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Thought it the perfect pop song when it came out. Good to see it's still talked about.

excellent start of the series, only knew about A Formal Horse, Alpha Rev, Alter Bridge, Anathema, Angra, Jon Anderson, Anekdoten and Apes & Androids PD: you might be able to remove cheapo stickers with a hair dryer and some patience

I directly put it in the must-have-master-pieces category ! I would say it s like a reunion between Mastodon and Opeth where Mike Patton and SOAD came to put alcohol in the juice ! Our review will be online soon. What an album !!!

Oh hey! What were you doing in Oshkosh? That is super close to me!

Killer record BJ's The Stranger! Must get a newer copy at some point since mine's pretty worn out!

Obviously, it’s tough news. The 30 year anniversary thing seems odd, since they’ve been almost inactive for years, and didn’t release their first album until 97. In any case, one of the best MPAR bands

Great band. Jonas is one of the best singers I've ever heard. Great songwriter as well. Don't forget his side projects Tachys and Apparatchik along with his solo material.

Thought I'd finish off by giving my initial impressions on Coming Up to Consciousness. Still waiting for the CD, but I've listened to the whole album 3 times and revisited most of the songs individually several times. This is a relentlessly sad, sentimental album. While I love when PRR does this kind of highly emotional music, it's generally been confined to one closing track (Armistice on Hammer and Anvil, or the title track on Eupnea). With the possible exception of Dig Till You Die, every single song on this album is sad to the point where the album can be a bit depressing. That makes the album a bit of an exhausting experience, and I find that I appreciate the beauty of songs like As We Disappear and Lifeless Creature more when I listen to them separately. That said, this is another phenomenal album from PRR post-hiatus. At this point I'm not even surprised. I love the more soothing vocals of Annicke Shireen, though the difference is surprisingly subtle and you'd be forgiven for not noticing the change in female vocalist. Chloe is too iconic for me say Annicke should replace her permanently, but damn did she fill those big shoes well! At best, I hope PRR can find a way to incorporate both their voices in future albums. While I was initially a little underwhelmed by it, Dig Till You Die is such an earworm after just a few listens (good thing it was the lead single, in that sense). The slight, almost unnoticeable shift in tempo mid-song gives it a strange appeal that keeps me coming back. Betrayal is my absolute favorite on the album, and their most beautiful song since Eupnea. The Gallows is also sublime, and I love how it changes into something very different midway through. Useless Animal took a few listens for me, but it's another great track. Worship and Bend the Earth are great, but I need to listen to them more. Lifeless Creature and As We Disappear will take some time for me to process emotionally. One annoyance is that I think the songs (at least on streaming) were cut up a little haphazardly. Lifeless Creature sounds like it's in the same song as Bend the Earth, and the interlude tracks are obviously integral intros to the songs they precede. It doesn't affect the album per se, but it does make it more difficult to enjoy the songs as just that: Songs. For example, Betrayal sounds much better with the 20 second Interlude 1. It looks like this might be fixed in the CD version, at least. You gotta appreciate how personal and raw this album sounds, while still retaining the elements of an epic multi-layered progressive rock album. With the exception of the (sadly disbanded) Anathema, I can't think of any contemporary band of this style more authentic in their emotional songwriting than Pure Reason Revolution has become at this point.

You didn’t like in the passing light of day? To me it’s Justo beneath Remedy Lane and The perfect element.

