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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)
Mike (TCat)


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 | 2868 ratings
IMAGES AND WORDS
Dream Theater
4.29 | 2936 ratings
METROPOLIS PART 2 - SCENES FROM A MEMORY
Dream Theater
4.25 | 1703 ratings
SECOND LIFE SYNDROME
Riverside
4.23 | 1159 ratings
REMEDY LANE
Pain Of Salvation
4.23 | 1225 ratings
THE PERFECT ELEMENT - PART 1
Pain Of Salvation
4.23 | 1084 ratings
OPERATION: MINDCRIME
Queensr˙che
4.20 | 1286 ratings
ANNO DOMINI HIGH DEFINITION
Riverside
4.20 | 1168 ratings
OUT OF MYSELF
Riverside
4.19 | 1162 ratings
THE HUMAN EQUATION
Ayreon
4.20 | 385 ratings
THE ART OF NAVIGATING BY THE STARS
Sieges Even
4.12 | 2079 ratings
AWAKE
Dream Theater
4.12 | 1948 ratings
SIX DEGREES OF INNER TURBULENCE
Dream Theater
4.16 | 392 ratings
A PLEASANT SHADE OF GRAY
Fates Warning
4.14 | 751 ratings
INTO THE ELECTRIC CASTLE
Ayreon
4.13 | 720 ratings
V - THE NEW MYTHOLOGY SUITE
Symphony X
4.13 | 572 ratings
THE DIVINE WINGS OF TRAGEDY
Symphony X
4.16 | 300 ratings
THE FULLNESS OF TIME
Redemption
4.14 | 408 ratings
PERFECT SYMMETRY
Fates Warning
4.21 | 148 ratings
PARADOX
Royal Hunt
4.15 | 242 ratings
TEMPLE OF SHADOWS
Angra
4.11 | 550 ratings
ENTROPIA
Pain Of Salvation
4.12 | 375 ratings
PARALLELS
Fates Warning
4.15 | 239 ratings
INTO THE EVERFLOW
Psychotic Waltz
4.11 | 429 ratings
ROOM V
Shadow Gallery
4.09 | 864 ratings
BE
Pain Of Salvation
4.14 | 259 ratings
A SOCIAL GRACE
Psychotic Waltz
4.09 | 560 ratings
LIQUID TENSION EXPERIMENT 2
Liquid Tension Experiment
4.09 | 742 ratings
LOVE, FEAR AND THE TIME MACHINE
Riverside
4.16 | 183 ratings
MERCY FALLS
Seventh Wonder
4.13 | 229 ratings
STREETS - A ROCK OPERA
Savatage
4.22 | 107 ratings
THE TOWERS OF AVARICE
Zero Hour
4.11 | 298 ratings
SYMPATHETIC RESONANCE
Arch / Matheos
4.06 | 1025 ratings
SHRINE OF NEW GENERATION SLAVES
Riverside
4.13 | 173 ratings
THELI
Therion
4.09 | 304 ratings
THE BLACK HALO
Kamelot
4.09 | 248 ratings
THE GREAT ESCAPE
Seventh Wonder
4.08 | 293 ratings
CRITICAL MASS
Threshold
4.07 | 346 ratings
DISCONNECTED
Fates Warning
4.04 | 615 ratings
THE THEORY OF EVERYTHING
Ayreon
4.09 | 195 ratings
A GENTLEMAN'S HURRICANE
Mind's Eye
4.28 | 61 ratings
LAST FAIR DEAL GONE DOWN
Katatonia
4.06 | 272 ratings
NIGHTFALL IN MIDDLE-EARTH
Blind Guardian
4.08 | 206 ratings
HOLY LAND
Angra
4.20 | 81 ratings
BILO 3.0
Micic, David Maxim
4.08 | 200 ratings
THE ORIGINS OF RUIN
Redemption
4.20 | 79 ratings
GRITARÉ
Matraz
4.11 | 135 ratings
PACIFISTICUFFS
Diablo Swing Orchestra
4.16 | 92 ratings
THE DANCE OF LIGHT AND SHADE
Soul Doubt
4.08 | 170 ratings
VOVIN
Therion
4.06 | 209 ratings
THE TIDE, THE THIEF & RIVER'S END
Caligula's Horse
4.08 | 160 ratings
CELESTIAL ENTRANCE
Pagan's Mind
4.14 | 94 ratings
RITUAL
Shaman
4.03 | 302 ratings
TYRANNY
Shadow Gallery
4.06 | 180 ratings
IN SEARCH OF TRUTH
Evergrey
4.02 | 348 ratings
RAGE FOR ORDER
Queensr˙che
4.01 | 402 ratings
WASTELAND
Riverside
4.08 | 138 ratings
CALLING THE EARTH TO WITNESS
Darkwater
4.06 | 169 ratings
HARVEST MOON
Votum
4.03 | 247 ratings
BURN THE SUN
Ark
4.16 | 76 ratings
MENTAL TORMENTS
Spheric Universe Experience
4.06 | 155 ratings
A SENSE OF CHANGE
Sieges Even
4.49 | 28 ratings
SONGS FOR INSECTS
Thought Industry
3.99 | 438 ratings
MARCH OF PROGRESS
Threshold
4.09 | 108 ratings
DELUSIONS
To-Mera
4.05 | 151 ratings
TRANSCENDENCE
Crimson Glory
4.07 | 115 ratings
ABYDOS
Abydos
4.04 | 151 ratings
JEREMIAS - FORESHADOW OF FORGOTTEN REALMS
Circle of Illusion
4.19 | 59 ratings
JUST THE TWO OF US ME AND THEM
Mindflow
4.18 | 60 ratings
VIVA EMPTINESS
Katatonia
4.08 | 101 ratings
SECTION X
Beyond Twilight
3.99 | 280 ratings
HYPOTHETICAL
Threshold
4.14 | 69 ratings
MI KUBBESI
Nekropsi
4.01 | 194 ratings
SING-ALONG SONGS FOR THE DAMNED & DELIRIOUS
Diablo Swing Orchestra
4.01 | 183 ratings
GUTTER BALLET
Savatage
4.01 | 192 ratings
THE FALL OF HEARTS
Katatonia
4.02 | 170 ratings
EDGE OF THORNS
Savatage
3.99 | 274 ratings
AWAKEN THE GUARDIAN
Fates Warning
4.51 | 24 ratings
MODS CARVE THE PIG - ASSASSINS, TOADS AND GOD'S FLESH
Thought Industry
3.99 | 255 ratings
TALES OF THE SANDS
Myrath
3.96 | 549 ratings
THE ODYSSEY
Symphony X
4.01 | 169 ratings
BEYOND DAYLIGHT
Vanden Plas
4.03 | 128 ratings
UNDERWORLD
Adagio
3.98 | 238 ratings
LEGENDS OF THE SHIRES
Threshold
3.98 | 238 ratings
OCEANBORN
Nightwish
4.05 | 102 ratings
SANCTUS IGNIS
Adagio
4.25 | 40 ratings
TO DIMENSION LOGIC
Vauxdvihl
3.98 | 219 ratings
UTOPIA
Distorted Harmony
3.96 | 258 ratings
SUBSURFACE
Threshold
3.97 | 215 ratings
BLOOM
Caligula's Horse
4.05 | 89 ratings
WIZARD'S EYES
Inside The Sound
3.94 | 371 ratings
PROMISED LAND
Queensr˙che
3.97 | 180 ratings
PARAMOUNT
Sieges Even
4.17 | 47 ratings
I AM THE REVOLUTION
Voyager
3.95 | 273 ratings
THEORIES OF FLIGHT
Fates Warning
4.13 | 53 ratings
JOURNEY OF A ROUGH DIAMOND
Mind Key
4.72 | 15 ratings
INVENT THE UNIVERSE
Aye, Sithu
4.07 | 73 ratings
INTELLIGENT DESIGN
Shaolin Death Squad
3.98 | 143 ratings
FIVE DEADLY VENOMS
Shaolin Death Squad
4.09 | 63 ratings
5TH SEASON
Dreamscape
4.17 | 45 ratings
HUMAN (THE FACTS)
Fughu

