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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 11,748 bands & artists, 66,650 albums (LP, CD and DVD), 1,840,312 ratings and reviews from 65,612 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
PISTON KITS Fits 2007-2008 KTM 50 SX Junior Studio Album, 2020
4.35 | 354 ratings

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Dwellers of the Deep
Dover Saddlery Ladies' Dalton Denim Knee-Patch Breech, Size 26, Symphonic Prog

Review by patrishiou

I consider this the best progressive rock record in the last 10 years or so, it's just magical, every ounce of it makes it even more perfect. I really encourage anyone who likes 70's prog to take a listen to this beautiful piece, strongly inffluenced by YES with those major melodies and the vocals leading the songs.

Andreas' vocals are probably my favorite aspect from the album, I think it pushes the music together as a whole and makes everything super dynamic. Something worth to mention is that besides all the seventies inspiration found in their songs, there's something more to it, they're really unique, they have that scandinavian touch and knows pretty well how to produce some melancholy in the ambience too. Beautiful production by the way, really beautiful.

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Studio Album, 1981
2.61 | 1338 ratings

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Abacab
Genesis Symphonic Prog

Review by Uruk_hai

Review #124

It finally happened: GENESIS left behind Prog and became a fully Pop group. The eighties were a very uncertain era for Progressive Rock, even when Neo-Prog bands such as MARILLION, PENDRAGON, IQ, or PALLAS were emerging, the bands that started making Prog Rock in the seventies did not go really well through that decade (or at least most of them). "Abacab" introduced GENESIS to these uncertain times offering a brand new sound with the least complex melodies and with the most catchy Pop tunes ("No reply at all" is a song that someone could think was made by EARTH, WIND & FIRE).

From what I've seen in other reviews, this album is not very well received by Progressive Rock fans and that is absolutely comprehensible because this is absolutely NOT an indispensable masterpiece of Progressive Rock but I would say that this is an indispensable album of Pop Music. I truly believe GENESIS is a band that could fit every musical taste.

SONG RATING: Abacab, 4 No reply at all, 3 Me and Sarah Jane, 3 Keep it dark, 4 Dodo/Lurker, 4 Who dunnit? 3 Man on the corner, 4 Like it or not? 3 Another record, 3

AVERAGE: 3.44

PERCENTAGE: 68.89

ALBUM RATING: 3 stars

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Studio Album, 1990
4.06 | 22 ratings

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It Reminds Me of Those Days
Social Tension Symphonic Prog

Review by Mellotron Storm
Prog Reviewer

SOCIAL TENSION were a power trio of sorts out of Japan and they released two studio albums in 1989 and 1991 respectively. This is the second album and almost all feel the debut is the superior record. I will be spending some time with it in a few weeks. Without question this band is inspired by ELP as we get the same setup of bass, drums and keyboards and yes the keyboardist is incredibly talented. And there's an array of keyboards in play here including mellotron although Andy at Planet Mellotron believes they used mellotron samples. Yes they spelled "remind" wrong but keep in mind the two studio albums were released in japan only. They corrected the spelling on the compilation record which contained the complete first album along with the title track on this one and the closer,and it was released World wide. I would have included the opener as well. Amazing album covers as well on those two studio albums. There are more vocals on this one compared to the debut apparently and we get digital synths here too that weren't on that first record.

So yeah that opener "Evil Intension" is just a tornado that rips through the neighbourhood leaving everyone saying "What just happened?". The organ is absolutely filthy and reminds me of a cross between Emerson and Lord. The chorus is kind of hazy as they settle back. A fantastic way to start and how good would that song be live? The title track is almost 18 minutes long and is filled with twists and turns. "Waltz" is another excellent track that oddly reminds me of RPI in a big way. Something about the vocals and sound 1 1/2 minutes in. Anyway this is a top three tune with the opener and title track. "Out Of March" features plenty of organ including some good runs to open.

So I have to go 4 stars here, just too much enjoyment. Looking forward to the debut.

