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ENTANGLEDLeitmotiv |
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GUET-APENSAnge |
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Review by
CCVP
Prog Reviewer
Nice standalone album, average album in perspectiveThese recent years, specially the last couple of them, (2008 and 2009) have been special to progressive rock as it comes to impressive new releases of new material from both young and old bands. I have, however, most of times enjoyed better the new releases from old bands, such as the new Cynic album, the new Delirium album, the new Maudlin of the Well album, the new Ayreon album, the new Meshuggah album and so on, mainly because they allow be to look (or listen) in perspective what they have done in the past and what they did in the recent years and enjoy better their past or recent album(s). With Transatlantic it was no different.
Upon listening repeatedly to their newest album, The Whirlwind, and their first two albums, A Bridge Across Forever and this one (SMPTe), I was able to put all of their works in perspective and, therefore, was able to enjoy more the band's two most recent studio albums wile their debut left me more and more cold: when compared to their other releases, SMPTe sounds less like a teamwork than Transatlantic's other studio albums. Some reviewers went as far as saying that this is simply a Spock's Beard album or a solo Neal Morse effort with other great and talented musicians but, despite the obviousness of Neal Morse's strong influence in the production of this album, that did made it sound somewhat close to some of Neal's work outside Transatlantic, the influence and the work of the other band members can be noticed throughout the album many times. So it is clear (or it seems so) that such result was mainly caused due to the lack of interaction in the daily work in the studio they had with one another until recording SMPTe, because, as far as I know, they had never worked together before Transatlantic's debut album.
Regarding the songs, musicianship and related features
As the title of my review and what I wrote before can show, SMPTe is one of those albums that shouldn't (or couldn't) have anything after its release. That is because, if the band keep on working, improving itself and making its music more refined, as has happened with Transatlantic, the flaws of such album become terribly apparent in the same pace as the qualities of the refined album become more and more appealing. So, when considered by itself, SMPTe is a very nice album, but when put in perspective and compared with other albums by the same band, it becomes obvious the drastic improvement they have done over the years.
The Highlights go to: All of the above and We all need some Light.
Grade and Final Thoughts
All in all, STPMe is a very interesting album. It is fun to listen and have some impressive music inside it, but due to its roughness and crudeness, the 3 stars grade seem to fit the album perfectly.
Review by Ovidiu
Man!An album that deserves all the congratulations in the world,because it's someting really
of high class!JONAS RHEINGOLD is a monster bass player,a sensational musician and
everybody knows the fact that he is an important wheel in the luxurious prog vehicle called THE
FLOWER KINGS!Some peolpe,says that TFK is the best prog rock band in the world...The
statement is true somehow,but definitelly KARMAKANIC is the little brother of TFK!This album
is simply sensational under all aspects,it's almost a revelation and has nothing in minus
compared to any of the best TFK albums!DIXIT!Musically speaking it's brlliant and the level of
musicianship and technicity of all the musicians in the band is fabulous!A wonderful and
powerful sound,a crystal clear production with a special mention for the bass sound-
absolutelly monstruous!Technically speaking,the album kills and there are some moments of
pure magic here,even the most pretentious prog rock fan will be plenty satisfied,because the
guys are stellar in their performances!Goran Edman,the formely YNGWIE MALMSTEEN
vocalist is doing an excellent job here,and I feel that the prog register is more then excellent
for him,giving the right space for expression for this so talented musician too!More then one
hour of pure magical wizzardry and such a componistic diversity,fantastic instrumental songs
and long instrumental parts in the middle of almost all the songs,proving that way thet in
prog,is essential to be well skilled and competent to any instrument,that's what makes the
album is so catchy and attractive from the first to the last accord!It's no wonder or surprise that
after this marvelous album -WHEEL OF LIFE-KARMAKANIC have signed with the monster
prog label INSIDE OUT!As I said,not even a weak song or boring moments-it's only high
quality prog rock made in Sweden in the best Scandinavian tradition and in the style of THE
FLOWER KIKGS,KAIPA or THE TANGENT,PORCUPINE TREE..and with serious influeneces
from icons of prog old fashin like YES,GENTLE GIANT,GENESIS among others,but with a
more modern touch!RHEINGOLD is pure monster bass player and a fantastic composer.4.5
STARS for an album full of wonderful moments of magical prog rock.TOP CLASS!
Review by
sinkadotentree
Prog Reviewer
This is an odd duck to say the least.For those into orchestral or opera will be turned off by the
guitar,bass and drums.Those into rock are turned off by the male operatic vocals and horn
section.So yes us progressive music fans are the ones who seem to appreciate this album
the most.Even then as i noticed on many different sites there is a love or a hate towards this
album.Not a lot of people inbetween.Well i think that's really where this belongs,right in the
middle.Not that it's an average album but when you combine such different styles you aren't
going to please everyone.I honestly can't stand the operatic male vocals.Take them away and
this is 4 stars for me.Hard to ignore them of course.On the other hand this band has a
fantastic rhythm section, and as an added bonus there's lots of mellotron.The sticker on the
back of my cd says "Australian progressive jazz masterpiece from 1976".Unfortunately it's
neither.
"Rebecca" opens with mellotron before drums and horns join in.Bass and sax lead for a
while.Bass and intricate guitar sound good 2 1/2 minutes in.This is an uptempo instrumental
that's okay. "Dancer" opens solemnly and vocals come in for the first time after a minute.A
fuller sound a minute later then the tempo picks up around 3 minutes.The drumming is
outstanding here.Guitar after 4 1/2 minutes.A change before 6 minutes as mellotron then
vocals take over.It picks up around 9 1/2 minutes as the vocals stop.Mellotron and horns are
back. "Caption For The City Night Life" opens with drums and bass as the horns honk.Nice
bass before 2 minutes.Check out the drumming a minute later. "Fantasy Of Horses" opens
with piano as those operatic vocals join in.Horns before 2 minutes as it changes.More great
bass and drum work follow.Organ before the vocals return around 4 1/2 minutes.A spacey
calm 6 minutes in.Vocals and piano are back 7 minutes in.Vocals stop again.Mellotron 9
minutes in then the horns start to lead.Vocals 11 minutes in with lots of mellotron.Horns and
drums are back.Huge bass follows.The string section comes in before 14 minutes.Vocals
with mellotron ends it.
A unique album that deserves to be checked out.Many consider this to be a masterpiece and
that alone makes this worth investigating.3 stars.
Review by
Slartibartfast
Collaborator Crossover Team
"Long ago with all the dreamers,
I fell into her emerald spell."Steve Hackett's been on a bit of roll when it comes to his progressive rock output in the past ten years or so, as well as making some fine classical oriented albums. Out Of The Tunnel's Mouth offers up a fine set of prog. To the extent that there is a theme here in the songs, it's about dreams. Roger King confesses in the liner notes that the album was constructed on a computer. But ultimately a quality outcome is dependent on the musicians. Steve's never been one to go it alone on his progressive rock albums and has many of the usual musical suspects working with him, some new names to me, and even Anthony Phillips and Chris Squire are guesting on a couple of tracks each.
An eclectic mix of mellow and heavier tracks. The only disappointment here for me is that a deluxe edition wasn't released.
Review by
sinkadotentree
Prog Reviewer
I appear to be in the minority on this site as i feel their debut is much better than this one.It just
seems like the vocals are the focus here and they really try to make things dramatic at times
and at others it very Folky.I'm not a fan of either style.
"Hijos Del Agobia" starts things off on the wrong foot for me.My least favourite track.This is all
about the vocals.He reminds me of some of the Italian vocalists on this one.Synths are in the
background and we get some brief lead guitar 1 1/2 minutes in. "Rumor" is catchy with vocals
and some nice guitar. "Sentimiento De Amor" opens dramatically then it settles when the
vocals arrive.A calm before 3 minutes as the vocals stop.It's very Spanish sounding a minute
later then the vocals return. "Recuerdos De Triana" features a drum solo early and ends with
what sounds like a party. Drums and synths stand out early on "Ya Esta Bien!" .It settles to a
spacey vibe then the vocals take over and it picks up.It settles again later. "Necesito" is my
favourite track and one of only two tracks that i really enjoy.The guitar is prominant as the
vocals join in.Love this tune. Strummed guitar,drums and vocals stand out on "Sr.
Troncoso". "Del Crepusculo Lento Nacera El Rocio" is the other track i like.The acoustic guitar
intro sounds great,very intricate.Vocals are theatrical and we get background synths as well.It
picks up 1 1/2 minutes in then settles again as the vocals return.
Good album but not one i enjoy that much hence the 3 star rating.
