Progarchives, the progressive rock ultimate discography

HEAVY PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Heavy Prog definition

Heavy Prog defines progressive rock music that draws as much influence from hard rock as it does from classic progressive rock. In simple terms, it is a marriage of the guitar-based heavy blues of the late 1960s and 1970s - artists such as Cream, Led Zeppelin, and Black Sabbath - and the progressive/symphonic movement represented by King Crimson, Yes and Genesis.

The electric guitar, amplified to produce distortion (or 'overdrive') is a crucial element, providing the 'heavy' tone required for this aggressive style, and later for the British and North American heavy metal of the late 1970s and 80s. The primary rock format of drums, bass and guitar with keys and/or vocals on top is represented strongly in heavy prog. The presence of the Hammond organ with its deep, intense rumble was also common among harder progressive groups such as ATOMIC ROOSTER. Although certain other acts, such as King Crimson and Jethro Tull, utilize a heavy guitar, bass and keyboard sound, the bulk of their work over the years puts them in a different category.

Bands that represent Heavy Prog would include RUSH, PORCUPINE TREE, THE MARS VOLTA, URIAH HEEP, TEMPEST, BLACK WIDOW, DR. Z,ATOMIC ROOSTER, WARHORSE, BIRTH CONTROL, TILES.

- written bt Atavachron (David)

Current Team as of 12/24/14

Louis (rdtprog)
Thanos (aapatsos)
Frank (infocat)

Heavy Prog Top Albums


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

4.40 | 2384 ratings
MOVING PICTURES
Rush
4.37 | 2013 ratings
HEMISPHERES
Rush
4.34 | 1869 ratings
A FAREWELL TO KINGS
Rush
4.30 | 1738 ratings
PERMANENT WAVES
Rush
4.24 | 2157 ratings
IN ABSENTIA
Porcupine Tree
4.24 | 2188 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.20 | 1077 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.16 | 921 ratings
THE MOUNTAIN
Haken
4.18 | 505 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.16 | 656 ratings
SALISBURY
Uriah Heep
4.10 | 1778 ratings
2112
Rush
4.10 | 1745 ratings
DEADWING
Porcupine Tree
4.09 | 907 ratings
VISIONS
Haken
4.08 | 901 ratings
AQUARIUS
Haken
4.10 | 569 ratings
LOOK AT YOURSELF
Uriah Heep
4.07 | 1139 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.05 | 792 ratings
FRANCES THE MUTE
Mars Volta, The
4.06 | 639 ratings
DEMONS AND WIZARDS
Uriah Heep
4.03 | 1295 ratings
LIGHTBULB SUN
Porcupine Tree
4.10 | 361 ratings
FROM WITHIN
Anekdoten

Heavy Prog overlooked and obscure gems albums new


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

ZUNDAPP
Zundapp
A.F.T.
Automatic Fine Tuning
HARVEST TIME
Elonkorjuu
HIGH TIDE
High Tide

Download (Stream) Free Heavy Prog MP3


Open player in a new window

Download (Stream) Free Heavy Prog MP3

Latest Heavy Prog Music Reviews


 Very 'Eavy...Very 'Umble by URIAH HEEP album cover Studio Album, 1970
3.33 | 374 ratings

BUY
Very 'Eavy...Very 'Umble
Uriah Heep Heavy Prog

Review by Warthur
Prog Reviewer

4 stars If I may 'umbly say, the debut album by Uriah Heep is, whilst certainly 'eavy, not as unrelentingly 'eavy as the spooky cover art or bold title might make you think. On here the group play a broadly hard rock style with a mixture of bluesy and psychedelic elements which lay the foundations for the more prog-inclined path they would take on Salisbury. It's an entertaining sound which is a bit of an artifact of its times; although it doesn't quite give you an idea of the classic Uriah Heep sound the way the next three studio albums would, it does show them being quite a capable unit early on able to turn their hand to a range of different styles.
 Armageddon by ARMAGEDDON album cover Studio Album, 1975
3.34 | 63 ratings

BUY
Armageddon
Armageddon Heavy Prog

Review by VianaProghead

3 stars Review Nº 84

Armageddon was a band formed in 1974 who released only one album, their self-titled debut album "Armageddon", in 1975. The choice of the name Armageddon was very symbolic and it does symbolise the site of the last final and epic battle between the good and the evil in the end of times or the positive and negative. Armageddon is somehow a super group due to their line up formed by Keith Relf (vocals and harmonica), Martin Pugh (electric and acoustic guitars), Bobby Caldwell (vocals, drums and percussion) and Louis Cennamo (bass). Relf had been the lead singer of Yardbirds throughout the 60's, which was a band with three of the best guitarists of all time Eric Clapton, Jeff Back and Jimmy Page. In 1969 he had been also one of the co-founders of Renaissance. Unfortunately, he was tragically killed by an electric shock, at home in 1976, when he plasticizing is guitar. Pugh had been the lead guitarist of Steamhammer. Caldwell had been the drummer of Captain Beyond. Cennamo had been the bass player of Renaissance and Steamhammer. Due to the dying of Relf, this project was unable to continue and "Armageddon" ended up being the only work released by them. "Armageddon" was well received by critics and fans, but due to the band didn't tour extensively, it sales suffered. However, due to the tragic death of Relf, somehow "Armageddon" became a cult album.

