups but with his RED SAND; you can listen to find in which such air album may look like, Such a rate may suggest ... like to 7 minutes with this break in "Misplaced Childhood" in the middle of the album bringing a cozy atmosphere to allow the guitar solo following to be even better feeling. The sound of RED SAND shows its uniqueness and particularity, it is not taken back into neo-prog 80s, one is in the logical evolution of what MARILLION could have done in 2019 if he had continued in its original formation; a well orchestrated conglomerate between the various instruments and voice, a tune where each instrument is further emphasized throughout each track, not expecting his solo moment! For this reason, RED SAND is worth seeing and can also close the debate pros FISH HOGARTH, namely that there is no better MARILLION but simply a musical heritage in the person of RED SAND. "Afraid of Tears" ends the album with a hymn as powerful and melancholic air limit, a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. "Afraid of Tears" ends the album with a hymn as powerful and melancholic air limit, a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. "Afraid of Tears" ends the album with a hymn as powerful and melancholic air limit, a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group that I had the honor to review their latest installment. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group that I had the honor to review their latest installment. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open.

This CD is short, it includes securities linked together and that make listening even easier, more intimate letting us go with the different notes in a musical universe filled with photos, memories that everyone can make it -even. This CD gives vibration, acclaim the basic movement that is one of this site: no post, no metal, no AC, no revival, no fusion, no math, just the very substance progressive marrow. So yes, we can say that is very similar to it often takes the same convolutions, the main idea is guessed pretty quickly. Yes, but the neo-progressive rock to the RED SAND is as unique today.

 Music For Sharks by RED SAND album cover Studio Album, 2009
3.29 | 66 ratings

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Music For Sharks
Red Sand Neo-Prog

Review by TenYearsAfter

4 stars Canadian four piece formation Red Sand have released seven studio albums between 2004 and 2016, this review is about their fourth effort, from 2009. A year before Red Sand had produced a live DVD entitled Au Cabaret Du Liquor Store. I was very pleased with their performance on stage. And many times carried away by the compelling parts, loaded with howling guitar solos and majestic violin-Mellotron waves, the early Marillion hints are obvious. So how about Red Sand their musical direction on Music For Sharks?

Well, on their fourth album Red Sand still sounds like early Marillion, due to the wonderful and moving guitar work by Simon Caron, many compelling solos with the use of the tremolo-arm (in the vein of Steve Rothery). But the musical direction has moved more towards modern Pendragon, also because singer Mathieu Lessand his voice sounds pretty similar to Nick Barrett (with the same melancholical undertone). And in comparison with their previous studio-album Human Trafficking, I notice a more omnipresent role of the keyboards. This is also done by Simon Caron: from church organ in Empty Calendar and a flashy synthesizer solo in Love And Music to soaring keyboards in Sad Song. And the Mellotron can be enjoyed in its full splendor in most of the five alternating tracks, always a Big Plus.

The absolute highlight on this new CD is the long composition Shark Man (more than 15 minutes): it starts with angry vocals in a bombastic atmosphere with tight drums, then lots of changing climates (from dreamy with piano and warm vocals to a mid-tempo with sensational work on keyboards and guitar), culminating in a compelling build-up and a great grand finale: a sensitive electric guitar solo, accompanied by lush Mellotron and synthesizers, this is Prog Heaven!

What a wonderful blend of Neo-Prog and Old School keyboards, highly recommended.

 1759 by RED SAND album cover Studio Album, 2016
3.45 | 35 ratings

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1759
Red Sand Neo-Prog

Review by tbstars1

2 stars I have followed Red Sand devotedly since Mirror of Insanity burst wondrously onto the prog scene over a decade ago. They are a great band and have delivered a succession of memorable releases ever since. It was therefore with significant anticipation that I settled down to listen to 1759, which, on the strength of the ratings distribution, currently rates as the band's finest offering so far. Ouch! Not so, to these ears, I'm afraid. I found it disjointed, almost plodding, with very little to tap into the memory banks. I'm sure there's a worthy structure and purpose in it all, and a meaningful story to be told, but that's not why I listen to music. I like to be transported. Sadly, setting aside a quite phenomenal (and all too short) blazing guitar attack towards the end of My Mind, very little stirred me - I just couldn't work out where it was all coming from or heading. Without doubt Red Sand's most disappointing release to date, in my opinion.

Not everyone likes more of the same, otherwise there can be no progression. So I guess I'm just a stick-in-the-mud. So be it. My Red Sand mud is warm and comforting. 1759 isn't.