Review by Thierry
Synopsis is certainly one of France's best kept secret. When this band from the East of France
released their two albums, just a few people heard of them. For sure it was at a time, the end
of the seventies and the early eighties, when prog was dead, before its renaissance thanks to
the neoprog movement and the birth of structures such as prog labels or magazines. Musea
precisely, the French prog label, tried to do justice by releasing their first album, "Minuit Ville"
(1979). In my humble opinion, this opus doesn't reflect Synopsis' talent especially because of
poor vocals. On contrary, "Gamme" (1981) is a must. Their new singer, often close to Atoll's,
gives deepness and emotion to an already rich music through poetic lyrics. For
instance 'Prélude', ironically put at the end of the record, recalls Atoll's 'Le Cerf Volant',
certainly one of the best French prog song ever. Describing their music is easy: mostly
keyboards based (mainly synthesizers) supported by acoustic and fuzz guitars on a typical
early eighties rhythmic section (don't be afraid, just a touch of it!), in a mellow, melancholy
atmosphere. All amateurs of French prog, that is theatrical symphonic rock, should have this
gem in their collection. A pity this album is not available on the CD form. Another job for
Musea's dynamic team!
Review by Blowin Free
What can I say about this album that hasn't been said? In many people's opinions it is the best
prog album from when prog was in its peak, but I beg to differ.Agreed that this album has the guitar-oriented Siberian Khatru and the famous title-track, and both are masterpieces of Yes and the genre in whole, but And You and I is, in my opinion, one of the worst songs ever written.
It's dull, in the vain of Wonderous Stories, which is also very dull, it has no soul AT ALL! It's acoustic-12-string-guitar-eighties, which sucks, and the lyrics are just plain cheesy. Gibberish cheesy. "And you and I, climb over the seas to the valley, and you and I reached for seasons to call.". That's one too many season in this album!
"A seasoned witch could call you from the depths of your disgrace, and re-arrange your liver to the solid mental grace!"
I would recommend this to all proggers, because it's an excellent addition to any prog music collection, but the only thing stopping me from giving this a five is the boring third of the album, AYAI.
4/5, subject to change in the future.
Review by
CCVP
Prog Reviewer
An incredible and terrible album at the same timeKansas is one of the few progressive rock bands from the 70's coming from the United States that I listen. Despite not knowing, neither being interested in knowing, their entire discography, I find myself listening to some classic era album of this fantastic band from the US countryside in a somewhat regular basis (once every two months or so) and today was one of those days I have put one of their albums (Masque in this case) to play on my Ipod and I was really impressed how this album is, literally, a roller coaster ride.
That is because, like a roller coaster, Masque have numerous ups and downs, numerous boring, forgettable and discardable parts of songs and songs, wile it still have many exciting, thrilling and impressive parts of songs and songs. This can be explained easily: after the release of the fantastic Song for America, which somehow failed to impress the public and, therefore, had bad sales, something I find rather unexpected for an album like that and released during the 70's (despite the fact that Kansas was a very obscure and unknown band), the band's recording company pressured them to come with more accessible songs, which would be (or should be) the hit singles of Kansas all across the world. As happens in most cases like this in progressive rock, the album not only did not became a hit album, but it sold even less than the album before it, because it failed to please the band's following and was unable to bring enough new fans to the fan base.
Regarding the songs, musicianship and related features
The album don't start very well with the forgettable song It Takes A Woman's Love (To Make A Man), which can be clearly identified as one of the Kansas's recording studio's intended hit singles, which obviously failed in being that for lacking any kind of catchy melody. The next song, Two Cents Worth, is a great improvement, though not being a really remarkable song. One characteristic those two songs share is that none of them sound like Kansas at all. The next two songs, Icarus - Borne on the Wings of Steel and All Over the World, change the album mood drastically for two reasons: 1 - they actually sound like a song Kansas would make; and 2 - they are great songs. Icarus - Borne on the Wings of Steel is a powerful, energetic and epic-feeling song with tight instrumentation and composition wile All Over the World is a very beautiful ballad. Child of Innocence, It's You are average songs with some very interesting parts, wile Mysteries and Mayhem is a very good bluesy rock song with some forgettable parts. The last song of the album, entitled The Pinnacle, is definitely it's best (hence its name) and one of my all-time favorite Kansas songs: a multilayered and complex progressive rock epic with that distinct Kansas instrumentation.