"Armageddon" can be listed as hard and progressive rock, though I believe that the hard rock sound is more obvious on it. In fact, four of the five songs have over 8 minutes long and suggest a progressive act, and it's true that the longest songs wander outside the usual standard rock song format, but much of the length is taken up by jam sessions and extended guitar solos. So, this album is mostly a hard rock affair with some great riffs, excellent guitar solos and a Caldwell's great drumming work. It was Caldwell's driving with his hard hitting beats that pushed the group into a heavier direction, which probably we wouldn't expect. These were probably influences of Captain Beyond. This is a deceptively complex, multi-layered album that demands multiple listens. It's an intriguing blend of bruising proto-metal riffs, progressive rock and heavy psychedelic blues. It really became a truly good album of the 70's.

"Armageddon" has five tracks. The first track "Buzzard" written by Pugh, Caldwell and Relf is an excellent opener to the album. The song has a very great heavy guitar sound by Pugh with the use of wah wah pedal, a very strong bass line by Cennamo and they're very well accompanied by the powerful drumming of Caldwell. This is really a very good song. The second track "Silver Tightrope" written by Pugh, Caldwell and Relf is my favourite song on the album. It's a very beautiful and long ballad with a very nice guitar's sound. Once more we have here a great job of Cennamo and Caldwell. The third track "Paths And Planes And Future Games" written by Pugh, Caldwell and Relf is a very powerful song. This is a song with a nice and energetic heavy sound with great individual performance by all band's members. Despite coming on the same line of "Buzzard" it's a less creative and imaginative track. The fourth track "Last Stand Before" written by Pugh, Caldwell, Relf and Cennamo is a good song, also heavy, once more very well performed by all band's members, and this time with good harmonica of Relf. Despite being a good song, in my opinion is a little bit repetitive and less imaginative. The fifth track "Basking In The White Of The Midnight Sun" is divided into four parts: "Warning Comin'On" written by Pugh, Caldwell and Relf, "Basking In The White Of The Midnight Sun" written by Pugh, Caldwell and Relf, "Brother Ego" written by Pugh, Caldwell, Relf and Cennamo and "Basking In The White Of The Midnight Sun (reprise)" written by Pugh, Caldwell and Relf. This is the epic song that should be the best song on the album, but it's my less favourite song. It's true that it's also a good song very well performed, but for me is, as the previous song, sometimes repetitive and with bored moments, which became very tedious, despite some good parts.

Conclusion: I know of this album since the time it was released, although I only bought it a few years ago. I must say that in those times, this album had some success among some of my best friends who liked heavier music. I confess that I personally have always been a man more connected to the symphonic genre. Anyway, I always had a very eclectic musical taste. "Armageddon" is a good hard rock album, very heavy for those days, with good guitar driven, a very interesting bass line and also with a very good drumming job. I think it's a very unique working and I must say that I always liked the cover of the album. "Armageddon" has, in my humble opinion, two great songs, "Buzzard" and specially "Silver Tightrope" and a very interesting song "Paths And Planes And Future Gains". But, the rest of the album is also good but it's more vulgar, repetitive and also has less imagination for my taste. However, "Armageddon" is an obscure album made by an obscure band in the 70's that deserves to be better known and appreciated. Perhaps it was the tragic dying of Relf that made the album lives so many years in such obscurity. It's now time to be discovered.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Signals by RUSH album cover Studio Album, 1982
3.95 | 1135 ratings

BUY
Signals
Rush Heavy Prog

Review by aglasshouse

5 stars It's obvious that Rush's zenith was none other than the 1980's, a time considered emphatically by most to be the worst ten years for progressive rock (and admittedly there is some truth to the hyperbole). What gave Rush the edge over the rest of those who hit a low point in the 80's was their ability to be simplistic yet deeply complex seemingly at the same time. A record that exemplifies this well is none other than '81's Moving Pictures. It was a refreshing glimpse into the hard rock scene, and was what I like to call the second coming of Rush, where the legendary trio was once again able to meld the entire rock scene with pure power. Now I am a fan of Moving Pictures but I actually have somewhat of an unpopular opinion, because I believe that their following year follow- up, Signals, is in fact an even better record than it's predecessor.

