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ZEUHL

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Zeuhl definition

Zeuhl is an adjective in Koba´an, the language written by Christian Vander, drummer and founder of the French band Magma.

Pronunciation: zEU(h)l, while the EU are like a French E with a slight U, and the (h) is a semi-silent letter which is an integrated part of the EU, totaling in a "syllable and a half".

The word means celestial, although many times it is misunderstood as meaning "celestial music", since the members of Magma describe the genre of their music as Zeuhl. Zeuhl Wortz, though, means Music of the universal might.


The genre is a mixture of musical genres like Neoclassicism, Romanticism, Modernism and Fusion. Common elements: oppressive or discipline-conveying feel, marching themes, throbbing bass, an ethereal piano or Rhodes piano, and brass instruments.

Current team members (20/05/2016):
Raffaella (Raff)
Luca (octopus-4)
Ian (Nogbad_The_Bad)
Keishiro (DamoXt7942)
Ori (frippism)

Zeuhl Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Zeuhl | More Top Prog lists and filters

4.31 | 844 ratings
MEKAN¤K DESTRUKT¤W KOMMANDÍH
Magma
4.27 | 591 ratings
K.A
Magma
4.25 | 426 ratings
EROS
DŘn
4.27 | 192 ratings
4 VISIONS
Eskaton
4.19 | 452 ratings
╦M╦HNT╦HTT-R╔
Magma
4.19 | 295 ratings
CHRISTIAN VANDER: TRISTAN ET ISEULT [AKA: ẀURDAH ¤TAH]
Magma
4.15 | 408 ratings
KÍHNTARKÍSZ
Magma
4.22 | 169 ratings
WEIDORJE
Weidorje
4.35 | 84 ratings
MATHEMATICAL MOTHER
Universal Totem Orchestra
4.14 | 335 ratings
F╔LICIT╔ THÍSZ
Magma
4.13 | 363 ratings
1001░ CENTIGRADES [AKA: 2]
Magma
4.43 | 56 ratings
MAIS ON NE PEUT PAS R╩VER TOUT LE TEMPS
Thibault, Laurent
4.16 | 119 ratings
INFERNAL MACHINA
Top, Jannick
4.05 | 396 ratings
MAGMA [AKA: KOBA¤A]
Magma
4.14 | 114 ratings
THE MAGUS
Universal Totem Orchestra
4.31 | 47 ratings
BONDAGE FRUIT II
Bondage Fruit
4.06 | 109 ratings
LES MORTS VONT VITE
Shub-Niggurath
4.09 | 83 ratings
RITUALE ALIENO
Universal Totem Orchestra
4.06 | 94 ratings
EIDER STELLAIRE I
Eider Stellaire
4.07 | 76 ratings
GU╔RISON
Setna

Zeuhl overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Zeuhl experts team

MAIS ON NE PEUT PAS R╩VER TOUT LE TEMPS
Thibault, Laurent
LES MORTS VONT VITE
Shub-Niggurath
HUNDRED SIGHTS OF KOENJI
Koenjihyakkei
C'╔TAIENT DE TR╚S GRANDS VENTS
Shub-Niggurath

Latest Zeuhl Music Reviews


 Mathematical Mother by UNIVERSAL TOTEM ORCHESTRA album cover Studio Album, 2016
4.35 | 84 ratings

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Mathematical Mother
Universal Totem Orchestra Zeuhl

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars It's not unusual for modern prog-related bands to attempt to keep up a steady stream of annual albums or constant releases, be they live performances, compilations or limited edition sets, to ensure they retain a momentum, especially when there's so many more options to choose from for your current progressive music listening. Then there's examples where a group has such an esteemed reputation that they're given the luxury of taking their time (read years!) slowly honing their efforts to ensure something very special will eventually be delivered to the fanbase! Case in point is Italian collective Universal Totem Orchestra, an offshoot of renowned Zeuhl group Runaway Totem, releasing only three albums in their near-twenty years active, but each new one being something of a minor event. `Rituale Alieno' was a sumptuous gothic debut, `The Magus' in 2008 added some twisting metallic edge, but 2016's `Mathematical Mother' is their grandest and most lavish artistic statement yet.