Progressive Metal overlooked and obscure gems albums new


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

BEYOND THE STARS
Ivory Tower
THE GREAT DIVIDE
Ice Age
FROM WITHIN
Astra
THE DIVINE CONSPIRACY
Epica

Latest Progressive Metal Music Reviews


 Upon a Mess by SENTRYTURN album cover Studio Album, 2019
4.00 | 1 ratings

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Upon a Mess
Sentryturn Progressive Metal

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

— First review of this album —
4 stars Nah, this will be a world away from a mess, so far so good. SENTRYTURN is a relatively new German melodic prog metal crew hailing from Berlin, albeit they know each other for quite a long time. It won't take much and one will smell the special chemistry when diving into that fantastic album. Okay, it needed at least five years to assemble this, no matter what, it's really worth it. Dominic Gröger plays the bass in most cases, furthermore, splendid riffs all around, yes, they are having three guitarists in the ranks, gosh! In return there are not any official keyboards available ... eh, I'm inclined to hear some rare synthesizer, piano and cello contribution, the liner notes though are keeping a secret here.

What really strikes anyhow, Dominic's caring singing voice, perfectly matching. By the way, the gorgeous cover picture is provided by Belgian painter and graphic designer Pascal Janssen. I deliberately avoid to emphasize any particular song, as this homogeneously flows from start to end. Sometimes djent infected a little, a lush and organic sound is given, technically flawless, of course. Grooves, harmonies, melancholy, ear worm quality, all of this is given. Bravo! Fans of Leprous, Kingcrow, Earthside, Haken and similar should pay attention in any case.

 Brand New Start by BEYOND THE LABYRINTH album cover Singles/EPs/Fan Club/Promo, 2019
4.00 | 1 ratings

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Brand New Start
Beyond The Labyrinth Progressive Metal

Review by kev rowland
Special Collaborator Honorary Reviewer

— First review of this album —
4 stars One day I received a parcel of CDs from Freya, and I was looking through the wonderful packaging of the various True Music Guide releases and stopped when I got to this one. Here was a band I hadn't thought of in a while, yet I loved their early albums. A quick check of the personnel and I could see my old friend Geert Fieuw is still there, but he is the only one from the early days, although drummer Michel Lodder has been there since 2011's 'Chapter III ' Stories' and keyboard player Sjoerd Bruyneel was on the last album, 2017's 'The Art of Resilience', and they have been joined by bassist Wilfried Kiekens and new singer Filip Lemmens (ex-Double Diamond, ex Fireforce etc.).

Just four songs but the boys are very much back in town, and the 20 minutes just isn't long enough. Back in 2006 I said they reminded me of The Covenant, and that is still true but seeing as how few people will even know about that long- lost British band and their gorgeous album how about modern Uriah Heep as a starting point? A strong rhythm section provides the basis for the guitars and keyboards to drive along, and then on the top there are great vocals. This made me smile all the way through, as for me here is a band that had dropped off my radar yet are now back in spades. They are here to show they are back with a bang, and I defy any lover of melodic rock not to immediately join in singing on the opening title track. Beyond The Labyrinth are back, showing that Belgium has room for strong melodic progressive classic rock.