Signals is very similar to Moving Pictures in many ways. For one, Lifeson sounds nigh identical to how he did on the latter, with the same echoey twang that's become signature for Rush. But what I thing Signals did so much better was the balancing of the instruments. I will admit sadly that the bass guitar, an obviously necessary instruments gets buried in progressive rock, and a lot of that comes from how many filters and sounds are layered over it. Signals is one of the few records where I can honestly say that Geddy Lee presents his full blown talent to us on the bass without fail, while still keeping Lifeson's guitar at the helm. Peart is somewhat receded in his playing which to a drummer like myself sort of does get under my skin because I know that his simplistic drumming on Signals is a bit of a facade, though he still does still have some great rolls even with his constraints.

Most of the songs are either fast-paced swinging rockers or slow, intricate jams. 'The Weapon' showcases one of the catchiest beats by Peart I think I've heard by far, and some of those pseudo-poetic lyrics that I know the band loves dearly (as do I). The two man-centric songs, 'Digital Man' and 'New World Man' are quite different, the former being practically a cheesy b-side from a Moving Pictures track (not a bad thing), and the latter being slow methodical tune that talks about the development of technology and the wonders of one certain man who has harnessed it to his own will. 'Countdown' I love so much but it infuriates me in equal measure. This particular track irks me because of it's potential to become an epic (one that could maybe even be a 20-minute long spectacle). It has so many different coinciding musical themes to it that bounce off each-other, and practically are an introduction to a suite where these different themes will be displayed in their own unique and powerful movements...but alas nothing of the sorts happens. The only song I dislike in any way is 'Losing It', which granted starts out with a particularly creative intro Kraftwerk- like techno tune, but shifts into a particularly annoying ballad halfway-through. Unfortunate because I found the first third and the last third to be dreadfully catchy and particularly good background music. Not exactly 'bad' but definitely not a high point of an otherwise great album.

If you show someone who you know who by some mystifying means doesn't know Moving Pictures, and afterwards inquires for more of it, give them Signals. Depending on how well-versed they are with Rush or at least Rush's sound, they may like it the same, or in my case more than other 80's Rush works. Two thumbs way up.

4.5 rounded to a 5.

 Tiles by TILES album cover Studio Album, 1994
3.65 | 44 ratings

BUY
Tiles
Tiles Heavy Prog

Review by aglasshouse

4 stars Tiles came out in the mid-90's, a time where a modern form of hard rock was starting to spring forth in the wake of the grunge explosion. At this time most bands went the commercial route and just pounded out cliched music that that has become a bit of a joke in recent years. Tiles however, did not. With their influences taken not from Nirvana but from the classic penultimate hard rock band Rush, Tiles's debut was released in 1994.

The influence from the 70's hard rock circuit for Tiles is palpable, especially on their first album. These influences aren't limited to Rush- the symphonics the band uses are very reminiscent of Styx, even vocalist Paul Rarick sounds uncannily like Dennis DeYoung. It's not unwelcome to me but I will say if you have a distaste for Styx's sound, perhaps this may not suit you. The progressiveness of Tiles comes in the same package as much of the heavy prog bands on the site, loud and proud arena rock spectacles with rich lyrical content in every word spoken. Chris Heren doubles as keyboardist and guitarist; with the latter he's a bit secluded at times especially when it comes to solos. Solos on Tiles' debut aren't limited to a solo per-say, more along the lines of instrumental breaks. Mark Evans channels Neil Peart with his powerful drum-work, and guest bassist Kevin Chown is great even though he is sometimes obscured by the music.

Really a good lesser-known gem of the 90's rock circuit. I recommend it.

 Pretending 2 Run by TILES album cover Studio Album, 2016
3.88 | 44 ratings

BUY
Pretending 2 Run
Tiles Heavy Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars While having more then 20 years in the back, the TILES core consists of real prog veterans, that exactly would be Chris Herin (guitar, keys), Mark Evans (drums) and Paul Rarick (vocals) as the three founding members. And additionally Jeff Whittle (bass), joining in 1997 regarding the recording process of their second album 'Fence The Clear' at the latest. 'Pretending 2 Run' is spanning two CD's with a running time of nearly 100 minutes, comes as another 2016 album yet which is provided with inspiration and much variety.

After eight years of a break time, hibernation, preparation, or whatever you might imagine, there is still a rather heavy rock fundament to state as usual. The quartet have invited a lot of guests on diverse instruments and for some additional vocal support. TILES' approach to develop unusual, tricky and slightly crazy compositions, should be appreciated at all costs. I mean, they even could be booked for a funeral with good will. No problem, somebody will be accompanied to his last Refugium by use of a somewhat dark mooded anthem.

CD 1 marks the album's highlight in its entirety. Wow, this stuff is something special, not lurking around every corner, so to speak. Starting with the title track we are moving along a string of pearls right here. Exemplarily representing my personal impressions let me emphasize the lovely violin passages on Stonewall. With Drops Of Rain the band supplies a very enchanting and catchy composition. Furthermore you'll be always Taken By Surprise when they are rrrrrocking the house with much power and finesse.