The main problem with Masque, as you possibly could see in the paragraph above, is its unbalancedness. The album alternate amazing songs with not so amazing ones, resulting in a rather sloppy album flow. The highlights obviously go to Icarus - Borne on the Wings of Steel, All Over the World and The Pinnacle. Honorable mention to Mysteries and Mayhem.
Grade and Final Thoughts
Despite having some great songs, Masque have an uneven track list and some bad songs that drag the album's quality down. If the band could deliver an album filled with songs like The Pinnacle, Icarus - Borne on the Wings of Steel and All Over the World (pretty much what they in Song for America), the album would have been much better. Since that is not the case, Masque's grade is 4 stars.
Review by SaltyJon
Close to the Edge is a popular album among proggers, as the 1000+ ratings/reviews with an average rating of 4.63 as of the time I'm writing this go to show. The album is, in fact, somewhat of a legend around these parts. The classic lineup of Anderson, Bruford, Wakeman Howe and Squire is present, the tracks all display excellent musicianship/vocals, and the album art is amazing.Things start off rather quietly in the title track, with some bird noises and running water slowly building up until the band comes in, full swing, to get the show really moving. And move they do. The beginning is a rather frantic passage, with everyone going a little bit nuts on their respective instrument. Near the three minute mark, things calm down a bit, and we're given a melody to hold on to via the guitar. Eventually, Jon joins in on vocals and the track continues on with Squire and Bruford being the great rhythm section we all seem to know (and generally enjoy). The track continues on until a change to a calmer, ambient bit around 8 or 9 minutes in. Nearly 10 minutes in, Rick comes in with chiming keyboards, then light vocals join in for a while, getting up and down. Things stay calm here for a while, the vocals are given a chance to shine until Rick comes in on the church organ for a bit of a solo. They trade back and forth for a little while, with Rick finally winning out and moving us into the next bit of the song. Bass and drums finally rejoin us as Rick switches back to a keyboard. Chris Squire and his Rickenbacker sound really help define Yes in my eyes. The track ends with "I Get Up", and then we're on to And You And I.
This song is a much quieter affair overall than the title track, and it starts the second side of the album. Mostly acoustic guitar from Howe and quiet keys from Wakeman to begin, with fairly minimal bass and drums. The song is more about the vocals to me than it is about the instrumentals. Near the three minute mark, Squire and Bruford get to play a bit more interesting snippet. Near the four minute mark, we get a nice instrumental bit, with Howe being in the spotlight here for me. Jon rejoins before long, and the track continues on. The riff from the song's introduction comes back for a bit, then changes up a bit and brightens the track up some. Eventually the rest of the band joins back in, and the track continues on until its end. It's a good song, but lacks some of the punch of the first and third tracks for me.
Finally, we come to Siberian Khatru, probably my favorite song on the album. The bass is good and chunky, the drums are active, Steve keeps guitar moving with a fun riff, Rick plays some tasteful keys, and Jon sings about whatever a Khatru is in his mind. Everything seems to work well on the song, and it seems to be just the right length. The rhythm section is probably my favorite part of it, if I had to choose. Not a surprise, though, as 1) I'm a bassist and 2) this is, as far as I'm concerned, the best rhythm section in symphonic prog.
Overall, the album is great, but as I prefer two other Yes albums over this one (Relayer and Tales From Topographic Oceans), I can't justify giving it 5 stars. I will, however, give it a healthy four star rating.
Review by
Marty McFly
Collaborator Errors and Omissions Team
Yep Sean Trane, it looks like Fly By Night, both from bands that started somehow "late" than their English counterparts (Genesis,
Pink Floyd - no, I'm not saying that these bands has something in similar, they're just both Prog). Sinister cover, absolutely no
optimistic, but on the other hand, music here is. Take for example Song For America, what a uplifting and almost "shiny"
intro it has. And following rest of the song too. Thanks to Robert are still in place, I almost forgot that I like this band in incoming
wave of new bands, new albums to review and try. But this, I should never forget it (it's only because in Czech Republic, British
bands are simply more known, far more than American ones, when talking about Prog). It's almost magical, how easily this song
goes and how much positive damage it causes (emotions, feelings, enjoyment guys and girls, dear readers)Bass on Lamplight Symphony is what it makes perfect. When melody element is somehow "muted", not as much exaggerated as in previous track (which was monumental, like Mount Rushmore for example), bass kicks in and improves it all. And I even wasn't listening and looking especially for it, it just happened unintentionally.
