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HEAVY PROG

A Progressive Rock Sub-genre


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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 15/09/2013

Andy (Andy Webb)
rdtprog
Thanos (aapatsos)

Heavy Prog Top Albums


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

4.41 | 2000 ratings
MOVING PICTURES
Rush
4.38 | 1679 ratings
HEMISPHERES
Rush
4.35 | 1556 ratings
A FAREWELL TO KINGS
Rush
4.31 | 1441 ratings
PERMANENT WAVES
Rush
4.23 | 1849 ratings
IN ABSENTIA
Porcupine Tree
4.22 | 1888 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.22 | 968 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.17 | 692 ratings
THE MOUNTAIN
Haken
4.16 | 542 ratings
SALISBURY
Uriah Heep
4.09 | 1516 ratings
2112
Rush
4.08 | 1530 ratings
DEADWING
Porcupine Tree
4.09 | 756 ratings
VISIONS
Haken
4.08 | 1003 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.07 | 768 ratings
AQUARIUS
Haken
4.09 | 473 ratings
LOOK AT YOURSELF
Uriah Heep
4.15 | 277 ratings
FROM WITHIN
Anekdoten
4.05 | 728 ratings
FRANCES THE MUTE
Mars Volta, The
4.01 | 1110 ratings
LIGHTBULB SUN
Porcupine Tree
4.15 | 224 ratings
SOUND AWAKE
Karnivool
4.03 | 526 ratings
DEMONS AND WIZARDS
Uriah Heep

Heavy Prog overlooked and obscure gems albums new


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

HARVEST TIME
Elonkorjuu
ONCE WE WERE BORN ...
Divine Baze Orchestra, The
HIGH TIDE
High Tide
VULTRESS
Cosmic Nomads

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Latest Heavy Prog Music Reviews


 The Trees by RUSH album cover Singles/EPs/Fan Club/Promo, 1978
3.09 | 4 ratings

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The Trees
Rush Heavy Prog

Review by Matti
Collaborator Neo-Prog Team

3 stars Ah, 'The Trees'... One of my favourite RUSH songs! Taken from Hemispheres (1978), which I probably would pick up as my favourite Rush album. This is simply a perfect prog rock song of under five minutes. Energetic and catchy but not too straight-forward or an ear-worm; it keeps on playing in your memory if you want it to, because it has really powerful melodies. The metaphoric story written by Peart was originally inspired by a cartoon drawing, if I remember right. When each participant in a conflict is blindly driven by greed, there are no winners, only losers. The trees are kept equal "by hatchet, axe, and saw." The music perfectly follows the drama.

'Circumstances' is in my opinion the weakest track of Hemispheres. Too bad Rush didn't much make non-album tracks for their single releases. The lyrics of this heavier and more straight-forward song deal with Peart's disappointing time in London before joining Rush.

Quite a logical and functionable pair of songs for a single, but fans must naturally have the whole album. 3½ stars rounded down for the uninteresting cover design.

 Deadwing by PORCUPINE TREE album cover Studio Album, 2005
4.08 | 1529 ratings

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Deadwing
Porcupine Tree Heavy Prog

Review by TCat

5 stars I have heard this album a thousand times, and from the first listen, I have loved the guts right out of this album. If ever there was an essential masterpiece of prog recorded in the new century, this is it. Hard, heavy, dark and beautiful, flowing, amazing....the strength in this album is in the dynamics all through the album and that is what I love so much about it....a masterpiece of dynamics. From the sudden crash of guitars after the electronic opening in the first track to the crazy guitar solo at the end of "Shesmovedon" there is no weakness or filler here....this is one solid chunk of progressive awesomeness.

Ok, so some of you might think I'm going overboard here....but face it, Steven Wilson is the current god of progressive rock and he saves his best works for Porcupine Tree and lately for his own solo albums. Each song on this album is well written. Each note in it's proper place, yet it plays through without any forced emotion or sound. It is so tempting to do a track by track analysis, but I usually avoid that and it's been done a thousand times here already. Just let it be said that the heavy passages blow me away everytime and the softer or mid tempo songs just flow beautifully. Just listen to the way on "Deadwing" when it comes to the long instrumental bridge, how it lulls you back into a hypnotic somewhat hypnotic pulse and suddenly the craziest guitar solo comes along out of nowhere accented by incredible percussive smacks and blasts you out of your chair. When you think you are safe from that first track, along comes another even heavier song "Shallow" and by the end of it your pulse is racing. Suddenly, out of nowhere, the beauty of the amazing song "Lazarus" pulls you down to earth again and the emotion of all these moods just almost overwhelms you to the point of tears.