This has also been made available on Bandcamp, so why not search it out and give it a try? They are well-known in their own country, and have opened shows and played festivals with the likes of Y&T, Uriah Heep, Doro, Jon Oliva's Pain, Threshold, Riverside, Pagan's Mind (and more) as well as local mainstream heroes like De Kreuners & The Magical Flying Thunderbirds. It seems like the band has a new lease on life, and now is the time to discover them. Back in 2006 I ended my review by saying 'This is punchy radio friendly progressive classic rock that deserves to be heard by a much wider audience. It is a very accessible fun album and one that lovers of melodic rock would do well to investigate further - it really is a goody.' Only four songs this time, but the words still ring true. Belgium produces way more than just chocolate, discover Beyond The Labyrinth today.

 Torn by CLOUD THEORY album cover Singles/EPs/Fan Club/Promo, 2018
3.96 | 4 ratings

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Torn
Cloud Theory Progressive Metal

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

4 stars The world of progressive metal has really been taking off all over the world since Dream Theater came onto the scene 30 years ago but it's taken a while for some of less metal nations to join the party. Coming from Turkey is a fairly new band called CLOUD THEORY that was originally formed as Woltran in the coastal city of Izmir in 2008 but the band took a while to figure out exactly which musical direction to take.

This band is a quintet that consists of Taylan Tokmakoğlu (vocals), Mert Kuldemir (lead guitar, backing vocals), Gökmen Yoldaş (rhythm guitar), Onur Özkara (bass) and Burak Dünal (drums). So far CLOUD THEORY has only released this one EP titled TORN which contains a mere three tracks but despite being classified as an EP still runs over the 35 minute playing time.

Having settled on a progressive metal sound with some power metal elements, CLOUD THOERY has crafted a sound that is right out of the prog metal playbook with operatic vocals, a central concept wrapped up with progressive time signature changes that involve heavy metal guitar, bass and drums along with an atmospheric cloud cover. The power metal parts come in with the super fast power chords being slammed at high speeds and in many ways is a bit like Leprous in how despite the music's aggression remains chilled due to the synthesized ambience and the vocals of Taylan Tokmakoğlu.

Like any good prog metal release, TORN is a concept album. This one happens to be about Xhaarn Sword, Balance-bringers and their relationships with the Kingdom of Grand Realm. The lyrics are all in English and tailor made for an international audience and the EP is supposed to be a mere teaser of a much larger concept album to come. The EP is professionally produced and sounds like a bonafide band that has made it to the big leagues.

TORN is an excellent display of power metal infused prog metal as the musicians are all on top of their game and the three length compositions which each extend past 10 minutes are all filled with nice melodic hooks that are extended into labyrinthine prog workouts. In many ways the band sounds like a more Dream Theater influenced version of Symphony X however although the band is quite competent in its delivery, does fail to put an original stamp on the prog metal world so hopefully some creative juices will unleash themselves on any future releases.

3.5 but i'll round up for the excellent quality

 The Dance Of Light And Shade by SOUL DOUBT album cover Studio Album, 2017
4.16 | 92 ratings

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The Dance Of Light And Shade
Soul Doubt Progressive Metal

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

4 stars Sometimes bands form and then they crank out as much product as possible in hoping that something will catch on in the vast world of music available these days but once in a while a certain act will take the complete opposite approach and spend many many years crafting a sole epic album that they deem flawless in execution. Such is the case for the Italian band SOUL DOUBT that formed all the way back in 2001 in Forli. This band that straddles the line between progressive metal and progressive rock in many ways is a typical band with typical instrumentation. Early members began the project simply for fun before they decided to take it all serious in 2004.

Several years were spent crafting a unique blend of progressive rock and metal and playing live shows and in the process went through many personal changes before recording the self-produced EP "Winter's Tale" which was released in 2010. At 40 minutes and a concept EP that fused prog rock and metal together with myriad experimental touches, the band was displaying its epic approach at this early stage but it would take an additional seven years of hardcore practice and studio recording for the band to finally release its debut album THE DANCE OF LIGHT AND SHADE that was released independently in 2017.

For this long awaited debut album the members include Marco Ciancaglini (lead & backing vocals, acoustic & Classical guitars, keyboards, Irish folk and stupid whistles, composer, arranger & producer), Federico Benini (5-string & fretless basses, synth, programming & sound design, composer, arranger & producer), Marco Calbi (electric, acoustic & Classical guitars, dobro), Nicola Casamenti (lead guitar), Francesca Pretolani (piano, keyboards, synth), Ale D'Altri (drums) along with the extra help from Davide Lavia (keyboards, synthesizer) on a few tracks and the extra vocals from Emma Ronca and Jennifer Vargas. 
THE DANCE OF LIGHT AND SHADE is an expansive beast that consists of 20 tracks and clocks in just past the 107 minute mark making this lengthy album a true commitment to undertake however although it's not without its flaws (lengthiness being the top dog here), SOUL DOUBT truly excelled at crafting an epic slab of metal infused prog rock that runs the gamut from Pain of Salvation and Riverside influenced heavier sounds to more ethereal spaced out slabs of Pink Floyd, excessive uses of modern symphonic prog in the vein of Spock's Beard or various neo-prog bands along with lush pastoral folky sections as well as ambient and electronic atmospheric contributions. The album is impeccably produced and rather theatrical with operatic vocals and dramatic displays of fiery passion much like the symphonic Italian prog greats of the past.

Despite falling into the progressive metal camp, the album is so diverse that the lion's share of the musical real estate often falls in the mellow, spacey or chilled out zone however when the metal does occur it is fiery and bombastic and even displays extraordinarily virtuosic guitar solos but for much of this album i would say it sounds closest to bands like Riverside that exist on the prog metal lite side of the spectrum and when the symphonic mid-tempo sections kick in with the female singers adding their harmonies, THE DANCE OF LIGHT AND SHADE sounds like it has permanently parked into the world of neo-prog. While there are experimental touches such as the circus music feel on "Circus Oblivion," the album is for the most part on simmer with melodic streams cascading with atmospheric grandiosity and epic symphonic suffocation. A bit of Celtic folk music and pastoral touches from 70s Genesis also find their way into the mix.

