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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 11,873 bands & artists, 67,490 albums (LP, CD and DVD), 1,875,321 ratings and reviews from 66,162 members who also participate in our active forum. You can also read the new visitors guide (forum page).

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Volume One
Perhaps Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

PERHAPS are a trio out of Boston and this is their debut from 2012. A guitar, bass and drum setup but with guest trumpet and sax along with a string quartet basically. I remember the buzz over this one on the site here but being a guy who needs a physical copy it just wasn't happening until some six years later. No it wasn't worth the wait but this is all about my taste in music because when a band gets labelled Math Rock you know they can play, I'm just not big on that style of music. This is certainly more than that though, in fact some Post Rock guitars pop up at times but man I have a really hard time with most of this. Experimental and noisy but with that jumbled feeling along with being chaotic. Later when the strings arrive and it settles I find it much more interesting and enjoyable. Oh did I mention this is one long track almost 38 minutes in length? An impressive debut that goes right over my head. The enjoyment level is quite low to say the least. The majority on here love it, so there's that.

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Singles/EPs/Fan Club/Promo, 1994
2.66 | 7 ratings

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All Lights Fucked On The Hairy Amp Drooling
Godspeed You! Black Emperor Post Rock/Math rock

Review by Dapper~Blueberries

There is a difference between gone and lost. When something is gone, it can never be retrieved again, when something is lost, it can be found again. This happened one time in history. One day, in 1911, a painting, a rather famous painting more specifically, was stolen from the Louvre. It sparked a full wide investigation and speculation on who took it. When it was finally brought back, it was a lost relic at the time and soon became one of, if not the most important pieces of art in culture. That painting was the Mona Lisa. However despite it being the most important pieces of art, a lot of people who saw it were let down. While I haven't seen it myself, people who have said it was rather underwhelming, with it being fairly small and not some big grand spectacle the lore built it up to be, however it is not the painting that should be appreciated, but giant story surrounding the art piece. This reminds me though, you know the saying on how history repeats itself? It happens a lot, and I feel like now, especially after these past few weeks, we got our own Mona Lisa, the post modern Mona Lisa.

In 1993, the frontman to the band Godspeed You! Black Emperor, Efrim Menuck, created a 70+ minute demo tape, which soon was the cinders to what would late become the band to make such albums like Lift Your Skinny Fists Like Antennas To Heaven and Alleujah! Don't Bend! Ascend!, however due to him being poor and homeless at the time, he could only make 33 copies of the demo as cassette tapes. Soon, somewhere in the 2000s, due to constellation records releasing art of the cassette tape's art, Godspeed fans started to go wild. What could this album be, what did the early forms of Godspeed sound like? With interviews of people talking to Efrim about the album, hype around the album soured higher and higher. One day, on Reddit, a user by the name of CasketJack unveiled that he had the cassette and he asked what the deal was about it. Soon he leaked 2 songs off the album, Random Luvly Moncton Blues (S) and Dadmomdaddy. A lot of people really wanted to hear the full thing, but the begging, pleads, and even the occasional threat made CasketJack delete his Reddit account, never unveiling the cassette, leaving it lost to time, never to be found or heard ever again?is what I would say if an unexpected occurrence happened. This year, a 4chan user uploaded the entire cassette tape on the messaging boards, and soon, a YouTube channel by the name of naskivik uploaded the album onto YouTube, which set the entire Godspeed fanbase into a frenzy. The lost album has finally surfaced, the lost has been found, but was it the real deal. Later that week, Godspeed themselves uploaded the entire album onto Bandcamp, confirming that this was the real album, the real deal. The Mona Lisa has been found for the modern generation, however is it like the Mona Lisa to where the journey is more brilliant than the destination, or is the destination as good as the journey?

Now fair warning, do not expect the sounds you'd hear on albums like Yanqui U.X.O or Slow Riot for New Zero Kanada. You aren't gonna get that. What you will get is some fairly decent noise, ambient, and Avant Garde rock music. These definitely feel like the pollen of the band's beginnings, but they also feel strangely obtuse in compared to their other releases. Think of this as The Piper At The Gates Of Dawn. Different sound compared to what they would make in the future. It also has vocals, and the singing is kinda bland honestly. I can definitely tell why Efrim would not sing in any other Godspeed release since, because he cannot sing. It is also pretty hard, both in song and quality. A lot of grainy textures, bassy guitars, and some headache inducing noises. Hearing this album feels like an intense, experimental nightmare of noise, chaos, sadness, confusion, and unlike the stuff on their later releases, no hope. This may be the most cynical and gloomy album I have heard from any band, and while it definitely peaks my interest for a possible timeline where Efrim would continue Godspeed as a solo project than a 9 piece post rock group, it doesn't make me want to experience something like this headache induced mess of an album. It is clear that Efrim made this when he was at his most low, and his music reflected his life, a messy and confused ensemble of pain. But luckily, even when there is no hope in the songs, it is strangely uplifting, hearing such chaos, but you know the storm will settle down, and will rise a beautiful sun on the horizon, and I think this is the album's strong suit, but that doesn't detract from the fact this album isn't all that good, or really worth hearing again.

