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Product description

Color:Black C

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PROG ARCHIVES intends to be the most complete and powerful progressive rock resource. You can find the progressive rock music discographies from 11,699 bands & artists, 66,239 albums (LP, CD and DVD), 1,825,483 ratings and reviews from 65,366 members who also participate in our active forum. You can also read the new visitors guide (forum page).

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Last 50 reviews
Studio Album, 1972
4.63 | 3463 ratings

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Qinlorgo Music Box,Typewriter Style Music Box, Music Box with Dr
Jethro Tull Prog Folk

Review by ElChanclas

"...really don't mind if you sit this one out, my word's but a whisper your deafness a shout..." and I was hooked for life 25 years or so ago, my first prog music listen ever, my first progressive music purchase ever and still up to this date my go-to Tull album. The genius of this masterpiece won't ever fit in any review because there is too much greatness in it, Anderson's musical and lyrical creativity where at an irrepetible place and left an eternal mark in rock's history, mainly within the symphonic and progressive music community. Medieval flutes and acoustic guitars open this concept album in a memorable way bringing love at first sight for any listener, no doubt about that, and then the band steps in...

Hammond and Barlow's tandem works like a Swiss clock flawlessly executing a very complex variety of tempos and beats following the lead of a madman to the dot while, in the meantime, Evan and Barre playfully fill the atmosphere with unearthly riffs and melodies while Palmers's orchestral performance brings balance to the whole crazy and genius act! The madman is no more and the now mad scientist smiles lifting his flute to the sky conquering the music world forever "...and the poet sheaths his pen while the soldier lifts his sword..." If you know this album then go and revisit it, if you don't then...treat yourself to an unforgettable musical experience.

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Studio Album, 2010
3.98 | 306 ratings

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One Among the Living
Mystery Neo-Prog

Review by ElChanclas

My Highlights: - Wolf - Between Love & Hate - Till the truth comes out - Through Different eyes (i thru vi) - Sailing on a wing

Another excellent Canadian Neo prog band, with some symphonic and metal nuances but mostly melodic and bright. For some reason I find some classic heavy metal influences on this band, from acts such as Scorpions maybe, I think Benoit's vocals are the ones giving that familiar "look and feel" throughout this album. Majestic and Magical, the melodies here are so brilliant and beautiful that could have been easily taken from the same script as Jackson's We are the World and Heal the World...yes, that's how beautiful they are. However is even better than that because those same melodies are placed inside a circle of progressive and symphonic moments that inevitably wraps the listener never letting him leave and guaranteeing a full musical experience.

The enchanting and dreamy trio of songs that follow the album's intro are suddenly disrupted by the only song that I consider a filler in this particular album, Kameleon man, not that I dislike it at all, is just that I don't feel it belongs here. The +20mins suite "Through Different eyes" is definitely the pinnacle moment of this amazing record with outstanding guitar playing by St-P�re and lyrics so deep they will still be playing in your head hours after the first listen. Then the last trio of songs lead to a mellower but darker sound letting it fade and leaving the listener craving for a second round. Beautiful piece of art, strongly recommended!

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Studio Album, 1976
3.20 | 193 ratings

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Starcastle
Starcastle Symphonic Prog

Review by ElChanclas

My Highlights - Lady of the lake - Forces - Sunfield - To the fire wind

Before going to specifics I do have a word for this album that I think suits perfectly and will definitely overpower any preconception (because there seems to be a lot) of its content? REFRESHING! This is a positive sounding record full of bright melodies and with just the right tempo to get your day going! Unfortunately this band has been unfairly diagnosed as merely Yes imitators with no originality whatsoever, lack of creativity and late for its genre? luckily I disagree. How many bands sound like Genesis, IQ, Dream Theater, King Crimson, etc? How many guitar duos try to sound like Thin Lizzy or Wishbone Ash and we still love and admire what they do? Is there any American rock or progressive rock band from that period (mid-late 70's) that did not have British prog/rock as a main influence? I'm glad that I haven't dived into YES's catalog yet (its true, I have not? for now) because that means that this musical content is totally new for my ears and its quite beautiful and, as I noted before, very refreshing.

