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Studio Album, 2022
4.00 | 1 ratings

Revelaciones del Fin del Mundo
Bizirik Eclectic Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

— First review of this album —
BIZIRIK is an experimental music project, created by Cristi�n Larrondo, who lives in Rancagua, Chile. A vehicle to express and expand his personal musical taste. Key instrument on all the releases is the Chapman Stick, yep, unmistakebly to notice when considering the album cover photo for example. Tony Levin, Sean Malone, Trey Gunn, Markus Reuter are coming into my mind immediately when thinking of technically related musicians. Oftenly sounding like a hybrid of a bass and the electric (touch) guitar this instrument has made it to a typical prog tool I'd say, similar to the Mellotron. Larrondo does not manage everything on his own, and so here we also have an additional drummer (Jes�s Parada) and guitarist (Felipe Moreno) added to the mix.

This is very much inspired by the 'King Crimson School' I'd say. Usually there are no predefined structures concerning the very start. That said based on improvisations, where he also (later?) incorporates loops and samples to create overly melancholic soundscapes with psychedelic and ambient background, a mix of polyrhythmic and trance in any case. The opening song La Hora Psicotropica makes the album's core track I'd say. More than one hour playing time in one go, considering such an approach, might be too much for one or two. Right at the very start I would have agreed, but in the meanwhile I'm really enjoying the entire flow, from the first to the last minute. Very touching, exemplarily just let me emphasize the wonderful Kraut Boy who will appear somewhere in between. Leaving the context aside, represented by the manifold speech samples, 'Revelaciones Del Fin Del Mundo' is a great album that ultimately needs time to grow, yep, just like nearly every music which is coming from the eclectic playground.


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Studio Album, 1993
4.03 | 85 ratings

Turn Loose the Swans
My Dying Bride Tech/Extreme Prog Metal

Review by DangHeck

Being My Dying Bride, certainly a band I've always heard of, is one thing, but just the fact that it's purportedly 'Death-Doom' is another. Not the biggest fan of the latter component, but have a lot of love in the former (I mean, Tech Death at its best is Prog, so...). I just felt like I was really going in blind, encouraged at least by the high regard for this album.

We're off to an interesting start with low, spoken vocals, violin and simple piano on "Sear Me MCMXCIII". Honestly, super melodramatic... The whole of this 7 minutes is just the same. A melancholic, unmetallic dirge... Again, interesting. Still low and slow, we are introduced to "Your River"... Simple, clean guitar riff and then finally it breaks into the Doom a minute in. I feel I had been waiting an eternity. I guess, for this shift alone, it was good. Interesting here is the general instrumentation, with the violin adding a cool, unique element. Fairly progressive and alluring, they keep you on your seat through the start, as we meet numerous riffs that could very well have been 'main'. Certainly a highlight throughout is the drums. We are back in the low and slow for the vocal part, and then nearing 6 minutes it comes back into a sort of swinging riff. We finally get death growls in the last 2 minutes of the song. Overall, plenty of interesting choices, but I'm not sure I have feelings on it.

Much more alluring is the opening of "The Songless Bird". Brutal in guitar and drum. Pretty good. Comparable in strength of main riffage is "The Snow in My Hand", this one featuring more underlying keyboards. The Death Metal is in fuller swing here, with heavy percussion and more growls. Certainly happier as we've gone. I mean, it does help to actually have a firmer grasp on what is going on when you're at first completely in the dark. "The Snow" is, at this point, the most appealing track for sure, from the great vocals, memorable riffs and the surer compositional interest.

When it comes to the Doom elements, which again, if anything, is what I'm the least familiar with (on purpose), it honestly feels a little over-the-top and cheesy. Again with the melodrama, "The Crown of Sympathy", in all of its great riffage and excellent instrumentation, the vocals are just... not it. We get some bell strikes around the middle and then some... regal horniness haha. Not helping. Opeth will likely not prepare you for this haha. They're probably the closest to My Dying Bride that I listen to and that's saying a lot haha.