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Studio Album, 2021
4.00 | 10 ratings

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Out of the Gate
Alessandro Corvaglia Neo-Prog

Review by alainPP

ALESSANDRO CORVAGLIA is the veteran vox 'of the RPI rock scene for having worked on LA MASCHERA DI CERA, DELIRIUM or H�STSONATEN. He has a voice pulling between that of Fish or even Gabriel; his music, his first solo album comes from musical memories of KING CRIMSON, CARAVAN but especially GENESIS and MARILLION just for the voice. Italian-style neo-prog with intense prog-rock melodies and a simplicity of arrangements making the notes flow one after the other, pouring in the recognition of his talent. 15 years to release his own album with arrangements rich in nuances, melodies drawing from the 80's in my opinion.

"Promised Land" frank neo-prog marillionesque attack and RPI, intense Fishian voice; 80's synths then Martin's singular sax; the chorus is quickly assimilated, the notes of the keyboards slide jazzy, on a story of migrants desperately seeking the promised land. "The Night of the Eyes" begins dark, bass printing a languid mid tempo tune; instrumental of BOF � la "Subway" where the guitar comes to brighten up the tones by making us leave in dream then it becomes heavier at the end. "Preaching on Line" for the characteristic RPI in punchy mode; Alessandro's voice is indeed the centerpiece before the calm, sensual instrumental derivation that starts with the symphonic Toto; the rhythm is engaged, the sounds saturated on heavy prog-rock with synths imposing digression and the eternal guitar solo which flows naturally smelling good the G�n�sisien Unitopia. "... and the Lady Came In" for the crystalline aerial and symphonic interlude, a mixture of piano and flute flirting with the early GENESIS. Melancholy tirade of all beauty of course with a beautiful and very strong dreamlike air; song that makes you love short music !. "White Ghosts" synths forward, guitar that invites itself, neo prog, ah I hear SAGA here, the voice on a good ARAGON; it's nervous, incisive and subtle enough to bring about an opposing instrumental break; musical sweetness against human stupidity, for those who like to know what the text is about. RPI prog in all its glory finally.

"Vision" begins from the 2nd side, from the time when the sides existed, crystalline and electronic ballad on one side, verbal jousting with tonality on one of the voices of ARENA and the other feminine in echo of Raffaella, piano interlude jazzy syncopated in cascade for the final, snubbing Peter Hammill. "A Deed Within a Dream" and a tribute to guitarist Gordon Giltrap on an acoustic arpeggio; Baroque instrumental for the symphonic and grandiloquent at the same time, borderline popular Italian folk dance, interlude apart. "Where Have I Been? "Calm title with Raffaela's aerial flute, warm voice of Alessandro; crescendic rise with percussions, organ and catchy repetitive voice; an intimate Fishien moment filled with emotion with an abrupt end. "12 Towers" for the second nod to Gordon, personal title leading to serenity and delicacy; flute, synth, acoustic guitar which strike out harmoniously intersecting notes, ideal for introducing "Out of the Gate" and its 12-minute long title; symphonic keyboard intro, Alessandro's incisive phrasing in mid-tempo for a provoking, determined, austere title; an agreed, classical neo-prog with its instrumental derivation; the keyboards, the Mellotron and the guitar put themselves in a cottony, intimate atmosphere; the finale with the guitar in front allows to give a dramatic sensation of Italian music, it rises slowly then explodes on a jazz-prog solo that can recall AL DI MEOLA for the swirling sound.

ALESSANDRO CORVAGLIA therefore waited a good fifteen years to deliver this album accompanied by musicians from FINISTERRE and H�STSONATEN. The parallel with Fish's MARILLION is evident at times, the rest of the RPI firmly in place. Basic prog with atmospheres, well-posed musical parts, breaks to take you even further; meticulous work of goldsmith making it possible to make known this typical sound without being too demonstrative too, ALESSANDRO did it well.

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Studio Album, 2021
4.00 | 1 ratings

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Splinters, Vol. II: Bruise
Battlestations Post Rock/Math rock

Review by Lewian
Prog Reviewer

— First review of this album —
I had given the first part of the "Splinters" five stars and was of course very curious about the second part. Once more this is very tasteful, subtle, and atmospheric progressive electronic music with exactly the mix of structure, meditation, and sound experimentation that I love. The sound is once more amazing. It is surely rather minimal music, and nobody will cal it "rock" despite the post rock past of the band. There are rhythmic elements, but normally that's only a periodically repeated sound or beat, just to give the music some spine, but not in any way dominating. About half of the time there's no rhythmic sound at all. In fact we are surely not on solid earthly grounds here, one could either associate outer space or underwater with this music. Also it is very slow and requires patience and/or the ability to immerse oneself in meditative sound. Sure, neither underwater nor in outer space the human concept of time has much of a meaning. Still, despite the slow and minimalist proceedings, the music is more inventive than much that I've heard from the progressive electronic camp, and despite its experimental character, it is quite gentle to the ears.