Considering that CD 2 is consisting of several fillers, it probably would have been more comfortable to compress the production. A minor issue though, this will not depreciate the other high quality material in any way. Midwinter at least resides as a very very fine exemplar, especially Ian Anderson rules with his flute. Issued on the wellknown label The Laser's Edge this also reminds me of the current Zip Tang album somehow as for the basic attitude. Hey, taken by surprise, Detroit is not far away from Chicago! Eh, does that matter? Anyway, my verdict, this one deserves to be part of a well-sorted prog rock collection.

 Affinity by HAKEN album cover Studio Album, 2016
3.96 | 311 ratings

BUY
Affinity
Haken Heavy Prog

Review by Einwahn

5 stars The artwork for this album mimics a floppy disk sleeve, and has the perfect green phosphor colour of CRT screens... it is so nostalgic for anyone who remembers the era of MS-DOS, NewWord & Space Invaders. Of course, a 1980's inspired album does require the listener to have retained some positive feelings about the sounds of that least-favoured decade for prog fans. I am definitely in that category and the 'Affinity' concept sounded interesting from the start for me. The album opens with a short track called 'affinity.exe' that is surely a Morse code transmission, not particularly 1980's ... and then the first real track, 'Initiate' rather threw me on first hearing, because it simply sounded like the Dream Theater-inspired music that makes up so much of Haken's first couple of albums (this is not a complaint). But with '1985' (I guess around when this band's members were born), the decade's influence becomes explicit and several of the tracks are in the same vein. But this always sounds like Haken nonetheless, they have a very distinctive sound that could only be mistaken for Dream Theater at times - though with much wider invention.

There is a short episode of 'growling' from Leprous's amazing vocalist Einar Solberg, who can really sing if he wants to. Like others, I am not a big fan of growling, but I note the first two Haken albums each have a growling episode, it isn't an innovation for them. Anyway, it has its artistic purpose I am sure, and it's short.

Well I said I didn't mind the 1980's, and if more of that period's music sounded like this Haken album, I would have absolutely loved it. Every single album of this band is 5 stars for me, they are a major presence in prog rock.

Verdict: the 1980's, improved.

 Hold Your Fire by RUSH album cover Studio Album, 1987
3.27 | 787 ratings

BUY
Hold Your Fire
Rush Heavy Prog

Review by Mr. Gone

3 stars In my review of Signals, I mentioned my being a latecomer to Rush and the fact that I love synthesizers. So I'm starting by tackling (as I can) the controversial post-Moving Pictures 1980's Rush albums, just...well, because I can. So there.

Seriously, there's certainly plenty of worthy material on all those albums. The thinnest for me is probably Grace Under Pressure, where certain songs seem a bit forced, and the energy seems a tad down (there's a heaviness in sound but also in delivery). Power Windows sounds cleaner, but is weighed down by some unremarkable filler. There's filler on Hold Your Fire, too, but the high points are certainly memorable and quite moving here, more than probably on any of these other releases.

Let's start with the low(er) points. "Force Ten" is a fine song the first 30 or so times you've heard it. After awhile, though, it becomes a bit ordinary. Powerful, yes. But it doesn't always stick terribly well. The sentiments of "Time Stand Still" are beautiful (especially as someone staring down middle age and watching loved ones - even peers - succumb to that inevitable final enemy, while also contemplating things I wish I could accomplish or times I wish I could go back to), but the presentation is a bit too poppy and feels somewhat unsubstantial. And "Prime Mover" - just never liked this song. There's nothing to distinguish it from anything else on the album. A rather boring riff at the center and the lyrics don't speak to me.

Other songs fare better. "Open Secrets" is also a bit slight, but the melody is lovely and holds up fairly well on repeated listenings. My favorite of these "pretty good" songs is "Second Nature", with a pleading tone of gentle desperation and the recognition of our efforts to save the environment ("We fight the fire") while simultaneously destroying it ("while we're feeding the flames"). "Tai-Shan" has a nice Asian feel to it, courtesy of sitar-sounding guitars and synthesized flutes. I know this is not a favorite of many (like "Madrigal" on A Farewell to Kings, there isn't another Rush song quite like it), but I quite fancy it and also appreciate the band's willingness to try something quite atypical for them. And "High Water" rumbles along with a nice energy through its fat guitar/bass riff in its middle.

Then, there are the three songs I consider to be the true centerpieces of the album - the "side two" openers. "Lock and Key" has decent lyrics if perhaps a bit of a reach (I'm not sure all of us have homicidal mania in our psyche, especially not close to the surface), but the orchestrated melody is very, very well done and highly enjoyable. Alex Lifeson gets a nice solo in the middle (if perhaps a bit short) and Geddy Lee gets to play a muscular bass at the same time while Neil Peart turns in his usual complicatedly catchy tom hits. "Mission" is my favorite here, celebrating the movers and shakers in our world in a variety of areas (science, art, literature, architecture, etc.) while simultaneously wondering if they might have appreciated a bit more sanity in place of the frenzied brilliance that dominated the lives of many. Substantial thoughts, here, and presented against an immaculately beautiful musical backdrop. Great guitar lines, fantastic keyboards, excellent drumming - just a terrific song. And "Turn the Page" has a great bassline and a great guitar solo. Maybe it's no more progressive than "Prime Mover" (I would argue it is), but it's certainly a far more distinctive and memorable effort.