What makes the Universal Totem Orchestra so fascinating is the way they cross over into so many styles to make a colourful exotic blend all their own. At any time, they blur aggressive overwhelming Zeuhl intensity with spacey keyboards, angular guitar riffing, tricky jazz-fusion turns, fancy chamber-prog flavours, Rock-In-Opposition experimentation, a mix of near- operatic female voice and even choral elements, all topped off with grand orchestration and pure symphonic pomp - sometimes all in the one track! Brave enough? Then enter...

Opener `Terra Cava' throws in everything that makes UTO so special. Throughout its fourteen minutes, it darts through everything from twitching split-personality jagged spasms, commanding choir arrangements and bombastic theatricality with plenty of jazzy sprints and dramatic orchestration. Ana Torres Fraile's purring near-operatic trills soar, Daniele Valle's guitars move between manic twisting runs and lengthy prog-rock guitar soloing histrionics, and Fabrizio Mattuzzi's sparkling piano brings plenty of classical fancy alongside his hovering deep-space synths. UTO G. Golin's intelligent and dynamic drumming keeps everything on course but still peppered with danger, and just listen to Yanik Lorenzo Andreatta's Magma-worthy mud- thick grumbling n' groovy bass guitar violation that kicks in at about the 8:40 mark!

The five-minute `Codice Y16' might actually make for a good introduction to newcomers to the group, encapsulating many of the delirious direction changes, manic instrumental blasts and searing operatic vocals they offer all inside a shorter compact piece, and there's no shortage of whirring synths, ravishing piano and soulful Magma-like proclamations throughout it. Book- ended with rumbling bass-quaking intensity and whirling-dervish heavy guitar grooves, `Elogio Del Dubbio' drifts into dusty Eastern mystery and spiritual pleading, followed by `Architettura Dell'Acqua'. A multi-part suite that opens as an English-sung melancholic ballad impeccably performed by Ana over Antonio Fedeli's sombre sax and Daniele's dreamy guitars that sounds like they've stepped off the softer moments of the early King Crimson albums, it soon morphs into that classic UTO sound - relentless twisting guitar f*ck-snap twitches over synths that jump between symphonic and punchy spacey blasts, and overwhelming male/female chanting choirs.

`CittÓ Infinite' is a multiple-personality blast of darkly jazzy weirdness where devilishly piano pomp, vocal scatting, violent synth stabs, abrasive electronic violations and maniacal percussion tantrums all bleed together, but it still finds a way to keep a spring in its step and an overall sleek gliding coolness. `Mare Verticale' then closes the disc on some nicely strangled and grooving jagged guitar riffing back-and-forth, a breathless jumble of male and female voices and even danger-laced E.L.P-esque symphonic fanfare bluster in the second half.

Despite being initially quite overwhelming, constant replays will be necessary to grasp the complexity of the material and to grow to appreciate the attention to detail here, but at least it's also thankfully around single vinyl length at 52 minutes! Lovers of the most grandiose of Italian symphonic music, and fans of Zeuhl and R.I.O bands as well as schizophrenic eclectic groups like Area will likely be captivated by the intricacies, intensity and barking madness that permeates `Mathematical Mother, a masterpiece that will likely be most appreciated by musical listeners with a slightly bent mind that view the world in a multitude of skewed ways!

Five stars.

 Burning Stone by RUINS album cover Studio Album, 1992
3.75 | 14 ratings

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Burning Stone
Ruins Zeuhl

Review by Warthur
Prog Reviewer

4 stars The zeuhl-influenced brutal prog of Ruins isn't the sort of thing you expect to sound quite this accessible, and yet the energetic and exuberant Burning Stone somehow manages to offer a clearly enunciated on-ramp to getting to grips with the Ruins sound without at all compromising the intensity or complexity of their music. Beginning with its longest composition, Zasca Coska, the album then runs through a range of bite-size excursions into a unique sonic world, making this a great point of entry for the Ryuichi Masuda era of Ruins. Tatsuya Yoshida as always is the power behind the drum kit here, with some excellent moments to showcase his diverse percussion skills.
 Pourquoi Es-Tu Si MÚchant? by SUPER FREEGO album cover Studio Album, 1982
3.23 | 7 ratings

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Pourquoi Es-Tu Si MÚchant?
Super Freego Zeuhl

Review by Mellotron Storm
Prog Reviewer

3 stars I'm not too surprised that there's no written reviews for this one as it is quite rare. Released back in 1982 this particular album was advertised as a Zeuhl/ New Wave cross and that's a pretty good description. I took the plunge because I am a fan of both, especially Zeuhl so I was intrigued to say the least. SUPER FREEGO were a French band with male and female vocals which are shared quite evenly and often singing together. The biggest surprise for me was seeing that the Guillard brothers are both on here playing sax and trumpet respectively. They certainly give this some authenticity in Zeuhl circles as these two guys played with MAGMA and were part of WEIDORJE as well.

The music is often hyper which I have never liked. It's why I have had trouble getting into some of the Avant and Zeuhl bands from Japan who like to go a million miles an hour, just not my scene. Anyway it's mostly the vocals that turn me off especially when they turn theatrical and they are often the focus. Now having said that the instrumental work is faultless. Man the bass player kills on here as well as the drummer. Some inventive guitar playing here as well but as I said earlier it's hard to get past the vocals at times. It's catchy and uptempo with vocals in French.

Keep in mind this is rated fairly highly by a lot of music fans who know a lot more about music than I do, but all I know is that it doesn't suit my tastes more often than not despite being impressed many, many times throughout this 35 plus minutes of music. I just get irritated with the frenzied vocals and sound at times. And on a final note the album art is just plain bad in my opinion. Glad I got to finally spin this though.

 Mekan´k Kommand÷h by MAGMA album cover Studio Album, 1989
3.67 | 99 ratings

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Mekan´k Kommand÷h
Magma Zeuhl

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

3 stars After a pair of wild and unhinged jazz-rock fusion albums that introduced the world to the strange world of the fictitious world of Kobaia invented by the fertile mind of founder and drumming leader Christian Vander, he and his band MAGMA streamlined their sound significantly. Although their self-invented zeuhl sound had emerged already on the first album, it was a subordinate element surrounded by a smorgasbord of a million others. On their third album "MŰkan´k DŰstrukt´ẁ K÷mmand÷h" the band created their first album that totally fit in with their new found focused sound and in the process created their most acclaimed record even ranking as 33rd greatest French rock album of all time according to Rolling Stone. Despite those impressive creds, the album didn't start out so perfect and the band originally turned in a more stripped down version in early 1973 but was refused by the record company and who sent them back to the drawing board which would end up finally being released in December of the same year.

MEKAN¤K KOMMANDÍH is that stripped down first version of "MŰkan´k DŰstrukt´ẁ K÷mmand÷h" and was released in 1989 at the tail end of a decade of laying low when the progressive rock world trickled down to a mere pittance of its former 70s heyday. The similarities between the two releases is obvious but the differences are staggering in their impact. While the second rendition contained a whopping 13 members which included brass, flute, bass clarinet and seven vocal parts, the first version MEKAN¤K KOMMANDÍH included a modest seven members with only three of them uttering vocalizations of any sort. One of the greatest differences in this version is the introduction where Christian Vander offers some sort of Kobaian speech that sounds like some sort of declaration of war in their invented language which was nixed from the more famous "MŰkan´k DŰstrukt´ẁ K÷mmand÷h."

Despite being a good decision to release it in a more perfect form, MEKAN¤K KOMMANDÍH gives a clue to the intent of the music somewhat. This album in its stripped down form really sounds like some sort of Teutonic march across the lands on their way to plunder, pillage and lay waste to any village that stands in its way. This is more pronounced as Vander's virtuosic drum antics are more in the forefront minus the inclusion of the smoothing out effect of the horn sections. While more dramatic in nature, this version also has the tendency to become a bit monotonous as well as somewhere around twenty minutes into the thunderous march the vocal tradeoffs tend to seem a little silly as the call-and-response effect carry on and on and on a wee bit too long and with minimal instrumental distractions to be found makes it all the more prominent. While the instruments are scarce by comparison, Zander rocks the house as expected but also of high caliber are the combo effect of bassist Jean Pierre Lambert and Jean Luc Manderlier's phenomenal piano and organ segments.