While there's really no bad track on this one, the main hurdle for getting through this one is its ridiculously long playing time and while double albums aren't necessarily a bad thing, THE DANCE OF LIGHT AND SHADE unfortunately doesn't quite muster up enough diversity to offer up the masterpiece that many consider this to be, at least not in my book. The album in many ways plays like an early Pain of Salvation album for sure but not as dramatically in your face and instead relies on an excess of mellowed padding to keep things from getting too out of control. While i personally would've preferred a much more adventurous album that dabbled in as many styles as there are tracks, i cannot deny the top notch quality of this album and for those who love Riverside a lot more than i do, you may actually really, really love this album but for me it doesn't quite reach the top ranks of par excellence.

 Second Life Syndrome by RIVERSIDE album cover Studio Album, 2005
4.25 | 1703 ratings

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Second Life Syndrome
Riverside Progressive Metal

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Riverside is a band that I have mostly considered to reside somewhere in the safe heavy progressive territory that exists somewhere between Opeth, Porcupine Tree and Tool, taking the best of those three bands and adding their own twists here and there to create astounding, emotional and melodic metal, almost inhabiting that space before Opeth did. Even though they are quite successful, especially within progressive circles, they haven't quite reached the pinnacle inhabited by those three bands, but were just as influential creating this niche as they were. They would also inspire and influence many more Polish progressive metal acts over the following years.

The band found out how well they fit into this niche in 2005, when they surprised the progressive metal world with their 2nd album 'Second Life Syndrome'. Their music has matured quite nicely, even though they had only put out one album before this, and this album ended up sounding more like a mature band that had been around for a while. The album is full of mostly moderate tempo anthems, but that dark and expressive territory is explored to its most dynamic regions.

At first listen, the music might seem a little too much alike, especially where the tempo doesn't really change much, however, there is so much to discover with repeated listening. All of the things that might not be apparent at first really start to shine through. The band's talents draw you in and the way they experiment with the dynamics sometimes even bring the music to new heights that have also been approached and explored by those bands that are more famous. Just listen to the tour-de- force of emotional range on the 2 epic tracks; the title track and 'Dance With the Shadows'. Suddenly, all of the hesitancy and unsurety of the first album (which actually seems more polished and insincere) are surpassed as if the band was told to just follow their instincts and let loose with their ingenuity.

The only thing keeping this album from being perfect is that the tracks do have the same atmosphere, and Riverside does have a hard time breaking from that formula. More exploration or experimentation might help, but the band has also tried some experimentation and it doesn't always seem to work to their advantage. One place that it does is on this album with the instrumental 'Reality Dream III' which is probably the most explosive track on the album. Yes, it takes some time to build up its crescendo to an amazing climactic ending, but that is also what makes it more powerful.

Progressive fans will still find plenty to keep them happy here. The songs are structured somewhat similar to that of Tool in that the song structures are not in any way traditional, that there are plenty of rhythm, meter and melodic changes throughout the album to keep most of those fans happy. The music on this album is not that challenging either, but it still captures you and keeps your mind engaged with its somber yet dynamic atmospheres. This is an excellent album and is one that progressive metal lovers should be familiar with.

 Lotus Graveyard by TILLIAN album cover Studio Album, 2019
4.95 | 3 ratings

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Lotus Graveyard
Tillian Progressive Metal

Review by kev rowland
Special Collaborator Honorary Reviewer

5 stars I was working through the text of Volume 3 of TPU last year and came across an interview I had conducted with Opher Vishnia of Solstice Coil. It was the first European interview ever undertaken by the Israeli progressive rock band, and it made me wonder how they were doing these days. It didn't take long to track down Opher, who told me that although the band had some success, they were all now following different musical areas, although they had never officially broken up. We swapped stories, remarked on how many people within the progressive scene work in IT (Opher is in a start-up while I am a CIO), and he then asked me if I would be interested in hearing the debut album of the band he is now working with which is how I came across Tillian.

The project began when began in 2014 when singer-songwriter Leah Marcu started writing and composing a solo album around the concept of alchemical transformations of the self. Working with producer Erez Yohanan (Orphaned Land) she pulled together a group of musicians to record the album, before forming a band to play the music live, of which only her sister Alexandra Marcu (cello) appeared on the album. For the live environment they not only have Opher on guitar but also Yaron Gilad, showing this is a very heavy outfit indeed (check out the live performance of 'Black Holes' on YouTube). The band is a seven-piece, with both cello and keyboards, and are undoubtedly progressive metal in their approach, although they say they are influenced equally by Pain of Salvation and Kate Bush and that definitely comes through.

Although much of the music is Western in approach, with a very strong bottom end, there are also times when they also bring in local influences and if one listens to the album carefully one would be able to discern their origins as there are times when they bring in elements also familiar to fans of Orphaned Land. Complex and complicated this is a metal band who are incredibly accessible, with a frontwoman with a great range and presence, and an album that moves in many different ways without ever falling too far away from metal roots. I must confess to falling in love with this the first time I heard it and have enjoyed it more and more as I have got further into it. It isn't always in your face, there is plenty of contrast and diversity which provides the dynamics we crave, and the use of piano as an underlying lightness together with some funky Eighties keyboard sounds certainly provides lightness. 'The Beggar' is based around piano and cello supporting sublime vocals, but there are also plenty of times within the album when the guys shred and all bets are off.

If this band was based in Europe or America, I know everyone would be raving about them, but as it is they are in Israel, so it is up to progheads and metalheads to search them out. Exciting and vibrant, here is a band who could make a very serious name for themselves both within the prog scene and beyond.

