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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 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

4.39 | 2626 ratings
MOVING PICTURES
Rush
4.36 | 2223 ratings
HEMISPHERES
Rush
4.32 | 2061 ratings
A FAREWELL TO KINGS
Rush
4.29 | 1898 ratings
PERMANENT WAVES
Rush
4.25 | 2389 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.24 | 2347 ratings
IN ABSENTIA
Porcupine Tree
4.19 | 1147 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.15 | 1026 ratings
THE MOUNTAIN
Haken
4.17 | 723 ratings
SALISBURY
Uriah Heep
4.11 | 1952 ratings
2112
Rush
4.10 | 1889 ratings
DEADWING
Porcupine Tree
4.12 | 984 ratings
VISIONS
Haken
4.13 | 593 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.12 | 640 ratings
LOOK AT YOURSELF
Uriah Heep
4.08 | 973 ratings
AQUARIUS
Haken
4.07 | 1243 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.05 | 848 ratings
FRANCES THE MUTE
Mars Volta, The
4.03 | 1398 ratings
LIGHTBULB SUN
Porcupine Tree
4.10 | 396 ratings
FROM WITHIN
Anekdoten
4.06 | 706 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

ZOOMA
Jones, John Paul
A COMPLEX NATURE
Yang
ZUNDAPP
Zundapp
SNEAK ME IN
Lucifer's Friend

Latest Heavy Prog Music Reviews


 We Lost The Skyline by PORCUPINE TREE album cover Live, 2008
3.44 | 237 ratings

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We Lost The Skyline
Porcupine Tree Heavy Prog

Review by TCat
Prog Reviewer

4 stars This is a recording of a live remote done at a music store in Orlando, Florida in Oct, 2007. Originally, the remote performance was to feature the entire band, however, because of space issues, only Steven Wilson and John Wesley were able to attend. What resulted is a very warm and intimate 33 minute mini-concert in front of 200 very lucky fans, which is the subject of this album.

Steven Wilson performs alone in the first 3 tracks, singing and playing both electric and acoustic guitars. John Wesley doesn't appear until the 4th track. As the performance continues, Wilson opens up to the crowd and you get so involved in the intimacy of the concert, that you feel like you are there. You hear songs that you wouldn't expect to hear in this kind of a setting, namely the verses from "The Sky Moves Sideways" which turns into a beautiful and pensive song, Even Less, and Drown With Me. There are also some you would expect to hear, which retain their beauty, but give them a new life, namely, "Waiting", "Trains" and "Lazarus".

You know exactly when Wesley joins in during the middle of "Waiting", and he comes in at the right time, exactly when you want to hear that extra guitar support. At the beginning of "Normal", Wilson really warms up to the audience and relates a great story about him and Robert Fripp, and he even jokes around with his performance. The riff intro to "Waiting" is heard as the complex and difficult riff that it is. Wesley's voice gets it's due in this song as he sings counterpoint to Wilson's main verses.

This album is a definite must to Porcupine Tree fans, and is an excellent addition to anyone's music library, especially to lovers of acoustic and bare bones music. These performances bring out the soul of the songs and shifts the focus to the lyrics and the hearts of the songs. It may not be a masterpiece of progressive music, but it is one of the most intimate and most enjoyable acoustic sets that have been recorded. Highly recommended. Honestly, I only have a few acoustic performance albums that I consider my favorites, and this is one of them.

 Living the Dream by URIAH HEEP album cover Studio Album, 2018
4.45 | 24 ratings

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Living the Dream
Uriah Heep Heavy Prog

Review by Einwahn

5 stars There is a very old English folk tradition called Morris Dancing, and proponents of this melodeon-based genre say it's not enough to churn out the notes - your music needs something special called "lift". Probably very few people would connect Uriah Heep with Morris Dancing, but "lift" is exactly the term I would use to describe the music in this album. Whether or not you happen to like the songs, the almost overpowering energy of the delivery is undeniable.