Above Cirrus definitely feels like an extension of Eupnea in some ways, which is a first for PRR as they've traditionally reinvented themselves with each album. This is partly reflected in the album cover, which has the same animal motif that Eupnea had. However, despite my overflowing love of Eupnea, I find that Above Cirrus manages to not be outshined by it. Our Prism is by far the coolest opening track PRR have ever had for any of their albums. The vocal harmonies are on another level, and the drumming is just unbelievable. The song's barely 3 minutes long, which is insane: Within that short time it goes through several different loops and has a clear Tool influence (specifically The Grudge and Reflection). My only problem with this track is that it's a lot heavier and more intense than the rest of the album, setting expectations a little high for what's to come in terms of intensity. New Kind of Evil, by contrast, is jarringly slow, and when listening to the album it takes some time to adjust to the sudden shift in pace. It's a decent song that builds up strongly to a very good climax, but it does drag a little bit. Phantoms is a really fun listen, seamlessly combining heavy use of electronica with the kind of distorted riffs that saturate this album. Cruel Deliverance slows down the album again, but this time it feels much more well-paced. The best track on the album is no doubt Scream Sideways, possibly PRR's most experimental song. Strangely, it's also the song that reminds me the most of The Dark Third out of anything else they've done. Specifically how the vocal harmonies are used to create atmosphere, and one of the later vocal sections with Chloe feels straight out of Goshen's Remains. The shifting time signatures, the dynamic intensity, the unexpected twists - yup, this is prog at its finest. Dead Butterfly is really solid and feels like one of PRR's more traditionally structured songs, like Black Mourning or Bullits Dominæ. You have to look at the timer to realize that it's actually 7 minutes long. It probably would've been a better fit for the album's second track, as opposed to New Kind of Evil. The final song, Lucid, plays like a great but otherwise pretty standard PRR track. The final 2 minutes, however, are quite possibly the most uplifting piece of music they've ever made. The addition of Greg Jong's vocals alongside Jon and Chloe makes it the ultimate climax for the album. After a record like Eupnea, it was hard to know what to expect from the next post-hiatus album. Certainly, PRR are no strangers to impossible follow-ups. I enjoy the fact that they took the heavier aspects of Eupnea (specifically Ghosts & Typhoons) and based much of this album around that. I do agree that the distorted guitars do overstay their welcome, especially on repeated listens. I hope that, as they move forward, PRR will strive to innovate further, because these last couple of albums have basically perfected their current sound. And if this is the final album for Chloe Alper, I think it's a great send-off.

I think Eupnea is PRR's second masterpiece, and its 43 minute runtime along with having just a few songs which all hit differently makes it the most accessible album from them. Above all, it combines the spirit of their early progressive roots with the electronic texture of their later material, something Hammer and Anvil only partly achieved. Despite my praises, I do have some slight qualms about the album's first half. New Obsession is a short and sweet introduction - again, it's very accessible. While it's a fun listen the first few times, this is the first PRR song where the Jon and Chloe vocal harmonies feel like a gimmick: The way they start with only Jon and then add Chloe mid-verse is jarring, even for someone who's been listening to them for years. Silent Genesis, on the other hand, is surprisingly subdued despite its length and status as the lead single. It's almost like Aeropause from The Dark Third, only with vocals. The vocal harmonies are great and the jazzy/blues-style interjections keep the song interesting, but it fails to live up to The Dark Third when it's clearly trying to represent a "return to form". I say this only because the band was very open about the fact that they wanted to appeal to their progressive roots with this song. Maelstrom is where the album's quality begins to soar. These are the most impressive vocal harmonies PRR have ever done, and the melody itself is really unique for the band, abstaining from anything they've done previously for a majority of the song. Then we have Ghosts & Typhoons, which might be considered the ultimate modern PRR song. It has everything you'd want: Powerful and beautiful combined vocals, heavy riffs, melancholic sections, angry sections, a palpable atmosphere and even some effective lyrics (which could be seen as PRR's one weakness previously, that their lyrics have been nonsensical). Beyond Our Bodies is less interesting than the rest of the album, but only because it's squished between two of the greatest pieces of progressive music ever created: First there's Ghosts & Typhoons, the best display of the band's sound at least since Black Mourning, and then we have the colossal 13-minute title song Eupnea. The Eupnea track is, in my personal taste, PRR's absolute greatest song. In terms of sheer content, it's completely unmatched by anything they've ever done. As if Ghosts & Typhoons wasn't good enough, Eupnea takes everything that song did and does it even better, adding so many other elements: The lyrics are hauntingly emotional, the song has amazing build-up, there are some incredible twists and turns, the synthesizers underscore the song's drama, the vocals are perfectly balanced and I can't even begin to describe how beautiful they make this song. 11 minutes in and it seems to end on a powerful note, but then it suddenly resumes and becomes EVEN BETTER for the last 2 minutes! My jaw must've dropped listening to this for the first time. It makes me sad to think that even after a 9-year hiatus, PRR can create their most accessible and powerful album ever under a Sony label ... and yet they continue to be a niche band that seems to exist only to resonate with people like ourselves. It almost seems like some sort of cosmic joke.