So, the final analysis? Some filler here for me. I never liked "Prime Mover", and the album's openers don't wear that well. Some of the "pretty good" songs ("Open Secrets" especially) are pleasant but not super-distinctive. But the three centerpieces are among the best work the band ever did (yes, even with "Red Barchetta", "Xanadu" and "La Villa Strangiato"), so that props things up a bit. In my younger days, this album was one of my faves. I see its flaws more clearly now, and it's certainly not their best, but I still pull it out and enjoy it from time to time. Essential? No. Somewhere between Good and Excellent. I'll give it three stars, with the caveat that everyone should hear it at least once and decide if they need more.

 The Incident by PORCUPINE TREE album cover Studio Album, 2009
3.66 | 1365 ratings

BUY
The Incident
Porcupine Tree Heavy Prog

Review by Warthur
Prog Reviewer

2 stars Huh. This may actually be it - the point where I and Steven Wilson part ways. Despite being very keen on most of his Porcupine Tree output, I just can't get into The Incident - just as I can't get into his solo work, though for different reasons. With his solo material, I tend to find it self-consciously retro-"proggy" in a way which seems designed to tickle the fancy of prog purists but is a little bit too calculated to engage me, with the result that it leaves me cold.

Preceding all that, though, is this album - a piece which somehow seems to fall between two stools. In its presentation, it seems to be going for that sort of proggier-than-thou style - a 55 minute song, wowsers! - but in execution it actually doesn't quite deliver. That 55-minute piece is essentially a whole bunch of different songs that run together with uncharacteristically clumsy transitions and a set of running lyrical themes which don't go anywhere; the second disc feels like a bunch of off-cuts. (If these pieces weren't good enough to work into the main album, why would they be good enough separate from it?)

Musically speaking, the album seems to take the style of Fear of a Blank Planet and render it, well, a little blank, with a surprising number of decidedly pedestrian-sounding alt-rock inspired passages. It feels like the group are going through the motions, no longer really feeling engaged by the musical direction that had been so successful a left turn for Porcupine Tree since In Absentia but not entirely sure of what they could do instead, cranking out an album through obligation rather than passion.

 Affinity by HAKEN album cover Studio Album, 2016
3.96 | 311 ratings

BUY
Affinity
Haken Heavy Prog

Review by Stiyekton

4 stars Affinity is a great album overall. The first track works very well as an intro and transition into "Initiate," which has an interesting rhythm, catchy but not annoying melody, and great atmosphere. "1985" is a highlight with creative riffs, unusual time signatures, and a really fun instrumental section, and the total 80's feel of the song is fun also. "Lapse" is the inevitable U2-style song, and is one of the weaker tracks on the album, but it is far from a bad song. The epic "The Architect" is another highlight, with an instrumental intro with fun rhythms in different time signatures, a section with more glitch drumming, and a part with growls which are not bad and actually add to the emotion of that part of the song. "Earthrise" is a modern-sounding pop rock track, but with several parts to which it is fun to tap or drum along, and the chorus really highlights Haken's unique vocal style, so it is overall a good track. "Red Giant" is a rather unusual atmospheric track with more electronic drums, and the song starts out slow but it later speeds up. "The Endless Knot" takes repeated listens to get, but it is worth it as it is totally a highlight of the album. This track has more modern influences including djent and dubstep, and this song also has parts in unusual time signatures that are not apparent unless the listener is paying close attention. "Bound by Gravity" is a somewhat boring ballad that is also a bit too long and is in my opinion the weakest track on the album and is a big part of why this album loses a star.
 Affinity by HAKEN album cover Studio Album, 2016
3.96 | 311 ratings

BUY
Affinity
Haken Heavy Prog

Review by stefano

3 stars Affinity does not rise to the heights of The Mountain or Visions. It has a fun 1980s feel to it that I partly enjoy. But where are the songs that grab a hold of the listener and don't let go? Maybe The Mountain was too hard an act to follow and surpass. I think Affinity is a pretty good CD but it ends and I don't feel like any of the songs stay with me and resonate. Also I really dislike the screaming/ growling on Architect. It seems really out of place. Once again, it is a fairly good song, but marred by a mis-step.
Data cached