At least in its main thrust, "Turn Loose the Swans" is a nice mix of Doom and Death Metal. Riff masters for sure. Substantial rhythmic shift around minute 4. Not sure what else there is to say. Classic example of album burnout for me. At least it's better than most cases of that... Finally, we have "Black God", a return to key-led melodrama. And that's it. I will probably not be continuing with a serious review of their discography.

True Rate: 2.75/5


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Studio Album, 1976
3.52 | 147 ratings

Verit� Nascoste
Le Orme Rock Progressivo Italiano

Review by Dapper~Blueberries

Whenever I go record collecting, I usually go for album I've heard before. It's usually the safer option for me, however, on occasion I get a record that I never even once heard before, making me experience something totally new. And at a record store the other day, I decided to indulge a bit, try something entirely new, fresh, and something I have never heard before, and I wanted to get more into Italian Prog, so I figured this album would be the perfect fit for me. I did not know what to expect, but I had a feeling I'd like it, and I did.

Let's start with what I like about this album. I really dig how tight the sound is. It's super crisp and nice. The songs aren't too long but not too short, and they take their time to truly make for great music. The album also flows pretty well, it sort of makes every song feel like they are in one giant suite of music. The vocals are also pretty good too, and with the combination of the instrumentation, especially the drums. The drums are snappy and gets a great beat down for all the songs. I do not feel like my time is being wasted with how tightly knit these tunes are, and they truly show their worth with their playing style. They definitely have an established sound going on and I am all for it. It makes me kinda want to listen to more of their albums. It wastes zero time establishing itself and cementing itself a great Prog record.

But, it has it's fair share of issues. For one, the songs while good, do not feel like they progress or improve on themselves, in fact they kinda sound the same. While that isn't the worst thing, but it doesn't do the album justice. Plus, when the songs get weird, they are more annoying then interesting, heck sometimes they feel like spoofs of the Prog rock genre as a whole, and not that good Thick As A Brick kind, instead just dumb teasing that just make for kind of a poor time.

So this album is pretty good. I am glad I picked it up at the record shop. It is fairly good, but definitely requires improvement in a good chunk of areas. I definitely liked this release though, and definitely would recommend for a good listen for anyone new or old to progressive rock.


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Singles/EPs/Fan Club/Promo, 1985
3.58 | 68 ratings

Marillion Neo-Prog

Review by UMUR
Special Collaborator Honorary Collaborator

"Kayleigh" is a single release by UK progressive rock act Marillion. The single was released through EMI Records in May 1985 and was the first single released to promote the band�s third full-length studio album "Misplaced Childhood" from June 1985. "Kayleigh" became Marillion�s greatest hit single and helped them achieve the commercial success they had been working for since their inception.

The "Kayleigh" exists in several different versions, but the international 7" single version features "Kayleigh" (in a slightly different version than the album version from "Misplaced Childhood" (1985)) and the non-album track "Lady Nina" as the B-side. The latter would become available on the 1988 "B'Sides Themselves" compilation album only a few years later. "Kayleigh" is one of the ultimate break-up love songs, with lead vocalist/lyricists Fish telling the listener about several romantic episodes, but also his longing for his lost loves. In this case presented as one woman, but in reality a collage of different love interests and moments from those relationships. It�s a deeply personal song and that�s what makes it such a compelling listen (plus the signature opening guitar riff). Fish is a master of relationship poetry, that both feels romantic, melancholic, and relatable.

"Lady Nina" is a great Marillion song too. Instrumentally it�s maybe not the most interesting track, but Fish lyrics and vocals are quite brilliant, telling a story about a middle aged woman who has lived her life on the merits of her beauty, but age has caught up with her, and what has she got now? Upon conclusion "Kayleigh" is an excellent single release and a 4 star (80%) rating is deserved.


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Live, 2018
3.12 | 7 ratings

The Trio Years (Live)
Kraan Jazz Rock/Fusion

Review by Syzygy
Special Collaborator Honorary Collaborator

Until 2008 Kraan functioned as a quartet, the core guitar/bass/drums trio augmented with sax, keyboards or trumpet. Following the departure of keyboard player Ingo Bischof in 2008 they opted to continue as a trio, releasing a studio album, Diamonds, in 2010. Live albums have always been their forte, and this release captures the trio at various venues from 2008 ? 2017.