Hammer and Anvil is a personal favorite of mine, even though its flaws become somewhat clear when you listen to it in full: Most of its songs are very similar in structure, making it feel less like a prog record for a lot of the runtime. It's worth noting that Jon Courtney co-wrote the entire album with producer Tom Bellamy, and Bellamy has sole writing credit for the anomalous opening track Fight Fire. I think the song does a good job in surprising fans of PRR with something completely different, while also being a call-back to The Dark Third, which also opened with Chloe on lead vocals. It's then followed by Black Mourning which, as you allude to, is the most definitively PRR song on the record. Black Mourning deserves special mention, because the way the band manages to perfect their signature sound in a traditional song structure with this track is just remarkable. It's catchy, it's cool, it's beautiful and melodic, and it finally brings home the kind of sound they were going for in Amor Vincit Omnia. The vocal harmonies with Jon and Chloe are perfect here. In just 5 minutes this song shows what PRR can be post-Dark Third. The next few songs are strong as well, but unable to match the sheer perfection of Black Mourning. They are also, as mentioned, quite similar to each other in structure and sound. Patriarch is a somewhat deflating follow-up, with a bit of a sleepy chorus, but the atmosphere is unique. Last Man, Last Round is a more exciting track that retains some of the atmosphere of Patriarch. Valour is the closest second to Black Mourning in overall quality, with a terrific chorus. I think you give Over the Top a little less credit than it deserves. It has a pretty unique rhythm, slow but firm. It's also the only song between Black Mourning and Blitzkrieg that doesn't feel like it's trying to match the appeal of the other songs on the record. Never Divide certainly does that, but it's mostly OK because it's almost as good as Valour. Then we have the final part of the album, where it suddenly decides to become both very progressive and very electronic at the same time. Blitzkrieg is my favorite of PRR's purely electronic tracks, and the more acoustic section towards the end that then leads back into the sampled electronica is incredibly beautiful. Unlike you, I'm not the biggest fan of Open Insurrection, but it's a strong sonic experience with a powerful atmosphere. Armistice is probably their most emotional song up to this point, and it's one that tends to resonate with me whenever I'm in a melancholic or contemplative state of mind. And as you point out, the fact that this was PRR's last album for the longest time (a tragedy for a band so young and promising) made this song all the more powerful.