Heavy Prog bands/artists list

Bands/Artists Country
2112 Argentina
4X United Kingdom
99 NAMES OF GOD United States
A FORMAL HORSE United Kingdom
ABASH Italy
ABIGAIL'S GHOST United States
ADVENT HORIZON United States
AFTER THE FALL United States
AICAN Russia
ALBATROS Spain
ALGABAS Russia
ALGARAVIA Brazil
ALTERED STATE United States
AMUSIA Canada
ANABASI ROAD Italy
THE ANABASIS United States
ANDROMEDA Germany
ANEKDOTEN Sweden
ANKH Poland
ANOMUS Finland
ANTI-DEPRESSIVE DELIVERY Norway
ANXTRON Brazil
APOLLO Finland
ARABS IN ASPIC Norway
ARAXES Switzerland
ARC United Kingdom
ARCANE Australia
ARCANE ATLAS United States
THE ARISTOCRATS Multi-National
ARMAGEDDON United Kingdom
ASTEROID Sweden
ATLANTIDE Italy
ATLAS CUBE Germany
ATLAS VOLT Sweden
ATOMIC ROOSTER United Kingdom
AUSTRALIS Chile
AUTOMATIC FINE TUNING United Kingdom
BABE RUTH United Kingdom
BADGER United Kingdom
BAKER GURVITZ ARMY United Kingdom
BAKERY Australia
BALISET United States
BALLOON Netherlands
BARAKA Japan
DAVID BARRET TRIO Canada
BATTLE CIRCUS New Zealand
ERIC BAULE Spain
BBI France
BI KYO RAN Japan
BIBLE BLACK Japan
A BIG GOODBYE United States
BIGELF United States
BIRTH CONTROL Germany
THE BITTERS United States
BLACK BONZO Sweden
BLACK MARKET SEROTONIN United Kingdom
BLACK WIDOW United Kingdom
BLOOD CEREMONY Canada
BODKIN United Kingdom
BOLT United States
BOOK OF HOURS Sweden
BREAKING ORBIT Australia
THE BROWN Japan
BULL ANGUS United States
BURNING SAVIOURS Sweden
CACTUS PEYOTES Brazil
CAMAFEO Argentina
CAPHARNAUM Canada
CAPTAIN BEYOND United States
CAPTAIN OF THE SWEDISH TEAM Canada
CARDEILHAC Switzerland
CARGO Netherlands
CARGO CULT REVIVAL United States
CARPADIUM United States
CARPE NOTA United States
CASUAL SILENCE Netherlands
CELELALTE CUVINTE Romania
CELESTIAL OEUVRE United States
CHAIN United States
CHOLO VISCERAL Peru
CHRONOBUNNY Norway
STEVE CICHON United States
CLEAR BLUE SKY United Kingdom
CLEVIS United States
CLIMAX Bolivia
COBWEB STRANGE United States
COLLAPSE France
COLT Poland
CONTRA United States
CONTRARIAN United States
COSMIC NOMADS Australia
A COSMIC TRAIL Germany
TYLER COTNER United States
COUNTRY LANE Switzerland
CRACK THE SKY United States
CRYPTIC VISION United States
CRYSTAL BREED Germany
MICKEY CURTIS AND SAMURAI Japan
CYNICISM MANAGEMENT Slovenia
CYTRUS Poland
D'ACCORD Norway
DAH Yugoslavia
DÁNAE Argentina
DAREDIABLO United States
DARK United Kingdom
DEAD END SPACE United States
DEAFENING OPERA Germany
THE DEATH COBRA Australia
DEEEXPUS United Kingdom
DEFORMICA Argentina
DEJA-VU Norway
DELLA TERRA (AEGIS INTEGER) United States
DELTA RED Mexico
DELVOID Norway
DEMIANS France
DEVIL DOLL Multi-National
DIALETO Brazil
DIAPASYN United States
DIFICIL EQUILIBRIO Spain
DILEMMA Netherlands
DILLINGER Canada
THE DIVINE BAZE ORCHESTRA Sweden
DIVINE IN SIGHT United States
EL DOOM & THE BORN ELECTRIC Norway
DR. Z United Kingdom
DRAGON Belgium
DRUGI NAčIN Yugoslavia
DUST SCULPTURES United States
EARTH FLIGHT Germany
EASTER ISLAND United States
EIGHTH WHALE United States
ELF PROJECT United States
ELIAS HULK United Kingdom
ELONKORJUU Finland
ENCHANT United States
ENFANT Bolivia
ENMARTE Argentina
ENORMITY United States
EPHRAT Israel
EPITAPH Mexico
ESCHERBACH United States
ESTIGMA Chile
ETT ROP PÅ HJÄLP Sweden
EVERON Germany
EVERY OTHER FATE United States
EXCUBUS Canada
EXPLORERS CLUB United States
EXSIMIO Chile
FACING NEW YORK United States
THE FALL OF TROY United States