Also, most of things I've said in previous (Leftoverture) review are true here too. Same as Ocean's Eleven has all-stars cast, this has all-stars prog elements (all of them) and also all stars rating.
5(-), still not without flaws. Drums solo in last track can be shorter (as it doesn't fit me here so good) and also certain songs, especially fourth and fifth aren't so perfect, just very good. But still, advantages of this album raises it high.
| Bands/Artists | Country |
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| FOREVER TWELVE | United States |
| THE FOUNDATION | Sweden |
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| GENESIS | United Kingdom |
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| STEVE HACKETT | United Kingdom |
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| ANDERS HELMERSON | Brazil |
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| LYLE HOLDAHL | United States |
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| HOLY LAMB | Latvia |
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| I.C.U. | Germany |
| III MILÊNIO | Brazil |
| IN SPE | Estonia |
| INDEX | Brazil |
| INFINITY | United States |
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| NICK MAGNUS | United Kingdom |
| MAGRATHEA | United Kingdom |
| MAHOUJIN | Japan |
| MAINHORSE | Switzerland |
| MALDOROR | France |
| MANDALABAND | United Kingdom |
| MANDRAKE | Japan |
| MANGROVE | Netherlands |
| MANTICORE | Sweden |
| LA MÁQUINA DE HACER PÁJAROS | Argentina |
| MARCO | Mexico |
| MARGE LITCH | Japan |
| MARYGOLD | Italy |
| MAZE OF TIME | Sweden |
| MEDINA AZAHARA | Spain |
| MEMORIANCE | France |
| JACQUES MENACHE | Mexico |
| MERLIN | Germany |
| METABOLISME | France |
| METAMORPHOSIS | Switzerland |
| MEZQUITA | Spain |
| MIA | Argentina |
| MIDAS | Japan |
| MIKLAGÅRD | Sweden |
| MIKROMIDAS | Norway |
| MILKWEED | Canada |
| MARIO MILLO | Australia |
| MIND SKY | United States |
| MINOTAURUS | Germany |
| MIZUKAGAMI | Japan |
| MONA LISA | France |
| MONOLITH | United States |
| MOON SAFARI | Sweden |
| MOONGARDEN | Italy |
| MORGAN | United Kingdom |
| MORSE CODE | Canada |
| NEAL MORSE | United States |
| TIM MORSE | United States |
| MOSAIK | Sweden |
| MOTH VELLUM | United States |
| MUGEN | Japan |
| NAUTILUS | Switzerland |
| NEBULOSA | Sweden |
| NESSIE | Belgium |
| NETHERWORLD | United States |
| NEUSCHWANSTEIN | Germany |
| NEVERNESS | Spain |
| THE NEW GROVE PROJECT | Sweden |
| NEXUS | Argentina |
| THE NICE | United Kingdom |
| NOTTURNO CONCERTANTE | Italy |
| NOVALIS | Germany |
| NOVELA | Japan |
| OAKSENHAM | Armenia |
| ODYSSICE | Netherlands |
| OMNIA | Argentina |
| OPUS | Yugoslavia |
| ORION | France |
| OUTER LIMITS | Japan |
| PABLO "EL ENTERRADOR" | Argentina |
| PAGEANT | Japan |
| PALE ACUTE MOON | Japan |
| PANTA RHEI (HUN) | Hungary |
| PARAGONE | United States |
| PARTHENON | Venezuela |
| PAZZO FANFANO DI MUSICA | Japan |
| PELL MELL | Germany |
| PENTACLE | France |
| PETRUS CASTRUS | Portugal |
| ANTHONY PHILLIPS | United Kingdom |
| PHYLTER | Belgium |
| PI2 | Spain |
| PICTORIAL WAND | Norway |
| PIG FARM ON THE MOON | Venezuela |
| MICHAEL PINELLA | United States |
| THE PINK MICE | Germany |