Next the dark heavy rocker "Halo" talks about the dark side of self-righteousness. Again the instrumental break is crazy, a roller coaster of crazy guitar interspersed with quieter yet still heavy percussion and bass. Then when the vocals start again, a piano is driving the song forward and you just sit there wondering where did that come from?

"Arriving Somewhere But Not Here".....my first song I ever heard by Porcupine Tree. What a masterpiece this song is. Everytime it gives my shivers the way it lulls you into what almost seems an uneasy calm, builds up the way it does, but when that explosion hits in the instrumental bridge, you find out that somewhere along the way things went completely out of control and all you want to do is push it faster and faster until you find out you have entered into black metal territory for a few minutes and you are loving it, but suddenly you emerge from the tunnel, still traveling just as fast. I can't tell you better than that what an amazing song this is. Of course, the first time I head it, I was sold. Suddenly, I could not get enough Porcupine Tree and I now know everyone of their albums and most of SW's other projects as well.

So, I started doing a track by track analysis anyway. I was afraid of that. But this music takes a hold of me every time. The rest of the album is just as good and maybe some of you need a little more time to get it, but to me it is pure music heaven. Just the right touch of hard, heavy and soft and beautiful. It's perfect! And it's a masterpiece! 5 major stars!!!!!

 Sudden Prayers Make God Jump by JONESY album cover Studio Album, 2002
2.69 | 11 ratings

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Sudden Prayers Make God Jump
Jonesy Heavy Prog

Review by GruvanDahlman
Prog Reviewer

3 stars As the story goes, the master tapes of Jonesy's would-be fourth album got stolen by some nasty scoundrel disappearing in the night. That theft left Jonesy in rather dire straits, with the record company reluctant to givet hem a new go in the studio. As the band lacked sufficient funds aswell everything ground to a halt and Jonesy disbanded. All that seems true enough and it left us wondering how that album would have sounded like. Well, we can get a glimpse of what was to be expected by listening to this album of raw and unpolished recordings, supposedly some kind of demos, I gather.

Jonesy was a good, sometimes brilliant prog band from the UK. Not entirely groundbreaking they still managed to fuse jazz, folk and hard rock into a very agreeable blend of progressive music. I think their second album 'Keeping up' is a glorious piece of British 70's prog and their finest hour at that. While the third album lacked somewhat it still delivered high quality music to enjoy.

This demo-like album gives us hints of what to expect from Jonesy. The sound quality is below average, as is to be expected by some 40 years old reels of plastic. It sounds as though someone recorded a concert and released it as a bootleg. Quality wise it can be compared to your average soundboard recording. The sound is, however, not something to be bothered by. It is what lies beneath the dust and wrinkled plastic that is the real treasure.

The opening 'Dark room' is a fantastic piece of eerie progressive music. Very dense and powerful it delivers in spades. There is a frantic saxophone solo that is great. The vibraphone is amazing and provides a spacious rest amidst all the frantic instrumentation. I get a kind of Family-vibe in the vibraphone but apart from that it is all Jonesy.

'Running' is an okay track. As the title suggests it is a fast paced number and quite alright. The flute is terrific. 'Bad dreams' is a sort of slow song with some Beatles influences to be heard but in all it is a great track, actually. Dark and dense. '

'The lights have changed' is a jazz-rock song with good keyboards and is really a very good track. I love my jazz-rock so this track gives me great pleasure. In the middle there is a vocal part that I do not fully agree with but it is soon over, leading into a keyboard playing a nice tune. Good stuff.

'Old gentleman's relief' is a Beatles-ish/ late 60's type of song and really the weakest track. It is not bad but it is average. The ending 'Anthem' is quite a beautiful ending to this album. It sort of sums it up.

All in all this is really amazing to be listening to. Just think, here I sit listening to an album that really should not have been in existence. Yet here it is, like a blue print for something that really didn't happen. The thivieng bastard managed to grab the final product and how wonderful wouldn't it have been to be listening to that one, to hear it as it was supposed to be. As things stand this is all that remains and for me that is quite enough. Just like Cromwell tried to smash and destroy everything that did not agree with him, the thief failed in erasing these songs from the slate of time. Just like Cromwell failed. This album is good but not essential to proggers in general. If you like Jonesy I think you ought to listen, though. It is a great and quite moving testament to one of Britain's most underrated bands.