If you're familiar with any of Kraan's previous live offerings then you will have a good idea of what to expect ? a kind of space-jazz-rock melange with a dash of funk that is simultaneously very tight (the 3 musicians have played together, off and on, since 1970) but loose enough to give the players space to stretch out and jam. The sound is clear and uncluttered; effects are used judiciously, particularly on Peter Wolbrandt's guitar, but all three instruments are played with a clean tone. Vocals are low key and mainly just add extra texture, although there is some nice interplay when Helmut Hattler joins in on backing vocals. The track list contains a decent mixture of old favourites and more recent material, and it rattles along at a good pace for the first hour or so. The album closes with an 18 minute version of Nam Nam that feels a bit drawn out and self indulgent, although it was probably great if you were in the audience at the time.

3.5 stars for this. The trio format works well, and for the most part the absence of a fourth musician is neither here nor there. If you're already familiar with Kraan's live albums this is well worth getting. If you're not so familiar with them, start with the 1975 live album and proceed from there.


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DVD/Video, 2002
3.88 | 120 ratings

David Gilmour In Concert
David Gilmour Prog Related

Review by Matti
Prog Reviewer

I'll probably just repeat what's been already said in 10 previous collab reviews from years ago, but this highly pleasant DVD deserves yet another recommendation. What makes this David Gilmour gig special is the warm and sincere atmosphere, something totally different than the machinery-like precision in the latter-day Pink Floyd DVD's such as P.U.L.S.E. where the performances tend to duplicate the album versions in a rather clinical way and the lavish visual elements steal the show -- which of course can be awesome too, but this one makes a very nice counterpart to them. Partly the warmth comes from the relative intimacy of the venue; the audience is nearer to the musicians and therefor the interaction between the musicians and the audience is more palpable. At some point someone asks something from Animals to be performed, and even though David reasonably turns the request down, it's a sympathetic, honest moment of interaction.

Agreeably 'Shine On... (Parts 1-5)' doesn't function very well as a ripped down acoustic version (all the time I expected David soon to switch to an electric guitar), but on the other hand it's interesting to have this different version. Dick Parry joins on saxophone during the piece. The live line-up at its fullest features also Michael Kamen on piano, beautiful Caroline Dale on cello, Nic France on percussion, Neill MacColl on acoustic guitar (dual guitars are obviously much needed especially on 'Wish You Were Here') and a gospel choir led by Sam Brown. The choir is another key factor to bring heartfelt sincerity to the performances. Songs such as 'High Hopes' and 'A Great Day for Freedom' have enjoyable, more intimate versions here.

In addition to a few other songs of Pink Floyd and Gilmour's solo output such as 'Smile' which some years later was included in the album On an Island (2006), the set contains some interesting surprises. 'Je crois entendre encore' is a melancholic opera aria by Georges Bizet and suits pretty well for this line-up. 'Dimming of the Day' is a serene Richard Thompson penned song originally sung by his wife Linda Thompson, and 'Terrapin' and 'Dominoes' are Syd Barrett's songs. As nice as it is to see Robert Wyatt guesting on 'Comfortably Numb', his vocals in it are only so-and- so. In the end -- taken from another live date -- the same song is guested by Bob Geldof (the main actor in The Wall film), who does a more convincing participation.

The bonus materials are diverse and well edited. On 'Shakespeare's Sonnet 18' Gilmour only sings to Kamen's piano. I like that. 'Home Movie' shows David in his home studio rehearsing with the gospel choir, etc. Pretty down- to-earth stuff, further widening the contrast to the mentioned Pink Floyd DVD's. This DVD is an excellent and unique addition for anyone wanting to have a good selection of all things Floyd.