Vol. I of Splinters had just a single track of 43 minutes. The second volume starts with the 24 minutes of "Bruise", which concept- and quality-wise is the legitimate continuation of Vol. I. On top of it we get five shorter tracks, "Receptor" and "Nydised" around 9 minutes, the other three around six minutes. Stylistically these are not different from Vol. I and "Bruise", however "Tremor" from Vol. I and "Bruise" together can be seen as the real five star masterpiece "Splinters". This music works best on the grand scale with plenty of time for and effort devoted to development. I do like the other five tracks, too, but they have a less elaborated and cohesive feel and lack the genius to really shine on their own as much as the two-part excursion of which only a third is to be found on the Vol. II album. They would work well as tasters to announce the magnum opus, but as things stand, we get the magnum opus first (including Vol. I of course) and then some more music that has a certain "cutting room floor" feel. No complaints really, but I ultimately end up with 3.7 stars rather than the 5 stars of Vol. I. Still I recommend this mainly for the very rewarding 24 minutes of "Bruise", to be listened together with Vol. I.

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Studio Album, 2021
3.55 | 27 ratings

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Beyond
Fragile Symphonic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

I love the work of Claire Hamill, Oliver Day, and Max Hunt, and I enjoy a lot of music that emanated from the band YES--I might even be interested in seeing a tribute band if one came close to me--but bands motivated by near-perfect replication of a single band's sound and songs, though impressive, usually bore me. (How many Yeses, Genesises, King Crimsons, VDGGs, and Focuses do we really need?) I listened with great interest to this band's debut release from last year, Golden Fragments, but, in the end, dismissed it as four talented artists who had too much time on their hands during COVID lockdowns. But now, with a 2021 release to follow up, I am thinking that these guys are serious! They really want to create new Yes-like music.

Well, the plastic sound of the drum heads weren't enough to drive me crazy, the Yes similarities are just too close--even with Claire's crystalline female voice on top. If there's one saving grace, the bass play is neither mixed as far forward or as busy as his Yes -counterpart, the late great Chris Squire. A 21-minute multi-part epic followed by two fourteen minute suites. The former is respectful and unobtrusive--and not over the top bombastic--more like a MAGENTA composition--and I have to admit that Ms. Hamill's performance is rather charming. Oliver Day adds enough of his own style and sound selection to not be too obvious as a Steve Howe replicant and multi-instrumentalist Max Hunt does an admirable job with several key tracks, including the bass and background vocals. I'd give it a (39.25/45) rating--(It would have been higher were it not for the too-near "Starship Trooper" finale).

2. "Yours and Mine" (14:26) unfortunately, sees the band trying a bit too hard to get really close to several famous Yes songs--perhaps even to merge several. And then Claire's lackluster Heather Findlay-like vocal practically ruins it. (Sorry to be so direct, Ms. Hamill, but, what a corny lyric! I feel so embarrassed and pandered to! I'll have to go back to the magic of "Icicle Rain" and Voices just to clear my head and cleanse my palette.) (24/30)

3. "The Golden Ring of Time" (14:09) Max is no Rick Wakeman. Then they have the gall to steal Chris' melodic hook from Schindleria Pr�maturus! And those galloping plastic drums! There's just a series of instrumental hooks lifted directly from Yes songs and flaunted as if this were truly a song of homage. A fair song if I weren't so distracted by every other minute's presentation of Yes-familiar riffs. Still, this is the most memorable song of the album--and thus my favorite. (26/30)

C/three stars; for curious Yes fans only.

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Studio Album, 2021
3.73 | 46 ratings

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Witness
Vola Progressive Metal

Review by BrufordFreak
Collaborator Honorary Collaborator

Denmark's current national prog treasure returns with their third album since 2014.