All te synthesizers layers and sin-a-long textures performed by Herb Shildt are simply cast spelling and sound very advanced for the period sometimes bringing the music are towards the 80's rather than late 70's, the guitar harmonies by Stewart and Hagler are so well designed and played, specially on the song Sunfield? I can still listen to them by just closing my eyes, memorable! And Luttrell's vocals? Ok, yes they are quite Anderson-like but still he brings ear worm melodies to the table and give the band that unique pitch and sound, so what's not to like about all these features? fair and tight rhythmic section by Tassler and Strater? This album has been a great discovery (recommended by the SOT youtube channel) and I feel very confortable telling you guys that it will refresh your ears form the very first listen and will make you want to investigate their short but quite strong catalog.

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Studio Album, 2011
3.92 | 266 ratings

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The King of Number 33
DeeExpus Heavy Prog

Review by ElChanclas

My Highlights: - Me and my downfall - Marty and the magic moose - King of number 33 (I thru VI)

This is the follow up album for the band's (project...) acclaimed debut Half Way Home (2008). Make no mistake, this is heavy prog with lots of power riffs and galloping drumming, however for this release Ditchfield (the brain genius behind this masterpiece) and Wright join forces with no other that Marillion's own Mark Kelly, and there's where Heavy prog meets Neo Prog, and the result is simply fantastic, heavy but melodic, superior and very memorable. Me and my downfall opens the album with a clear message...we are here to rock and rock good, presenting the what the storyline is about and kind of what to expect for the next 50 plus minutes. Maybe September along with the last track Memo stands maybe as the weak spot of the musical experience, still good but forgettable at times, but not for long because the instrumental Marty and the Magic Moose catches the listener attention once again and won't let it go for the rest of the musical experience.

But this album is all about the title track, The King of Number 33, a suite with amazing movements where everyone on the band has the chance to display all their virtuosity and power, from the beautiful (and sometimes angry and depressed) vocal harmonies, the incredible guitar riffing and song-along licks that often battle with Kelly's keyboard precious madness, and the "all tempo" performance of the rhythmic section. Truly a work of genius, definitely a heavy prog masterpiece that should please any Porcupine Tree, IQ, Spock's Beard and Marillion fan. This suite has everything that a prog epic should have, no questions about it... and the lyrical content, the storytelling behind the already reviewed musical performance... a boy and his obsession with buses and the era of Kings and Queens of England who gets on the Number 33 (city bus) and basically stays there like forever, people goes in and out (his court) while he commands them to pay allegiance to the king and take a seat... "I'm the king of everything my tired eyes can see, I'll permit your ride just one more time, and suggest you take your seat" This is definitely an album that you have to experience by yourself and enjoy its full musical and lyrical content, guaranteed to get hooked!

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Studio Album, 2011
4.00 | 571 ratings

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Rites at Dawn
Wobbler Symphonic Prog

Review by ElChanclas

I first heard of Wobbler around the end of 2020 thanks to Pete Pardo's amazing YT Chanel S.O.T. when their latest studio album Dwellers of the Deep was being reviewed and discussed. I looked up for it, listened to it and was immediately hooked. But digging into their catalog I came across their third studio Album Rites at Dawn and everything I already felt for the band and their music triplicated. I'm not a musical genius or anything and there's an overwhelming amount of classic music still unknown to my ears to call myself a critic? I just review for fun and to share what I think is good music and deserves public awareness? so I apologize in advance if my description of their sound si not accurate, bu here it goes? With a very distinctive Scandinavian sound, this wonderful Norwegian band sounds to me like Jethro Tull/Genesis in steroids, with YES-like vocals and Crimson-style harmonies resulting in just beautifulness and musical perfection. Lucid opens the album with a keyboard created ambient that rapidly immerses the listener into the music, short and straight forward building a bridge to the uptempo madness that L� Bealtaine brings, with a very tight structure that somehow resembles the Close to the Edge atmosphere but in their own way, exceptionally executed guitar layers accompanying the masterful work of Lars Fredrik Fr�islie who is, at least to my ears, an immensely talented musician "Old graces, yours the answers I seek. Oh, sisters, tell me, Oh, witches, thrown into the stream, Oh, sisters, hear me. Shapeshifters, coloured fish in my dream. Oh, sisters, lead me. Turn the day & lights. Whilst crossing through the tide" is just an example of the profound and magical lyrical content that the listener will encounter here.

In Orbit starts with a nice acoustic guitar passage that with help of the angelical vocal harmonies builds up into electric guitar and keyboard licks tandem before returning to a mellow vocal passage and back up again to symphonic progressive galore, 12 plus minutes of genius! And lets not forget to mention the rhythmic section which is simply outstanding and super tight! This Past Presence almost seems to bring the same formula as its predecesor with the acoustic intro, although flutes are finally brought to the table, but its really not the case, this piece is anthemic form the beginning, reminding me a little of Anekdoten at moments maybe because of the galactic and unearthly keyboard work which again its just magnificent throughout the whole album, a shorter song but not less memorable. Another short one (to their standards at least) A Faerie's Play plays more like a hit single, if that's something that can be considered done by such a band in such a genre, with a very distinguished sometimes Iimmi-Like guitar work that preciously entangles with the rest of the instruments which in this specific song are letting the six string showcase the most. And then The River, my favorite song from the album (maybe the most Tullish one), the one that made me put headphones on and dismembered the musical experience, simply perfection. All the elements previously mentioned are present and definitely upgraded, like if they wanted to bring everything to the table? acoustic, electric, fast and furious, slow and melodic, like an ode to Earth and nature and its importance in their synergy with humans "?You run wild and far, and by your banks we may find rest at last, our common life is all there is, your soul equals our reflections, constantly you drift past us. With us, beneath us, upstream, downstream?" impossible not to fall in love with its melodies and lyrics, energetically bright and brilliant, beautiful. Lucid Dreams closes the cycle returning all eras to the starting sonic ambience from the opening track but with the proper feel of a masterpiece fading, operatic, classical and magical. The End!

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Studio Album, 2013
4.06 | 1077 ratings

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Shrine of New Generation Slaves
Riverside Progressive Metal

Review by ElChanclas

Love at first sight? just the title they chose for this album is enough both hooky, interesting and inviting, no happy places here. New Generation Slave opens the album "no I don't have a stomach ache, its just my face" sings an angry Duda while driving the wheels of this unstoppable train with his funky and powerful bass lines, while Lapaj keys bring a not so obvious symphonic feeling to the mix and late late Grudziński floods the atmosphere with his exquisite and heavy playing. Somehow they merge into the second song, The Depth of Self-Delusion, a radio-friendly song that delivers the classic Riverside sound and melody combining tight bass and drums, acoustic and electric guitars, and minimal and eclectic sounds like truing to explain to the listener what's happening and what's about to happen ?"I could be foreign forever to your other land, I could be foreign forevermore to your promise land", exquisite. Celebrity Touch follows with a more heavy rock riffing and feeling to it, showcasing both Piotr's guitar riffing and Mariusz deep vocal performance; again the Hammond comes before entering one of those Porcupine Tree-like atmospheric and heavy musical blueprints. Guitars here are hypnotizing, same as the melodies, kind of dark and haunting but beautiful at the same time? how can they accomplish such greatness in melody crafting? We got used to us strikes in like the mellow song from this album, piano and vocals lead the mood to a more poppy rhythm feel but never abandoning the depth and darkness that Riverside applies to even their more romantic (if any) tunes. Guitar licks and riffing are backstage letting the keys and rhythmic section become curators to the amazing lyrics, "silence fallen between, all the doors are locked, all the words unsaid and we are still afraid of time".

Feel like Falling is for sure (or at least must be) one of the highlights of the album for any new and old listener, any new or old Riverside fan, it just sounds like? it sounds like Riverside. The bass lines are simply all over the place same as the vocal harmonies and different guitar layers, a very powerful song with all the ingredients to become a hit single, even though that's not what the band is looking for when they craft their music, but is definitely one of the easy-listeners from this record. What a guitar player Piotr was, so talented and precise? and after being pulled up by the band with their sound, again they manage to bring us down to earth (and below) with the melodic but obscure Deprived, 8 plus minutes of genius, dark and beautiful genius with a Radiohead-like feel at times but always with the same Riverside sound that simply wraps the listener without ever letting go or breaking the spell?basically away from the world, from this world. Escalator shine is this album's epic, with musical textures a little different from the previous band's work, kind of jazzy and classical, with Duda's bass slowly leading the band into the mid-tempo atmosphere filled with tons of guitar and piano, letting every member of the band to have their 15secs of fame, until heaviness strikes back again and the song enters this early 70's Deep Purple like scenario for a moment, and why not some doom with a Sabbath feel, and the back to the deep and melodic Riverside again, and everything happens within only 1 minute or so, fantastic mood change leading into an not so unexpected ending for the song, like a cicle closing itself without any harm or scars left. Coda brings the album to an end, in an acoustic way? beautiful, melodic and somehow brighter than anything that sounded prior to it, like bringing light at the end of the tunnel? pure magic.