Amor Vincit Omnia is definitely my least favorite PRR album, but it's still a really good album that somewhat took the hit that then allowed the band to not stayed confined to the 70s progressive rock style going forward. It's a little scary to think about how it almost ruined the fanbase of an already struggling band. However, the legacy of this record for the rest of the discography is undeniable at this point. Les Malheurs introduces the sharper, more in-your-face vocal harmonies of Jon and Chloe that the later albums would come to perfect. It's quite strange how sharply their vocals changed after just 2-3 years, and it's no wonder that this, combined with the new overtly electronic and aggressive musical style immediately introduced with this song too, would turn people who loved their previous material completely off. Personally, I think the song redeems itself in the last minute with a really beautiful combination of almost digital-sounding vocals and electronic elements combined together. The lead single Victorious Cupid is less offensive, with a softer beginning and smoother more subdued vocal harmonies akin to The Dark Third. It quickly evolves into the same kind of aggressive style, though, and I'm not a big fan of the chorus, but the song has a decent rhythm to it. Keep Me Sane/Insane doesn't give me anything one way or another, but it thankfully leads into Apogee / Requiem for the Lovers, which is one of the album's stand-out tracks. It's the first PRR song to really nail having the beautiful vocal harmonies lead during heavy guitar riffs. Deus Ex Machina is possibly PRR's most overrated song, if there ever was one. Though I understand its appeal: It's heavy, industrial and pretty damn fun when they play it live, but it kinda doesn't feel like the band at all (which is not necessarily a criticism, I just don't find myself gravitating towards it when I wanna listen to PRR). I suspect its popularity on Spotify mainly comes from people who would otherwise not like the rest of their music, but I'm not sure. Both Bloodless and the final track AVO are decent PRR tracks that I'd expect myself to enjoy more than I actually do. They have good vocal harmonies, but I find them too electronic for my liking. I enjoy a little bit of that in the band, but here it's probably too much. Still, I do enjoy the atmosphere these songs bring. Disconnect, on the other hand, borders on being outright bad. And it's not just because it sounds like Daft Punk, as you say, but it sounds like BAD Daft Punk. The only thing that saves this song from being a complete trainwreck are the more typical PRR elements that get introduced after a while. My favorite track on this album is The Gloaming. It's oddly similar to the chorus on The Bright Ambassadors of Morning in that it takes time to build layer upon layer of vocals on the same core melody, with the song growing bigger and bigger until it reaches a climax. After that it does some really interesting stuff with Chloe's vocals, digitizing them to the point where they become unrecognizable but also incredibly beautiful in a weird way. The techno interludes in the song are hit or miss, but don't stop this from being one of PRR's most memorable songs.

Like you say, The Dark Third is a TRIP! As an album experience from beginning to end, I would say it's my favorite record of all time, or at least next to Tool's Lateralus. The moment they transition to Goshen's Remains after that dreamy instrumental opening track (Aeropause) and I heard Chloe Alper's soothing, slightly bluesy vocals mixed in a ghost-like dreamspace sound, I knew I was in for something incredible and epic. Being quite young when I first heard this, this might've been my first exposure to music as a long-form experience, similar to a movie, or at least my first interest in exploring music like that. Then you have the PERFECT transition from Goshen's Remains into Apprentice of the Universe, where the male vocals of Jon Courtney and co. first take the lead; the tempo is increased and you get this incredible combination of riffs and vocal harmonies. And then, as if that wasn't freaking enough, you get another perfect transition into The Bright Ambassadors of Morning: Their most iconic, unique and absolutely incredible song. Going into what makes this song amazing is probably not even necessary. It's not even my personal favorite, but there's something to be said about this track being somewhat transcendental. It's arguably the band's greatest spiritual moment, as if the ghost that has possessed some of the greatest musical geniuses of all time took hold of them as they made this song (while they were students, I might add), and they've been building on that inspiration ever since, though never quite achieving that level of brilliance. You can't fault them for that: I don't think you can replicate the circumstances of a bunch of students creating a 12-minute progressive masterpiece for a university project, launching them into a major label. Again, not knowing the details personally, the only way for a record label like Sony to want to take on a bunch of students because of a 12-minute song is not because of anything other than artistic brilliance of a high order. After that massive peak, the band deliberately descends the slope (having no other option). You can tell this just by the fact that the tracks after Ambassadors are interchangeable - either Nimos & Tambos or The Exact Colour depending on the album version you're listening to. Personally, I love Nimos & Tambos for being catchy and upbeat. The Exact Colour is too downbeat, which I feel is unnecessary because there was already a lot of melancholy in the previous 3-4 tracks, and the next track (Voices in Winter) is similarly subdued for the first part. I appreciate that instead of trying to build upon the songs that came before (which would probably be futile and blow up in their faces), PRR takes the sound they established in the first few tracks and plays around with it to different effect. Voices in Winter / In the Realms of the Divine is a bit of a rollercoaster, slightly heavier than the previous ones after a slow build-up. Bullits Dominæ is a beautiful, compact song that could've easily worked as the album's lead single. Then we have songs like The Twyncyn and The Intention Craft (both interchangeable, again), where I may prefer the more chorus-oriented Intention Craft (with its terrific build-up, Arrival) over the relatively dark and heavy Twyncyn, but the latter arguably brings something more fresh. He Tried to Show Them Magic! / Ambassadors Return is a very good epilogue to the album, cementing Bright Ambassadors as the centerpiece of the experience (as if that wasn't obvious, but it's nice to see a confident acknowledgement within the album itself). Personally, after this track is where I usually stop listening simply because the pacing of Disc 1 by itself (excluding Asleep Under Eiderdown, the hidden track) is absolutely perfect. However, I appreciate the fact that there are more tracks because while PRR continued to dazzle after this, they never quite recaptured that exact same sound they had during this period. Especially the vocals, which got a lot sharper for both Jon and Chloe starting with the next album. Not better or worse, just different, which thankfully means nothing will ever replace The Dark Third's sound. Disc 2 is perhaps better when the songs are experienced individually, as I don't think it works as well as an extension of the album experience. In Aurelia is decent, but certainly one of their more boring songs IMO. Borgens Vor is an original song (never featured on Cautionary Tales or either regional version of the original release) which is note-worthy for being able to include a beautiful and dreamy slow build-up into an exciting classic PRR climax within just 4 minutes. I love that you consider the final track on Disc 2, Golden Clothes, to be the best song on The Dark Third. There have been periods where I consider it my favorite on the album as well. The vocal harmonies are on another level! Post-hiatus I would personally say it's become a bit more challenging to say The Dark Third is PRR's best album, even though that was such an obvious statement 5 years ago. I guess it just says something about how special this band is. Still, as I alluded to, nothing will ever match The Dark Third's uniqueness both in terms of music and PRR's catalogue. I've never heard a stronger debut album.