 Kawn by KAWN album cover Studio Album, 2019
2.18 | 3 ratings

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Kawn
Kawn Progressive Metal

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

2 stars Ever since Myrath emerged from Tunisia to rock the metal world with a unique hybrid of Arabic ethnic sounds with the more bombastic adrenaline energy of metal, only a few bands have dared follow in their footsteps despite the Arabic speaking world of the Middle East and North Africa encompassing a huge population but it seems that many who dare to embrace the modern metal approach prefer to release albums anonymously in digital form only since in some cases it is punishable by death. Geez. Get a grip over there!

Although the band name may make you yawn, there's a band named KAWN that has emerged from Casablanca, Morocco and consists of Said El Harrami (vocals), Salahiddine Kida (drums), Tarik Heddoun (guitar), Med Amine Benabdelmoumen (keyboards) and Amine Moussaoui (bass) and just because i know you're dying to know, in Arabic the band's name is كون ! This group of headbangers was formed in 2015 but only released the self-titled debut in 2019 with nine tracks that squeak past the 58 minute mark. Actually metal has become quite popular in Morocco with many bands like Torpedo, Suicide Machine, Alcantagram, Into The Evernight, Chemical Bliss and Mean Street taking North Africa to the mosh pit.

What can i say about KAWN's epic debut? Well, is this really from the Arab world? Wow. This band has really learned how to capture the essence of melodic progressive metal in the vein of bands like Leprous, Riverside, Shadow Gallery and Sieges Even just to name a few. This band basically employs melodic progressive compositions that utilize operatic vocals, heavily symphonic accompaniments with guitar, bass and drums that support the main melody. The keyboards are always in the forefront always in full atmospheric mode. There are a few local folk elements but nothing as hardcore as Myrath. In fact KAWN opts to adopt the more recent developments of Myrath with catchier melodies that are aimed for crossover opportunities.

The production is crystal clear and the elements of music work quite well but the problem with KAWN is that at this point this band lacks any sort of originality and this really sounds like some generic prog metal band from about 10 years ago. Having done its homework quite well, these musicians who clearly have the potential to imitate the greats of the genre seem to rely too much on hero worship and in the process forget to add their own stamp. This is not a bad album per se but there's really nothing that jumps out and grabs ya either. This is a very by the numbers sort of prog metal album based in the symphonic camp that just sort of passes you by like a nice breeze and then is completely forgettable.

With all those beautiful rhythms and ethnic music that Morocco is famous for i'd expect a few more influences form the culture around but KAWN seems to want to escape its homeland totally and create some substandard Euro-vision album instead. Nobody told these guys that this party ended a while ago but hopefully they'll figure that out and add some creative juices to the next album assuming they are still around to make one. Decent inoffensive music and perfect for background static if you're engaged in other activities but lacking anything remotely original that gives it a bite. Melodies are mediocre at best and instrumental delivery is equivalent. The album is too long and there's not even one track that makes me want to revisit this album. Unfortunately KAWN makes me yawn like a nap on the lawn and i'll sleep it all off until the break of the dawn.

 Awaken by EYALA album cover Studio Album, 2019
4.00 | 1 ratings

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Awaken
Eyala Progressive Metal

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

— First review of this album —
4 stars In their debut album, the band Eyala proves itself a worthy contender is offering some of the best heavy progressive metal for 2019. In a year of some excellent progressive releases, most of them being somewhat challenging to the casual listener, Eyala quietly released an album that mixes some very heavy passages of thick guitar, playful and exciting synths, excellent vocals and some nice and strategically placed jazz passages to create a more accessible, yet extremely interesting release in their album 'Awaken'.

After taking several years to solidify their band line up, founders Edgar Butanda (keyboards) and Pavel Vanegas (bass) started working together in 2012. They soon recruited Roberto Cervantes (drums and Juan Prado (guitars) to make up their instrumental line-up. Fast forward to 2017 which is when they found their vocalist in Erick Moral, and the intriguing and worthy instrumentals met their match when the vocals were recorded and added to the music. Everything was finalized and the debut was finally released in April of 2019.

What they ended up with is a nice, sometimes complex, and always well-balanced album that incorporates dynamics and variety throughout. It is most surprising how both the keyboards and guitars in the tracks are both very strong and solid, one never really out does the other, but both bring a level of perfection to this music. Yes, there is some growth that can be done here, but this band shows an extensive amount of promise and each track here has something to offer to everyone.

The album starts off appropriately enough with the solid and heavy guitar on 'Eyala Mount', a track that will definitely capture your attention from the outset. The structure of the songs is anything but traditional as the verse-chorus structure is not prevalent making the music sound quite original. Right away, a listener might argue that this sound more like Progressive Metal, however, as the song continues, you will notice the perfect balance of keyboards that exist in the music. 'Sentiment of Praxis' is a perfect example of the amount of talent this band has as the music flows easily from complex metal sounds, almost, but not quite, reaching extreme status, but with clean vocals, only to quickly turn to and more loyally follow a more Heavy Prog style with swirling and cascading keyboard riffs and synth solos, and suddenly falling feet first into some jazz stylings, and in the meantime everything just sounds like it all fits together perfectly.

The vocals are decent enough, and Erick has a great range, but don't always seem as tight as they could, sometimes wandering a bit off key, but not enough to ruin the enjoyment of the album. Overall, though, the music could use a bit more tightening up, but for a debut album, this is definitely an impressive effort. There are plenty of excellent sounding solos through the album also, like the impressive guitar passage in 'Fiction' from Prado that cascades down like a million stars burying you under their mass while the drumming from Cervantes create complex patterns that make the complex meters flow along. Butanda also gets many chances to shine with his keys creating masterful solos and riffs as in the tracks 'Eyala Mount' and 'Reflection' but also matching the guitar as they trade off or share solos in 'In Glorious Ignorance', and even taking time to create a nice pensive piano solo that morphs into an orchestral effect in the second half of that track.

The two things that I would like to hear the band improve on is in tightening things up a bit especially between the vocals and instruments, and also emphasizing the bass a bit more as it never really seems to stand out on this album that otherwise gives every other player moments to shine and stand out. Obviously, the band is creative enough to definitely be in the running for 5 star efforts in the future, and they definitely prove that they are a band to follow and watch for. Now that the band is complete, this should give them opportunity to create a cohesive feel among them that will rival bands that have been around for years. This is a strong 4-star effort. Let's see how they use their talents to progress even further in the future by experimenting a little more with their sound. As for now, they come very close to making one of the most original sounding and dynamic Progressive Metal albums in 2019.

 Octavarium by DREAM THEATER album cover Studio Album, 2005
3.66 | 1996 ratings

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Octavarium
Dream Theater Progressive Metal

Review by Kempokid
Collaborator Prog Metal Team

2 stars Dream Theater are a band that are in a constant state of inconsistency, the changes in sound that they try often falling flat, and for every landmark album in their discography, you'll usually find a dud not too far ahead of behind. Unfortunately, they also have a similar problems with the consistency of songs within many of their albums, although often to a lesser extent. With this said, I feel as if Octavarium is the album to epitomise these issues, despite having some of the band's best work within it. The issue of an extremely clinical, emotionless feel within every element of it further exacerbates these issues by frequently derailing concepts through the band's infamous tendency to drag out a solo to its absolute limit, all without adding anything interesting to it, ultimately making this album a very mixed listening experience.

As seems to be quite common whenever I begin going into detail about why I don't like an album in my opening paragraph, the opening song here manages to avoid the majority of the issues I've just mentioned, and easily be one of the album's greatest tracks. As is standard with any part of the 12 step suite, The Root Of All Evil goes for a far more oppressive, dark tone to most of the band's work, complete with an extremely solid riff and a powerful feeling of helplessness. I love how the song is able to nicely blend aspects of The Glass Prison and This Dying Soul without taking away from its own individual identity, creating an extremely good song that shows that Dream Theater can definitely make songs full of power and emotion when they put their minds to it, even if the guitar solo wasn't really needed here, kinda doesn't properly fit in and takes away from the tone of the song, but at least it's reasonable in length, so it doesn't really bother me. The next worthwhile song to any degree is These Walls, although it's not very good regardless. This song is just straight up goofy in basically all the worst ways, with the overdramatic vocal performance by James being especially hard to stomach, especially since the vocal melody wouldn't sound good even with a more subdued vocalist. The instrumentation in general manages to be quite good however, nothing too flashy or long winded, which genuinely benefits the track immensely, as it doesn't keep trying to distract you from the core elements of the song, but genuinely works as a nice complement to the core of the song, shame that that aspect of it isn't anything special.

Panic Attack is the other song that I feel genuinely has some merit to it, outside the obvious song, as it attempts to establish a compellingly claustrophobic, frantic atmosphere that goes all out on the heavier side of the band that occasionally rears its head. First things first, that intro is absolutely amazing, for once, you can actually briefly hear the bass, before it's buried under the guitar. While the transition to the chorus is a bit forced, it overall works quite well and perpetuates the desperation that the track revels in. The constant changing of the vocal melody also works extremely well here, providing some freshness throughout, even if the chorus is frankly tedious after a single listen. Where this song fails is having Petrucci decide that he ought to play another solo which consists of more or less nothing but shredding over some downright awful riffs, and then once it seems as if the song's about to jump back into the main meat of the song, it just carries on, twice. This completely derails the tension that was building up within the song, substituting It with pointless wankery that goes on far too long and contributes nothing.

The second track is really what perfectly demonstrates the flaws in this album, because my god, The Answer Lies Within, just like most Dream Theater ballads, just straight up sucks, same with I Walk Beside You. These both are absolutely nothing other than saccharine drivel that are painful to listen to at the best of times, and if you're in the wrong mood, then these become downright frustrating to listen to. While Never Enough isn't too bad, it's hard to ignore the extreme influence from Muse's Stockholm Syndrome, especially the main riff. Now, I know that things like the chorus are different from it, but frankly, this is one of the weakest in the album, and definitely doesn't help a song that was already bordering on mediocre. Sacrificed Sons is able to be described with the sentence 'Hey, remember when DT turned a heartfelt ballad about 9/11 into an absolute wankfest?'. In actuality, this is a case where I really enjoy a ballad by Dream Theater, the other prominent example being Space Dye Vest. What I like about it is how it sounds almost apocalyptic in nature, but then with sweeping orchestral instrumentation being able to create moments of beauty within, making for a truly haunting piece. And then the instrumentation took centre stage and everything was ruined.

Fortunately, the album stops itself for being more or less entirely comprised of heavily flawed tracks (Root of All Evil excepted) with the 20 minute title track that definitely redeems the album by quite a bit, as this is what I consider to be far and away the band's best song, with each section of it perfectly fitting in with one another and escalating in a way that keeps raising the tension and intensity to the point where It impresses me so much even after listening to it countless times. The first 2 sections perfectly set the song up, with a long period of ambience that escalates into an explosion of one of the most grandiose moments in music I've heard, all before settling down to set the stage with an all around mysterious tone. This breaks into a more conventional part where the highlight is easily, once again, the bass (almost as if the bass should be a more integral part to Dream Theater overall), which is groovy and just really fun on the whole, along with establishing the gradual progression of the song through holding to a very steady beat with some more bite to it, compared to the first section, which utilised acoustic guitars and flutes. It's the third section where things begin to really pick up however, now with a more chaotic sound to it as an incredibly compelling performance from Labrie steals the show as he seems to be crying out in desperation while spouting utter nonsense in the form of various music references, definitely making for an extremely fun, interesting listen. This chaos becomes far more grounded in the 4th section, as the intensity rises, background vocals subtly counting up as a spoken word part is building up over the crescendos of each and every part of the band until it absolutely explodes with some screaming, before settling back down into a more melodic, beautiful way to end what is the greatest song Dream Theater have written.