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Studio Album, 1971
4.45 | 3733 ratings

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Fragile
Yes Symphonic Prog

Review by ElChanclas

Disclaimer: I'm a sucker for minstrel medieval guitars, one of the reasons why I love early Jethro Tull so much? with that being said I'll move to my review. I do understand and acknowledge that Close to the Edge (their next studio album to this one) is at the top of most prog heads when YES comes into topic, and I do hear the grandiose everyone claims it has, however I connect more with Fragile. Roundabout opens this gem with a folky medieval-like acoustic guitar that elegantly leads the music into this sublime display of power, Squire's bass rapidly hits your brain like a train but at the same time adding just the little roughness the song needs to drag the listener into an 8 minute journey that magically blends Howe's guitars and Wakeman's various key sounds, and confirms to the audience the unique tandem that Bruford and Squire were, while Anderson itchy but precious vocals give melodies to the musical orgy happening in the back, already enough return to the investment made! A beautiful arrangement of the classical piece by German composer Johannes Brahms named Cans and Brahms delicately exposes the new asset to the band, Rick Wakeman (no offense to Mr. Tony Kaye), maybe too short for such a pristine execution. We have Heaven displays some of Anderson's blueprint lyrical craziness with a repetitive but very catchy melody that feels both out of place and also so much needed, specially for what's to come for the listener. South side of the Sky is unquestionably my favorite song from this album. Squire bass lines are all over the place with a galloping force only paired by Howe's frantic guitar playing, from riffs to licks and licks to riffs? some piano comes in to lower the testosterone levels and give a necessary break before the second half of the song kicks in, with a jazzy feeling and vocal harmonies proper of lead Anderson and backing from Squire and Howe, brilliant. Bruford smartly and patiently leads the band into the unwanted but also rewarding ending of the song.

Five per cent for nothing majestically opens side B as an introduction for Anderson's masterpiece Long Distance Runaround, coincidence or not those two pieces blend together perfectly, its a beautiful, catchy and memorable tune, and depicts a song structure that will be definitely inspired bands such as Supertramp and Styx. No rest for the dying (us), The Fish takes us again into Squire's fantasyland before Howe's sets the medieval mood one more time with the incredible instrumental passage Mood for a Day? I'm not that familiar with Howe's work outside YES, but I do know I would love an entire album sounding like this, it would surely provide me of a Mood for a Year! Finally and without previous annunciation the epic Heart of the Sunrise begins its moody journey. All-Together first, then rhythmic + Wakeman, then Howe on the distance approaching with that tone, man! That tone! All- Together again and so on the edge that it seems that everything is h=going to break with a minimal intervention.. Fragile maybe? Three masters participate in the songwriting, Anderson, Aquire and Bruford? Three beautiful and mysterious verses are subsequently interrupted by the band's signature instrumental moments, where all the members elegantly carve their names into one of the most beloved Rock and Progressive rock lineups of all times! Lyrics: "Love comes to you and then after, dream on onto the Heart of the Sunrise. Sharp distance, how can the wind with its arms all around me. Sharp distance, how can the wind with so many around me I feel lost in the city?" The END

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Studio Album, 1993
4.05 | 709 ratings

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Ever
IQ Neo-Prog

Review by ElChanclas

As a fairly new IQ band (started digging into their catalog barely mid 2020) I do have one clear thought and disclaimer: I can't picture the band without Nicholls on vocals, not that I don't think that Paul Menel (Nomzamo & Are you sitting comfortably) might be a good singer, I just think that Peter is the best suit to this band's frontman role. With that being said, Ever pinpoints the return of Nicholls on vocals and to my ears the first IQ album to register that particular sound, melody craft and song-album structure that will be the band's signature to date.

