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MOSTLY AUTUMN

Prog Folk • United Kingdom


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Mostly Autumn biography
Fine progressive rock band who really should be in the Premier League, but are probably quite happy as an archetypal cottage industry


Mostly Autumn were formed in York in 1995, their roots stemming from local gigging outfits mainly playing Pink Floyd covers.

Most bios on this site tend to include, rightly, discussions regarding line-up changes, the loss and replacements of personnel with varying importance, and the impact upon said act. With Mostly Autumn, such a discussion would simply take up far too much space, would probably be incomplete, and, ultimately, of little value. Suffice to say that, since the beginning, there have been numerous line-ups of the band, but all revolve around the man whose vision the band was, and is, namely BRYAN JOSH, guitarist, vocalist, lyricist. Indeed, when celebrated lead vocalist, HEATHER FINDLAY, left the band in 2010 to concentrate on a solo career, and new family, she said in an interview with Prog magazine, without a trace of rancour, that the band's driving force and leader, to whom all centred, was Josh. Of the original line-up, only keyboardist Iain JENNINGS remains with Josh. It should be noted that, very sadly, original rhythm guitarist, and mainstay of the band to 2014, Liam Davison died in 2017.

In terms of the history of the band, a pertinent point to make about the ever-changing line-ups is that they appear to have been wholly achieved without any ill feelings on all parties' sides; indeed, many who have left have returned as part of the revolving door, this in stark contrast to the act to whom they are usually most likened, one Pink Floyd, of which more below. They have variously been compared to Floyd, Jethro Tull, Fleetwood Mac, Ritchie Blackmore's Rainbow, Blackmore's Night, Camel, Renaissance, and a myriad of other progressive, folk, Celtic rock, and rock acts. In truth, they are a band whose music encompasses all these influences without ever sounding like anything other than Mostly Autumn. They are unique.

The Floyd connection was, in fact, promoted heavily in 2004/05 by then record label, Classic Rock Productions, with the release of a live album & DVD entitled Pink Floyd Revisited, which featured a side of Autumn live tracks, and a side of Floyd covers. The promotion came on the ba...
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MOSTLY AUTUMN Videos (YouTube and more)


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White RainbowWhite Rainbow
Mostly Autumn Records 2019
$10.68
$15.77 (used)
Ghost Moon OrchestraGhost Moon Orchestra
Imports 2012
$14.36
$11.47 (used)
Go Well Diamond HeartGo Well Diamond Heart
MAUTU 2010
$14.21
$16.89 (used)
Live 2009 2Live 2009 2
Mostly Autumn 2010
$12.57
Live 2009 1Live 2009 1
Mostly Autumn 2009
$11.29
Sight Of DaySight Of Day
Mostly Autumn Records 2017
$12.97
$16.27 (used)
That Night in LeamingtonThat Night in Leamington
Ais 2011
$16.22
$27.01 (used)
Dressed in VoicesDressed in Voices
Universal 2014
$13.71
$16.89 (used)
Catch the Spirit: Complete AnthologyCatch the Spirit: Complete Anthology
Classic Rock Legends 2005
$19.98 (used)
Last Bright LightLast Bright Light
Cyclops Records 2005
$69.49
$29.99 (used)
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MOSTLY AUTUMN discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

MOSTLY AUTUMN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.55 | 127 ratings
For All We Shared
1999
3.78 | 149 ratings
The Spirit Of Autumn Past
1999
3.97 | 212 ratings
The Last Bright Light
2001
3.12 | 89 ratings
Music Inspired By The Lord Of The Rings
2001
3.70 | 141 ratings
Passengers
2003
3.52 | 126 ratings
Storms Over Still Water
2005
3.48 | 106 ratings
Heart Full Of Sky
2006
3.43 | 116 ratings
Glass Shadows
2008
3.47 | 115 ratings
Go Well Diamond Heart
2010
3.69 | 120 ratings
The Ghost Moon Orchestra
2012
3.85 | 186 ratings
Dressed In Voices
2014
3.81 | 142 ratings
Sight Of Day
2017
4.03 | 96 ratings
White Rainbow
2018

MOSTLY AUTUMN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.10 | 35 ratings
The Story So Far
2001
2.87 | 17 ratings
Fiddler's Shindig (Live Serie's So Far)
2003
3.94 | 17 ratings
Live in the USA (Live Serie's So Far)
2003
3.36 | 15 ratings
Live At The Canterbury Fayre
2003
2.81 | 38 ratings
Pink Floyd Revisited
2004
4.35 | 17 ratings
Live at the Grand Opera House
2004
4.00 | 10 ratings
The V Shows
2005
3.27 | 15 ratings
Storms Over London Town
2006
3.41 | 13 ratings
Live 2009 - Part I
2009
4.09 | 14 ratings
Live 2009 - Part II
2009
4.13 | 27 ratings
That Night In Leamington
2011
4.00 | 10 ratings
Still Beautiful - Live 2011
2011
3.10 | 10 ratings
Live at High Voltage 2011
2011
4.43 | 14 ratings
Live at the Boerderij
2013
4.20 | 5 ratings
Box of Tears
2015