| POÇOS & NUVENS | Brazil |
| POLLEN | Canada |
| PROGRESSION BY FAILURE | France |
| PROJECT | Finland |
| PROTO-KAW | United States |
| PULSAR | France |
| PUPPET SHOW | United States |
| PYTHAGORAS | Netherlands |
| QUANTUM | Brazil |
| QUATERNA REQUIEM | Brazil |
| QUILL | United States |
| R-U KAISER | Chile |
| RAIN | United Kingdom |
| RAINBOW THEATRE | Australia |
| RAK | Switzerland |
| RECORDANDO O VALE DAS MAÇÃS | Brazil |
| REFUGEE | United Kingdom |
| RELAYER | United States |
| RENAISSANCE | United Kingdom |
| RING OF MYTH | United States |
| ROCKAPHONICA | Argentina |
| ROCKET SCIENTISTS | United States |
| RAIMUNDO RODULFO | Venezuela |
| ANTON ROOLAART | United States |
| JAIME ROSAS CUARTETO | Chile |
| ANDREW ROUSSAK | Russia |
| ROUSSEAU | Germany |
| RUMBLIN ORCHESTRA | Hungary |
| SAECULA SAECULORUM | Brazil |
| SAENA | Mexico |
| SAGRADO CORACAO DA TERRA | Brazil |
| SALMON | Netherlands |
| SANDROSE | France |
| SCARAMOUCHE | Germany |
| SCHICKE FUHRS & FROHLING | Germany |
| SEBASTIAN HARDIE | Australia |
| SENSITIVE TO LIGHT | France |
| SEVEN REIZH | France |
| SHADES OF DAWN | Germany |
| SHADOW CIRCUS | United States |
| SHARKMOVE | Indonesia |
| SHINGETSU | Japan |
| SHYLOCK | France |
| SILVER LINING | France |
| SIMON SAYS | Sweden |
| SINKADUS | Sweden |
| SIRIUS | Germany |
| SKRYVANIA | France |
| SOCIAL TENSION | Japan |
| SOLARIS | Hungary |
| SPIN XXI | Brazil |
| SPOCK'S BEARD | United States |
| CHRIS SQUIRE | United Kingdom |
| STARCASTLE | United States |
| STERN-COMBO MEISSEN (STERN MEISSEN) | Germany |
| ROINE STOLT | Sweden |
| SUBLIMINAL | Argentina |
| SUPERNOVA | Argentina |
| SWEDISH FAMILY | Sweden |
| SYNOPSIS | France |
| T-TAURI | Netherlands |
| TABULA RASA | Finland |
| TAI PHONG | France |
| TANTRA | Portugal |
| TARANTULA | Spain |
| TARKUS | Brazil |
| TEMPUS FUGIT | Brazil |
| O TERCO | Brazil |
| TERPANDRE | France |
| TERU'S SYMPHONIA | Japan |
| TESIS ARSIS | Brazil |
| THETA | Japan |
| THIRTEEN OF EVERYTHING | United States |
| TIBET | Germany |
| ARMANDO TIRELLI | Uruguay |
| TISARIS | Brazil |
| TOCCATA | Mexico |
| TRACE | Netherlands |
| TRANSATLANTIC | Multi-National |
| TRAUMHAUS | Germany |
| TREM DO FUTURO | Brazil |
| TRESPASS | Germany |
| TRESPASS | Israel |
| TRIANA | Spain |
| TRILOGY | Germany |
| TRION | Netherlands |
| TRITONUS | Germany |
| TRIUMVIRAT | Germany |
| UK | United Kingdom |
| UNDER LINDEN | Argentina |
| UNIFAUN | Sweden |
| URBAN TRAPEZE | Spain |
| VARGA MARIAN | Slovakia |
| VERMILION SANDS | Japan |
| VERSAILLES | France |
| VERTICAL ALIGNMENT | United States |
| VESANIA | Brazil |
| VIA LUMINI | Brazil |
| RICK WAKEMAN | United Kingdom |
| WALLENSTEIN | Germany |
| WALLY | United Kingdom |
| WANIYETULA | Germany |
| WELCOME | Switzerland |
| WHITE WILLOW | Norway |
| WIERMANN & VOGEL | Brazil |
| WILLIAM GRAY | Argentina |
| WILLOWGLASS | United Kingdom |
| WINDCHASE | Australia |
| WOBBLER | Norway |
| X RELIGION | Uzbekistan |
| XII ALFONSO | France |
| YES | United Kingdom |
| YESTERDAYS | Romania |
| ZARAGON | Denmark |
| ZEN ROCK AND ROLL | United States |
| ZOMBY WOOF | Germany |
| ZYCLOPE | Spain |
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