 The Gift of Awareness by P.A.W.N. album cover Studio Album, 2014
3.43 | 16 ratings

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The Gift of Awareness
P.A.W.N. Heavy Prog

Review by Mellotron Storm
Prog Reviewer

3 stars P.A.W.N. are a band out of Hamburg, Germany and they pretty much did it all on this album including the mixing, mastering and production. I can appreciate the difficulty of knowing what sub-genre to put them in as they come across to my ears as a Prog-Metal(drums and heaviness) and Symphonic(vocals and orchestration) hybrid. The positives for me are the art work, lyrics and the title of the album all of which are connected. Nothing like seeing the beauty of God in his creation. The negatives for me are mainly the vocals. Now the lady can sing, i'm just not that into them while the male vocals are just not good at all in my opinion. I would also mention that I have a hard time separating out the guitar and bass most of the time on this record while the drums are very upfront but i'm not complaining about the drums because the guy is very, very good. Lastly at over 78 minutes it would have been a double album back in the day and it's tough making a consistently good album over that length of time.

"Sailors Of The Sky" is my favourite song on here. It opens with piano before eventually kicking in hard after 1 1/2 minutes. Heavy stuff and I like it. Female vocals a minute later as it settles back some. The strings are a nice touch and this album has plenty of them. I like the instrumental section 5 1/2 minutes in then it turns heavy again around the 7 minute mark as the mood and tempo continue to shift. I like the guitar late. "The Princess Is Out Tonight" opens with strings and atmosphere before it kicks into gear. Male vocals after a minute but female vocals arrive as well. The drums dominate late to end it. "A Voyage Of Uncertainty" opens with church bells before strings and piano arrive then male vocals 1 1/2 minutes in. I'm not really into this one and we do get female vocals and what sounds like harpsichord. "Vessels" opens heavily but then is replaced with a calm as female vocals, piano and strings join in. Drums follow then we get an instrumental section with lots of strings before the vocals return. An okay tune although I really like the last 2 minutes.

"Fatal Wounds" sounds great with that heavy 2 minute intro although it stays fairly heavy for much of this track. The male vocals after 2 minutes are not good at all but we get female vocals as well. I like the heaviness on this one a lot, the male vocals, not so much. "The Gift Of Awareness" is the closing 26 minute ride. Piano and strings to start then it kicks in hard after 1 1/2 minutes reminding me of how the opening song began. A calm with female vocals, piano and strings as contrasts will continue between the heaviness and more laid back passages. Some cool sections here like the one after 10 1/2 minutes with light drums(for a change) female vocals and strings. Keys and atmosphere follow. The male vocals that follow aren't so cool but check out the swirling synths. A nice keyboard section 16 1/2 minutes in then a fairly uplifting section after 18 1/2 minutes but then the male vocals return.

A mixed bag for me for sure and there's just not enough enjoyment for me to offer up the fourth star. A talented band that I hope will bring us more music in the future. Thanks Dennis!

 A Whisper to Thunder by BARRET TRIO, DAVID album cover DVD/Video, 2014
4.05 | 2 ratings

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A Whisper to Thunder
David Barret Trio Heavy Prog

Review by rdtprog
Special Collaborator Heavy Prog Team

4 stars If Alex Liefson decided to take control of Rush, that's what it would sound! With only one album, the band release a DVD consisting of songs from their Sonar album and 2 new songs. The work of Alex Liefson has help to create that Rush's sound. The use of 12 strings guitar and the sound of many of the songs take you back to the song "Xanadu". The first song of the set "Dive" is the darkest and heaviest song of the show. The music is instrumental with with one exception for the song "Belmonte" sing by Paul Reid, and there's no keys here. The guitar player David Barrett use the steel guitar to this guitar dominated music. "A Whisper to Thunder" has some nice build up and is another standout track. "The Great Eastern Sun" has a lot of Alex's arrangements and has a nice ending. The last song "The Elegant Universe" that will be out on the next album is a perfect ending to this concert. There is some nice visuals to this performance with lasers and a very good audio mix that let's you hear clearly the bass and drums. Ironically the sound of each instrument is better captured that on the latest Rush's release "Clockwork Angels".
 Il Viaggio...Ritorno al Sud by ABASH album cover Studio Album, 2014
3.00 | 1 ratings

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Il Viaggio...Ritorno al Sud
Abash Heavy Prog

Review by Finnforest
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars Spicy, energetic 4th album

"Il Viaggio...Ritorno Al Sud" marks the return of Abash-hard to believe it has been almost a decade since their well reviewed previous album "Madri senza terra" in 2006. This modern RPI/Crossover band have been around since the late 1990s and their line-up has remained mostly consistent over the years.