MOSTLY AUTUMN Videos (DVD, Blu-ray, VHS etc)

3.86 | 22 ratings
The Story So Far...
2001
3.50 | 8 ratings
The Next Chapter
2003
4.23 | 18 ratings
Live at the Grand Opera House
2003
3.67 | 22 ratings
The 'V' Shows
2004
2.99 | 23 ratings
Pink Floyd Revisited
2005
3.75 | 8 ratings
The Fiddler's Shindig
2005
4.20 | 16 ratings
That Night In Leamington
2010
4.58 | 12 ratings
Live At the Boerderij
2013

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

4.04 | 15 ratings
Heroes Never Die -The Anthology
2002
4.46 | 38 ratings
Catch The Spirit - The Complete Anthology
2002
4.70 | 29 ratings
Pass The Clock
2009

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

3.17 | 5 ratings
Prints In The Stone
2001
2.00 | 9 ratings
Spirits Of Christmas Past
2005
4.00 | 2 ratings
Mostly Autumn Acoustic - The Genesis Revisited Tour 2014
2015

MOSTLY AUTUMN Reviews


Showing last 10 reviews only
 The Ghost Moon Orchestra by MOSTLY AUTUMN album cover Studio Album, 2012
3.69 | 120 ratings

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The Ghost Moon Orchestra
Mostly Autumn Prog Folk

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

3 stars After a couple of albums that followd the departure of Heather Findlay and that personally I haven't liked much, Bryan Josh tries to resurrect the old successful formula with Olivia Sparnenn and Anne-Marie Helder replacing Heather and Angela Gordon. The result is better than the previous two attempts. The songs seem to fit more with Olivia's voice which is absolutely good but is different from Heather.

The main problem with this album is that Josh seems to be running out of ideas; a number of songs are nothing else then rewriting of songs from his first solo project. "Drops Of The Sun" seems a cover of "When Cowboys Ruled The World". It's ok, it's not the first time that a composer recycles his own ideas, but choosing to represent the weaker trakcs of his solo album is a bad choice.

As usual, despite having excellent singers in the band he insists in singing. I understand that whoever writes a song likes to sing it, too.. But it's a band. If you have better singers available, just give up and let them do their job.

Don't get me wrong. There's also good music here. It's just that some songs sound "already listened". Helder and Grffiths are of course in perfect sintony having been together in PANIC ROOM and KARNATAKA. What is really missed is the arrangements of Angela Gordon. Anyway the tracks are well played. Josh and Davison aren't surely the last of the prog guitarists, and Iain Jennigs does a very good job as usual.

What is different from the previous albums is that there' more rock than usual. The band's style is less close to Pink Floyd and parts of King of the Valley sound closer to Deep Purple than to PF. There are highlights. One is "Things That We Notice", a long song that shows many influences but not one in particular. There is also a song like "Wild Eyed Skies". On this song Olivia makes an excellent vocal performance and the song itself is ate the level of the best Mostly Autumn. The guitar solo is reminding of "Mother Nature" as well as the change of scale which is similar to those on the final of "The Spirit of The Autumn Past".

The closer starts like a lullaby, a little boring initially, but the second half of the song is itroduced by a Pink Floyd like passage and ends in a guitar solo of the kind that made this band famous at the end of the 90s.

So it's not a masterpiece album, but it's not a waste. Surely better than the previous two, just not at the level of albums like The Last Bright Light. If you are new with Mostly Autumn, start with that.

 The Spirit Of Autumn Past by MOSTLY AUTUMN album cover Studio Album, 1999
3.78 | 149 ratings

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The Spirit Of Autumn Past
Mostly Autumn Prog Folk

Review by DominicS

3 stars This is a band that is able to encompass numerous influences into their music and this album certainly doesn't disappoint. They are classed as prog folk, which is correct, but we must also consider the Celtic influences, the Pink Floyd influences, the rockier influences. The songs on this album are so varied which makes it a very interesting listen with some clear stand out moments. However, there are some songs on the album that let it down; it sometimes feels creatively strained as some songs are either average compared to the rest of the album or just don't progress anywhere. Despite this, the album is definitely worth a listen as I have never heard anything quite like it.