I really appreciate someone doing a deep dive into Pure Reason Revolution, since they're no doubt the most criminally underrated progressive band working today. For fun, I'm just gonna give my thoughts on each record in each of your video. I've only directly listened to Cautionary Tales for the Brave once or maybe twice, since all of the four songs later appear on The Dark Third's two discs. It's one of the releases I don't physically own either. In that sense, it makes sense to save some of my feelings for The Dark Third, but I will give Cautionary Tales credit for being the first release to include The Bright Ambassadors of Morning, which is still their most unique and iconic song. In Aurelia, The Intention Craft and HTTSTM, on the other hand, are some of the relatively weaker tracks on The Dark Third, which is why I see no reason to revisit this EP today personally.

edit: I meant to say Mountain or BEAR NOT LION!..The cover very much looks like a POLAR BEAR of some sort to me,

I had no idea that PRR had a new album coming out. I'm going to have to go listen to the single right away. Also, I have that Kindo shirt!

Hi! I'd like to recommend you "Red Vector - Летопись Страны Советов" (2024). It is Russian progressive rock / progressive metal concept album about the life and death of USSR, created by a "zero-musician band" with the help of neural networks. You can find it on streaming platforms and TH-cam.

Great review, and thank for the recommendation

Thanks Kyle for taking the time to review the new record!

I looked up this band after Josh Eppard mentioned it in his Drumeo interview.

Doom Flamingo is a definitely amazing band that deserves the promo! Best way to get into their music is their live "debut" album In The Rain.

Fight Fire With Fire indeed!

Your collection makes my collection look like a joke. Good for you organizing it. Looks like a labor of love!

yeah, now the next step is to add everything into Discogs or RateYourMusic. RYM handles release year sorting better but with Discogs it might be enough.

The odd thing is that I want to share these KG albums with friends that have never heard them. If we even had a bad quality version on TH-cam, I could share it, they might love it, it could generate a sale. But instead, with nothing being available online at all, TH-cam or Spotify or whatever… so instead, I’ll just have to rip my CD and send my friend the files = no sale. Doesn’t help anybody.

Intrigued

I got the compilation in 1999 and now I'm so upset that songs were missing.