While the album does extremely well to ensure that the listener will end the album thinking fondly, due to how amazing this final track is, it still doesn't change the fact that 6 tracks on this 8 track album are heavily flawed or just outright bad. Almost every song could have benefitted from either just not existing in the case of the couple of egregiously bad ballads, or not letting the sterile, bland guitar solos take up any time at all, because they almost all take away from the songs, rather than adding anything meaningful, since they often just devolve into shredding. What could have been something great ended up being marred by just how many aspects of it were as botched as they were here, which is a shame, considering how good the good stuff is.

Best tracks: The Root of All Evil, Octavarium

Weakest tracks: The Answer Lies Within, I Walk Beside You, Never Enough, Sacrificed Sons

Verdict: A heavily flawed album with traits of pure greatness found throughout. If the band were just able to comprehend restraint to any degree, this could have easily been amazing, since it's constantly this unbearable need to stretch out almost every song out with bland instrumentation that completely kills the album in a lot of respects, to the point where half of it being good just doesn't excuse how poorly composed most of this is. This is an album with a couple of great songs on it, but it's far from a good album.

 Upstairs by AZAZELLO album cover Studio Album, 2001
4.38 | 17 ratings

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Upstairs
Azazello Progressive Metal

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

5 stars Russia is the world's largest nation at least in terms of surface area which means that there are a lot of places outside the largest cities of Moscow and St. Petersburg. The Eastern part of the country is remote and hosts only a handful of majorly populated areas and i can only imagine how remote things were before the age of the internet. So what do you do to entertain yourself? Well, it seems like you can booze it up with vodka to pass your day away or you can turn your attention to something more positive like making music and with nothing else to do you can craft some of the most amazingly cool music that sounds like nobody else! That's exactly what the band AZAZELLO did having formed in the small city of Tynda which sits near the Chinese border between Lake Baikal and the eastern port of Vladivostok. Known as a crossroads of two major train routes, it is not known for much else and one of those destinations where the travel agents tell you not to waste your time visiting.

This band originally formed in 1994 under the moniker М.О.Р.Г. and released a demo the same year before changing its name to AZAZELLO which is a demonic character from the novel "The Master an Margarita" by the Russian writer Mikhail Bulgakov. Led by singer / guitarist Alexander Kulak, AZAZELLO is one of those progressive metal bands that really knows how to deliver a satisfying album. I'm not sure of the discography exactly as different databases list different albums that precede this one which is titled UPSTAIRS and secondarily Ступени наверх in Russian. Some sources say this is the second album and some say the fourth but whatever the case, it is agreed upon that UPSTAIRS is where the band really hits its stride and found its own unique sound that adopts the intricacies and complexities of progressive rock that play well with the band's mastery of heavy metal.

This is a well crafted album that fuses symphonic prog elements with highly technical thrash metal but manages to keep things really melodic. The intro simply titled "Opening" provides a lush acoustic guitar instrumental to coax the listener into the classical melodies before the title track unleashes the metal. Sounding like a mix of Dream Theater with more adventurous guitar riffs that remind me of Watchtower's guitar gymnastics, AZAZELLO somehow keeps all of the virtuosity on the leash and keeps the melodic flow in tact although there are shifts in tempo, dynamic shifts and different jammy interludes. While only three of the tracks are vocal oriented, they are the more grounding that meaning they provide the melodic riffs and backbone of the album while the instrumental parts are allowed to sail away into the adventure zone however the melody is king on this one as twin guitar attacks and proggy keyboard runs allow at least one instrument to keep the rhythmic drive in tact as well.

In addition to the western influences AZAZELLO adds some of the ethnic Russian folk sounds which give this album an exotic feel which is amplified by the lyrics sung in Russian despite the titles of the tracks appearing in English on the album itself. Kulak delivers some extremely proggy electric guitar runs but his acoustic guitar playing is as lush and pastoral as a neo-prog band whereas the rhythmic bombast of Demitry Bakay on bass and Idris Faridonov on drums are the main providers of jittery detours of tempo deviations and Dream Theater style workouts. Vitos Afanasiev not only provides some excellent keyboard workouts that are in league with the greats like Keith Emerson but he occasionally plays flute, harp and vibraphones to give the album an extra timbral richness during the softer parts and occasionally the band bursts into some jazzier moments but generally speaking this album has virtuosic workouts much in the vein of Dream Theater's "Images And Words" although because of the melodies and folk influences sounds nothing like that album.

UPSTAIRS is one of those albums that's too good to be true. It sports some amazingly beautiful cover art with a set of tracks to match its magnanimous nature. The music is based on classical music so remains extremely melodic but yet has some of the most angular jagged workouts that gives that amazingly satisfying prog gluttony but it's never overdone and when it feels like they may stray too far, the band reverts back to a melodic prog / metal band. The softer elements are perfectly balanced with the heavier ones and the sense of familiarity is perfect balanced with the exotic sounds of the Far East. The musicianship is outstanding and even Kulak's vocals are perfect for the job. Add to that there are enough art rock elements to keep things interesting throughout. This is an amazing gem that i can't give less than 5 stars!