The album begins with a segment from the final song of the previous album, which also happens on the first song of the album after this one, suggesting that the band's first three albums are part of one big concept - very interesting indeed and also very clever. When 'White Mountain' kicks in fully, the main riff or motif of the song is heavy and aggressive on Bryan Josh's guitar, but the delicate sound of the flute played along with it creates a nice contrast - a real headbanger. I particularly like the ascending power chords that come in after the main riff as a couple of the chords go outside of the D minor tonality and so they sound harmonically spicy in the context of the Key signature. I also like the brief attempt at a quiet middle section, however for me it is too brief and needs to develop further as a section so as to add more variety to the song. Furthermore, some vocal harmonies could be added as this section allows the vocals to shine, however Josh and Findlay merely sing in octaves - more could definitely be done here. 'The Great Blue Pearl' is a pretty average song in terms of structure and chord progression but it does have a very catchy chorus. The one great thing about this song is the epic guitar solo from Josh at the end; this is where the influence of Gilmour shines in Josh's solo style, it is raw and emotional but also so powerfully communicated due to the immense quality of the overdrive Josh is using - a great guitar tone and a beautiful solo. There is some lovely acoustic work on 'Pieces of Love', a ballad that finally showcases Findlay's tender voice. The layered flute parts are heavily reverbed which makes this piece quite dreamy in places, you could almost fall asleep listening to it. The addition of strings to the song adds to the fragility and emotion of the song. I admire the opening keyboard part in 'Please' which begins quietly for the first two verses but successfully builds into the third verse through some well-placed guitar chords. I find the remainder of the song quite dull until we reach a quieter section which again is too brief and needs to be developed further but the ending is mighty, commanded by Josh's guitar. We reach the highlight of the album for me at 'Evergreen', beginning with a gorgeous acoustic guitar part that takes its time to build. Heather Findlay shows off her voice to the maximum on this track, yet I feel that she could probably be more powerful at times. The song kicks off when the acoustic guitar starts to strum and the drums enter yet the build hasn't stopped, as the most intense part is yet to come. The most awesome part of this song and probably the album is when the whole band re-enters and the guitar plays these crunching double bends and finishes the song with a blazing guitar solo - this song truly is a magical addition to the album.

The next four shorter songs, while all being rather repetitive, show off the bands Celtic/folk influences. 'Styhead Tarn' is the most repetitive but its ambiguity as a song makes it an interesting addition to the album. I particularly like the third chord in the repeating chord progression as it's not a typical chord to go to in the key that the song is in and so it sounds rich when it is played. 'Shindig' begins with a pumping bass line that drives the song throughout. The relentless violin melody, relying mainly on quavers, emphasises how driven forward the song is as well as sounding very folky indeed. The flute adds a nice counter-melody when the whole band enters to support the violin, which persists with the same melody it has played throughout - perhaps quite tiring for some listeners but pretty effective nonetheless. Despite how repetitive these songs are, the growing intensity helps the listener retain interest. There is, again, some nice acoustic work in 'Blakely Ridge/When Waters Meet' that makes the listener want to get up and dance. The African drums add a naturistic flavour to the song. The song changes slightly in its final minute but for the most part it is tediously repetitive without any sort of growth. 'Underneath the Ice' suffers from a similar problem as the structure seems confused; there seem to be only two different sections, a quieter section heard at the beginning and then a louder, strummed section that repeats itself until the end. The song, overall, doesn't lead to anything and is probably one of the weakest on the album. Bryan Josh's vocals are at their worst in 'Through the Window', he himself admits he is not a singer and it is obvious that he is not the best (at the same time, nevertheless, I wouldn't say he was the worst either). Compared to the other songs on the album this seems like an average filler track, nothing special here.

The last three songs on this album are all excellent; 'The Spirit of Autumn Past (Part1)' features the most captivating piano chords, harmonically rich and authoritative. Josh carefully places some gentle guitar embellishments over these fantastic chords - it is most enchanting. 'The Spirit of Autumn Past (Part 2)' simplifies the chords from the first part and this suddenly becomes an enjoyably catchy song despite its simplicity. The modulation to the supertonic leads us nicely into the climactic ending of the song which is done best at this point in the album. The chords at the end are euphoric, helped along by the guitar and flute that play a repeating ascending figure - it is a treat to the ears. 'The Gap Is Too Wide' is the final (and longest) song on the album and another stand out moment. The first four minutes are sparse and once again acoustic, but the chords are rich, and Findlay's voice again enchants the listener. After these four minutes, the rest of the song seems like one gigantic instrumental growth of intensity until the end. Although it creates an effective soundscape and Josh treats us to one final earth-shattering guitar solo to close the album, I can't help but feel that all this repetition is a result of creative strain, as if they didn't have the creative stamina to think of creating any new sections. I have found this to be the case for other songs on the album where I have mentioned the constant repetition of ideas and chord progressions; for a lot of the album I have yearned for more contrasting sections and more developed middle sections, which are attempted but not well enough. My other issue with this album is the structural repetition of songs, as a lot of the songs follow the same formula of starting sparsely and then building to a climax. However, all in all this is a good album of music with standout moments being 'Evergreen', 'The Spirit of Autumn Past (Part 1) and (Part 2)' and 'The Gap is Too Wide'. Furthermore, the more Celtic/folk songs provide a juxtaposing flavour despite their overly repetitive nature.