MEKAN¤K KOMMANDÍH can only be taken as supplemental MAGMA material for as good as it is, it pales in comparison to the more MAGMA-nanimous "MŰkan´k DŰstrukt´ẁ K÷mmand÷h." I feel the original record company made the right decision to put these guys back to work as this version in its proto-scaffolding form sounds way too much like the Karl Orff cantina "Carmina Burana" which has always provided a wealth of influence in the overall Magma sound. Without all those jazzy brassy instruments adding extra layers of atmosphere and counter-bombast, the overall feel comes off as a bona fide Orff tribute album albeit more in a rock context. While personally these kinds of releases from the vaults type of albums don't usually do it for me, this one is an interesting way to hear how the ideas were layered over time.

I came across this one in a very strange way. This was my first MAGMA album which i mistook for "MŰkan´k DŰstrukt´ẁ K÷mmand÷h." My initial reaction was a scratching of the head because i couldn't figure out why it was deemed in such high regard. Once i figured out that this was nothing more than a rough draft / first edition and finally heard the final cut, it all made sense. I avoided this one for a while simply because of that bad taste involved but now that i'm checking it out in a fresh clean slate, i have to admit that it's actually a pretty good album in its own right, it's just not on par with the much improved second rendition. Definitely a must for MAGMA fans but certainly not the place to begin exploration of their discography and eccentric career. Just be careful and don't assume that everything with the two invented words MEKAN¤K KOMMANDÍH in the title are the same. Even the bonus track of the same name on newer editions of "MŰkan´k DŰstrukt´ẁ K÷mmand÷h" is a different version. Now how's that for confusing? Ugh.

3.5 rounded down

 Mathematical Mother by UNIVERSAL TOTEM ORCHESTRA album cover Studio Album, 2016
4.35 | 84 ratings

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Mathematical Mother
Universal Totem Orchestra Zeuhl

Review by HarmonyDissonan

5 stars KICK-A-- TRANSCENDENT MUSIC!

I highly enjoyed Universal Totem Orchestra's first two albums! And although I never critiqued them and it's been a while since I've listened to them (man's time is so finite) they would both have been in the 4 to 4.5 range. Both great albums themselves! Now their new album Mathematical Mother, has seen UTO take that step up to the 5 star plateau without a millisecond of hesitation on my part! And here I go contradicting myself, the last two songs seem to lose a quarter step on the rest of the album without affecting it's stance in the least bit. And yet when I listened to them first while preparing to write this critique, they both stood very well on their own! One of the elements that I feel I want to mention is the female vocal parts. Although I am not always a great fan of female vocalists, it works very well here and I can't help but feel as though I hear late 60's pop music jazz vocalizing going on to amazingly wonderful effect.What an album!! As I listened to it this morning, the description that kept coming to mind was transcendent music that hearkens to the Grace that transcends absolute nothingness. It is the deepest grove music I feel I've every come across! What an F'in' album! I can't imagine this album not being on many a best of 2016 lists! Wow! I do not hesitate to recommend this album! I can't wait to turn others on to this great piece of art! With that I bid you all farewell. Take care and enjoy God's gift of music!

 Mathematical Mother by UNIVERSAL TOTEM ORCHESTRA album cover Studio Album, 2016
4.35 | 84 ratings

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Mathematical Mother
Universal Totem Orchestra Zeuhl

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars

This band was originally formed as an offshoot of Runaway Totem, which probably goes some way to explaining why they released their debut in 1999, their follow-up in 2008, and this their third in 2016. They are often described as Zeuhl within the prog world, but I'm not convinced myself that the term has a great deal of merit outside of Magma, so let's instead keep this simple. However one wants to classify this album, or whatever sub-genre one wants to put it in, it can all be said in one little word, "beautiful".

Whether it is the soaring classical vocals, the perfect piano accompaniment, the amazing bass, or the move between jazz, fusion, funk, classical, Arabian and progressive styles, it really is the only word that matters. This is a delicate album with instrumental passages that are dynamic and powerful, with vocals that can be strident or fragile, with everything always working together in perfect harmony. Some of the guitar on opener "Terra Cava" is sublime, and it shows that even proggers can shred when they wish to, it's just that they often don't want to. At fourteen minutes long, this is an epic song in so many ways, not just in length, but in the sheer complexity and the way that all the passages make sense individually and come together to create a whole that is breathtaking both in its complexity and melody.