I've not heard all of their albums but Abash do have a sound all their own. While there are some old school RPI sensibilities in the band's DNA, they are not dominant, and there are other ethnic influences at play, perhaps African and middle Eastern. They also veer occasionally into heavier realms, not really heavy, not metal, just a meatier instrumental flex with even a bit of a fusion element at times. If that sounds pretty all-over-the-map, it can be, but they are excellent musicians and the sound is further enhanced by the vocals of Anna Rita Luceri, who brings great passion and expressive ability. I'd say they sound a bit like a cross between Izz and I Treni All'Alba. I get a travelling minstrel vibe from them, a bit of exotic spiciness, although these feelings are contrasted with very modern sounding rock instrumentation and production.

They are feisty right from the gate with the opener's deceptively serene piano intro turning into a workout of heavy guitars, synth, organ, bass, and eventually dramatic vocals. There are some very ambitious vocal arrangements in places, notably "Stasira Canta." The male and female vocals are doing different things completely adding to the depth of the piece. No surprise I enjoyed most the tracks that had the Italian flavor, or at least some toned-down folk flavors. The lovely acoustic "Bayati" features Luceri's beautiful "la la" vocals over light percussion, accordion, and mostly acoustic picking, a nice vibe of sitting at an outdoor sidewalk cafe in some little village. I was somewhat less thrilled by the heavier and more manic sounding sections. In general the songwriting on this album loses me the "funkier" it gets. When the band moves more into that area it gets a bit repetitive or contrived, to my ear, despite the strong vocals. They close it out with a live track recorded at "Teatro Cilea" Reggio Calabria in 2012. Here the band shines with great command, a festive power-folk song that makes you want to dance! I think Abash is a better live band, I think they reach a fruition there that is hard to match in the dryness of studio production.

I've always recognized the talent and understood the great appreciation for Abash. My personal star rating may be lower than others simply as a matter of taste.

 Don't Lie to the Band by DILLINGER album cover Studio Album, 1975
3.97 | 11 ratings

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Don't Lie to the Band
Dillinger Heavy Prog

Review by b_olariu
Prog Reviewer

4 stars Dillinger are a totaly unknown prog band from Toronto, Canada with two albums released and then gone into oblivion. I was really irritated that this band is so unknown, specially their second offer from 1975 named Don't lie to the band who is a fantastic and complicated little treasure in prog circles. The band was formed in 1973 by Harrison brothers - Jaques and Robert. who right from the beggining compose great catchy mix of jazz rock parts with progressive hooks melted with bluesy hard rock passages. On the album are two cover versions of Spooky Tooth - Two time love and from Beatles - Tax man, both quite ok in this context but not so excellent like their 6 original pieces who grace this release. The music as I said is brilliant, lots of catchy hooks, bith from guitar zone aswell from keyboards and druming parts, all is done with talent and inventivness all the way. The ieces are long, some of them clocking around 8 min, that means thay had room from instrumental exploration here, and is for sure an improvement over their first album. There are some folky arrangements here and there with flute and even sax and all the ingredints of class performance and in combination witt the rest of progressive twists and turns arrangements Don't lie to the band is for me a little tresure for sure. Well sadly this is their last swan song, to bad because this band is needing a far more recognition, at least for this second offer who is really killer and to damn unnoticed. For me easy 4 stars, worth every tune. A prog classic in my opinion who gone under the radar, that's why they disbanded soon after this album in 1976 . Recommended.

 The Gift of Awareness by P.A.W.N. album cover Studio Album, 2014
3.43 | 16 ratings

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The Gift of Awareness
P.A.W.N. Heavy Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars German band P.A.W.N. reached out to a few PA members with the intention of creating some discussion, momentum and perhaps recognition, a smart move that generally helps the artist to get a toe-hold in the underground trans-global progressive rock scene. It's what I would do if I had a band and wanted to 'market' my craft, so a nice round of applause to drummer Dennis Matzat for reaching out so humbly to me. I had noticed the burgeoning reviews, mostly frankly positive and the mailman finally delivered the prized package and the listening process has begun before slowly putting words of critique into place. Others have spoken about their historical background, I suggest to read their bio for more in-depth information. The duo of Matzat and Sebastian Rudolph (guitars, bass and keys) are supported by a crew of guests, no one more formidable than lead vocalist Lisa-Marie Rothe, who shines exuberantly when called upon.