 White Rainbow by MOSTLY AUTUMN album cover Studio Album, 2018
4.03 | 96 ratings

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White Rainbow
Mostly Autumn Prog Folk

Review by myhandsarefree

2 stars I'm new to Mostly Autumn, so I can't put White Rainbow into the context of the rest of their work. I can only compare this album to the great works of prog folk and prog more generally. While White Rainbow is a step above modern popular music, it is certainly not great.

Regarding musical style, it's hard to see why this should qualify as prog folk. Yes, there is occasional use of bagpipes and flute, but mostly this consists of electric guitar, synth, and drums that would fit better in pop-rock or hard rock than folk music. Furthermore, the melodies do not generally evoke a folk sound. I can only assume the album is classified this way because of Mostly Autumn's earlier works, but this album would fit better in the heavy prog or symphonic prog genres.

The beautiful and emotional vocals of Olivia Sparnenn are easily the only aspect of this album that stands out in terms of musical quality. They are brought a notch down, however, by the fact that the music never requires her to sing anything intricate. Nothing in the instrumental music (guitars, bass, keyboards, winds) requires any more than mediocre proficiency in order to play. If you are looking for instrumental virtuosity, look far away from here. The chord progressions, rhythms, and melodies are generally trite and almost pop-sounding, and while there are some interesting arrangements and captivating moments, they are paced so slowly that I quickly lose interest.

That said, there is not much that is really bad here. The music is just far more boring than it is good. Feel free to listen, but it wouldn't be hard to find a better way to spend 78 minutes.

 White Rainbow by MOSTLY AUTUMN album cover Studio Album, 2018
4.03 | 96 ratings

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White Rainbow
Mostly Autumn Prog Folk

Review by javajeff

5 stars This is the best Mostly Autumn album with Olivia Sparnenn, and she sounds fantastic. While Heather was a fantastic singer, Olivia really shines to the point it is hard to hear Mostly Autumn without her. Also, her duets with Bryan Josh are fantastic, and the two voices always provide much needed variety and complexity. Bryan has outdone himself with the compositions on this one, and the floydian guitar solos are always a main draw. Overall, the somber mood set by White Rainbow creates a vibe that is different from previous releases. From the fantastic cover, to every effort put into this album, it is a real winner. It is hard to pick favorite tracks on this album, but I would go with Western Skies and The Undertow if I had to. There are no fillers, and the album flows like a dream you never wanted to end. It is highly recommended. 4.5 stars.
 White Rainbow by MOSTLY AUTUMN album cover Studio Album, 2018
4.03 | 96 ratings

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White Rainbow
Mostly Autumn Prog Folk

Review by franp

5 stars Joker move! Moslty Autumn has set the bar very high this year for the contenders for the title of best prog album of the year! This album flows from track to track like an endless river, without dead time, without excuse, without fault. Bryan Josh and Olivia Sparnenn deliver unforgettable voices to melodies that twist in the brain. Angela Gordon's flute in "Gone" comes from another world. Overall, the album tends less towards folk and more towards progressive rock. Or more precisely, the folk accents are integrated even more intimately than in the previous syntheses of Mostly Autumn. Even then the long title track is barely folky at all. Most of the tracks end with these Guilmouresque guitar accents that you never get tired of. Great work there ! The bonus CD is not as great as the main one, except for the extended version of "Gone" which is on par with the short version, and "Thanks". But there isn't a track of this B-side that I woudl rate lower than 4 stars, except for the hard "The Gardener".
 White Rainbow by MOSTLY AUTUMN album cover Studio Album, 2018
4.03 | 96 ratings

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White Rainbow
Mostly Autumn Prog Folk