Other great jazz-fusion bands: - Kenso - Area - Arti e Mestieri - Barry Miles and Silverlight - Dry Jack - Apprentice - Aurora Borealis - Mongol - Sloche - Lonely Bears

here's 90 albums you might've missed (specially from the Japanese scene): 3rd World Electric - Kilimanjaro Secret Brew Airto - Free The Aristocrats - The Aristocrats The Backstage - Isolation Barracuda Triangle - Electro Shock Therapy Clément Belio - Contrast Lindsey Boullt - Composition Terry Bozzio / Tony Levin / Steve Stevens - Black Light Syndrome Brand X - Unorthodox Behaviour Brand X - Masques Chris Brooks - The Axis Of All Things Bruford - Feels Good to Me Bruford - One of a Kind Bruford - Gradually Going Tornado Bill Bruford's Earthworks - Earthworks Casiopea - Casiopea Casiopea - Super Flight Casiopea - Eyes of the Mind Casiopea - Mint Jams Casiopea vs The Square - The Live!! Stanley Clarke - Stanley Clarke Chick Corea Elektric Band - Elektric Band: Light Years Jorge Dalto & Super Friends - Rendez-vous Jorge Dalto & Super Friends - New York Nightline Dixie Dregs - What If Dixie Dregs - Night of the Living Dregs Dixie Dregs - Dregs of the Earth The Dregs - Unsung Heroes Virgil Donati - Just Add Water Virgil Donati - In This Life George Duke - Save the Country George Duke - Reach for It Béla Fleck & The Flecktones - Béla Fleck and The Flecktones Béla Fleck & The Flecktones - Flight of the Cosmic Hippo From.uz - Audio Diplomacy From.uz - Seventh Story Frank Gambale, Virgil Donati & Ric Fierabracci - Made in Australia Jun Fukamachi - On the Move Gordian Knot - Emergent Guthrie Govan - Erotic Cakes Jan Hammer Group - Oh, Yeah? Gavin Harrison - Cheating the Polygraph Hiromi Uehara - Another Mind Hiromi Uehara's Sonicbloom - Time Control Allan Holdsworth - IOU Allan Holdsworth - Metal Fatigue Allan Holdsworth, Alan Pasqua, Jimmy Haslip & Chad Wackerman - Blues for Tony Himiko Kikuchi - Flying Beagle Lalle Larsson - Infinity of Worlds Lalle Larsson - Nightscapes Dave LaRue - Hub City Kid Lux Terminus - The Courage to Be Felix Martin - The Scenic Album Naoya Matsuoka & Wesing - The September Wind Steve Morse Band - The Introduction Niacin - Time Crunch Osibisa - Osibisa The Players - Madagascar Lady Jean-Luc Ponty - King Kong - Jean-Luc Ponty Plays the Music of Frank Zappa Jean-Luc Ponty - Enigmatic Ocean Prism - Prism Trevor Rabin - Jacaranda Omar Rodriguez Lopez Quintet - The Apocalypse Inside of an Orange Carlos Santana & Mahavishnu John McLaughlin - Love Devotion Surrender Alex Skolnick Trio - Transformation Alex Skolnick Trio - Last Day in Paradise Soft Machine - Third Soft Machine - Fourth Soft Machine - Fifth Spectrum - Optical Sunrise Spyro Gyra - Spyro Gyra The Square - Magic The Square - うち水にRainbow The Square - Adventures T-Square - Truth Stick Men - Stick Men Masayoshi Takanaka - Seychelles Masayoshi Takanaka - An Insatiable High Masayoshi Takanaka - Brasilian Skies Masayoshi Takanaka - Jolly Jive Masayoshi Takanaka - The Rainbow Goblins Serj Tankian - Jazz-Iz Christ The Trio Project - Move Volto! - Incitare Kazumi Watanabe - To chi ka Frank Zappa - Waka/Jawaka The Mothers - The Grand Wazoo Frank Zappa - Jazz From Hell Frank Zappa - Make a Jazz Noise Here Frank Zappa & The Mothers of Invention - Roxy & Elsewhere

My favorite Jazz Record remains Donald Byrd's 'A New Perspective' and then John Coltrane's 'Blue Train' - both beautifully constructed works of art.