First observation, a fine cover adorns the album, somewhere close to Panic Room's "Skin", silver/steel blue forest scene where something odd and foreboding seems to lurk in the mist. In many ways, the music inside reflects the shimmering shroud that icily depicts the artwork. Secondly, the sound is pristine, flawless, clear and detailed, as expected from the German tradition of sonic precision.

To start off with a 12 minute+ epic shows a great amount of confidence and the sheer bombastic nature becomes immediately apparent, setting the benchmark that will be constantly targeted all the way through the disc. Thus "Sailors in the Sky" does not disappoint, a solid composition where churning whirlwind of roaring guitars, symphonic walls of synthesized splendor, intimate piano (delicious throughout) and shattering drums coexist with only one purpose in mind.

The mellotron kicks off "The Princess is out Tonight", a sublimely melodic piece that also features a gorgeous duet between the fluid Rothe and the robotic Rudolph, in a rather more romantic /heavy symphonic environment with colossal drum support from Matzat, a man who can bash with the best of them. A typical example of modern prog taking the genre into the future by relying on solid historical foundations.

Another 12 minute epic follows, but "A Voyage of Uncertainty" decides to go in a different direction altogether, forging a more story-telling style that is quite appealing. Swerving from gentle piano lullabies to more heartfelt grit, the instrumental playing is always searching for different tones and styles, combining them astutely as lyricist/guest vocalist Michael Klein does his cameo appearance with conviction. Rothe involves herself again, keeping the balance and adding to the joy.

The dreamy and grandiose "Vessels" is undoubtedly the trailer highlight if you will, an 8 minute thriller that espouses more accessible orientation without a glimmer of accusatory wimpiness or sell-out, just a glittering piece of bombastic prog in the Ayreon/Haken mode. The guitars espouse Wagnerian bluster, the delicate keys perhaps more Chopin-like romance, while Rothe sings her painful lament. The über melody is instantaneous and exceedingly appealing.

The first and only weak track is "Fatal Wounds", where a choppier style announces a hard shift in momentum, mainly due to the slithering violin but the arrangement suddenly dives into a darker metal sinew that proves Rudolph not being a very convincing singer as he verges on growling, a fact mentioned by other reviewers, though more for his cold, mechanical style. The drums are exuberant and there is purposefully no melody to be found anywhere. There is little subtlety here, even when Rothe makes ephemeral appearances to soothe the dense maelstrom but so be it! The end part is cataclysmic, I will be skipping this one....

The massive title track is, as expected in prog circles, a clear indication of the band's symphonic vision, as the piece clocks in over 26 minutes and is constructed accordingly. Sweet orchestral delicacy opens the door, letting in glorious mellotron waves, adroit drumming and accentuating guitar patterns, a thoroughly convincing escapade. The busy Matzat in particular does a complex rhythmic exploration on his drum kit, a stunning detail that does not go unnoticed. Rothe once again applies her soothing voice to great effect, the crescendo becoming even more overpowering as the bombast expands into definite waves of contrast, an ebb and flow between hope and despair. Rudolph finally delivers a series of loopy synth solos that effervesces nicely, something that may be used more often in the previous pieces. This is easily the highlight track on this debut, the quiet parts are expertly enhanced with the wider ones, tossing in a wide variety of detailed creativity, back and forth, like the ocean tides.

There is little doubt that both Rudolph and Matzat are onto something here, perhaps considering Rothe to join full-time, so that the next album will be a bona fide killer, more concise, dramatic and even more adventurous. Throw in at least some guitar and synth soloing, please. All thing considered, a definite grower!

4 cognizance presents

 The Gift of Awareness by P.A.W.N. album cover Studio Album, 2014
3.43 | 16 ratings

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The Gift of Awareness
P.A.W.N. Heavy Prog

Review by Matti
Collaborator Neo-Prog Team

3 stars I was asked to review this debut album from Germany, and as usual I was glad to receive the CD in mail. The package is really good looking! Other reviews have already given a lot of information, so I'll concentrate on my personal reception to the music. In a word, it is ambivalent. On one hand I highly appreciate it, and on the other hand there's something extremely annoying. I'm not fond of Heavy Prog or Prog Metal, and for that reason also P.A.W.N. has extra challenge to impress me in the first place. But, perhaps to my own surprise, the Heavy / Metal elements are not the main problem here. This music is very melodic and powerful in a good way. Both the production and the arrangements are very fine and ambitious, full of progressive hooks and artistic details in an eclectic variety. Almost all compositions are rather long.