1. "Straight Lines" (4:22) after an awesome opening, the song develops like a heavier BROTHER APE tune until 1:45 when there is an interesting turn before settling back into a variation of the opening rhythm for the second verse and chorus. Some cool little twists in the second half keep it lively and interesting. We're off to a good start! My first top three song. (8.75/10)

2. "Head Mounted Sideways" (5:34) the djenty bass and guitars are amped up for this one--a kind of industrial metal sound. Synths and synthesized vocal continue the industrial future vibe before the "normal" voices and sounds appear for the chorus. As with the previous song, there are some very cool and interesting twists and turns-- including a CURT SMITH-like vocal in the hushed middle and the thick synth-chords used for the instrumental solo section after the second chorus--and then the long-sustained growl-scream in the first half of the fifth minute. Great ending. Excellent song. A top three song for me. (9/10)

3. "24 Light-Years" (4:32) opens with heavily treated chords of glass/toy piano-sounding percussives before tom-tom rhythm is established with synth for Asger to sing in a very sensitive, airy voice. Very different from the other songs on the album--especially with its spacey, non-djenty foundation. Even when the djenty sounds do enter--in the third minute--they're controlled to take up less space. Interesting. (8.5/10)

4. "These Black Claws" (5:52) another odd opening with synth riffs and drum machine leading the way for the first sparsely populated 20 seconds. Then it seems as if all hell breaks loose as a wall of djent chords fills the soundscape. But then, surprise, the djent stops and we return to the odd, untuned synth motif of the opening over which Asger sings--until rapper Shahmen adds his shtick. Creative but weird. I'm not convinced that this works. Even after repeated listens--as I get used to the weirdness--I'm not finding myself anymore enamored (or repelled)-- though I have found myself really enjoying the heaviness of the final 90 seconds. (8.5/10)

5. "Freak" (4:50) backing away from heaviness, the band steps back into a kind of modern TEARS FOR FEARS sound for this one. Perhaps a little mores spacious and simplistic than a Tears song, the melodies are allowed to win out on all levels here. Nice little Steven Wilson feel during the guitar solo. A pleasant, innocuous song that, unfortunately, does nothing great for me. Would that I hear the lyrics. (8.5/10)

6. "Napalm" (4:58) great bass lines and keyboard play. Not my favorite vocal--and definitely not a great chorus-- which is then repeated ad nauseum. (8.5/10)

7. "Future Bird" (4:35) stripped down music-scape over which Asger sings in a sensitive voice during the first verse. The band amps up for the chorus before shutting down for a very cool little transition back to verse #2--over which Asger continues to sing in his pleasing voice. Very nice sound with some really nice touches but, ultimately, the song doesn't really go anywhere--even uses an overly-long fade over the repeating chorus to end the song. (8.75/10)

8. "Stone Leader Falling Down" (4:23) sounds like Proghma-C during the first verse. Keyboard strings drench the soundscape during the chorus. Vocal sounds like 80s Tears for Fears and/or Depeche Mode. Cool instrumental coda at the end of the third minute. (8.75/10)

9. "Inside Your Fur" (5:00) opens with music that sounds almost exactly like that of the previous--especially in the rhythm section. Love hearing Asger's voice during the quieter first verse. I love the tuned percussion interlude at the end of the third minute before returning to the amped up chorus. Great composition, top to bottom. A top three song for me. (9/10)

Total Time 44:06

I remember feeling so disappointed with the way Asger backed off on his vocal intensity--how the vocals were mixed so deeply within the weaves of many of the songs on 2018's Applause of a Distant Crowd as compared to those of their debut, Inmazes.

B-/3.5 stars; an interesting collection of sophisticated and nuanced songs. Recommended for fans of their previous albums.

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Studio Album, 2021
4.24 | 10 ratings

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Moss Grew on the Swords and Plowshares Alike
Kayo Dot RIO/Avant-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

Reuniting some of the cast from previous Maudlin of The Well albums, Toby has stepped back into relativity with this, at times, stunning album.

1. "The Knight Errant" (8:21) a fascinating ride: high energy, yet, on cruise control the whole way--and narrated by an angry man with something to say. Could have used a little more variation in tempo and themes. (17.5/20)

2. "Brethren of the Cross" (8:20) engaging both musically and lyrically, the key and tempo changes are fresh and unpredictable--which makes me want to come back to it more. The instrumental seventh and eight minutes are awesome as the music slowly deconstructs. (18.5/20)

3. "Void in Virgo (The Nature of Sacrifice)" (9:10) definitely has a moTW feel to it despite its more modern/recent Depeche Mode-like synth wash treatments. The lead guitar work is my favorite element but the chord and key changes are also awesome. From the opening with Simon Raymonde (Cocteau Twins)-like rolling bass play and the guitar's melodic foundational chord progression, I am into this one. The sensitively sung lyrics and interjection of 80s synth sounds are wonderful. As a matter of fact, it's an extraordinary vocal performance--one of my favorites by Toby Driver in a long time. Great lead guitar play by Greg Massi--even as the walls of sound thicken. Awesome song! Great ending! (19.5/20)

4. "Spectrum of One Colour" (4:57) uptempo and fast-moving, this one sounds like a Billy Idol song. Interesting how Toby's dominant bass and the guitar's chord play weave around each other. I'm thankful to be able to understand the scream vocals, however, since I have trouble (or an innate lack of interest in) hearing words, the deep impact of the song is lost upon me. Love the oscillating synth work in the final section. (8.5/10)

5. "Get Out of the Tower" (7:06) that murky, echo bass of recent KD albums anchors a more moTW music structure-- even more emphasized by Toby's screaming vocals. (I think he's actually angry, folks!) The "angry" Robin Guthrie guitar play is another great aspect. While I like this song, I'm not as enamored of Toby's fairly untreated vocal--it's too thin and weak (except when he gets into the growling in the second half)--this despite the fact that I can appreciate the target of his anger. The full soundscape of the second half is much better than the spacious opening three minutes. (13.25/15)

6. "The Necklace" (8:10) a song based over the field-filling drumming! Floating, droning synth-guitar wall-scapes and screamed vocals help give it its other shape and identity--with great, slow-transitioning sustained chords--but the real attention-grabber here is the drumming--especially in the first half. Cool song! (14.25/15)

7. "Epipsychidion" (13:13) the walls of cacophony--despite the use of Edge Evans' guitar tone from the early 1980s-- coupled with the scream vocals throughout the first half of this song irritate me to no end. The song improves in the sixth minute as the walls of noise are taken down and Toby sings in a human voice (sounding drained and exhausted--a reflection of the planet and it's homo sapiens?) The second half, with it's experimental sound explorations, is highly entertaining and even enjoyable. Still, I simply can't reward those first five minutes too highly. (25.5/30)

Total Time 59:17

I don't know how Toby & Company manage to release album after album in which they challenge the existing norms of what is practiced--of what is acceptable--in progressive rock music, but they do--and here, with Moss Grew on the Swords and Plowshares Alike, they've done it as well as they ever have. Definitely the most stunning display of the combination of frustrated aggression, instrumental virtuosity, and melody I've heard in 2021. In spite of this praise and recognition, I feel as if, once again, I'm faced with rating an album from this year whose song output ranges quite drastically from extremes of "pleasing" to "irritating." Were it not for the weak aspects (the growl/scream vocals and occasional lack of change or development), this might be one of my favorite albums of the year--and certainly the best experimental/post metal album. As it is, I can only go with the metrics. B/four stars; a very interesting and polarizing album to listen to (for me). I do not, however, hesitate to urge you to try it for yourselves.

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Studio Album, 2021
3.90 | 42 ratings

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Dark Horizons
Illuminae Crossover Prog

Review by TenYearsAfter

This is a brand-new musical project by Ian Jones (Karnataka) on bass, guitar and keyboards, and Agnieszka Świta (Caamora) on vocals and piano, and she also wrote compositions. Agnieszka hailed from Poland (where she studied at the Institute of Music in Lublin) but now lives in London, like Ian Jones. The duo has invited an impressive array of guest musicians on its debut album entitled Dark Horizons (from 2021): Steve Hackett (Genesis), John Helliwell (Supertramp), Troy Donockley (Nightwish), Craig Blundell (Steven Wilson) and Luke Machin.

From the very first moment I am delighted about Agnieszka Świta her voice, what a range and what a sound, from dreamy to powerful. She meanders wonderfully through the 10 compositions that mainly alternate between mellow and bombastic, often embellished with majestic orchestral keyboards and harder-edged guitar work.

My highlights.

Lots of dynamics and tension in The Lighthouse, the one moment dreamy with piano, the other moment sumptuous with classical orchestrations, topped with moving guitar runs by master Steve Hackett (trademark slide and sustain).

Intense heavy guitar solo in the strong track Blood On Your Hands.

The short but compelling song Lullaby contains again wonderful vocals, and a folky/Gaelic element with a harp-like sound and the tin-whistle, we can also enjoy a sensitive electric guitar solo, followed by another, more heavy one.

The intro of the track Twice church delivers a church organ sound, with dreamy vocals, a powerful moving guitar, in a slow rhythm.

Heretics and Prophecy starts mellow featuring tin-whistle and sounds of nature. Then a blend of catchy piano and soaring strings. Gradually the music turns into more bombastic, then again dreamy with intense mellow vocals, and finally bombastic with heavy guitar work. To me it sounds very compelling, the singer shines again, what an asset!

In the song Sign of Infinity the legendary Supertramp member John Helliwell joins with his distinctive saxophone play, blended with sparkling piano.

Finally the titletrack that contains a slow rhythm, slowly turning into bombastic and compelling with fine work on piano and a moving guitar solo.

What a promising duo, and what a debut album, thumbs up for Illuminae!

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Studio Album, 1972
3.43 | 77 ratings

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Atlantide
The Trip Rock Progressivo Italiano

Review by andrea
Prog Reviewer

"Atlantide" is the third studio album by The Trip and was released in 1972 on the RCA label with a renewed line up featuring Joe Vescovi (keyboards, vocals), Arvid 'Wegg' Andersen (bass, vocals) and Furio Chirico (drums, percussion) who stepped in after Pino Sinnone departure. Former guitarist Billy Gray left the band for a solo career and wasn't replaced, so the band went on as a trio turning to a keyboard-driven sound that every now and again could recall Emerson, Lake & Palmer. The first result of this new course is a concept album inspired by the myth of Atlantis and dealing with environmental issues where the plot is explained by the subtitles (in Italian) while the English lyrics by Arvid 'Wegg' Andersen add touches of colours to stir your imagination. The beautiful art cover by the Up & Down Studio tries to describe the complex musical content...

The instrumental opener 'Atlantide' (Atlantis) takes you back in time, on the sea, to show you a spectacular sunrise on the continent of Atlantis. It begins softly by a delicate piano intro, then the rhythm rises and the arms of the clock start to go backward, faster and faster. When the rhythm calms down the music conjures up a dreamy, exotic landscape...

Next comes 'Evoluzione' (Evolution) where the music and lyrics describe the first signs of life on the mysterious continent and its advanced civilization where empty minds blindly follow their leader, the chosen one, a ruthless maniac who defies Mother Nature looking for more and more power...

The following 'Leader' with its pulsing rhythm evokes scenes that could recall Fritz Lang's 1927 expressionist science-fiction drama film "Metropolis". The Atlantis people believe in their leader and in his promises for a better life in a future where Energy rules... Then the instrumental 'Energia' (Energy) depicts the moment when Energy, the source of an unlimited, uncontrollable power, falls in the hand of the leader and his madness explodes... All men will be slaves!

'Ora X' (X-Hour) opens the second side of the LP giving voice to the madness of the leader who wants to be king forever ruling all over the world... But the thunder is approaching and Energy breaks through blowing the leader and his followers up.

The melancholic 'Analisi' (Analysis) is a kind of elegy and in the meantime a caustic warning for the future. The illusion to harness Mother Nature crumbles as men who do not use its vital powers in the correct way are swept away by its force. A whole continent has been destroyed by greed because foolish crowds didn't fight to be alive and free but chose to follow the empty promises of an unscrupulous, merciless leader...

Then a dark marching beat solemnly leads the way to the last two instrumental tracks, 'Distruzione' (Destruction) that depicts anarchy and cataclysm and features a great drum solo, and the short 'Il vuoto' (The void) that closes the album describing the last moments of Atlantis, erased from the maps and submerged by the sea. Mother Nature's triumph is merciless and ineluctable... Beware!

On the whole, an excellent album whose dystopic concept in a time of climate changes and environmental challenges is still actual and fresh.

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