So, as I said, this is the post modern Mona Lisa. A historical piece of pop culture that has been lost for nearly 30 years and gave way to some of the rawest historical events in post rock history, and it finally being found gave way to what could be the most important album to ever resurface on the Internet, however like the Mona Lisa, it is not particularly good. Really it's not bad, but what more can you gain or lose from it. It's a experimental and loud mess, but without it, we might get a whole new music world as we know it. A world without Godspeed You! Black Emperor would be terrifying, moreso than their music. So while I do not like this album musically, for what it is worth and what it brought forth though should not be discredited. Keep doing what you are doing Efrim, you are doing good.

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Studio Album, 2021
4.12 | 8 ratings

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Henki (with Circle)
Richard Dawson Prog Folk

Review by kurtrongey

Hailing from Newcastle upon Tyne in England, Dawson is ostensibly a folk rocker with a literary style of lyric writing full of allusions that jump from present day to classical antiquity. The really cool Finnish experimental metal band Circle joins him as the backing combo, and it makes a great sound with a touch of sludge and occasional late 70s phat polysynth chords. On the Bandcamp page, Henki is billed as "the greatest flora-themed hypno-folk-metal record you'll hear this year." Dawson tends toward longer song structures that embrace full on prog on this album. Somehow, he still maintains hip cred. His falsetto is likely to remind you of Robert Wyatt.

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Studio Album, 2009
3.05 | 2 ratings

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Solanaceae
Solanaceae Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

While the prolific overarching project of Kim Larsen, :OF THE WAND AND THE MOON, is classified as neo folk and therefore could potentially slip into the minimum security doors of progarchives as did groups like CURRENT 93, it's really in SOLANACEAE that Larsen has indulged his prog folk ambitions, which to date has yielded but one full length album and a shared single. Leaving aside the dodgy post industrial template of DEATH IN JUNE, he waxes pastoral here, and though similar tendencies to repeat themes and speak more than sing do establish the connection, this only results in boredom here or there rather than the more common affront I feel when listening to OTWATM. Take that as you will.

As a folkie, I can easily find enough in here to keep me content if not ecstatic, particularly on "The Blood of My Lady", "Though the Trees Spears the Sun", "Hemlock and Mandrake Fields", and most notably on the rapturous "Midnight Garden", which masses wave upon wave of lush acoustic guitar and strings with whispered and harmonious voice. Also of note is the pastoral instrumental "Fennella". While SOLANACEAE is the scientific name for the deadly nightshade family, the mood here is more of earth centered mysticism than foreboding, more eggplant than belladonna.

Ultimately, the sameness of OTWATM does permeate SOLANACEAE, where tracks don't so much build on each other as viscously merge. While one could assume there will be no further offerings, even OTWATM had lain dormant for almost a decade before the 2021 release so hopefully Larsen has another collection of deep woods themes in his and our future.

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Studio Album, 1974
4.31 | 3180 ratings

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The Lamb Lies Down on Broadway
Genesis Symphonic Prog

Review by Breaking Bad Officially Licensed Heisenberg´s Desert Tours Women

Genesis' The Wall.

I must say that managing to do a full listen of this one album in one sitting was an absolute nightmare for me (which is already a red flag). Not just because of how long it is, but because of how massive the amount of filler tracks is, most of the time I would just fall asleep.

I simply cannot get to love this album like everyone else, and from the Peter Gabriel era (excluding debut), this is probably my least favorite album. Whether it's because of how overly long and colossal it is, or because of how uninteresting I find it. It surely has some standouts inside it, but they get drowned in a sea of content that's un- memorable in my eyes. With that said, I'm going to mention some tracks that could definitely justify the high rating this record has.