Didn't know you were into Fusion. Thanks for the vid. Cheers from Australia

Rut - Morbid Thoughts Evildead - Toxic Grace Morbid Saint - Swallowed By Hell Atrophy - Asylum Deep Purple - =1

Man, do you have a link to this image or the list of albuns? seems like a preety good list to dive

Thanks for doing all the leg work for me!!!!!!

Another great reminder to check out some of these MPAR bands I’ve never given much time, like Kaddisfly and Oceansize. Thanks!

If I’m going to start a new prog rock band, I would name it Portnoy’s Sister

Great list. My top 20 for 1995 are in this order (you mentioned a lot of them but not all): The Damnation Game Symphony X THRAK King Crimson Adrenaline Deftones The Edges of Twilight The Tea Party The Light Spock's Beard A Change of Seasons Dream Theater Tales from the Punchbowl Primus The Bends Radiohead Foo Fighters Foo Fighters The Final Experiment Ayreon Destroy Erase Improve Meshuggah Heavy as a Really Heavy Thing Strapping Young Lad Orchid Opeth The Sky Moves Sideways Porcupine Tree Roots to Branches Jethro Tull Hidden Treasures Megadeth One Hot Minute Red Hot Chili Peppers Give'er Choke Disco Volante Mr. Bungle Insomniac Green Day I really need to deep dive on Kevin Gilbert, Savatage, Jeff Buckley, Faith No More, Shadow Gallery, Echolyn and more of the other ones you mentioned cause I've heard some tracks by them all and enjoy them all but haven't gotten into full albums yet.

here's 30 albums you might've missed from 1995: Alice in Chains - Alice in Chains Anthrax - Stomp 442 Ayreon - The Final Experiment The Beatles - Anthology 1 Ritchie Blackmore's Rainbow - Stranger in Us All Fear Factory - Demanufacture Foo Fighters - Foo Fighters Steve Hackett - There Are Many Sides to the Night (live) Iron Maiden - The X-Factor Kansas - Freaks of Nature Living Colour - Pride (compilation with new tracks) Steve Morse Band - Structural Damage Nevermore - Nevermore Ozric Tentacles - Become the Other Paradise Lost - Draconian Times Primus - Tales From the Punchbowl Punky Brüster - Cooked on Phonics Queen - Made in Heaven Radiohead - The Bends Red Hot Chili Peppers - One Hot Minute Saga - Generation 13 Samael - Rebellion Joe Satriani - Joe Satriani Sieges Even - Sophisticated Strapping Young Lad - Heavy as a Really Heavy Thing Symphony X - The Damnation Game Steve Vai - Alien Love Secrets Brian Wilson - I Just Wasn't Made for These Times Brian Wilson & Van Dyke Parks - Orange Crate Art Frank Zappa & London Symphony Orchestra - London Symphony Orchestra, Vol. 1 & 2 As a bonus, here's a couple of tribute albums: (I Got No Kick Against) Modern Jazz: A GRP Artists' Celebration of the Songs of The Beatles The Band From Utopia - A Tribute to the Music of Frank Zappa

I’m having a hard time getting passed who her dad is…

Thanks for having me in the roundtable! A lot of great albums mentioned by everyone... Many I still need to check out!