'Mathematical Mother' is a very special album, one that is incredibly complex and intricate, yet also very easy to listen to, and totally enjoyable the very first time it is played. Let's hope we don't have to wait quite so long for the next one.

 Mathematical Mother by UNIVERSAL TOTEM ORCHESTRA album cover Studio Album, 2016
4.35 | 84 ratings

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Mathematical Mother
Universal Totem Orchestra Zeuhl

Review by Matti
Prog Reviewer

5 stars When the band is categorized as Zeuhl, it seems to trigger a lot of debate and criticism. "Quixotic" is a word used in the band bio here. U. T. O. from Italy started out as an offshoot of a Zeuhl band Runaway Totem. Personally I knew nothing about this group or its origins in advance, when I was asked to review their latest (third) album. I recognize notable similarities with MAGMA - which has been a hard bone for me but which I have learned to appreaciate thanks to my prog friends. But I daresay this music sounds more eclectic and flexible in all its extreme complexity, and perhaps more impressive, than Magma averagely. The excellently produced sound features both eletcricity and acoustic approach (piano, saxophone, percussions), being occasionally slightly jazzy. The bass playing of Yanik Lorenzo Andreatta is marvelous.

The main vocalist Ana Torres Fraile is amazingly talented. She uses her strong and clear voice masterfully, from the operatic and Gothic soprano wailing to more intimate singing. The lyrics are in Italian; I have no idea about the textual contents. Occasionally there are also choir-like male backing vocals, but this music is not vocal-oriented, at least not in the common sense of the word. As with Magma's use of Koba´an language, the voice is pretty much like another instrument, and there are plenty of more or less pure instrumental sections too. The epic opener 'Terra Cava' (14:06) is a good example of that. It is truly gorgeous, actually so beautiful and perfectionistic piece of complex-and-yet-naturally-flowing prog that the expectations for the whole album are dangerously high. 'Codice Y16' attempts to pack a lot of things within 5 min 21 sec, sounding quite restless.

'Elogio del Dubbio' shifts from Gentle Giant-ish funkiness to ethereal Dead Can Dance -resemblance with Oriental flavour (tabla). Well, if there is a problem with this album, for me personally I mean, it's the occasional thought of overblown eclectic complexity. but then I'm disarmed once again by the serene and acoustic beauty in the beginning of 'Architettura dell'Acqua', the second longest track (11:27) that rivals the magnificent opener. 'Citta Infinite' has jazziness, operatic/Gothic flavour and instrumental excellence, for example in the form of a vibe solo by one of the guest musicians. Perhaps the closing track is a bit too restless (especially for the rhythmic complexity), as is the album in general, for my personal taste, but I certainly recognize highly original prog excellence when I hear it. In a word, this album is amazing. If you like complexity, operatic female vocals, superb use of instruments and bands as varied as GENTLE GIANT, MAGMA and DEAD CAN DANCE, you'll love this one.

 Mathematical Mother by UNIVERSAL TOTEM ORCHESTRA album cover Studio Album, 2016
4.35 | 84 ratings

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Mathematical Mother
Universal Totem Orchestra Zeuhl

Review by Warthur
Prog Reviewer

5 stars Is there such a thing as electronic zeuhl? Apparently, the answer is "yes", and Universal Totem Orchestra's Mathematical Mother delivers a great steaming slab of it. Keyboardist Fabrzio Mattuzzi is the star player on this one, unleashing gibbering synthesisers on an unsuspecting listener. A substantial improvement over the previous The Magus, which I found a bit uninspiring, Mathematical Mother is Universal Totem Orchestra's most successful union of zeuhl, symphonic, and other prog styles yet, creating a thoroughly original sound which any fan of avant-prog will find a joy to digest. Ana Torres Fraile is backed by a range of supporting vocalists to provide crucial additional texture.
 Mythes Et LÚgendes, Volume III by MAGMA album cover DVD/Video, 2007
4.83 | 63 ratings

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Mythes Et LÚgendes, Volume III
Magma Zeuhl

Review by UselessPassion

5 stars If I were to recommend one of the Epok series to a Magma newcomer, it would definitely be this one.