And the extraordinary thing is that in 2019 this band will celebrate its 50th anniversary. The surviving original member Mick Box is no less than 71. I remember seeing him perform at an outdoor pop festival in 1972 - that is 46 years ago. Unbelievable. Maybe it is his birthplace of Walthamstow in East London - scene of a much-loved song on this site - "Along the Forest Road there's hundreds of cars - luxury cars...".

And the music is great, I love these songs where the band seem to be trying to out-do themselves in heaviness while always keeping a melody underneath. Bernie Shaw (aged 62) is one of the best operatic rock vocalists ever.

I am shocked that just one week ago I uploaded a review for Phideaux's brilliant new 'Infernal' and said that if a better album came along in 2018 I would be very pleasantly surprised. I am in two minds now.

Verdict: talk about the 'endless river'...

 Living the Dream by URIAH HEEP album cover Studio Album, 2018
4.45 | 24 ratings

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Living the Dream
Uriah Heep Heavy Prog

Review by Kingsnake

5 stars This must be one of the strongest Uriah Heep in theier entire catologue. Produced by Jay Ruston, this album sounds really fresh but extremely heavy. And heavy it is; this is almost heavy metal, but with good taste.

The songrwiting is strong with progressive rock-overtones in the longer songs. Mick Box has a lot of solos and really stong riffs (he is 71!!! years old, and sounds really hungry and versatile). Phil Lanzon plays lots of organ. Het experimented with lots of keyboard-sounds in the past 30 years, but his organ-sound is really great and off course fits the sound of Uriah Heep.

Bernie Shaw sounds more raw than before. One of the greatest hardrock/heavy metal singer I can think off. And the backing vocals give the chorusses of the songs real catchiness....

The bassplaying of Davey Rimmer is less heavy than Trevor Bolder, but is okay. Russell Gilbrook is very different drummer than Lee Kerslake. They both play loud and have great chops. Russell plays more double bass, wich give the sound more a heavy-metal-flavour.

The first song "Grazed by Heaven" is also the single of the album and has a great tempo and some heavy organ and wahwah guitarsolos. Uriah Heep Always had the most heavy songs as openers to their albums, and I guess this one will make it into their liveset.

Almost any songs on this album is a killer, so I won't get into all of them. The prog-epic Rocks in the Road is worth mentioning because of its various tempo-changes and themes.

A lot of reviews say that Uriah Heep haven't released anything good between the 70's and "Wake the Sleeper", but this album combines the best of "Sea of Light", "Sonic Origami", the newer albums and the seventies.

I Always thought "Sea of Light" was their heaviest album, until "Wake the Sleeper", and now this album. This is a must-have album for all Uriah Heep and progressive hardrock/heavy metal fans world wide. At least every rock-enthousiast should listen this album, because of the great hooks, solos, huge chorusses and organsound.

Hell Yeah!

 Blurring The Lines (A Democracy  Manifest) by OVRFWRD album cover Studio Album, 2018
5.00 | 1 ratings

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Blurring The Lines (A Democracy Manifest)
Ovrfwrd Heavy Prog

Review by rdtprog
Special Collaborator Metal / Heavy / RPI / Symph Prog Team

— First review of this album —
5 stars The band continues to experiment its instrumental music by exploring different kinds of styles from Progressive Rock, Jazz Rock, world music and classical. In the same song, you can expect a surprising twist around the corner, a special groove. They can cover different moods from the more heavier passages to the light ones using piano and sitar and not only modern instruments. Often compared to King Crimson, that is mostly accurate for the rhythm section which is similar to the 90's King Crimson than for the guitar style of playing. There are so many highlights in this 50 minutes plus album that it would be a waste of time to analyze every song, you can't skip a song, it will keep your focus from the beginning to the end. For those who enjoy an eclectic or fusion kind of heavy prog and don't mind the absence of vocals. Why ruined this beautiful music with vocals!
 Tube Alloys by BL LOTUS album cover Studio Album, 2018
4.00 | 4 ratings

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Tube Alloys
Bl Lotus Heavy Prog