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Studio Album, 2022
4.13 | 61 ratings

Land of Green and Gold
Karfagen Symphonic Prog

Review by Matti
Prog Reviewer

This new offering from the very prolific Ukrainian prog maestro Antony Kalugin has already gained a lot of praise in this site, so it's a bit surprising to note that mine will the first collaborator review. I found KARFAGEN a few years back and was especially charmed by Echoes from Within Dragon Island (2019). My fondness for Kalugin's CAMEL- influenced, melodic mellow-symph style remained very strong for the subsequent albums, considering also Karfagen's Birds of Passage and his solo album Marshmallow Moondust (both released in 2020) five-star delights. Perhaps new albums kept coming in a slightly too fast pace, those albums being also relatively similar with each other, and eventually my "honeymoon" era as a listener of Kalugin's music was gradually left behind. I felt appropriate to start my review this off-topic way, revealing my overall background as a listener, because I find it difficult to decide whether to give Land of Green and Gold five stars simply because I consider it among Antony Kalugin's finest albums, or should my slightly reduced enthusiasm amidst the fast chain of albums reflect my rating and round 4� down to four. At this very moment I frankly don't know -- so unfair that the rest of you reading this already know!

With his recent solo albums Antony Kalugin has proved very capable of performing his grand-scale symphonic prog entirely by himself. Returning now to the Karfagen camp he lets his wonderful fellow musicians play the guitars, basses, drums and reeds, concentrating on his main instrument, keyboards. Surely for example guitar solos are more gorgeous because of that collaboration. Antony does the few vocal parts here as well; I would have enjoyed some female vocals thrown in too, but that's not a big deal because this is an instrumentally oriented album. As for the instrumentation, there are saxophones much more than flute, whereas I personally would have preferred it to be the other way round. Also I'm not very fond of accordion in general, although its appearance on two tracks is a fine addition to the sonic palette.

I won't go through the tracks in detail since there are as many as eleven of them, as opposed to several recent albums consisting mainly of two epics. That's actually a positive thing here, and it doesn't prevent the album structure to feel very symphonic. The overall mood is happily dreamy, rather mellow and relaxed despite the child- like adventurous spirit. Some parts are pastoral in a lovely way. 'Pastoral' is a 1�-minute piece for acoustic guitar that may make one think of ANTHONY PHILLIPS. The two 'Garden of Hope' pieces featuring vocals are sandwiching the 13-minute album highlight 'Land of Gold' (thus forming Chapter 2 : Land of Gold). One reason for it being a highlight is the flute -- which unfortunately doesn't appear elsewhere on the album. But sadly the use of vocoder is a minus in this otherwise wonderful piece. A strong Camel vibe is heard in the soaring melodies.

Chapter 3 : Land of Jazz is marked as a bonus. Not surprisingly the flexible jazz/ fusion element often present on Kalugin's compositions is given here more space, and the tenor sax of Sergii Kovalov has a central role. The separate 44-second Outro is very delicate in mood. Now, after writing this review I am better equipped to decide on my rating. As I said, I'd like to give the same full rating as to three other albums, but let's be honest, that was then and this is now. By just a few things more up to my preferences (more flute, some female voice accompanying Antony's, and not that irritating vocoder) I'd give the five stars! In short, a wonderful and highly pleasant album for all fans of Antony Kalugin, and a perfect place to get into his melodic and easy-on-the-ears symphonic and fusion-flavored prog in the vein of CAMEL, FOCUS, HAPPY THE MAN and WILLOWGLASS if you're not yet familiar with it.


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Studio Album, 2022
3.00 | 1 ratings

mondo fiction
Opensight Progressive Metal

Review by alainPP

— First review of this album —
Opensight is a Colombian and English progressive metal band with a traditional style; a mixture of heavy prog � la Faith No more with cinematographic touches combining the heaviness of a riff with the quality of the atmosphere of film noir with many twists and turns, from those of English espionage to those of Italian thrillers and westerns, plunging into a foreclosed world from which there is no coming back; stunning schizoid-rock- heavy with this 4th album.