I tell you what disturbs me: the male vocals. No, they're not aggressive growls. They could be described as pretty harmless from that point of view - if only they didn't have that robotic coldness in their extremely pushed delivery. I do like Lisa-Marie Rothe's vocals, and thank God she's the main vocalist. Also the moments where Lisa-Marie is backed up by male vocals are decent enough. But sometimes a little detail can really piss you off. For the first time it comes in the second track, in the sections where the male vocals repeat "the - prin - cess - is - out - to - night" sounding like programmed machines, emotionless humanoids. 'A Voyage of Uncertainty' is (to me) seriously ruined by the parts with the numerous lines starting with words "Do you dare..." sung robotically amidst very phoney hand clapping rhythm pattern, which may or may not attempt to resemble a Medieval / Renaissance dance. (An example of slightly similar but much more successful Old Music dance rhythm can be heard on 'Tears and Pavane' by STRAWBS.) In my opinion this "Do you dare..." mess sounds just ridiculous and clumsy, primarily due to the robotic vocals.

The rest of the album with a respectable total length of 78:37 flows better, and it is beautifully finished with a gorgeous 26-minute title epic. It seems I'm not the first one to say the male vocals are the weak link in this music, but surely no one is as disturbed by them as me, and there are also reviewers who don't seem to take it as a problem at all. So I want to end my review on a positive note: this is definitely worth checking out if you like Symphonic and Gothic prog with a Metal flavour. Comparisons include bands such as DREAM THEATER, HAKEN, AYREON and PAIN OF SALVATION. I'm not at my the strongest in this field and have no other names to add, but to my knowledge none of those bands feature a great female voice as P.A.W.N. does. (A pity it wasn't enough for themselves.)

 Aufbruch by TRAUMPFAD album cover Studio Album, 2011
3.00 | 1 ratings

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Aufbruch
Traumpfad Heavy Prog

Review by Mellotron Storm
Prog Reviewer

— First review of this album —
3 stars This is the most recent album from the German band TRAUMPFAD. I would call them a heavy Neo-Prog band with vocals in German. For my tastes this would have come across a lot better if it was an all instrumental album. The guy can sing, no doubt but the German language for me is a little hard to digest sometimes.

"Sol" opens with piano before some excellent guitar joins in along with some not so excellent vocals. He sounds better when he's singing with some passion. I like when it turns heavier a minute in. Contrasts continue. Some crazy synths around 2 1/2 minutes. They are kicking butt 4 minutes in, a really good instrumental section that lasts to the end where it settles down and blends into "Vergebung". This is a song that reminds me of the Swedish band GALLEON with the tone of the vocals and riffs. Good tune. I like the start of "Auf Unserer Reise" as it builds with background synths, a beat, vocals and more. This is such a catchy tune. Another good instrumental section on this track as well that goes on for some time. It's synth led at times. These guys can play. "Angstfabrik" has a nice heavy sound to it to start but i'm not a fan of the vocals that join in quickly. Another good instrumental interlude on this one as well.

"Zu Viel" has some prominant bass along with plenty of keyboards and guitar. I like the guitar solo after 2 minutes. "Vater Und Sohn" is the first laid back tune with relaxed vocals that are the focus. Some female vocal melodies before 3 minutes to the end. Nice. "Der Neue Weg" is a vocal-led track i'm not into despite the guitar later on. "Der 100. Affe" has some passionate vocals with some kick ass instrumental work. Kind of a start, stop, start motif. Love the synths 2 minutes in. "Winterschlaf" is the longest song at over 12 minutes. Again not a fan of the vocals. The best part is the instrumental section after 3 minutes and later on. Lots of synths too. "Zwei Seelen" is my least favourite song, not a great way to end it. This has a laid back sound with reserved vocals. It does kick into gear without vocals which sounds a lot better. Back to the previous sound around 4 1/2 minutes.

I really enjoyed the way these guys play, the instrumental work is steller. 3 stars for this one.

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Heavy Prog bands/artists list

Bands/Artists Country
2112 Argentina
4X United Kingdom
99 NAMES OF GOD United States
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
APOLLO Finland
ARABS IN ASPIC II Norway
ARAXES Switzerland
ARC United Kingdom
ARCANE Australia
THE ARISTOCRATS Multi-National
ARMAGEDDON United Kingdom
ASTEROID Sweden
ATLANTIDE Italy
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
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
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