Review by Progfan97402
Prog Reviewer

4 stars Wow! This new Swedish heavy prog rock band just totally blew me away. This is a trio consisting of keyboardist/vocalist Fredrik Andersson, bassist Linus Karlsson, and drummer Wiktor Nyden. This group has a "no guitar" policy, so unsurprisingly Quatermass will be one band that will come to mind. ELP, Atomic Rooster, a bit of Bo Hansson and even occasionally Italian prog springs to mind. Hammond organ is by far the most dominant keyboard used, and Fredrik Andersson plays it like there's no tomorrow. Lots of in-your-face intensity certainly to blow your mind. It sounds so much like a lost recording from the early '70s that you can't tell this was actually recorded in 2017 (released the following year). It's funny that while these guys aren't exactly bringing anything new to the table, they still sound like a total breath of fresh air. This is especially when so much modern-day prog really disappointed me big time, usually because they're overlong and way overstay their welcome on a CD full of nearly 80 minutes of music. Not with these guys! It's clear these guys are totally enjoying themselves. That "no guitar" policy only proves, as Quatermass or Rare Bird (their first two albums only) had proved all those years ago, that great music can be had without a guitar. Bl Lotus is simply the new generation of it. Really worth it.
 Zea Mice by MOTHER TURTLE album cover Studio Album, 2018
4.09 | 73 ratings

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Zea Mice
Mother Turtle Heavy Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars After dropping the surprise bomb on me two years ago with their amazing "II"--a Top 10 Album of 2016 for me--I was super excited when Bandcamp notified me of this new release.

1. "Zea Mice part 1: Kukuruzu" (6:44) opens like a prog song with long-held buzzing solo synth and vocal samples from field recordings in Russian (?) before breaking into a hard-driving, engagingly-themed rocker. Reminds me of The D Project's "Shimmering Lights." Nice work from bass, drums, and saxophone. (8.5/10)

2. "Zea Mice part 1: #Cornhub" (8:06) solid foundational music over which several instrumentalists put on a great show: Alex Kiourntziadis' violin, Kostas Konstantinidis' acoustic and electric guitars, George Theodoropoulos' synths. I love the sound of George Baltas' metronomic snare! Marked down for being little more than a smooth jazz jam song. (9/10)

3. "Zea Mice part 2: Sea Mice" (6:53) a nice smooth jazz groove over which synths, electric guitar, and violin take turns at the fore. I like the violin solo and the tension of the final third the best. (8.75/10)

4. "Zea Mice part 2: Zeitenllik" (1:21) an ominous soundscape over which an obviously scary narration is performed . . . in Greek. (4/5)

5. "Zea Mice part 2: Vermins" (6:40) seems a continuation of "Sea Mice" with the same (or variation of the same) driving groove. The female vocalise of Elpida Papakosma range in sound from Ofra Haza's Persian "scatting" to Bjrkian Sugarcube-era sounds. Guitar and violin lead us into a thicker, faster section in the fifth minute. The final minute becomes more spacious and synthed, themed around a kind of James Bond riff. Nice tune. (9/10)

6. "Zea Mice part 2: Fourward" (1:57) North African drumming within which piano and synths sneak intermittent riffs. Cool! (4.5/5)

7. "Zea Mice part 3: Vermins (reprise)" (1:11) a stripped down, acoustic version of the Vermins theme? Pretty but I don't hear the similarity. (4.5/5)

8. "Zea Mice part 3: Nostos" (16:38) excellent hard-driving instrumental prog over a techno-synth rhythm track. The final third turns radically into some smoky lounge jazz. Excellent sound but . . . why? (9/10)

It's taken me a long, long time to get up to writing a review of this album--despite the fact that I've owned it for over half the year. There's just a lot of dense music--which is particularly challenging to critique with instrumental music. The quality of performances and "hooks" is high but I really miss the wonderful storytelling that the vocals and instruments did with the previous album.

4.5 stars; a near-masterpiece of instrumental progressive rock.