Brennen (DeathbyUnicorn) 1. Caligula's Horse - Charcoal Grace 2. Dvne - Voidkind 3. Ihsahn - Ihsahn 4. Loch Vostok - Opus Ferox II - Mark of the Beast 5. Eidola - Eviscerate 6. Azure - Fym 7. Turbulence - Binary Dream 8. Reliqa - Secrets of the Future 9. Vicinity - VIII 10. Professor Caffeine and the Insecurities - Caffeine and the Insecurities Honorable Mentions In Vain - Solemn Almo - Reconciliation Triton Project - Messenger's Quest Red Handed Denial - A Journey Through Virtual Dystopia Izz - Collapse the Wave Christian (FranticDav) 1. Kyros - Mannequin 2. Azure - Fym 3. TWRP - Digital Nightmare 4. Marty Friedman - Drama 5. Steve Hackett - The Circus and the Nightwhale 6. Æthĕrĭa Conscĭentĭa - The Blossoming 7. Big Big Train - The Likes of Us 8. Ryujin - Ryujin 9. Haishen - Awaken the Endless Deep 10. Nassau - Nassau Honorable Mentions Unleash the Archers - Phantoma Ugly - Twice Around the Sun [EP] Sgàile - Traverse the Bealach Amskray - Die Happy Vulvodynia - Entabeni Plantoid - Terrapath The Lemon Twigs - A Dream Is All We Know Sunburst - Manifesto Vicarious - Esoteria Brave Wave Productions - Giants Kyle (allmediareviewspodcast) 1 Bend Sinister - Mostly Great Things 2 DK the Drummer - Lockers Volume 1 3 Dirt Poor Robins - Firebird 4 Pepe Deluxe - Comix Sonix 5 Ugly - Twice Around the Sun [EP] 6. Willow - Empathogen 7 The Pneumatic Transit - Forbidden Trinkets 8 Toehider - Toad Hirer [EP] 9 Persefone - Lingua Ignota: Part I [EP] 10 Menomena - The Insulation [EP] 11 In Vain - Solemn 12 The Crooked Fiddle Band - The Free Wild Wind & the Songs of Birds 13 Barock Project - Time Voyager 14 The Warning - Keep Me Fed 15 Gavin Castleton - Pattern Breaker 16 Darren King - Temporal 17 Everything Everything - Mountainhead 18 The Decemberists - As It Ever Was, So It Will Be Again Alan The Smile - Wall Of Eyes The Pineapple Thief - It Leads To This IDLES - TANGK Big Big Train - The Likes Of Us Bend Sinister - Mostly Great Things Lucy Rose - This Ain't The Way You Go Out Billie Eilish - Hit Me Hard And Soft Loma - How Will I Live Without A Body Cigarettes After Sex - X's Lenny Kravitz - Blue Electric Light The Echo Vails - The Calm Beneath The Noise Rendezvous Point - Dream Chaser Zero 7 - Swim Surreal Annie Gavin Castleton - Pattern Breaker Freak Kitchen - Everybody gets bloody Adam Forkelid - Turning point Mikael Mani - guitar poetry Hasse Froberg & Musical Companion - Eternal Snapshots Kurt Rosenwinkel - The Next Step live at Smalls The Flower Kings - Live in Europe 2023

I don' care for the late 90's/early 2000's albums...i find them bland, lifeless and uninspired (albums after This Strange Engine).

Great list! Here's my top 10: 1. Protest the Hero - Kezia 2. Between the Buried and Me - Colors 3. Dream Theater - Metropolis Pt. 2: Scenes from a Memory 4. Haken - Aquarius 5. The Human Abstract - Digital Veil 6. Tesseract - Altered State 7. Native Construct - Quiet World 8. Today I Caught the Plague - Lore 9. Caligula’s Horse - Moments from Ephemeral City 10. Art by Numbers - Reticence: The Musical

Here's a list of 10 glaring omissions I could find: - Devin Townsend - Terria - Porcupine Tree - Deadwing - Ayreon - The Human Equation - Threshold - Dead Reckoning - Neal Morse - Sola Scriptura (this is his heaviest and indeed prog metal) - Frost* - Experiments in Mass Appeal (original mix because damn) - Haken - The Mountain - Steven Wilson - Hand. Cannot. Erase. - Tool - Aenima - Strapping Young Lad - Alien

Awesome list, Kyle. I need to pick most of these up. You sold me on Handful of Rain and a bunch of others. Oh boy this hobby is a finally nightmare 😂

Great episode and great list, I was wondering why you weren’t on that episode.

I lost interest in checking your ranking as soon as you ranked 15th Fugazi and 11th Marillion debut album Script for a Jester's Tear. The rest of the Fish era is also very low ranked. This is very disrespectful for such a great band in their origins. Unfortunately in all these bunch of years with Hogarth they have lost identity, personality and authenticity, they have had only flashes with some great songs of the great band they were back in their origins. Even their Marillion logo has lost its identity since the second album in the Hoghart era.