'In Here with Us' on a BOF of 'Matrix', on that of a spy film, good the voice, its phrasing and the rhythm refer to Faith no More, except the singular trumpet; break � la 'Kill Bill' a tad alreadynt� and electric on the end of the 70's, enjoyable. 'The Great Silence' continues on well struck alternative metal, the redundant plot; the groovy, funky riff then that crystalline back guitar then zappaesque; happy ending ending. 'Plot Twist' and this crackle of LP, a sound with the same air, like 'Inspecteur Gadget', 'La Panth�re Rose' or 'Meutre � Acapulco' for a torrid suspense and a murderous riff both on the bass and on the guitar. 'Stained Remains' starts with a spatial intro and it starts at the same tempo for a remake of the previous title, a little more speedy and colorful at the same time with an air punctuated by these drums; orchestral break, notes launched to surprise, madness of The Darkness, vibrating synths, it smashes hard and the finale becomes dark, mysterious. 'Another New Beginning' for the interlude, the interlude, the pee break, short engaging piece . 'Primitive Principle' for a title that holds the same strings, fast festive air as on a chase; the break with synths and choirs in the background brings a bit of diversity.

'Curse' with a Quentin Tarantino-style intro, title with a chiseled riff and the brass orchestration that goes with it, bis repeated a little faster; final on the airy spaghetti western guitar. 'Horror Vacui' for the second interlude, languorous, mysterious tune that can remind 'Delicatessen' or 'Mars Attack', its murky sound too short there. 'Villain' arrives, one of 2 tracks over 7 minutes; heavy tempo for yet another title still on 'Spider-Man' which is worth more for its devastating solo and its dithyrambic riff; otherwise it is similar. 'Secrecy' softness in the intro, 'Pulp Fiction' or western, there it takes well with a soft and struck tempo, the voice limit feminine on the tone; a rocking start that rises with vintage 80's keyboards, a metallic rhythm, a break always with this fluid old pop- psyche guitar and this bombastic sound � la Faith No more, in less creative however; Mysterious finale again, cinematic with its crackles of time? 'Thunderball' takes up the theme with a difference in tone approaching in fact a James Bond otherwise it's the same.

The problem with this energetic Opensight album is the strange feeling of having the songs spinning in a loop; this is the impression I had during the first listen without seeing the titles, quite damaging in fact. Otherwise the good side is to have lived an experience of eccentric variegated alternative metal where the progressive is embedded during spatial and strange breaks, a theatrical space rock movie at the beginning of the year. Note that these are Ivan Amaya on vocals/guitar/keyboards, Neil McLaughlin on guitar, Duncan Arkley on bass and Redd Reddington on drums.


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Live, 2022
4.09 | 8 ratings

20 Years - Alive and Well
Roz Vitalis RIO/Avant-Prog

Review by Kempokid
Collaborator Prog Metal Team

Roz Vitalis' focus on being largely a live band as of late is something I've been growing increasingly fond of the more I've delved into their material. Their rich, detailed sound palettes combined with the crystal clear sound really does often make the songs sound as if they could have been recorded in studio, but it always has that sense of spontaneity and live musicality that makes each release of theirs different sounding, even if the same base compositions are often used in multiple different places, they each manage to define themselves as something wholly unique and worth hearing, with this whole dynamic of the band feeling especially applicable to this one. Given the nature of this album essentially being a long celebration of the band's past, it makes sense that the album representing this would be as triumphant and clean as it was, with most of these tracks simply sounding like the best versions available in a lot of regards, especially if you're looking for an atmosphere that's a bit more on the uplifting side. This is also really one of those albums that I find quite difficult to talk about simply due to the fact that this does feel more like a big celebration of the band's music, redefining elements of their past work rather than crafting anything all too new in itself.

The individual tracks might be a bit difficult to tell apart, but it never felt as if the album's point was really to focus on the individual experience of any individual song, with them instead flowing altogether in harmony to craft a single, much longer experience that doubles down on the atmospheric qualities of their music, all of which makes a decent bit of sense given the fact that this is yet another live album from them. While there might not be a ton I am able to say about this album, if there's only one Roz Vitalis album that you end up listening to, make it this one, as it feels like the best realised version of their sound so far, and is such a gorgeous take on their music in general, especially this version of Daybreaking. A must listen for fans of densely layered, yet beautiful music, as this still manages to strike that lovely balance of being so delicate and gorgeous while also having a seemingly endless amount of depth to it once you begin to dig that bit deeper.