 System by HILLWARD album cover Studio Album, 2018
4.00 | 3 ratings

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System
Hillward Heavy Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Now here we are getting into the sophomore album recorded by this band which is hailing from Quebec, Canada. They once started as a standard trio, emerging out of the forerunner band Southern Cross, consisting of the core trouper David Lizotte (guitar, vocals), Jean-Francois Boudreault (bass) and drummer Antoine Guertin. After the debut album release though the line up would be enhanced by another guitarist plus a keyboarder. And so dual guitar work rules, the keys respectively electronics are still playing a minor role anyhow. This album marks a really big affair for those who are keen on heavy progressive rock in general, let's say in the vein of Porcupine Tree, just for the record.

A proper example for a steady alternation between heavy and atmospheric parts. Almost everything sounds improved when daring to compare with the former band, especially the vocals. Yes, the HILLWARD crew operates with heart and mind, though forever lost in the 'System', for what I understand the lyrics. 'The ones who should be the last to die, and those with all that money cannot buy' - that is meant like drawing a murky future overall I would say. And the cover image somehow may express a weird relationship of nature and modern civilisation. Somewhat reflecting the current situation, food for thought in any case.

At the very start you will be acquainted with David Lizotte's sensitive singing voice on Foster The River. Also focussed on acoustic guitar this is a rather superb entry! There are some other haunting compositions to explore, which do remind of the UK band Mansun a bit, for example the lovely Fragile. Others are more deriving from the heavier side predominantly, for example Long Way Down including some proper metal riffs. Or Hollow which is running with beautiful guitars and some headbanging qualities.

The couple Life In Serigraph and Flat Light is prospering with a gripping flow and then - 'you make me feel alive' - the refrain of my current favourite Haven seems to express some confidence anyhow. A top notch album, provided with a compelling atmosphere all over. Other bands which come into mind close in style are Aussie band Opus Of A Machine or Non Newtonian Man from Italy. Also, I might not be surprised if there would be some staff interweavement with another Quebec band named Inner Odyssey.

 Cargo by CARGO album cover Studio Album, 1972
3.94 | 75 ratings

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Cargo
Cargo Heavy Prog

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. CARGO were a Dutch band who released this sole album back in 1972. A four piece with dual lead guitars, a drummer and bassist/vocalist. I have to say this was another album that was love at first listen. Four long tracks giving the band plenty of time to jam and the two other albums I was reminded of were WISHBONE ASH's "Argus" and SATIN WHALE's "Desert Places". Melodic, pleasant, just such a feel good vibe to all of these albums with the guitars leading the way.

"Sail Inside" rocks pretty good early on with vocals helping out before we get this extended guitar driven instrumental section from after 4 minutes to almost the end. So good! Vocals are back very late to end it. A great opener. "Cross Talking" is my favourite and as the title suggests this is about the dual guitars talking back and forth. Man this was is so incredibly catchy too with some excellent drum work. I got caught sitting in the parking lot at work bobbing around and as I looked up a guy is smiling at me as he was going through the drive-thru. Funny. It's all so intricate and catchy and check it out 5 minutes in at it's most passionate.

"Finding Out" is the shortest piece at just over 5 minutes and my least favourite. It's still interesting though with the prominent bass and guitars. Vocals too and the drums are relentless. Vocals are there early on and late. "Summerfair" rivals "Cross Talking" as my favourite. A 15 1/2 minute tour de force where we get some dreamy, summertime sounds that are laid back and so enjoyable and pleasant. Lots of jamming and I really like the vocals bringing the early seventies to mind. Themes are repeated on this beauty, just a pleasure.

This should be much more well known. I prefer it to "Argus" but would rate "Desert Places" higher. A must for fans of melodic guitar driven music.