The opening track The Darkest Hour starts with that characteristic fat bass line accompanied by some keys and electric guitar nuances before fading into the song body per se, sounding more late 80's style than early 90's? maybe more Marillion-like and I point Paul Cook's drumming for bringing that feeling to this mini epic and memorable tune. There's a light but important change midways, switching from the bright melodic atmosphere to a more darker and sinister statement in accordance with the lyrical content showcasing the brilliance that these musicians accomplish in their creations, beautiful guitar licks then lead to the final 2 plus minutes where the light came back to illuminate the listener's experience, classic IQ. The very emotional Fading Senses blends in without notice in a celestial and mellow way, with Nicholls performing at a very mature level transmitting the beautiful sadness of the concept before Mike Holmes brings the iconic Horror-like guitar licks like a haunted castle conductor for the rhythmic section, so tight and to the point that it almost goes without notice, same unique melody feel that Martin's keyboards will add to the table before the ending of the song? then some backing bird tweeting prepare the listener to another rhythmic section debate for the beginning of Out of Nowhere, the rocker of the album. Holmes heavy metal-like riffing opens a new mood sounding more like their previous work opposing (without degrading) the more prog sound of the first two songs with Nichols vocals resembling the Wake era, but not for long?coincidentally or smart enough that's the shortest piece of the record. Further away brings back the epic we were craving all along in a 14 plus minutes exceptional musical crafting. Blueprint Neo Prog melodic bass and keys mark the steps on which Nichols builds his vocal entrance, then again comes the heavy (but more dense and compact) riffing from Holmes while Cook's drumming confirms why he is one of the most beloved drummers of the genre

Lyrics: "Tension seekers and public speakers defend these they have come to judge, seasonned liars and false messiahs descend to lay on the feeling touch, and I've seen too much, day by day and I don't know why...after all, don't we matter the same?", and then the classic IQ guitar licks with the fat bass lines and fantasy built keyboards?too much?too perfect?too IQ, smartest of music played by amazingly talented musicians? and next fairytale bright melodies to bring balance to the darkness

Lyrics: "I was the first in that sinister bed closing the shutters and cutting the thread, shackled and fettered I know who you are bleeding the heart and the mind as the rivers run red, somebody said, "Here is Hell" how can someone make so sinister and sad lyrics sound so beautiful?

Leap of Faith, my favorite song from the album simply feels like an upgraded continuation of the previous song, so intelligently placed in the queue to almost distract the listener who's trying to decipher when it ends or when it begins, magnificent. Martin and Holmes battle for the primary roll giving us the pleasure of hearing such an exquisite t�ndem, a musical legacy like no other. I would have loved to see that tour live, watch all these incredible performances on stage, flawless and pristine, like all they do. Nothing lasts forever, unfortunately?Came Down follows the greatness already described, maintaining the same mood, look and feel of the previous 40 plus minutes, this time accepting the unwanted job of ending the masterpiece?vocal harmonies, guitar licks, tight rhythmic section and tasty and elegant keys all over again. If you reading this review have never listened to this band before this is your must to go album, success guaranteed!

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Live, 1997
3.94 | 520 ratings

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Keys to Ascension 2
Yes Symphonic Prog

Review by Mellotron Storm
Prog Reviewer

The year before in 1996 they released "Keys To Ascension 1" with studio tracks from 1995 to 1996 along with live material from a concert in California they did in 1996. This release "Keys To Ascension 2" also takes it's music from the same two sources and they took the best live ones for the first Keys To Ascension while the studio tracks are better on this second release which just shows you how much commercial sounding music was their thing here. I'd say since 1980's "Drama" this band has been poor at best. The live tracks that stood out for me are "I've Seen All Good People" and "Close To The Edge" while that opening studio track still has me scratching my head, I mean it's really good. It's called "Mind Drive" and it's close to 19 minutes in length. And it's old school. So I rate both releases the same at 3 stars. Both are far from essential.

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Studio Album, 2021
3.96 | 16 ratings

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Surrender of Silence
Steve Hackett Eclectic Prog

Review by Heart of the Matter

Steve keeps closing the gap between his both approaches to prog, that's to say, between his 'classical' leanings and his more specifically rock oriented output. In his previous album, he had already melded the contributions of his band with the sounds of orchestra & soloists, but keeping things strictly acoustic. Now, he is taking the next step by adding electric flow and density to the music. Even so, the resultant sound is not defined by the typical band-with-added-orchestra approach, but rather an inextricable fusion of both instrumental forces, with voices contributing specific textures (showing a huge variety of color and presence in the mix). The axeman in Steve is present altogether, for the most part as an 'orchestral' soloist, very concerned with the general tonal balance. Yet, there are moments of pure rock electric magic, like Held In The Shadows and Scorched Earth (which's not a VdGG cover).

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TOP PROG ALBUMS
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  23. Hybris
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  24. Aqualung
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  25. Si on avait besoin d'une cinqui�me saison
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  26. From Silence to Somewhere
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  28. Hot Rats
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  66. Romantic Warrior
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  67. In Absentia
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  72. Arbeit Macht Frei
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