From the first side:

There's a good amount of tracks that I like in the first CD. Cocoon is a pretty sweet song, short and nice. In The Cage is overall a pretty solid all-round track, it's one of the cornerstones of the album. The Grand Parade of Lifeless Packaging is very catchy, and features Peter Gabriel using as many voice effects as possible. Back In N.Y.C. is pretty boring but the last minute is actually one of the most bone-chilling sections I've heard from Genesis, a calm chorus that closes the song very well.

From the second side:

There really isn't many great songs in this CD. It does have my favorite from the album though, Anyway is a beyond killer track. Catchy, unexpected, progressive, all that in just three minutes. The other good song here is The Colony Of Slippermen, which definitely does a good job at being more of a suite-oriented progressive rock track with a much more complex structure. I legitimately don't like anything else from here.

The rest is either short 2-minute interlude tracks that don't add much to the album, or proper songs that I simply don't like. I really don't like the production of the album and I think it would benefit a lot from a remaster. Overall a good record that feels a little overlong, and simply doesn't justify its fat length of ninety minutes. Three Stars.

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Studio Album, 1971
4.42 | 3390 ratings

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Nursery Cryme
Genesis Symphonic Prog

Review by Samurai Cat Warrior Samurai Cat Lovers T-Shirt

When it comes to classic progressive rock albums, it's quite hard to manage to find your very own opinion about them without being altered by the general consensus. Nursery Cryme is for sure one of those records for me. This album is very important to its genre which instantly makes it have a high rating, however I really can't say the music itself is something I would give five stars.

Let's start of with the bad things about this album so I don't leave this review in a low note. For Absent Friends and Harlequin are irrelevant and pretty much just filler, they simply feel like a method to make the album have more tracks. Fountain Of Salmacis doesn't justify its length at all, and it ends up being quite boring and tedious to get through most of the time. Seven Stones is pretty much the single from the album so you can't expect much from it, then again, singles can be very good and even standouts so it's no excuse.

Now the good (which is a lot). The Musical Box is a timeless classic. Here, Hackett makes his debut with an amazing solo around the middle of the song, and the very last minutes have Peter Gabriel singing his heart out in a very powerful and passionate way, he's crazy good! The Return Of The Giant Hogweed is surprisingly catchy despite being a very progressive song, the chorus is very good and lyrics are clever (they sound pompous and epic despite talking a about plant). Harold The Barrel is the most stupid and ridiculous song I've ever heard. Think of it as a good ELP joke song, I'll proudly award it a five star rating.

This album is, most of the time, very enjoyable, but I can't ignore the more lacking parts about it. It's still a solid record and I definitely recommend listening it, it has some shining moments. Four Stars, excellent record.

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Studio Album, 2009
4.22 | 736 ratings

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Part the Second
Maudlin Of The Well Experimental/Post Metal

Review by UNIFACO Toddler Girls Swimsuit Rashguard Set Summer Beach Breath

Part The Second is one of those records you listen to under your blankets, with your eyes closed and with your mind completely blank. It's a very relaxing record without intentions of showing off or showcasing technical capabilities, but of delivering a memorable experience through its rather simple tracks.

Maudlin Of The Well, in its purest form, is an instrumental band. One that takes the rules of distorted guitars and uses them for different purposes, such as generating ambience. In Part The Second, however, Toby Driver steps up to the microphone to add some lyrics to the whole experience. I'm gonna be completely honest with you when I tell you that, not the lyrics themselves, but the vocals are quite lacking. It's pretty obvious Toby isn't a very trained singer.

With that said, this album is probably Maudlin's most mature effort when it comes to composition. Not just composition, but musicality itself shows a band that has finally learned how to balance each instrument perfectly. Part The Second has heavy use of guitars (which is to be expected in Post-Metal/Rock), keyboards, along with some use of wind instruments like Saxophone and Flute. Songs possess a rather manthra-like structure along with many moments of ambience.

This album, along with Bath and Leaving Your Body Map are considered classic within Post-Metal circles, which is completely understandable. I'm gladly giving this a five star score, and it's good to see it's appreciated quite a lot here.

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Studio Album, 2012
4.20 | 504 ratings

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Motorpsycho & St�le Storl�kken: The Death Defying Unicorn
Motorpsycho Eclectic Prog

Review by Los Angeles Rams, 2022 Super Bowl Champions - Panoramic Posters

This album is an absolute marvel. It was the first Motorpsycho album I heard and ever since I've been listening to the band constantly. This record for sure remains as one of the best works from the band and works amazingly from beginning to end.

The Death Defying Unicorn actually encapsulates multiple genres. From classic eclectic prog, to disco, modern composition, dissonance, progressive rock, crossover prog, progressive metal among others. Because of such thing, you can totally expect an incredibly dynamic and constantly-changing record. As an example, The Hollow Woods is a track oriented a lot in Crossover Phideaux-like music, while Through The Veil takes strong classic rock influences and merges them with atonality.

The second side is far more experimental. It's much more orchestra-oriented however it still maintains the progressive rock influences, as shown in the brilliant Sharks/Mutiny duo. The album ends with a seven minute reprise of The Hollow Woods, called Into The Mystic, which gives it a great sense of continuity.

I find this album to be very enjoyable from beginning to end, its lows aren't low at all and it's highs are surely memorable. Essential record for me, and I can absolutely see eclectic progressive rock fans enjoying this one. Five Stars!

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Studio Album, 2021
3.09 | 2 ratings

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上出来 (Jodeki)
Tricot Post Rock/Math rock

Review by DangHeck

Tricot's newest entry, as it comes as no surprise to me, is mostly Poppy Guitar-Rock. The vocals feel a tad more collected (slightly less J-Pop?), noticeably different in style from their earlier records. I feel, too, that this release features less discernably 'Math Rock' elements. This album, their 6th LP, was released with all tracks alternatively provided as instrumentals, which... I personally don't understand (though it is a current and ongoing trend of the past 10 years or so), because I generally love their vocals. Even so, these gals are exemplary musicians, worthy of renown and respect. Always cool meeting guys here in the states (and I do mean other men, I guess haha) who are also fans (often moreso fans than I am).

Personal highlights to me are T2 (fun and poppy), T3 (quirky yet upbeat--the first more progressive, experimental song), T6 (groovy and infectious), and T7 (quirky yet poppy; very fun; most mathy so far--"Dogs and Ducks"!!! haha).

That's it though. I felt that the beginning and end of the album were a tad weak. In the least, I implore fans (past, present or otherwise) to check out the above mentioned (personal) highlights.

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Studio Album, 2021
3.62 | 4 ratings

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Tears in the Acid Rain
Czyszy Symphonic Prog

Review by Dapper~Blueberries

After my time with Czyszy's most recent release, UwU Slaughter, I have been rather interested in his other albums. While I thought UwU Slaughter wasn't the best, I did find it pretty good, and it definitely peaked an interest for me. I wondered what this man could give in terms of more Prog rock releases, and I was pleasantly surprised with this release. It strangely solved the problems I had with UwU Slaughter ten folds, and I can probably say with certainty that this is a very great album and release by him.

The problems I had with UwU Slaughter are still present with this album, but very much less so, heck even some been nullified. I said that the sound felt to much like the 70s symphonic Prog sound which causes it to feel unoriginal, but with this album, it feels more like a bonus. The sound is still 70s adjacent, but it feels more original and more like a tribute than an album that is just trying to be something you'd hear from Genesis or Focus. Furthermore, everything feels a lot more instrumentally complex. The main reason I really liked UwU Slaughter was the instrumentation and Czyszy's use of midi instruments, and this really does sell the scores that Czyszy clearly wants to deliver. I could tear it apart due to the whole midi programming, but what fun is that. You can clearly hear the hard work put into these songs to where the fact that there is a midi program being used doesn't matter. I feel like it is best representative with the 30 minute long suite track, Nostalgia Demise. It is such an enigmatic track with amazing progression, especially to the end, because that last part is super enigmatic and awesome. A long track well spent.

Now there are still some persistent issues at play here, and the main problem is still the vocals. Honestly I feel like Czyszy should ask or pay a vocalist for these songs, either that or work on his singing because it is still kinda bad. It's not as bad as it was in UwU Slaughter, but I guess that's due to the different feelings and mixing of this album compared to that of the one I just talked about. It's not unlistenable, but it definitely needs some polish. I also feel like some of these tracks go on for a bit too long. I know I praised Nostalgia Demise so much, but it being 30 minutes is kind of a turn off for me. I can listen to it, and I love it, but some parts can be shaved off a bit and it wouldn't loose the charm the song had. 20-25 minutes feels more appropriate than 30.

For my overall opinions on this album, it's very good. I love how Czyszy works with his use of midi programs and instrumentation, but I do feel like he needs to work on some issues present on this album, especially his singing. So overall, I really dig this album, but it definitely needs a bit of polish, but this so far might be my favorite release by him, and I am interested in seeing what he will do in the future.

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