 Fear Of A Blank Planet by PORCUPINE TREE album cover Studio Album, 2007
4.25 | 2389 ratings

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Fear Of A Blank Planet
Porcupine Tree Heavy Prog

Review by Egyptianprog-Fahmy

5 stars Porcupine tree always uses different approaches to create their music. This time, they experimented severely, taking the approaches of In Absentia but adding a way different tone to it. The bass and guitar are more distorted, the drums are more intense and Richard's keyboard has never been better. The lyrics of Steven Wilson as usual exceeded expectations as this has to be the best lyrics he wrote in a while. Songs like Anesthetize makes you wonder in a complete void especially since it's long, while short songs like my ashes send you to a deep depressive mood. I love this album from start to finish. This is a true masterpiece from porcupine tree. They should have ended it here instead of releasing the incident later on. I truly wish Porcupine tree would rise again and play live this amazing masterpiece.
 Raising The Mammoth by EXPLORERS CLUB album cover Studio Album, 2002
3.34 | 54 ratings

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Raising The Mammoth
Explorers Club Heavy Prog

Review by SonomaComa1999

3 stars REVIEW #15 - "Raising the Mammoth" by Explorer's Club (2002). 08/19/2018

I was surprised to see that Explorer's Club, a prog side project supergroup headed by the late Magellan keyboardist Trent Gardner, operated out of nearby Vacaville, California in Solano County. Being just about thirty miles away in Sonoma County, it is always pleasing to see some prog come out of the San Francisco Bay Area. With Gardner passing away in 2016 due to unknown causes, "Raising the Mammoth" will be this band's second and final album, being released in 2002 on Magna Carta Records with a slew of guest names.

I admit that I never heard of the band Magellan prior to this random review, but immediately a lot of the names which Gardner was able to feature on this album are extremely familiar. Numerous musicians take part in this project; among them are vocalist James LaBrie and John Myung of prog metal icons Dream Theater, vocalist Steve Walsh and guitarist Terry Livgren of Kansas, the band which brought us one of the most commercially successful prog singles in 1975's "Carry On Wayward Son", drummer Terry Bozzio who did work with the late great Frank Zappa, and even Megadeth guitarist Marty Friedman, who I was surprised to see has his works featured here on the site despite being a name associated with thrash metal. All of these names immediately create intrigue as to what "Raising the Mammoth" may contain.

Being created long after the constraints of vinyl records were lifted, this album can be best described as a constant stream of highly excessive prog rock for roughly an hour. There are two parts to "Raising the Mammoth", the first being a THIRTY-SIX MINUTE LONG epic split into three movements ranging from eleven to fifteen minutes in length. Gardner does not hesitate to challenge both the listener, and the pre-existing boundaries of what is considered progressive as this album is very expansive and borderline pretentious. This is considered a concept album, although the concept is not clear; if anyone can interpret the lyrics and come to me with a definitive answer I would be greatly thankful. The first movement of "Raising the Mammoth 1" is titled "Passage to Paralysis"; we start off with an epic and grandiose three-minute introduction that eventually meanders between wordless chants a la Jon Anderson on "Close to the Edge" and a wild flurry of guitars. Walsh starts off on vocals as the music mellows down; while I inherently prefer LaBrie's dynamic and modern-sounding voice to the Kansas frontman's, I have to admit that his sound suits the overall mood of this album very well. While I may not understand the point of the lyrics, I think they were more suited to augment the sound of the music, rather than further some sort of concept. We get two solid verses before the music evolves around the six-minute mark into this fast-paced tempo with almost incomprehensible harmonized vocals which I'm not too keen on. Gardner makes it evident to the listener that this is a progressive album with several harsh tempo changes interspersed by his own keyboard solos; if you're a fan of keyboard music in the vein of some sort of modern ELP, this is the album for you. I am not too big a fan of this style, but I still gave this album a chance with an open ear. At nine minutes we get a reprise of the "In my experience..." verse style which I appreciate; still no sign of LaBrie at this point, but Walsh is definitely within his groove in the allocated time for lyrics. From the twelve- minute point the music seems to transition towards this ascending coda overlaid with vocals which radically changes and breaks down all the way to the end of the first part. For a prog album of this stature, Gardner makes very liberal use of vocals, a practice which is expanded upon in the second movement "Broad Decay" where Explorer's Club makes greater use of chant. Walsh remains on vocals; keep in mind at this point we have not heard LaBrie yet, which made me initially think that Gardner was saving perhaps his greatest weapon for some sort of grand finale. The lyrics on "Decay" seem to be somewhat socially conscious and political to an extent, even though I still have no idea what the lyrics actually mean on a literal or figurative scale. This movement starts out very mellow, but still makes room for Gardner's keys, while moving progressively more symphonic into the middle section; near the end we get this sort of gospel chant that concludes the movement which is definitely unique and memorable, but not necessarily good. So far Explorer's Club has provided a rich amount of instrumentation, but much of it has gone in no direction whatsoever. Gardner attempts to make a solid Keith Emerson impression with hordes of keyboard solos, but none of them are particularly memorable.