 Human Trafficking by RED SAND album cover Studio Album, 2007
3.27 | 56 ratings

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Human Trafficking
Red Sand Neo-Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Red Sand have been praised as the new Marillion wannabees and the fame of the band finally starts to hit a wordwide status.That did not mean that everhything worked really well for the Canadians with keyboardist Pierre Massicotte quiting after ''Gentry''.The result was Red Sand's leader Simon Caron to take over the keyboard duties besides the guitar work and the third album, dealing with human trafficking, was released independently in 2007.

Caron would follow again the succesful structure lines of ''Gentry'' in this new effort, two long tracks are complemented by a couple of shorter pieces.There is a certain tension by the band to reproduced some of the old MARLLION atmospheres in yet another album, making their development a bit static, however the music is again very strong, elaborate and atmospheric.Good thing is that singer Stephane "Steff" Dorval has eventually adapted a vocal expression completely suitable to Red Sand's emotional and sensitive musical background.As for the compositions, these are again very strong with a nostalgic 80's vibe, having PINK FLOYD as a secondary source of inspiration during some dramatic guitar solos.Caron have made no keyboard diet, despite being basically a guitarist, ''Human trafficking'' is cleverly balanced between grandiose synthesizers and melodic, electric guitars, deeping into the fundamentals of British Prog, while the two shorter cuts contain again some Mellotron bits.The result is satisfying to say the least, with lyrical passages surrounded by cinematic music along the atmospheres of Fish-era MARILLION, maintaining a theatrical attitude due to the changes between singing parts and narrations.Caron's melodies are certainly striking and memorable, making ''Human trafficking'' another beautiful Red Sand discographic entry.

Theatrical Neo Prog in the vein of old Marillion.You love the masters of 80's British Prog, you will fall in love with ''Human trafficking'' as well, no more or less.Strongly recommended...3.5 stars.

 Cinéma Du Vieux Cartier by RED SAND album cover Studio Album, 2013
3.61 | 66 ratings

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Cinéma Du Vieux Cartier
Red Sand Neo-Prog

Review by Warthur
Prog Reviewer

3 stars Red Sand are a good six albums into their career now, and that's the sort of point where you really expect a band to have developed their own identity. On the evidence of Cinema du Vieux Cartier, however, Red Sand are no closer to doing this than they were on their debut album: they're still essentially in the business of mimicing the achievements of neo-prog bands past (particularly Fish-era Marillion and World-era Pendragon). It's a pleasant listen, but it lacks distinctive character and offers no compelling reason to give Red Sand any special attention in preference to any other reasonably competent neo-prog outfit.
 Cinéma Du Vieux Cartier by RED SAND album cover Studio Album, 2013
3.61 | 66 ratings

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Cinéma Du Vieux Cartier
Red Sand Neo-Prog

Review by Kingsnake

2 stars I read a bunch of reviews on Progarchives and I was hoping for some wonderfull Marillion- esque of Pendragon-esque neoprogressive rock.

I really can't say, that I enjoyed this cd at all! The production is terrible, the singer is not good. Most of the time he's just of tune.

The drums are annoying the crap out of me. There's no atmosphere on the album. It sounds as though I'm listening to a debut-album. But this is their 6th or 7th album!!!

Some parts, especially the softer parts, are not that bad. The guitarist and the pianist are quite allright. But the singing and drumming ruins it all for me.

I will not trash this record, because these people really did their best. But I will never, ever play something from this band again.

 Music For Sharks by RED SAND album cover Studio Album, 2009
3.29 | 66 ratings

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Music For Sharks
Red Sand Neo-Prog

Review by coldwindblowing

3 stars I am a massive fan of Progrules and follow the reviews avidly. Through recommendations, I have discovered one new neo-prog band after another - Collage, Satellite, Clepsydra, Riverside to name a few - to add to what I already knew i.e. Arena, Pendragon etc. I therefore noted the comments on Red Sand with interest, especially about Empty Calendar, and how Marillion-like it was. Well for the first time I (100% respectfully!) disagree! This song has become one of my favourites - brilliant in pace and relentless melody. Yes, it has obvious shades of Marillion, but for me it takes the best of them and expands on it. Just like Pendragon do with Floydian floatiness and Genesis moments to build their own glorious uplifting melodies. Add Empty Calendar to that the long track Shark Man, and we are up to 3' stars without even hearing the rest. Great stuff.
Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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