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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
ADHARA France
ADRAMELCH Italy
AEBSENCE Hungary
AEOLUS Netherlands
AEON ZEN United Kingdom
AEONS United Kingdom
AETHERIUS United States
AFASIA Italy
AFFECTOR Multi-National
AFTER FOREVER Netherlands
AGE OF NEMESIS Hungary
AGHARTA Netherlands
AGNESIS Australia
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
ALEVAS Japan
REESE ALEXANDER United States
ALHENA Poland
ALHMA MATER Spain
ALITHEIA United States
ALKEMYST France
ALKIMYA France
ALL THINGS FALLEN Sweden
ALL TOO HUMAN United States
ALOGIA Serbia
ALPHA GALATES Canada
ALPHA ZENTRADI United States
ALTERED SYMMETRY Colombia
ALTESIA France
ALTONA Turkey
ALTURA United States
ALY Mexico
AMARAN'S PLIGHT United States
AMARYLLIS Poland
AMASEFFER Israel
AMAZE KNIGHT Italy
AMERICAN HOLLOW United States
ANABASIS United States
ANACHRONOS Chile
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ANASAZI France
ANAXES Brazil
ANCIENT CREATION United States
ANCIENT CURSE Germany
JONATHAN ANDERSON United States
ANDRAGONIA Brazil
ANDROMEDA Sweden
ANGRA Brazil
ANGUISH Germany
ANIMA TEMPO Mexico
ANIMATIONS Poland
ANNON VIN Germany
ANOMALY Netherlands
ANOTHER LIFE Sweden
ANOTHER WORLD Switzerland
ANSATA Brazil
ANTALGIA Spain
ANTHRIEL Finland
ANTHROPIA France
ANTI CLOCK TOWER Germany
ANUBIS GATE Denmark
ANURYZM United Arab Emirates
ANVIL THERAPY Italy
ANVISION Poland
FARAZ ANWAR Pakistan
APHELION Italy
APPEARANCE OF NOTHING Switzerland
ARABESQUE Netherlands
ARASHK Iran
ARCH / MATHEOS United States
ARCH ECHO United States
JOHN ARCH United States
ARCHETYPE United States
ALEX ARGENTO Italy
ARITY United States
ARK Norway
ARKENTYPE Norway
ARKHE' Italy
ART AGAINST AGONY Germany
ART OF ILLUSION Poland
ART OF SIMPLICITY Greece
ARTENSION Multi-National
ARTIFICIAL LANGUAGE United States
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ARTIKON Bulgaria
ARTILECT United States
ASCENSION THEORY United States
ASHENT Italy
ASHLER Ecuador
ASMODEUS Czech Republic
ASPERA / ABOVE SYMMETRY Norway
ASPIC El Salvador
ASSIGNMENT Germany
ASTARTE SYRIACA Italy
ASTRA Italy
ASTRAL DIVE Italy
AT NIGHT I FLY Hungary
ATARÄXIA 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
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AVALON Germany
AVANDRA Puerto Rico
AVELION Italy
AVIATIONS United States
AMADEUS AWAD'S EON Lebanon
AWAITING DAWN Germany
AWAX France
AXIAL LEAD Romania
AXIOM United States
AXIOS 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
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BEYOND THE LABYRINTH Belgium
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THE BIPOLAR DISORDER PROJECT Romania
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THE BLACK MAGES Japan
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BLACKKOUT United States
BLANK FOREST Italy
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BOOK OF REFLECTIONS Sweden
LA BOTTEGA DEL TEMPO A VAPORE Italy
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THE BRAINWASH MACHINE Colombia
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CMX Finland
COEN Singapore
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COMMUNIC Norway
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COSMIC RAIN Switzerland
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THE CRITICAL FAILURE Italy
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CUEROCK Germany
HITTAR CUESTA Ecuador
CYDEMIND Canada
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THE DAMNATION PROJECT Greece
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ALEK DARSON Serbia
DAY SIX Netherlands
DAYS OF ASHES Sweden
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DEELY Poland
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DIMENSION34 Sweden
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THE DUST CONNECTION Netherlands
DVNE United Kingdom
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EARLY CROSS Japan
THE EARTH AND I United States
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EARTH7 United States
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ECHOES Venezuela
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EDAIN Czech Republic
EDGEND Israel
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EGO EIMI Russia
ELDRITCH Italy
THE ELEMENT United States
ELEVEN STRINGS Brazil
ELEVENTH OCEAN Argentina
ELVARON France
EMERALD EDGE Germany
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EMPHASIS Estonia
EMPTY TREMOR Italy
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EMPYRIA Canada
EMPYRIOS Italy
END AMEN Germany
AN ENDLESS SPORADIC United States
ENDTIME ODYSSEY Belgium
ENIAC REQUIEM United States
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ENNEADE France
ENOCHIAN THEORY United Kingdom
ENTER TWILIGHT Australia
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EQUAL VECTOR Greece
EQUINOX Serbia
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ETERNITY X United States
ETHEREAL Portugal
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ETOX Germany
ETRANGE France
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THE EVENFALL Argentina
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EVERWOOD Hungary
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EYALA Mexico
FALSE CODA Greece
FAR FROM REALITY Canada
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FARWATCH United States
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FEATHER MOUNTAIN Denmark
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GIANLUCA FERRO Italy
FIFTH DENSITY United States
THE FIFTH SEASON Italy
FIG LEAF Norway
FIRMAMENT United States
FLAMETAL United States
FLAMING ROW Germany
FOR ALL WE KNOW Multi-National
FOREVER IN TRANSIT United States
THE FORGOTTEN PRISONERS Italy
FORGOTTEN TALES Canada
FORSTENET Denmark
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FRAGILE VASTNESS Greece
FRAGMENT Croatia
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FRAMEPICTURES Portugal
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FROM THE DUST RETURNED Italy
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FUGHU Argentina
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FURYU Italy
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JACOPO GALLI Italy
GARDEN United Kingdom
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GB ARTS Germany
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GENIUS Italy
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GLASS MIND Mexico
GOD Israel
GOLGATHA United States
FARZAD GOLPAYEGANI Iran
GONE Germany
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