The third and final movement of the first part of "Raising the Mammoth" is titled "Vertebrates", and it is here that LaBrie finally makes his first appearance of the album. Let me just say that I was totally underwhelmed with how LaBrie was handled on this album; he appears for this weird duet with the backing vocals of Gardner himself, but after this not only does he never appear again, but all vocals cease to exist. Yes, the remainder of this album, at just over thirty minutes, is entirely instrumental. The rest of "Vertebrates" isn't bad; we have this really metal guitar riff with a visible bass line which serves as the foundation for a synth solo, but the entire second part of "Raising the Mammoth" known as "Gigantipithicus" is a twenty-one minute instrumental which features more of the Gardner keyboard solos in addition to some pretty epic musical movements and Friedman ripping guitar solos. One major issue with this issue, at least from what I'm hearing, is pretty mediocre production value. I can barely hear or feel Bozzio's drums; he is just in the background far overshadowed by the keyboards and vocals. Same applies for the bassist Myung; it seems that even though Dream Theater is listed as being on this album, they seldom make an impact, which is disappointing. The heavy emphasis on Gardner's musicianship does not help this album out in the slightest; with such notable names you would think that they would be appropriately used. Nevertheless, much of the epic instrumental is largely forgettable, dotted with the aforementioned solos and some fake endings which just become apprehensive over time. It's like the band is teasing me at this point with the prospect of this album finally being over. Eventually it does end, and it ends in rather unspectacular fashion much to my disdain.

I tried to find things to say about this album, but ultimately I came up largely empty. This will unfortunately be one of my shorter reviews, which is a bit sad considering I had very high hopes for this album to be something along the lines of a four-star performance given the array of names on Explorer Club's roster. Perhaps more listens could awaken a love in this album in the vein of "Tales from Topographic Oceans" but frankly "Raising the Mammoth" is not essential enough to ever really return to. I had no clue of this collaboration's existence prior to hitting a random review, and now I can see why. The music on this album is not bad or even bland, but it just rather falls victim to the textbook prog malaise of having no direction in the slightest. It would have helped to have a decent concept to allow me to ponder while listening to the grandiose modern "earthy" sounds of this LP, but even then the lyrics have even less direction than the music, and the format in which the lyrics are presented in the album booklet is just awful; it is impossible to read as a diagonal block of text. I understand that Trent Gardner, the leader of this project, was attempting to go for a modern approach that was extremely progressive, but there really is nothing to go alongside this music. I considered giving this album a two-star review, but I felt that the strong vocals of Steve Walsh combined with the advanced instrumentation and effort into making a challenging album should just barely save this album from being relegated into being a work for just collectors and fans. It is at least a breath of modern prog, but it is by no means essential and easily forgettable. If you're a huge fan of keyboard-dominated prog and can tolerate a heavy metal tinge to your music, then you may appreciate this album more than I did. I give "Raising the Mammoth" a three-star (70% - C-) rating; does not really factor much into the grand scheme of prog outside of being a supergroup collaboration between a blend of older and modern progressive musicians.

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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
ALDENFIELD United States
ALGABAS Russia
ALGARAVIA Brazil
ALTERED STATE United States
AMALGAM EFFECT 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
ATRIS United States
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
BASS INVADERS United States
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
BL LOTUS Sweden
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
DNAE Argentina
DAREDIABLO United States
DARK United Kingdom
DEAD END SPACE United States
DEAFENING OPERA Germany
THE DEATH COBRA Australia
DEEEXPUS United Kingdom
DEFORMICA Argentina
DJ-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 ELECTRIC Portugal
EARTH FLIGHT Germany
EASTER ISLAND United States
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