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Studio Album, 1984
3.43 | 14 ratings

John Abercrombie Jazz Rock/Fusion

Review by DangHeck

Despite falling in love with the phenomenal guitar work of the late, great John Abercrombie, I let a whole lot of material of his slip out from under me. Some standards I once had! haha. Thanks is due in great part to Mr. Dereck Higgins for directing me specifically here. And although this is a clearly, significantly later era for Abercrombie I am drawn by this lineup. On tenor sax, the wonderful, emotive Michael Brecker, the drumming of the inspired Jack DeJohnette and the fiery, most excellent Jan Hammer on keys.

Funny hearing a very-80s Reggae jam with these still exemplary, worldclass jazz musicians, but that's what our opener has to offer, "Ethereggae". A bit of corny, but it works well enough and is a decent showcase of our performers. Strongest of them all, in my mind, is John. His guitar effects feel a tad unlike him; more like he's trying to be Pat Metheny... too hard to sound like Pat...

Our title track, "Night", is low and slow. Super emotive, starting with a solo from Brecker. Hammer comes in with piano and all the while Jack is showin' his cymbal game.

Off to a much better, more interesting start is the chill, sleuthy "3 East". The blaze is ever there, but low. John has a pretty wicked extended solo regardless.

Low and slow still is "Look Around", though with way more interest than one might expect. Around minute 4 things pick up... and really intensify, but if only for a minute. Definitely the highlight thus far.

"Believe You Me", which comes as no surprise to me, being Abercrombie with Hammer, sounds like an early Mahavishnu number. This then was the best you'll hear on the album, to this point. Certainly they all excel in tension. Low and slow, but still tense as hell, Michael has a blazer of a solo. What I also love about this track is Jan's embrace of organ. It sounds perfect here. Once again, so tense. We are being pulled to and fro on this one, all while pretty consistently holding onto the main theme.

Finally we have the ever descriptive "Four On One", starting off with wild, but low drumming and wild, but frontal organ. Another fiery solo from John here, then matched once more by Michael. They break out into an even wilder blaze. Perhaps the most straightforward Jazz track, and yet one of the most appealing, exciting tracks of the lot.

True Rate: 3.5/5.0


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    Peter Hammill
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    Banco Del Mutuo Soccorso
  52. A Trick of the Tail
    50922 Oil Pressure Switch - EAN 5012225509676 - Intermotor - EO
  53. PU Nitrile Safety Coating Gloves Palm Coated Gloves Mechanic Wor
    Frank Zappa
  54. Ommadawn
    Mike Oldfield
  55. The Raven That Refused to Sing (and Other Stories)
    Steven Wilson
  56. Rock Bottom
    Robert Wyatt
  57. Hand. Cannot. Erase.
    Steven Wilson
  58. Permanent Waves
  59. Dwellers of the Deep
  60. Acquiring the Taste
    5-Pins Soldering Iron Heater Handle Tool For HAKKO936 937/928/92
  61. Fear Of A Blank Planet
    Porcupine Tree
  62. The Inner Mounting Flame
    Mahavishnu Orchestra
  63. Mekan�k Destrukt�w Kommand�h
  64. Depois do Fim
  65. In Absentia
    Porcupine Tree
  66. Obscura
  67. Romantic Warrior
    Return To Forever
  68. Space Shanty
  69. A Drop of Light
    All Traps On Earth
  70. Hatfield and the North
    Hatfield And The North
  71. Blackwater Park
  72. Misplaced Childhood
  73. Radio Gnome Invisible Vol. 3 - You
  74. Ghost Reveries
  75. Arbeit Macht Frei
  76. Viljans �ga
  77. Symbolic
  78. Voyage of the Acolyte
    Steve Hackett
  79. Script for a Jester's Tear
  80. Hamburger Concerto
  81. Emerson Lake & Palmer
    Emerson Lake & Palmer
  82. Spectrum
    Billy Cobham
  83. In A Silent Way
    Miles Davis
  84. If I Could Do It All Over Again, I'd Do It All Over You
  85. Crimson
    Edge Of Sanity
  86. Felona E Sorona
    Le Orme
  87. Bitches Brew
    Miles Davis
  88. Ashes Are Burning
  89. Second Life Syndrome
  90. The Road of Bones
  91. Maxophone
  92. Of Queues and Cures
    National Health
  93. 4 visions
  94. Sing to God
  95. Anabelas
  96. Elegant Gypsy
    Al Di Meola
  97. The Sound of Perseverance
  98. K.A (K�hntark�sz Anteria)
  99. Remedy Lane
    Pain Of Salvation
  100. Operation: Mindcrime