This setlist showcases Magma's range quite well, from the dark, oppressive atmosphere of Kohntarkosz to the uplifting neo-gospel stylings of Linhs and 'm'hnt'ht-R', as well as the more accessible jazz fusion stylings of Nono and The Last Seven Minutes. This setlist feels rich and fulfilling and hits all of the major emotional beats one expects from this incredible group of musicians, from the crushing weight of hell, to moments of poignant reflection and finally to the heights of ecstasy.

This particular DVD, Epok III, sees a considerable step up in sound quality compared to the last two releases. Christian Vander's drums are more appropriately mixed, still full of nuance and texture but not as overbearing and overtly harsh as they were at times on Epok I and II.

While Magma are excellent on album, they're truly a world apart when performing live and thanks to these DVDs, we finally have a small fraction of this integral part of their legacy available on relatively high quality video and audio. The performances here are precise and charged, and although the sound and video quality still isn't quite as fantastic as it could be, it captures far more than any other live Magma offering to date has managed.

If you're new to the group or already a fan of the studio albums (but have never heard Magma live and in high quality,) this DVD and the next in the series, Epok IV, constitutes the holy grail of zeuhl. The apocalypse of humanity has never sounded quite so beautiful.

 New Pleasure by NEW PLEASURE album cover Singles/EPs/Fan Club/Promo, 2017
3.05 | 2 ratings

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New Pleasure
New Pleasure Zeuhl

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

3 stars As though we stood upon another seashore in front of a newer musical mixture. A Canadian rock project NEW PLEASURE were founded in Edmonton as a key-synth-percussion-based chamber duo influenced by Zeuhl / RIO / Avantgarde progressive scene. This eponymous debut creation was released in April 2017 veiled in a fuzzy, vague picture-printed sleeve (really wondering if they are a duo or not). And as the sleeve pic says, their interpretation for avantgarde sounds minimalistic, sometimes pessimistic, and obscure, dry- fruity like Krautrock.

Yes their avantgarde melodic / rhythmic strides tinged with post-rock convolution and Krautrock dizziness reminds me of an electronic / Kraut oddball Kuppulung. On the other hand, for example via "In Tongues" it's amazing we can hear some Zeuhlish mysterious addictive melody distortion. So wonderful deep, heavy, complex sound theater can be screwed into our ears as if they are not duo nor chamber but temporarily orchestrated like in "The Clock". Generally a chamber duo cannot do a lot but their "limited" work full of minimalistic ambience with various rock essence is fine. Looking forward to their next stage ... what and how they will create in future.

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Zeuhl bands/artists list

Bands/Artists Country
ALTA¤S France
AMYGDALA Japan
ANAID France
ARCHAIA France
ARKHAM Belgium
BONDAGE FRUIT Japan
SERGE BRINGOLF France
CAILLOU France
CORIMA United States
DAIMONJI Japan
D▄N France
EIDER STELLAIRE France
ELEPHANT TOK France
ESKATON France
FRACTALE France
GA'AN United States
HAPPY FAMILY Japan
HONEYELK France
KAKUSENJO NO ONGAKU (BASE OF FICTION) Japan
KOENJIHYAKKEI Japan
LAGGER BLUES MACHINE Belgium
MAGMA France
MUSIQUE NOISE France
NEOM France
NEW PLEASURE Canada
NOA France
OFFERING France
RYOKO ONO Japan
ORVALIANS France
PAGANOTTI/PAGA GROUP France
PERCEPTION France
POTEMKINE France
PSEU France
RH┘N France
RIALZU France
RUINS Japan
RUNAWAY TOTEM Italy
SCHERZOO France
YOCHK'O SEFFER France
SEKKUTSU JEAN Japan
SETNA France
SHUB-NIGGURATH France
SUPER FREEGO France
LAURENT THIBAULT France
FRANăOIS THOLLOT France
JANNICK TOP France
UNIT WAIL France
UNIVERIA ZEKT France
UNIVERSAL TOTEM ORCHESTRA Italy
UPPSALA France
UTOPIC SPORADIC ORCHESTRA France
VAK France
CHRISTIAN VANDER France
VAULTS OF ZIN United States
VAZYTOUILLE France
WEIDORJE France
XING SA France
ZAO France
ZOIKHEM France
ZWOYLD France

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