Review by astrophotographer

5 stars My first review and 5 stars? Absolutely, and no question. A recent convert to MA (puzzled as to how I've missed hearing till now) I've had this disc almost exclusively on my system maybe 2 dozen times since it was sent out to me in NZ, the pleasure increasing with each play. . I very much relate to Bryan's love of the mountains and outdoors, clearly evident in the lyrics ? to say nothing of the "big skies" (astro boy here) that are spoken of. Similarly I warm to the heart-on-the-sleeve lyrics which add a great dimension to the (prog) sonics. And that heart- on-sleeve is the heart of this album, written for clearly a much loved friend and band member of many years, Liam Davison. Beautifully done. To begin, we have an opening "Precession", the first bars with sparkling stereo delay creating expectation of great production and care, enhanced by the emotive whistles and pipes of Troy Donockley. A grand, proud welcome. "Viking funeral" (an idea evidently that Liam himself had) with the opening keys immediately arresting the senses, then a device repeated through the album, moments of force giving way to unexpected, timeless peace. Two guitars soloing against a driving backline, then the first of many frisson (musical chills) moments as Troy adds to the aural charge. Track two just starting and my head is reeling with joy already. Oh boy, this is grand. 'take this hand with your invisible hand' is but one lyric of the high emotion, then another frisson moment at the guitar entry and a solo rich in bent note passion. Captivatingly, Olivia Sparnon's heart piercing vocals enter on "Burn", magically matching the song's story, and rising to a phenomenal peak of intensity, another hair raiser. I've not enjoyed her vocals more, and that's a high bar. Her beautifully engaging vocals continue in "Run for the Sun", and by now your heart and soul are open and know you're in for a great journey. It's s a brilliantly crafted song all in itself. With "Western Skies", just when you're thinking you're settling in, it comes alive and dazzles even before the guitar kicks. . "Into The Skies" keeps that momentum, and carries me away, away from cares where i can throw my arms wide open. Then, like the discs pervading contrasts of force giving way to stillness, we leave the open spaces to feel a torment, 'all out off heartbreak' but here is one who still finds their way "Up". Contrast and drama which continues the consistent and brilliant production. And now something very special indeed arrives with "Undertow"", a masterpiece musically, so well played and performed, for my money,, a great exhortation to live life for the better. And then it's "Gone". The music follows the lyrics, evoking that gone is the struggle of life (previous track,Undertow) but also this is obviously returning to the theme, an undertow itself, of lament. Title track and 18 minutes, and a brooding rich introduction. Straight off let me say I've 'passed the time ... fire ablaze ... drinking' 'Old Peculiar' at The Old Dungeon Ghyll, and it was raining (again). MA, you've nailed it. The tragic storm, the terror of it, the likes of this I have not experienced. You take me in there - 'as all the weather sinks through the floor' - with music of such descriptive power. Not an easy task, you even detail the calm before the fury. It's great music too, tragedy aside, the track is a great piece of strong imagery. Olivia shines strident (you'll need to hear it) with magnificent vocals again, lyrics of despair 'that will cut in your heart'' followed and complemented by perfectly placed growling drop tuning in the guitar. . Then, without any dialogue of the escape, we're safe, we focus on the family unit as they return home, where 'everything changes with you' and those hairs are standing up again , more so as the guitar soars it's outro. Bryan, how on earth did you manage to sing "Young"", and yet you go all out and sing it so tenderly. What a tribute. Olivia with you just adds to the poignancy. 'check us out' - it's a farewell song of words absolutely from the heart, and oh the feeling of the end of a summer holiday, an end of the day album closer. Literal yet I also feel am invitation to relate, even if metaphorically ? 'your guitar was your heart, my guitar is my heart', then it turns to togetherness, and something happens in the peripheral left and right channels, and if you didn't have water in the eyes already .... I'm wrung out, this lesser known band has pulled me emotionally, with great music, from one extreme to another,, with a concept album rich in stories, a beginning, developments and a loving close.. There's not many albums do this, MA, you've created a masterpiece. Five very deserved stars and a top shelf space in my collection.
 The Spirit Of Autumn Past by MOSTLY AUTUMN album cover Studio Album, 1999
3.78 | 149 ratings

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The Spirit Of Autumn Past
Mostly Autumn Prog Folk

Review by The Crow
Prog Reviewer

2 stars Second full length from the British prog-folk act Mostly Autumn!

This album is another good mixture between melancholic English prog rock, in the vein of Big Big Train and similar bands, with tons of Irish folk elements which reminds me to the first years of Mike Oldfield.

The music is overall good and the songwriting is competent despite some boring and repetitive moments. What's my problem with this album, then? I find Josh's singing just bad. Heather Findlay makes a good work in the album, but when he sings (and he sings a lot) the quality drops dramatically, making songs which could have been great just average, like in Through the Windows and The Spirit of Autumn Past.

And that's a pity, because this inability from Josh to sing his own songs spoils what could have been an otherwise good album.

Best Tracks: Winter Mountain (powerful and funny opener), Evergreen (the best instrumental work of the album) and The Gap is Too Wide (I especially like the folk elements in this one)

Conclusion: The Spirit of Autumn Past is not a bad album, but it contains too much minutes of plain bad singing from Bryan Josh, making enjoying this album very difficult to me. I just don't want to push play anymore with this one. Sorry guys!

Nevertheless, if you liked the band's debut, this album is in my opinion a bit superior in quality and maybe you should check it out. If you can bear the vocals!

My rating: **

 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
3.81 | 142 ratings

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Sight Of Day
Mostly Autumn Prog Folk

Review by The Jester

4 stars Review # 62. Since I discovered Mostly Autumn, almost 6 years ago, I fell in love with their beautiful music. Sight of Day is the band's new album, that was released a few months ago and is the band's 12th studio album. The recording was funded through a pre-order campaign. Those who pre-ordered the album, received a special double-disc edition of the album, limited to 2000 copies. For all the others there is a single-disc edition available. Although I have the special edition, here I will deal with the normal edition of Sight of Day. First of all, the album includes 10 songs and has a total running time of almost 75 minutes. All 10 songs are excellent, and I never felt the need to skip not even one of them. The album opens with the 14-minute-long epic Sight of Day, which shows to the listener that many things has changed since the release of the previous album Dressed in Voices. An excellent and a typical Mostly Autumn song, and definitely one of the album's highlights. Next, comes Once Round the Sun, with Bryan Josh on vocals and the upbeat tempo. Then, the soft and melancholic The Man Without a Name enters, which will sound familiar to all those who know the music of Mostly Autumn well enough. Hammerdown is another beautiful tune with Bryan Josh and Olivia Sparnenn sharing vocal duties. Changing lives is a pleasant tune, but it doesn't add something more to the album. The fans of the TV series "Vikings" will probably appreciate the powerful Only the Brave that comes next. Native Spirit is one more long song, including many changes, which is filled with energy and beautiful guitar solos. Tomorrow Dies is not bad, but nothing special either, followed by Raindown; one of the album's finest moments, without a doubt. The album's final song is Forever and Beyond, which although is a good song, it sounds a little bit "weak" after all these wonderful songs. So, let's try to sum up: Sight of Day is a wonderful piece of work, including soft melancholic tunes, mixed with powerful parts, great guitar riffs and wonderful vocals. The album's sound is rich. including instruments like whistle, violin, flute, tambourine, Uillean pipes, etc (Is there a reason to mention the "classic" instruments, like guitar, bass, etc?). As I mentioned before, this is an album, that you are going to listen from the first 'till the last song, without having to skip not even one song! Personal favorites: Sight of Day, Once Round the Sun, The Man without a Name, Hammerdown, Raindown, Only the Brave. Highly Recommended! 4.0 stars without a second thought.
 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
3.81 | 142 ratings

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Sight Of Day
Mostly Autumn Prog Folk

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

4 stars Twelve studio albums in, with numerous live albums and DVD's slotting in between, and Mostly Autumn are still firing on all cylinders on their most recent set, 2017's `Sight of Day'. With the much- loved Heather Findlay-fronted version of the group truly behind them, the Olivia Sparnenn-led line up is sounding more settled in, inspired and determined to impress than ever, and while `Sight...' may not take the group in many surprising new directions, it shows them honing to near-perfection their expected mix of fancy folk, gutsy prog-rock and emotional vocal-driven song-writing. As always, Olivia and her hubby, the charismatic lead guitarist/frontman Bryan Josh, take the spotlight, but returning member/multi-instrumentalist Chris Johnson also offers welcome contributions that shine, and the album frequently turns out to be a true showcase for the sublime skill of keyboard player Iain Jennings.

Mostly Autumn play their proud prog card right from the opening multi-part title-track, and throughout its fourteen-plus minute length, the band offer everything from the most subtle of Iain's pristine and softly melancholic piano playing and moody symphonic keyboards, Olivia's passionate voice carrying the reflective lyric and Josh's slow-burn ever-building electric guitar reaches across a range of moods. It manages to include two big anthemic passages with both the `And it's the greatest show on Earth...' and `In the blazing sun the music filled the sky' moments proving hugely joyful and chest-beating with Josh and Olivia singing in unison, and they truly takes the piece higher and higher. Make no mistake - right from the first spin, it's clear that fans of the group are going to raise this one up as a Mostly Autumn classic, displaying a mastery of controlled build and expertly delivered drama, and it's going to be a cracker whenever performed live.

Moving on, the verses of the Bryan-led `Once Round the Sun' and his raspy vocal convey embracing `come-together' lyrics but the rest is a muscular rocker lying somewhere between Jethro Tull and Deep Purple with its shimmering Hammond organ and Alex Cromarty's tough pounding drumming, with just a pinch of Angela Gordon's twirling flute. The gently confronting piano ballad `The Man Without a Name' is an Olivia-sung low-key reminder to stay young at heart, and the initially acoustic and lightly bluesy `Hammerdown' lifts to life with a searing Bryan and Olivia shared vocal.

A welcome surprise, `Changing Lives' is written and performed by multi-instrumentalist Chris Johnson, and while it eventually pours on some grander symphonic synths and fiery guitar wailing, the sprightly and up-tempo piece holds verses sounding not unlike a track from alt-country singer Ryan Adams and the chorus is kissed by the radio-dominating version of Fleetwood Mac! `Only the Brave' is a hard dusty country-flecked rocker accompanied by Anna Phoebe's searing violin that bounces with buoyant momentum and reminds a great deal of Pink Floyd's `Sheep', but `Native Spirit' is the other big `prog' moment, a ten-plus minute epic. Pleading for the preservation of nature, old way-of-life and spirit, reflective acoustic guitar passages are contrasted with scorching electric runs, some surprising darker turns in the middle that lead towards dramatic symphonic strings and gloomy synths before a rocking loved-up finale backed to pounding drums and Andy Smith's pulsing bass.

Unexpectedly, `Tomorrow Dies' is heavily electronic and therefore dominated by Iain's keyboards, and it holds an Olivia-sung chorus that could easily sit alongside the poppier moments of German female-fronted indie-prog band Frequency Drift's `Over' album from 2014 (and listen out for a brief heavy flamenco guitar-like burst buried deep in the middle!), and `Raindown' is one of those fancy orchestrated ballad moments that Mostly Autumn deliver on all their albums, and sure enough Olivia excels throughout it with a powerhouse performance. The wistful and joyous `Forever and Beyond' wraps the album, an upbeat tune with an overly pretty melody that perhaps proves just a little too sweet, where the previous grander track would probably have made for a stronger closer, but all good!

As usual, this new album is also available as a limited edition double CD set with a thirty-five minute bonus disc. Of the seven tracks included on it, five of them are a showcase for Olivia Sparnenn-Josh being a collection of soft rock songs and classy ballads sung by her, with the soaring chorus of `Moments' and the optimistic (and quite unashamedly poppy) `In Time' being particular highlights. Chris Johnson delivers a sparse alt-country one-take acoustic tune `Pushing Down the Floor' that sounds like it could have come off Ryan Adams superior `29' album, but Pink Floyd fans will most dig Bryan's six minute Pink Floyd-flavoured instrumental `July'. With sparkling and delicately melancholic Rick Wright-like piano and weeping David Gilmour-esque guitar wisps, this beautiful piece could easily pass for an outtake from Floyd's `The Division Bell' album. This is a very worthy bonus collection, and would actually make for a fine EP all on its own.

`Sight of Day' ticks all the right boxes for a Mostly Autumn album, making it a winning collection of their accessible melodic arrangements with frequent displays of instrumental prowess, superior male-female vocal class and all the inward-looking soul-searching lyrics the group is known for. Curious newcomers wanting to hear a strong example of the band and their music could easily be recommended `Sight of Day', and long-time fans will also be in for a treat with a superb album that ranks up amongst their best releases. The prog-rock institution that is Mostly Autumn carries on, stronger and better than ever.

Four and a half stars.

 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
3.81 | 142 ratings

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Sight Of Day
Mostly Autumn Prog Folk

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars 'Dressed in Voices' was the long awaited return to form for the British prog-folk band Mostly Autumn, a fact that was recognized be all critics and fans and in order to further consolidate their position, the follow up 'Sight of Day' keeps the eye on the progressive prize. Lead singer Olivia Sparnenn-Josh is once again given a strong melodic platform to show off her considerable range and powerhouse delivery. She just may be the current prima donna (in the positive sense) of prog, at least in my humble opinion. This solid crew has been together for quite a while now and they seemed to have found their calling once again, focusing on crushingly attractive melodies sprinkled by some spectacular instrumental soloing from the fabulous guitar of Bryan Josh and Iain Jennings' ornate keyboard wizardry. The tight rhythm section of Andy Smith and Alex Cromarty act as the perfect motor for the band to pull of some masterful arrangements and thus create vivid, entertaining music of the highest order. Chris Johnson is the perfect rhythmic guitarist for Josh, liberating his gun-slinging technique with soaring, gliding solos that pierce the clouds.

The title track opens up the velvety curtains with a rather incredible 14 minute epic masterpiece that encapsulates the real essence of MA, a heady mixture of romantic and bombastic zeal that dives into exciting melodicism and bold instrumental play. Iain Jennings lovely piano introduces a dignified and confident vibe, setting the melancholic tone for a spiral of delicious sounds, seamless shifts and crazed soloing. Needless to say, Olivia sings like the wind, gently powerful when needed and utterly expressive.

Maintaining a luminous disposition ,'Once Around the Sun' offers quite a shimmering bombastic touch, with a Bryan Josh that winks at classic Roger Daltry (Who?). The melody has a little native Indian beat to it, a trait that will surface later in the track list, the organ in particular shining bright. Powerfully simple, immediately catchy and cool. 'Take care of yourself', he said.

The short but crushingly beautiful 'The Man without a Name' has Olivia showing her unbelievable voice, crystal clear and precise, vocal perfection in both delicacy and power. She has an almost Sarah Brightman tinge, a compliment of the highest order, I can assure you. Stripped down and pure, quite a gem to behold, with mostly piano as an escorting vessel.

What I find particularly appealing is their treatment of conventional structured songs, which they mould into something very much in their image, like the bluesy rocker 'Hammerdown', a raucous and fervent cry in the dark, that has classic rock stamped all over it, loaded with perspiration and muscle. Bryan Josh's voice crackles with emotion and his soaring guitar follows suite, screeching high and mighty like only he can.

Displaying incredible variety, the Chris Johnson-sung, produced and penned 'Changing Lives' surprises by fitting nicely within the overall framework , yet completely different from the other tracks here, a modern soft rocker that sizzles unashamedly, coming together as one, male and female voices in harmonious communion. Jennings' raging Hammond organ shudders violently as the overwrought guitars howl to the moon. Massive and feisty, 'Only the Brave' has wave upon wave of windswept bombast that incorporate some of Troy Donockley pipes and whistles. Early Mostly Autumn initially focused on strong folk roots, inserting a pastoral feel as well as eclectic instruments into their compositions and it's great to see that gift being added to a rather bruising and athletic rock track. 'Viking water, gods of thunder'.

Contrast that with another epic highlight track, a brooding and extreme splurge of sound, reliving native Indian lore, both in the instrumental envelope as well as lyrically. Bryan's focus on Canada is quite a stirring revelation, as my country certainly has the vast lands, 'mountains, trees and bright moons'. 'Native Spirit' is a fascinating track, replete with sweeping and dark orchestrations that keep the rhythmic thunder in check, a brilliant performance from Cromarty, pummeling like a feathered warrior on the war path. Both Josh's guitar and voice go way beyond the horizon, deep and trembling into the moonlit night.

Iain Jennings is quite the keyboardist, orchestrating modern swaths of sound in a most symphonic style as he did rather vividly once on 'Distant Train' off the Passengers album, so it comes as no surprise that 'Tomorrow Dies' is heavily clad in dense arrangements that highlight Olivia's authoritative vocal. Man, can this woman sing, or what? I still have goosebumps listening to this blurting yelp for salvation. Thrilling, expansive, shimmering and glittering. One of MA finest pieces ever.

Josh is a bad man, as he follows up with two more absolute killer tracks to finish off slaying my pleasure. 'Rain Down' hushes the deepest sentiments, violins in tow, evoking the majesty of Mother Nature's cleanse, both a torrent of rejuvenation and a cascade of satiation. Angels waiting to towel down the tired soul, momentarily drenched in emotional comfort. This track is so poignant, intensely vivid and heartfelt, a sheer joy to behold. Surely a concert highlight, perhaps even encore material.

Closing the book on this 73 minute extravaganza, 'Forever and Beyond' is simplicity incarnate, featuring a radiant and truthful ode to life and all its tribulations, bathed in a pastoral and folky setting. Perhaps hearkening back to their first album , 1999's 'For All We Shared', a time of rebellious discovery and artistic expression, this passionate vocal duet between husband and wife, soon to be father and mother, is as exhilaratingly personal as it gets and we are all blessed to be witnesses to all this impending joy. The feel is upbeat, smiling right and incredibly positive.

We all need music like this in today's screwed up world. Panacea, genuine art, passion-fueled music of the highest order, something anyone with a pumping heart can understand and ultimately feel inside of themselves. This Mostly Autumn ship will keep on flying'.

5 Visions of Time

Thanks to ProgLucky for the artist addition. and to Lazland (w/ Quinino help) for the last updates

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