FANTASMAGORIA Japan
THE FAR SIDE Italy
FIELDS United Kingdom
FITNES Serbia
FLOTANTE Chile
FORGOTTEN SUNS Portugal
FRAME Germany
FREEDOM'S CHILDREN South Africa
FRIJID PINK United States
FUMIGUN Chile
FUNGUS Italy
FUSION ORCHESTRA United Kingdom
FUSION ORCHESTRA 2 United Kingdom
FUZZY DUCK United Kingdom
GÅTE Norway
GATE 6 Netherlands
GENEROUS MEN Sweden
GHOST IN MIRRORS United Kingdom
GHOST MEDICINE United States
GHOST TOAST Hungary
GLASSWORK Spain
GNOMONAUT United States
MOOSEHEART GODBLESS THEE United States
GODZILLA IN THE KITCHEN Germany
GOMORRHA Germany
GOODTHUNDER United States
GOSIA United Kingdom
GRAN TORINO Italy
GRAVY TRAIN United Kingdom
THE GREAT LABYRINTH PROJECT United States
GREYHAVEN United States
H.A.A.S. Colombia
HADES Norway
HAIL THE SUN United States
HAKEN United Kingdom
HALLELUJAH United Kingdom
HAYSTACKS BALBOA United States
HAZE Germany
HEADSPACE United Kingdom
HEIR TO MADNESS United States
HERO Italy
HEROINE United States
HIGH TIDE United Kingdom
HILLWARD Canada
EL HOMBRE ASTRAL Spain
HØST Norway
HUMAN LIFE INDEX United States
HUMUS FUGA Guatemala
I AM THREE PEOPLE Finland
I BOW CANDLES Multi-National
IDEE CONFUSE Italy
IMAGERY Brazil
IMAGIN'ARIA Italy
IMPULSO DE LOS SONIDOS INCONSCIENTES Argentina
IN OCEANS United Kingdom
IN THE PRESENCE OF WOLVES United States
INDIAN SUMMER United Kingdom
INDISCIPLINE Canada
INFRONT Russia
INTROVISIÓN Costa Rica
IRISH COFFEE Belgium
IZ United States
JACK YELLO Germany
JACKAL Canada
JANE Germany
JARDIN DE PIEDRA Peru
JENGHIZ KHAN Belgium
JIMMY CHAMBERLIN COMPLEX United States
JOHN PAUL JONES United Kingdom
JONESY United Kingdom
JUGLANS REGIA Italy
JUNIPHER GREENE Norway
JUNK FARM Germany
KARMAMOI Italy
KARNIVOOL Australia
KES Turkey
KETTLESPIDER Australia
KIN PING MEH Germany
KINDLER United States
THE KINDRED Canada
KINGFISHER SKY Netherlands
KOPECKY United States
KOURTYL France
L'IRA DEL BACCANO Italy
LAGITAGIDA Japan
LANDBERK Sweden
LANDSCAPE Netherlands
LAST LAUGH Sweden
LEECH Estonia
LEGEND United States
LEST France
LEVIN MINNEMANN RUDESS United States
LIQUID SCARLET Sweden
LIQUID WOLF Finland
LONE STAR United Kingdom
A LONELY CROWD Australia
LORD ONLY United States
LOST APPARITIONS United States
LOST NATION United States
LUCIFER'S FRIEND Germany
LUGNORO Sweden
MAD ARTWORK Sweden
MADRIGAL Germany
MAGELLAN United States
MAGNA VICE Finland
MALOMBRA Italy
THE MARS VOLTA United States
FELIX MARTIN United States
MASTER EXPERIENCE Italy
MAXWELL'S DEMON United States
MAY BLITZ United Kingdom
MEDEA Netherlands
MELODRAMUS United States
THE MERCURY TREE United States
METANOMIA Argentina
MICAH United States
MILESTONE Russia
MINERVA Germany
MOCAH Argentina
MÓDULO 1000 Brazil
HEDVIG MOLLESTAD TRIO Norway
MONTRESOR Australia
MONUMENT / ZIOR United Kingdom
MORTE MACABRE Sweden
MOTHER TURTLE Greece
MOTHERJANE India
MUMPBEAK United Kingdom
MURPHY BLEND Germany
NAIKAKU Japan
NAKED France
THE NATIONAL ORCHESTRA OF THE UNITED KINGDOM OF GOATS Italy
NEBULOSA Sweden
NECROMANDUS United Kingdom
NEM-Q Netherlands
NEPOčIN Yugoslavia
NEVÄRLLÄJF Sweden
NEW SUN United States
NIGHT SUN Germany
NIGHTRIDER France
NINGEN-ISU Japan
NO BRAIN CELL Greece
NO LIFE ORCHESTRA Norway
NO MORE PAIN United States
NORTHWIND United States
NOT OTHERWISE SPECIFIED United States
NOUGHT United Kingdom
OCEAN France
OCEANA COMPANY Netherlands
ODIN United Kingdom
OF THE I Switzerland
OKO Yugoslavia
OLLOCS United States
