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PROGRESSIVE METAL

A Progressive Rock Sub-genre


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Progressive Metal definition

This category represents the core movement of what is called "Progressive Metal" in the literal sense. It is a subgenre of progressive rock as much as it is a subgenre of heavy metal, and this is how its sound is defined: a blend of heavy, guitar-oriented metal music enriched with compositional innovation and complex arrangements, usually expressed through diverse instrumentation and often (but not always) with odd-time signatures. Common, but not essential to define the movement, are the frequent use of keyboards, high-pitched vocals, concept lyrical themes and tracks of longer duration. Similar to progressive rock, progressive metal draws influences from other genres, such as jazz/fusion, ethnic, classical and symphonic music.

The Origins:
The heavy sound of some of the progressive rock bands of the 70's has been one of the building blocks on which progressive metal was raised. Progressive rock pioneers such as KING CRIMSON and RUSH have often been acclaimed as the main influences of progressive metal bands. The other major influence has been the NWOBHM (New Wave of British Heavy Metal) movement, and especially the twin-guitar arrangements of IRON MAIDEN, which have left their stamp on the early stages of the genre's development.

The Pioneers:
Often (and not unjustifiably) referred to as the "Big Three" of progressive metal, QUEENSRYCHE, FATES WARNING and DREAM THEATER have set the scene of what was to follow in the movement. The defining era for the genre was the second half of the 80's, among QUEENSRYCHE's "The Warning" (1984) and (most explicitly) "Rage for Order" (1986) along with FATES WARNING's "Awaken the Guardian" (1986) and "No Exit" (1988) releases. The former evolved on their pure American power metal beginnings, while the latter refined their technical/NWOBHM-influenced metal into more progressive forms. Although producing demos since the mid-80's as MAJESTY, DREAM THEATER's first release came in 1989 with "A Dream and Day Unite". The innovative use of keyboards along with influences from American heavy/power metal and progressive rock produced an original blend which was to be further refined in 1992's "Images and Words", which until this day remains next to "Progressive Metal" definition in any musical dictionary.

Among the pioneers of the genre, but enjoying less success and popularity, were PSYCHOTIC WALTZ and SIEGES EVEN. The former were essentially playing progressive metal as ASLAN in the mid-80's and developed a highly eclectic sound in the 90's. The latter's debut classifies them among the European prog-thrash pioneers but their music evolved to more melodic patterns and heavily influenced by RUSH in the early 90's.


Progressive metal is difficult to further divide in sub-genres but a number of tendencies or movements have been critical to the evolvement of its sound.

Traditional Progressive Metal
The style developed by the pioneers was fully established in the 1990s and includes a range of bands from the two sides of the Atlantic. Good examples in this movement are SAVATAGE, who expanded their heavy metal beginnings with operatic and progressive elements in late 80's/early 90's, while SHADOW GALLERY and SYMPHONY X emerged with a unique sound, each embodying a strong theatrical, symphonic and melodic approach. In Europe, SOUL CAGES continued the legacy of SIEGES EVEN in a more artistic path.

Power-Progressive Metal (American style)
The legacy of RIOT (the counterpart of NWOBHM sound in USA) and the early releases of QUEENSRYCHE and FATES WARNING heavily influenced a number of bands that were to develop a common sound towards the late 80's. Among the well-known representatives of what is called American Power Metal (e.g. VICIOUS RUMORS, HELSTAR), a small number of bands enriched their sound with progressive and epic elements. Probably, the most obvious examples of this movement are CRIMSON GLORY and HEIR APPARENT.

Power-Progressive Metal (European style)
This category includes a broad range of bands that could sound fairly dissimilar to each other but their music is significantly influenced by the European Power Metal (primarily German) bands of the 80's (e.g. HELLOWEEN, RAGE, RUNNING WILD). The earliest examples are probably BLIND GUARDIAN, ANGRA (although Brazilian, their sound is mainly European) and CONCEPTION. Slightly later, VANDEN PLAS, ROYAL HUNT, ELDRITCH and LABYRINTH gave rise to the popularity of the genre in Germany, Denmark and Italy respectively. The symphonic and neo-classical elements (made popular by YNGWIE MALMSTEEN) also found their way through power metal with bands like RHAPSODY OF FIRE and NIGHTWISH, whose style does not qualify as being progressive for many people. Nevertheless their music is quite demanding to play and contains many elements of serious classical composition and form.

Modern Progressive Metal
The second half of the 90's and the early 00's also saw newly formed bands expanding the boundaries of Traditional Progressive Metal via a number of ways: introducing electronic/spacey elements, investing heavily in lyricality and/or syncopation and further rhythmical experimentation. Also the idea of thematically conceptual albums has returned in accord with the practices of the Progressive Metal pioneers. Well-known examples in this category are AYREON, PAIN OF SALVATION and RIVERSIDE.


--- Definition by Thanos and the Progressive Metal Team, January 2012 ---

The Progressive Metal Team
Karl (bonnek)
Kevin (Necroncommander)
Alex (Rune2000)
Thanos (aapatsos)
Dave (Prog Sothoth)
Louis (rdtprog)


Progressive Metal Top Albums


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

4.29 | 2626 ratings
IMAGES AND WORDS
Dream Theater
4.29 | 2688 ratings
METROPOLIS PART 2 - SCENES FROM A MEMORY
Dream Theater
4.26 | 1535 ratings
SECOND LIFE SYNDROME
Riverside
4.23 | 1126 ratings
THE PERFECT ELEMENT - PART 1
Pain Of Salvation
4.22 | 1048 ratings
REMEDY LANE
Pain Of Salvation
4.21 | 958 ratings
OPERATION: MINDCRIME
Queensr che
4.21 | 1161 ratings
ANNO DOMINI HIGH DEFINITION
Riverside
4.20 | 1040 ratings
OUT OF MYSELF
Riverside
4.18 | 1072 ratings
THE HUMAN EQUATION
Ayreon
4.19 | 348 ratings
A PLEASANT SHADE OF GRAY
Fates Warning
4.13 | 1802 ratings
SIX DEGREES OF INNER TURBULENCE
Dream Theater
4.18 | 350 ratings
THE ART OF NAVIGATING BY THE STARS
Sieges Even
4.15 | 645 ratings
V - THE NEW MYTHOLOGY SUITE
Symphony X
4.11 | 1912 ratings
AWAKE
Dream Theater
4.18 | 280 ratings
THE FULLNESS OF TIME
Redemption
4.13 | 676 ratings
INTO THE ELECTRIC CASTLE
Ayreon
4.11 | 805 ratings
BE
Pain Of Salvation
4.14 | 369 ratings
PERFECT SYMMETRY
Fates Warning
4.12 | 518 ratings
THE DIVINE WINGS OF TRAGEDY
Symphony X
4.13 | 404 ratings
ROOM V
Shadow Gallery

Progressive Metal overlooked and obscure gems albums new


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

LA VOZ DE LOS BOSQUES
Viuda Negra
FROM WITHIN
Astra
CODA
Octopus
BEYOND THE STARS
Ivory Tower

Latest Progressive Metal Music Reviews


 Dance of December Souls by KATATONIA album cover Studio Album, 1993
3.63 | 26 ratings

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Dance of December Souls
Katatonia Progressive Metal

Review by Caleb9000

5 stars Have you ever found yourself infuriated with how much ignorance and misunderstanding an album that you adore receives. This is the case for me with the debut album of Katatonia, "Dance of December Souls". I have read many reviews of this album from Katatonia fans (fans of their modern sound) who trash this album for the most blatantly stupid reasons.

First of all, this is not death/doom at all, nor is it black/doom. There is no death metal in this album whatsoever and I don't see how people mindlessly dismiss it as typical extreme doom metal. This sounds literally nothing like anything that was released at the time, nor does it sound like anything released today. It is a mesmerizing blend of epic doom metal, gothic rock, symphonic rock, along with simplified romantic classical music. This isn't even an entirely metal album. Every song is absolutely gorgeous and there is plenty of variation, but it all keeps you in a depressing, dark-fantastical atmosphere that feels like the end of the world is at stake. This is the sound of the universe dying. It is complimented by the vocals, which are guttural cries of anguish that are full to the brim with passion.

"Gateways of Bereavment" is a soothing, brooding melodic doom track with sections that are reminiscent of music that would play during a high-school graduation, but in the best way possible, it's rather difficult to describe. "In Scilence Enshrined" is a more gothic track with a sad, gothic riff with beautiful synths to support it, "Without God" is a more evil- sounding track filled with anger, "Tomb of Insomnia" is closer to pure doom at first, before going into pure gothic rock, then turning into uplifting symphonic music. But the highlight is "Velvet Thorns", which has a very cold, mystical atmosphere that is both depressing and uplifting at the same time, somehow. Then it turns into a faster, power-metal track with melodic tremolo-picking, before going into a slower, ballad-oriented atmosphere, then into an extremely depressing blend of synths and soft-drums that sounds gothic, very romantic, but not rock in any way.

If this review seems incoherent, it is because this is very difficult music to describe. It doesn't really seem like it fits into any genre and many of its ideas seem to have come from out of the blue. All of it is mesmerizing and all of it is inventive and beautiful. But it is also hard to understand. It is a complex record that takes multiple listens to fully digest, but once fully understood, it is easily realized to be the single most brilliant thing done by any doom metal band ever. Definetly the best Katatonia album. Do not let the prejudices of their current fans mislead you into thinking that this is generic in any way.

 Carved In Stone by SHADOW GALLERY album cover Studio Album, 1995
3.79 | 207 ratings

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Carved In Stone
Shadow Gallery Progressive Metal

Review by martindavey87

3 stars 'Carved in Stone' is Shadow Gallery's second album, in which the performances as a whole seem a lot tighter and polished, but the quality of the compositions don't quite surpass that of their debut. However, fans will instantly notice the improvement in production, which sounds a lot richer and "cleaner", giving the music the punch it needs, and which would go on to become the bands somewhat "signature" sound.

However, despite the improvements in production, the album is still fairly average at best. While it may contain one of Shadow Gallery's best songs ('Crystalline Dreams' is just so damn catchy!), the rest of the music can seem fairly lackluster at times. The biggest letdown has to be 'Ghost Ship', which, similar to the group's debut, is the "epic" of the album (clocking in at a total of just over 20 minutes). Broken into seven smaller parts, most of the highlights last no longer than a minute or two before going into the next section, making the whole piece feel mostly disjointed.

As for the other tracks, we have 'Cliffhanger', 'Don't Ever Cry, Just Remember', 'Warcry' and the previously mentioned 'Crystalline Dream', as well as a couple of highlights from the 'Ghost Ship' piece. These are all good songs that definitely make this album worth getting, but honestly, most of them just pale in comparison to some of the bands later material.

As per usual with Shadow Gallery, the musicianship is spectacular and Mike Baker's vocals are truly a thing of beauty. Overall though, it's just a "good" album. Nothing to write home about, but a worthy addition to the collection if it can purchased cheap enough.

 Shadow Gallery by SHADOW GALLERY album cover Studio Album, 1992
3.41 | 161 ratings

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Shadow Gallery
Shadow Gallery Progressive Metal

Review by martindavey87

3 stars It's the early years of progressive metal, Fates Warning and Queensryche have been going from strength to strength over the years and Dream Theater have released their debut album, but are yet to unleash its follow-up 'Images and Words' upon the world, which would pretty much lay out the blueprint for every prog metal album to follow. So with that, Shadow Gallery's self-titled debut release came at a time when the genre was still establishing itself.

All the enduring qualities of the genre are here in their infancy, and they work well. Lengthy songs with complex structures and vast musical passages, Mike Baker's incredible vocals, which add so much depth and credibility to the band, their trademark vocal harmonies (which would be expanded upon and perfected on later releases) and some of the finest musicianship around. It's no wonder they would go on to become one of prog metals most beloved cult bands.

In fact, the biggest detriment is the "epic" of the album, 'The Queen of the City of Ice'. Perhaps the metal world just wasn't quite ready for these 20-minute odyssey's just yet, or perhaps it was a trait best left to the old-school Yes's and Genesis's of the music world, but either way, this song is BORING!!! It's slow, uninteresting, and features a spoken dialogue section which goes on for way too long. It's a massive blow to what would be an otherwise stellar debut, as 'Darktown', 'Mystified', 'Say Goodbye to the Morning', 'Questions at Hand' and 'The Dance of Fools', in fact, all the songs on this album are early classics that really makes this a solid release, but it's all hindered by that 17-minute track that completely brings everything to a standstill.

Still, don't be deterred by that, as otherwise this is a great album that helped lay the foundations for progressive metal by firmly distinguishing all the early traits the genre would adhere to.

 Voices In My Head by RIVERSIDE album cover Singles/EPs/Fan Club/Promo, 2005
3.60 | 201 ratings

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Voices In My Head
Riverside Progressive Metal

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

3 stars After RIVERSIDE released their debut album "Out Of Myself," they were met with unexpected critical acclaim and became the next best thing in the progressive rock world with their Steven Wilson / Porcupine Tree inspired take on emotional atmospheric rock with the extra oomf of metal elements popping in from time to time. The band set out to release what they called the "Reality Dream Trilogy" which would conclude with their second and third albums "Second Life Syndrome" and "Rapid Eye Movement." Tucked in between the first two album though the band decided to slip in a little EP called VOICES IN MY HEAD which is a collection of things to come as well as things that have been. While originally released in 2005 through Mystic Production, the band soon became singed to InsideOut Music where it has been released ever since.

VOICES IN MY HEAD contains five studio tracks and three live tracks from their "Out Of Myself" debut release. The studio tracks are mostly acoustically played with a few electronic and distorted guitar effects added in from time to time making this one a lot mellower of an experience than even the already chilled out debut. The tracks "Us" and "The Time I Was Daydreaming" would be reworked and partially reappear on "Rapid Eye Movement." On later releases there is also a video for the song "Acronym Love." Despite emerging in the middle of the "Reality Dream Trilogy" series, VOICES IN MY HEAD is not officially considered a part of this sequence but instead can merely be deemed a supplemental fan extra for those who can't get enough of this stuff.

Four of the tracks are in a mellow acoustic mode with clear inspiration from Porcupine Tree with progressive rock melodies and those tricky vocal counterpoints with the instruments. Mariusz Duda while sounding distinct in his own right nails the Steven Wilson stylistic approach as does his guitar combo effect with Piotr Grudzinski who at any given moment could easily slip any of these tracks on any Steven Wilson solo offering and no one would blink an eye. The track i find most interesting is the downtempo a la Massive Attack's "Mezzanine" album sound as heard on "Dna ts. Redum or F.Raf" which means who knows what but has a cool chilled interplay between the hypnotic groove, strong guitar riffs and Duda's rollercoaster ride of emotional vocalizations.

The live tracks show how easily RIVERSIDE connected with audiences and that their charisma wasn't limited to the studio. All those vocal harmonies and syncopated progginess were just as powerful in a live setting. The title track to "Out Of Myself" is by far the strongest track of this lot with that infamous stellar bass groove and strong melodic hooks that give RIVERSIDE their own sound if only for a while and should rightfully be called "Out Of Porcupine Tree" territory. Personally i find this music beautifully performed with a superior production job that allows every little swish and swirl to be heard in a crystal clear haze. My main gripe with VOICES IN MY HEAD is that it unfortunately prognosticates the fairly early burnout of creativity with the band and points to the day when they would slowly remove the heavier elements and fall completely within the derivative sounds of Steven Wilson, which is completely admirable in how well they accomplish that no small feat, but just not want i want to hear another band pulling off. One Porcupine Tree is fine, thank you. Overall a decent EP but i really only find their first two albums essential and then they lose my attention.

 Lost In Translation by THRESHOLD album cover Singles/EPs/Fan Club/Promo, 2017
5.00 | 5 ratings

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Lost In Translation
Threshold Progressive Metal

Review by Progrussia

5 stars This is apparently a lead-off song from the upcoming album, Legends of the Shires. And judging from it, after the more subdued and AOR-oriented For the Journey, we'll see a lot of the classic mid-period Threshold sound - epic hard rock with Pink Floydian breaks and melodic solos. And Threshold may also hold the distinction of having not only one, but two former vocalists returning to the mold (this time - Glynn Morgan). But despite the differences, they all suit this kind of music well. The 10-minute Lost in Translation may be the quintessential Threshold epic, if not for all the others. But despite the formulaic structure, it sure is catchy.
 Disconnected by FATES WARNING album cover Studio Album, 2000
4.08 | 321 ratings

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Disconnected
Fates Warning Progressive Metal

Review by Warthur
Prog Reviewer

4 stars As with A Pleasant Shade of Gray, Disconnected had Fates Warning working as a core creative trio of Alder, Matheos and Zonder, with Joey Vera and Kevin Moore working on a guest musician basis. Whilst some prefer the preceding album, I admit that I quite like this release.

On the surface, it comes across as one of those millennial "Oooh, the Internet is scary, will it truly offer us a closer connection to each other or will it all leave us more disconnected and isolated?" concepts that proliferated back in that slice of time after the Internet had become ubiquitous but before Facebook and other social media platforms had definitively answered the question. ("Yes, the Internet will connect you to other people and their innermost thoughts and feelings. You will quickly get sick of them.")

The genius of the album is that rather than approaching the subject like they have an axe to grind, or limiting themselves to that narrow concept, Fates Warning instead take it as a jumping-off point to explore all sorts of different types of interpersonal connection and disconnection, being wise enough to realise that actually, interpersonal connection tends to pan out differently for different people. Some songs, such as One, outright celebrate the emotional bonds between people - others note how they can be mentally draining and sometimes you *need* your alone time to recharge your batteries, whilst others are sung from the point of views struggling to reach out.

It's kind of like its Rorscharch blot of a cover. Some might see it as capturing two people seeking intimacy but being blocked from it by the very devices they have chosen to apply to themselves (or have been forced to by circumstance); I see it as a happy scene of two gasmask fetishists finding each other in a world where it's never been easier to find someone who shares your kinks.

Musically, we're dealing with a nicely matured version of the 1990s Fates Warning sound, the band entering the new millennium with the confidence to simply sound like themselves and not worrying about then-current trends in metal. (Then again, given the rise of nu-metal between Pleasant Shade and this, deciding not to go down that route may have been a no-brainer - I've got nothing against nu-metal, but I can think of few styles less compatible with Fates Warning's approach). The combination of all these features makes Disconnected, for me, the best Fates Warning album since No Exit.

 Falling Into Infinity by DREAM THEATER album cover Studio Album, 1997
3.33 | 1419 ratings

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Falling Into Infinity
Dream Theater Progressive Metal

Review by martindavey87

4 stars Most fans of Dream Theater will know what was going on behind the scenes during the making of this album. If you don't, I'll give you a moment to quickly research it.

Done?

Never mind, I'll explain it to you.

The bands label, Atco Records, had been bought out by the Warner Music Group. The fine people at Warner didn't know anything about Dream Theater, their music or their market, but had only one thing in mind, and that was hit singles. Musical integrity aside, Dream Theater were being forced to write "hits", and it was putting the band in a situation that almost tore them apart.

With all the industry nonsense getting in the way of this album, and with the change of sound giving it a stale taste of a band "selling out" to make a quick buck, 'Falling Into Infinity' often finds itself being overlooked. It may not be as musically technical as 'Images & Words', or as heavy as 'Awake', but this album still maintains a lot of Dream Theater's trademark sounds, but with a lighter tone that might appeal to fans of old progressive rock, or even hard rock fans in general. In this regard, it's actually a pretty unique release in the groups discography.

As always with this band, the musicianship is unmatched. Petrucci, Portnoy, LaBrie (who damaged his vocal chords prior to recording this album) and Myung are all masters of their respective instruments. Keyboardist Derek Sherinian, making his only studio album appearance, may have seemed like an odd choice to replace Kevin Moore, but his style, mixing elements of hard rock and jazz fusion, makes him a perfect fit. And his flamboyance and showmanship really shines through on some of the more upbeat songs.

There's hard rock tracks such as 'You Not Me' and 'Burning My Soul', pop singles like 'Take Away the Pain' and 'Hollow Years', and all-out prog gems like 'Peruvian Skies', 'New Millennium' and 'Lines in the Sand'. With such an eclectic mixture of songs, this really is an exceptional album, which shows a band that can adapt to any circumstance, and overcome any challenge.

 Fight For The Rock by SAVATAGE album cover Studio Album, 1986
2.25 | 55 ratings

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Fight For The Rock
Savatage Progressive Metal

Review by martindavey87

2 stars Aw no... What happened here?!

Savatage were doing so well after the release of 'Power of the Night', an album that gave them real credibility in the metal community, so how do they follow it up? With a hard rock album!

Granted, there were circumstances in play beyond the band's power that forced 'Fight for the Rock' into being, and in all fairness it's not as terrible as it's often made out to be by fans, but it certainly sticks out like a sore thumb among the groups discography. And my God, that cheesy as hell cover doesn't help matters!

Despite the AOR-inspired compositions, Criss Oliva's trademark riffing is still firmly in place, and brother Jon Oliva's vocals still soar as powerfully as before. But for the most part, the songs just don't have that same spark that previous releases did. The "metal " energy just isn't there. And while some of the songs are still fairly decent, there's just a lot of generic 80's cheese to sift through first.

Let's try to be optimistic for a moment though, and look for the positives. 'Fight for the Rock' itself is a pretty good song, and a rerecorded 'Out on the Streets' is a nice treat, though not really one anyone in particular asked for. 'The Edge of Midnight' is a solid Savatage track, if you can just tolerate its awful keyboard intro, and 'She's Only Rock and Roll' has some vintage Savatage riffing going on. But there's also some complete drivel such as 'Day After Day' and the fact that almost every song has some incredibly God-awful 80's synths going on. Can't win 'em all, I guess.

Thankfully this would remain nothing more than a small blip on Savatage's radar, as they would quickly go on to return to their original metal sound and release some of their finest music. Buy this one if you're a collector, shut up, accept it for what it is, and let's all just get on with our lives.

 The Dungeons Are Calling by SAVATAGE album cover Singles/EPs/Fan Club/Promo, 1985
3.21 | 28 ratings

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The Dungeons Are Calling
Savatage Progressive Metal

Review by martindavey87

2 stars After the release of their 1983 debut, Savatage were quick to follow up with this EP, 'The Dungeons Are Calling', that consists of songs that were originally recorded for 'Sirens', but left off due to time restraints.

Overall the selection of tracks is good, but these are pretty much leftovers from the bands previous release, and that's exactly what they sound like. 'City Beneath the Surface' and the title track are standout songs that prevents this EP from being a complete waste, but the rest of the songs are pretty average, especially when compared with Savatage's later material.

As with their first record, the production could be better, but it's raw, grittiness suits the music perfectly, giving it a distinctive 80's metal sound.

'Dungeons' has since been released with 'Sirens' on one CD, "how it was meant to be", according to Savatage mastermind Jon Oliva, which is probably just as well, because as a stand-alone release, I don't think there's much worth picking up here unless you're a dedicated member of the Savatage Legion.

 Power Of The Night by SAVATAGE album cover Studio Album, 1985
3.20 | 62 ratings

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Power Of The Night
Savatage Progressive Metal

Review by martindavey87

3 stars Savatage's second album, and third overall release, is an improvement upon its predecessors, with every aspect of 'Power of the Night' being a step up from what the band had done before. The songwriting was more confident, the musicianship was more mature, and the production was a lot more polished, giving the album that perfect 80's metal sound (and there's nothing wrong with 80's metal dammit!).

The most obvious highlight here is the title track, which not only stands on its own merits as one of the bands better songs before they went all "classical metal", but honestly, it's one of their finer songs period. And while other tracks such as 'Warriors', 'Hard for Love' and 'Unusual' may be standard 80's metal pomp and circumstance, they're still pretty kickass anthems that indicate the talent and potential within this band.

Guitarist Criss Oliva truly shines here, showing a mastery that should have put him on par with heroes such as Randy Rhoads and Eddie Van Halen, but whom sadly that legendary status had always eluded him. His flair for dramatic guitar playing is truly amazing to listen to, and fans of 80's metal (there's that term again), including subgenres such as power and thrash metal, will enjoy this shred masterclass.

If you're a Savatage fan (cheesily referred to as "Savafans", I believe), then 'Power of the Night' belongs in your collection. It's not the bands best work by far, but it's an early indication of the quality of music they were capable of writing, and would certainly establish them as a band worth keeping an eye on.

"Raise the first of the metal child".

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Progressive Metal bands/artists list

Bands/Artists Country
5R6 Ukraine
7 MONTHS United States
7DAYS Sweden
AAXSKFG Italy
ABANDONED STARS United Kingdom
ABERRANT VASCULAR Finland
ABODEAN SKYE United Kingdom
ABSOLACE United Arab Emirates
ABSTRAKT Poland
ABYDOS Germany
ACCOMPLICE United States
ACHING BEAUTY France
ACID RAIN Argentina
ACID RAIN Serbia
ACID RAIN Spain
ACUTE MIND Poland
AD ASTRA United States
ADAGIO France
ADRAMELCH Italy
AEBSENCE Hungary
AEOLUS Netherlands
AEON ZEN United Kingdom
AETHERIUS United States
AFFECTOR Multi-National
AFTER FOREVER Netherlands
AGE OF NEMESIS Hungary
AGHARTA Netherlands
AGNOSIA Greece
AGNOST DEI Russia
AGORA Mexico
AINA Netherlands
AKASHIC Brazil
AKRIBI Sweden
ALARION Netherlands
ALCHEMY ROOM Italy
ALCHEMY X United States
ALETHEIAN United States
ALHMA MATER Spain
ALITHEIA United States
ALKEMYST France
ALKIMYA France
ALL TOO HUMAN United States
ALOGIA Serbia
ALPHA GALATES Canada
ALPHA ZENTRADI United States
ALTERED SYMMETRY Colombia
ALTONA Turkey
ALTURA United States
ALY Mexico
AMARAN'S PLIGHT United States
AMARYLLIS Poland
AMASEFFER Israel
AMAZE KNIGHT Italy
AMERICAN HOLLOW United States
ANACHRONOS Chile
ANACRUSIS United States
ANASAZI France
ANAXES Brazil
ANCIENT CREATION United States
ANCIENT CURSE Germany
ANDRAGONIA Brazil
ANDROMEDA Sweden
ANGRA Brazil
ANGUISH Germany
ANIMA TEMPO Mexico
ANIMATIONS Poland
ANNON VIN Germany
ANOMALY Netherlands
ANOTHER LIFE Sweden
ANSATA Brazil
ANTALGIA Spain
ANTHRIEL Finland
ANTHROPIA France
ANUBIS GATE Denmark
ANURYZM United Arab Emirates
ANVISION Poland
FARAZ ANWAR Pakistan
APHELION Italy
APPEARANCE OF NOTHING Switzerland
ARABESQUE Netherlands
ARASHK Iran
ARCH / MATHEOS United States
JOHN ARCH United States
ARCHETYPE United States
ALEX ARGENTO Italy
ARITY United States
ARK Norway
ARKHE' Italy
ART AGAINST AGONY Germany
ART OF ILLUSION Poland
ART OF SIMPLICITY Greece
ARTENSION Multi-National
ARTIFICIAL LANGUAGE United States
ARTILECT United States
ASCENSION THEORY United States
ASHENT Italy
ASHLER Ecuador
ASMODEUS Czech Republic
ASPERA / ABOVE SYMMETRY Norway
ASSIGNMENT Germany
ASTARTE SYRIACA Italy
ASTRA Italy
ASTRAL DIVE Italy
ATAR─XIA Spain
ATHEM United States
ATLAS CONCEPT United States
ATMA Canada
ATMOSFEAR Germany
ATOMIC CLOCK United States
ATOMIXYNERGY Italy
AUDIO INSIGHT United States
AUDITORY IMAGERY United States
AURA Italy
THE AURORA PROJECT Netherlands
AUSPEX France
AUTOMATA Chile
AUTUMN HOUR United States
AVALON Germany
AVELION Italy
AMADEUS AWAD'S EON Lebanon
AWAITING DAWN Germany
AWAX France
AXIAL LEAD Romania
AXIOM United States
SITHU AYE United Kingdom
AYREON Netherlands
AZAZELLO Russia
AZTEC JADE United States
AZURE AGONY Italy
BAD SALAD Brazil
AGAH BAHARI Iran
BALANCE OF POWER United Kingdom
THE BARSTOOL PHILOSOPHERS Netherlands
DANIEL BAUTISTA Spain
BEHIND THE CURTAIN Denmark
BELLA & PUTANA Chile
IVAN BERTOLLA Australia
BETWEEN 11 Canada
BEYOND THE BRIDGE Germany
BEYOND THE LABYRINTH Belgium
BEYOND TWILIGHT Denmark
BLACK JESTER Italy
THE BLACK MAGES Japan
BLACK SYMPHONY United States
BLACKKOUT United States
BLANK FOREST Italy
BLIND GUARDIAN Germany
BLIND ILLUSION United States
BLUE GILLESPIE United Kingdom
BOOK OF REFLECTIONS Sweden
BOZZIO & SHEEHAN United States
BRAIN HEART INFUSION Italy
THE BRAINWASH MACHINE Colombia
BRANCH ARTERIAL Australia
BRAVE United States
BRAVE THE VERTIGO United States
BROADMOOR Denmark
BROKEN MELODY Italy
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