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


Collaborators Only

ratings only excluded in count
  1. Mellotron Storm (4496)
  2. Sean Trane (3161)
  3. Warthur (3017)
  4. ZowieZiggy (2931)
  5. apps79 (2629)
  6. siLLy puPPy (2246)
  7. UMUR (2158)
  8. b_olariu (2036)
  9. Easy Livin (1932)
  10. kev rowland (1894)
  11. Gatot (1811)
  12. Windhawk (1699)
  13. Conor Fynes (1613)
  14. SouthSideoftheSky (1597)
  15. BrufordFreak (1570)
  16. Tarcisio Moura (1454)
  17. Evolver (1423)
  18. 15.6" Old Chinese Bronze Ware San Xingdui Culture Human Head Sta (1407)
  19. Matti (1362)
  20. AtomicCrimsonRush (1340)
  21. Bonnek (1333)
  22. kenethlevine (1313)
  23. snobb (1223)
  24. erik neuteboom (1201)
  25. Finnforest (1146)
  26. tszirmay (1024)
  27. ClemofNazareth (1011)
  28. Rivertree (997)
  29. octopus-4 (990)
  30. Cesar Inca (928)
  31. memowakeman (918)
  32. loserboy (897)
  33. Rune2000 (877)
  34. Marty McFly (840)
  35. Guillermo (794)
  36. Neu!mann (759)
  37. Chris S (753)
  38. Eetu Pellonpaa (722)
  39. DamoXt7942 (717)
  40. Aussie-Byrd-Brother (714)
  41. greenback (685)
  42. progrules (666)
  43. Seyo (658)
  44. admireArt (643)
  45. Prog-jester (626)
  46. Epignosis (624)
  47. friso (623)
  48. lor68 (601)
  49. Prog Leviathan (582)
  50. Ivan_Melgar_M (560)
  51. andrea (544)
  52. philippe (540)
  53. VianaProghead (509)
  54. hdfisch (492)
  55. stefro (486)
  56. Chicapah (486)
  57. Menswear (476)
  58. Dobermensch (464)
  59. zravkapt (460)
  60. colorofmoney91 (459)
  61. J-Man (449)
  62. ProgShine (444)
  63. russellk (440)
  64. Atavachron (430)
  65. The Crow (428)
  66. Sinusoid (403)
  67. Queen By-Tor (396)
  68. tarkus1980 (369)
  69. Nightfly (365)
  70. Zitro (365)
  71. Greger (365)
  72. Progfan97402 (361)
  73. Modrigue (360)
  74. fuxi (359)
  75. Cygnus X-2 (353)
  76. lazland (351)
  77. Andrea Cortese (348)
  78. rdtprog (332)
  79. EatThatPhonebook (326)
  80. Guldbamsen (322)
  81. Negoba (320)
  82. FragileKings (316)
  83. richardh (316)
  84. Tom Ozric (306)
  85. patrickq (302)
  86. Kazuhiro (299)
  87. Flucktrot (298)
  88. progaardvark (290)
  89. GruvanDahlman (290)
  90. Proghead (288)
  91. OpethGuitarist (287)
  92. Second Life Syndrome (275)
  93. daveconn (266)
  94. Trotsky (264)
  95. Muzikman (263)
  96. Slartibartfast (261)
  97. clarke2001 (254)
  98. aapatsos (252)
  99. The T (246)
  100. Andy Webb (237)

List of all PA collaborators


Give it Back

The Pineapple Thief

mondo fiction



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A Garden of Forking Paths

John Zorn


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