ONSÉGEN ENSEMBLE Finland
OPRAM France
OPUS 3 Chile
OPUSCULUS Canada
ORATRISM France
ORPHAN BLOOM United States
ORPHEO Netherlands
OSADA VIDA Poland
OVRFWRD United States
P.A.W.N. Germany
PENDULUM Indonesia
PERMIAN INCIDENT Norway
PERSEPHONE'S DREAM United States
PESKY GEE United Kingdom
PHANTOM'S OPERA United States
PHI Austria
PHOENIX DOWN United States
PINKROOM Poland
PINNACLE United States
PIRATE Australia
PLAYGROUNDED Greece
PLESIOSAURIO Argentina
POINTS NORTH United States
POLICROMIA Argentina
POP MASINA Yugoslavia
PORCUPINE TREE United Kingdom
PORT MAHADIA United States
PORTMAN Croatia
POSEIDOTICA Argentina
PRO MUSICA Romania
PROGRESIV TM Romania
PSIGLO Uruguay
PSYCHOCEAN Italy
EL PUENTE DE ALVARADO Mexico
PUGH'S PLACE Netherlands
PULSONICA Argentina
QUATERMASS United Kingdom
RAG I RYGGEN Sweden
RAINER TANKRED PAPPON Brazil
RAM United States
REACHING REVERY United States
RED STAR REVOLT United States
RENAISSANCE OF FOOLS Sweden
ALBERTO RIGONI Italy
ROLE OF THE OBSERVER United States
ROOM United Kingdom
ROSALIA Japan
JASON RUBENSTEIN United States
RUPHUS Norway
RUSH Canada
S&L Italy
S.O.T.E. (SONGS OF THE EXILE) Netherlands
SAELIG OYA France
SAILOR FREE Italy
SANDCASTLE Italy
SARCASME France
SARTORIUS Mexico
SCARLET HOLLOW United States
SECTION 3B Multi-National
SENECA United States
SHAA KHAN Germany
SHADOW MERCHANT United States
SHOW-YEN Japan
SIENA ROOT Sweden
SKELETONBREATH United States
SKY ARCHITECT Netherlands
SL THEORY Greece
SLP Canada
SOLAR ARCHITECT Canada
SOLARHALL Finland
SOLUTION SCIENCE SYSTEMS United States
SONIQ CIRCUS Sweden
SORRY NO FERRARI United States
SOUND & SHAPE United States
THE SOUND OF ANIMALS FIGHTING United States
SPECTRUM Chile
SPETTRI Italy
SPOKE OF SHADOWS United States
SQUAT CLUB Australia
ST. ELMO'S FIRE United States
ST. QUENTIN Germany
STANDARTE Italy
STEEL MILL United Kingdom
STILL LIFE United Kingdom
STOLAS United States
STORM AT SUNRISE United States
THE STORM Spain
STRATEGY United States
SUBSPACE RADIO Finland
SUGARLOAF United States
SULPHAT' KETAMINE France
SVANFRIDUR Iceland
SWEET HOLE Spain
SYLVIUM Netherlands
T2 United Kingdom
TDW Netherlands
TEA Switzerland
TEMPEST United Kingdom
TESKA INDUSTRIJA Yugoslavia
THAYKHAY Spain
THE TIRITH United Kingdom
THEMATIC United States
THEORY OF AFFECT Russia
THERHYTHMISODD Sweden
THREE SEASONS Sweden
THULE Norway
TILES United States
TIME TRAVELLER Finland
TINKICKER Denmark
TRANSIENCE Australia
TRAUMPFAD Germany
TRILI Puerto Rico
TWENTY SIXTY SIX AND THEN Germany
TWO CHILEKINGS Philippines
TYBURN TALL Germany
UNBROKEN SPIRIT United Kingdom
THE UNDERGROUND SET Italy
URANIAN Argentina
URIAH HEEP United Kingdom
VALHALLA United States
VALINOR'S TREE Sweden
VARGTON PROJEKT Sweden
VÉLOOO France
VEMM Italy
VIRUS Germany
VIVALMA Brazil
VOLVOX Argentina
VON FRICKLE United States
VOS VOISINS Canada
VOTCHI Czech Republic
VULKAN Sweden
VULTRESS United States
WALRUS United Kingdom
WARHORSE United Kingdom
WARPICKS Norway
WARPIG Canada
WATERLOO Belgium
WEEND'Ô France
ANDY WEST United States
WHERE ARE YOU LIAM? Russia
WHITE WITCH United States
WICKED MINDS Italy
THE WINDMILL Norway
WITCHWOOD Italy
WRITING ON THE WALL United Kingdom
XANADU Poland
YANG France
YEARSTONES Norway
YGGDRAZIL Italy
YSMA Germany
YURT Ireland
Z.O.A Japan
ZARATHUSTRA Germany
ZION Italy
MICHAEL ZUCKER United States
ZUNDAPP Italy
ZYDRA Chile

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives