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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 members:
as at 1/3/2020

Louis (rdtprog)
Thanos (aapatsos)
Mike (TCat)

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 | 2952 ratings
MOVING PICTURES
Rush
4.37 | 2508 ratings
HEMISPHERES
Rush
4.33 | 2320 ratings
A FAREWELL TO KINGS
Rush
4.28 | 2147 ratings
PERMANENT WAVES
Rush
4.26 | 2628 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.26 | 2589 ratings
IN ABSENTIA
Porcupine Tree
4.19 | 1252 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.17 | 1205 ratings
THE MOUNTAIN
Haken
4.19 | 838 ratings
SALISBURY
Uriah Heep
4.12 | 2178 ratings
2112
Rush
4.11 | 2057 ratings
DEADWING
Porcupine Tree
4.15 | 699 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.13 | 735 ratings
LOOK AT YOURSELF
Uriah Heep
4.11 | 1120 ratings
VISIONS
Haken
4.07 | 1377 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.07 | 945 ratings
FRANCES THE MUTE
Mars Volta, The
4.08 | 809 ratings
DEMONS AND WIZARDS
Uriah Heep
4.06 | 1085 ratings
AQUARIUS
Haken
4.02 | 1548 ratings
LIGHTBULB SUN
Porcupine Tree
4.24 | 148 ratings
CHRONICLES OF THE WAKING DREAM
Arcane

Heavy Prog overlooked and obscure gems albums new


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

A.F.T.
Automatic Fine Tuning
ONCE WE WERE BORN ...
Divine Baze Orchestra, The
MÉMOIRES INCUBUSSIENNES
ExCubus
ZOOMA
Jones, John Paul

Latest Heavy Prog Music Reviews


 Beautiful Bedlam by BEAUTIFUL BEDLAM album cover Studio Album, 2021
4.27 | 11 ratings

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Beautiful Bedlam
Beautiful Bedlam Heavy Prog

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

4 stars New to the prog rock arena is the Melbourne, Australia band BEAUTIFUL BEDLAM which has released its self-titled debut album in 2021. Fronted by the Ancell brothers, guitarist Luke and drummer Scott, this band has its antecedents in A Lonely Crowd which released two experimental and heavy albums in the early 2010s but for the most part the Ancell brothers have been on a hiatus but with the release of their BEAUTIFUL BEDLAM project, it's clear that they have been hard at work crafting an intricately designed prog album suitable for the fickle crowds of the 21st century.

This is one of those bands that grabs you right from the getgo with sounds that are somewhat familiar but yet crafted in a manner that is very original and best of all doesn't dwell in the world of one trick ponies to fill up an album's worth of material. Not at all, in fact BEAUTIFUL BEDLAM as its moniker suggests walks the tightrope in offering easily accessible rhythmic and melodic constructs fortified with interesting juxtapositions of tones, timbres and time signature deviations with a stellar palette of 12 tracks that are quite distinct.

A bit difficult to pigeonhole, this album runs the gamut from emotive atmospheric keyboard drenched compositions such as "Two Thirds" which offer somewhat of a neo-prog connection with arpeggiated guitars, multi-layered atmospheric richness and emotive vocal deliveries to the jazzier side of things with "Cocktail Crime Scene" which displays a retro jazz experience with vibraphone sounds and swinging rhythmic drive. The album's opening "Flaking Paint" showcases the band's quirky indie pop sensibilities with staccato-rich guitar heft that alternates between clear smooth guitar sounds and thundering borderline metal stomps. The keyboards oft resemble the new wave music of the 1980s and the contrapuntal sound layering is quite brilliant.

While the album is quite adventurous in many parts such as the varying motifs of "Open World (+ Apparitions)," BEAUTIFUL BEDLAM excels at offering heavy crunchy guitar riffs that bring the band very close to metal territory but it's the layering effect of the keyboards, the jittery almost zolo time signatures and the abrupt change in dynamics from pastoral to pummeling that make this an exciting roller coaster ride of adventurous proggy yumminess! In many ways this album truly is furious BEDLAM tamed and pacified into true BEAUTY. The album starts out as confident but by the time you get to the latter half of the album with tracks like "I Adore," it gets more complex, louder and bold.

If any single element dominates the BEAUTIFUL BEDLAM soundscape, it would surely be contrast as the main gist is to juxtapose musical elements in order to heighten the wow effect. The time signatures are very unorthodox and although the album doesn't sound overtly jazzy, the time signature unconventionalities definitely break out some serious unorthodoxies for the rock universe including the world of prog. The diversity factor is heightened by the fact that in addition to the two vocal contributions of keyboardist Ross Taylor and bassist James Van Strien, there seven guest vocalists adding lead vocals to different tracks which almost makes this sound like a different band at various moments.

Given the many vocalists on board, this can leave some tracks sounding stronger or weaker than others depending on your preferences. For me i'm a bit underwhelmed by the second track "Breather" for some reason and the track "Life, Death & Cheers" rubs me the wrong way as the melody seems to remind me of some pop song from the wayback machine although i can't put my finger on exactly which one it could be! Other than those two tracks for me personally, BEAUTIFUL BEDLAM is an excellent collection of modern day prog tracks fueled with a fiery passion for detail and an impeccable attention to detail. The compositions are quite exhilarating and cleverly crafted, the musicianship is spot on and the production is absolutely perfect for the music at hand. The band never pulls off more than they can chew and despite the diverse elements on board, the album never loses its connective tissue which gives it a unified feel. This is a band i look forward to hearing more from in the future. Bravo!

 Beautiful Bedlam by BEAUTIFUL BEDLAM album cover Studio Album, 2021
4.27 | 11 ratings

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Beautiful Bedlam
Beautiful Bedlam Heavy Prog

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

5 stars As I was collecting records and 8-tracks in my youth through the 70's, I was always excited by the albums that had a lot of variety on them. It seems, back then, that many bands explored different styles in their music and nobody seemed to complain about it. One of the main examples of this was what was one of my favorite bands back then, Queen. It seemed that they could go from one genre to another with hardly a blink. Their album "News of the World" is one of my favorites. One minute they are playing anthem rock, then next is punk, then they could do a broadway- style song, industrial and alternative, and make it all sound believable, yet their albums were still cohesive. It seems that in the last 3 decades that variety has been frowned upon with critics saying that when a band explores several genres and styles that they don't have any focus. In some cases, this is true as it needs to be believable or it just sounds hokey.

I say all this to introduce a new band called "Beautiful Bedlam". This band, though new by name, is not new to the world of progressive music. It was founded by the Ancell brothers; Luke on guitar and Scott on drums. They were previously members of the band "A Lonely Crowd" which has been in the PA database for a while and had received several accolades from the members that reviewed their albums almost a decade ago. One thing that is similar in these two bands is in the seemingly contrasting names and that is on purpose. What I mean is, how can a crowd by lonely and how can bedlam be beautiful? This contrast reflects, in a way, the music that is created, and, after hearing Beautiful Bedlam's self-title debut album, completely feasible. The bedlam is absolutely beautiful here.

When I think of bedlam, I usually think of a chaotic mess. Well, this music is far from chaotic, but it is definitely original and sometimes quite experimental. But all in a very enjoyable way. You can tell that the musicians involved in this band are all accomplished musicians, and you can feel the strong camaraderie in the way they play their music. The core group is made up of the Ancel brothers, but also James Van Strien on bass and vocalist/keyboardist Ross Taylor. These four musicians prove time and time again through the album that they are certainly capable, that they take their music seriously and that they can easily hold your attention through each and every track. However, this was not enough for them. This album is loaded with special guests that mostly come from their native Australia. Many of the guests are vocalists that take the lead on many of the songs here, which is another reason why the variety meter is set on high for this album. But don't worry! Every time the music veers off in another direction, it is done believably and excellently. Just know, when you go into this album, that you are going to be treated to high quality musicianship and a lot of differing styles. Not only that, you get high quality progressive style all the way through the album. The music is laced with jazz, alternative, straightforward rock and blues, heavy (almost extreme) metal and even classical, all of this tied together with a strong progressive foundation. However, the band is overall, none of these, except for progressive. So, why isn't this listed under Eclectic? Well, the progressive style is more heavy than anything, but it isn't metal (at least most of the time), and the outbursts (on 3 of the tracks) of some of the vocals might be a bit too extreme for some. But, the important thing is to take this album as a whole, as that is how it works best.

"Flaking Paint" gives you a great overview of what to expect. There is a jazz-funk feel to the guitar at first, but bursts of heaviness come in and out like it all belongs there. Then there is the cool synth sound that comes in giving it all an almost neo-prog sound. The complexity of the melody line is something you can easily get used to, and also expect to hear through the album. Excellent opener. "Breather" then mellows things out a bit, but not in the progressive sense as it remains complex, but the biggest surprise here is the female vocal lead by Xen Havales. It's one you could say is airy and thick at the same time. There are some nice riff runs that follow a progressive jazz scale and the vocal harmonies use some nice chord structures. There is a lot of great stuff going on in this one including changing styles and meters. "Life Death & Cheers" takes the smooth jazz route, this time veering more into a neo-prog sound. It's a surprisingly happy sounding track with just a touch of heaviness in the guitars from time to time just to keep things real. This track is paired with "Slow Creepin'" which is more ominous final statement to the previous track. Interesting percussive sounds and a low synth bass make the chimes on the top seem sinister.

"Two Thirds" feels a bit darker than the previous track and continues with a somewhat complex melody line. The darker feel continues even when the instrumentation gets more minimal, then a creepier vocal sneaks its way into the mix. This one also has a more alternative feel to it, but the progressive style is still 100 percent there with some nice jazz chord changes that don't always come at the places you expect. This all flows into "Cocktail Crime Scene" that mixes a fast-paced lounge jazz feel with a bit of heavy guitar and synth alternating back and forth and at times playing together. It's a dynamic instrumental that will keep you guessing all the way through its 5 minute run time. "Black World" features guest Paul Cooper on the lead vocals. There is something sinister in his vocals that lies under the surface in the restrained sections, but gets to come out more in the heavier chorus. Again, the music takes you through so many moods that it's hard to pinpoint what the style is other than progressive.

"Open World" features some very cool vocal harmonics right from the beginning, plus you get a nice unpredictable structure that is prevalent through the track. The appearance of the piano is a nice touch that doesn't distract from the heavy progressive passages. Again things alternate from a neo-prog feel to a much heavier feel throughout the song. And get ready for the harsh outbursts in the 2nd half with some pretty impressive vocal screaming. This track is paired with "Apparitions" which takes the track to a more experimental and industrial sounding weirdness. "I, Adore" has the lead vocal talents of Markus Saastamoinen which really comes at you full force when the vocal gets multi-tracked into a wall of harmonic heaviness. The track might seem rather unassuming in the beginning, but it will definitely stand out to you by the time its over. "Dog's Breakfast" is a really interesting and somewhat kooky quasi- instrumental (kooky when the background spoken vocals come in which sounds like a crazy lady talking to her dog). This odd middle part is bookended by some crazy guitar work.

"Sweet Oblivion" features Richard Jeffrey on lead vocals. His vocals are also quite dynamic which matches the changing style of the track. There seems to be a marked increase in the heaviness on this track which actually increases through the rest of the album. It's not all about the heaviness though as there are still some nice jazzy passages still mixed in there, especially the nice keyboard solo in the instrumental break of this track. "Silent to the End" is a bit of false advertising as this album refuses at this point to be silent at all. Michael Minehan has the guest vocal spot on this one and it seems that he is more of an extreme singer, though the track itself doesn't sound like it's starting that way. Wait until he goes into the bridge and listen to that impressive growl. And the ending is quite a mind blower. The real blast is saved for the last track "Pigment" though with guest vocalist Matt Belleville. Starting with a sinister piano and some spooky sound effects, this one will put you on edge. This vocalist also sounds like an extreme singer, but this time, once the growling starts, it doesn't let up very much. The band definitely wanted to leave you with an impression, and it does. The track isn't all about noise though, it still has times to weave in and out of styles and even builds to quite the explosive climatic ending.

The fact that the band uses many different guests was no accident, nor is it a one time thing as they plan to use all of the guests in their upcoming concerts and also incorporate guests on future albums. I know this much though, that if they continue on in the same way that they have in this album, I will definitely be keeping a close eye (and ear) on them. This is one of the most enjoyable, entertaining and diverse albums I have heard in 2021 and is on joining my list for top albums of the year. There is definitely something for everyone on this album, but hopefully the entire album will be as intriguing and exciting to you as it is to me. It's a very impressive debut album. 5 glowing stars!

 Alive by KLONE album cover Live, 2021
5.00 | 1 ratings

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Alive
Klone Heavy Prog

Review by Michael919

— First review of this album —
5 stars Powerful and Very Worthwhile Spin

In the final months of my previous life, in the distant, "before-times", AKA BC (Before Covid), I listened to the last two studio albums by Klone a lot. They were frequent company during my daily commute. Was that a dream?

I moved onto other music in my deep, sanity-saving, prog dive of the past many months.

I saw this new, live, Klone album come up for new releases and gave it a few consecutive, very careful spins. It hit me quite hard, partially due to the context described above, but also because it is very good. Very good.

Through the first part of the opening track, Yonder, I was thinking that this is just going to be an uneventful, accurate, restatement of the studio albums, but then singer Yann Ligner let his voice start to fade long notes into distant, death yells, seamlessly. It was subtle and infrequent, but it was perfect. I'm not a fan of that style of singing, although I'm starting to "get it" a little now that I've let Opeth and Cult of Luna enter my consciousness. It sounded really good in this opener! It helps that Yann is probably one of the finest singers today.

Ok, now that you have my attention, Klone, where is this ride going to go? I'm giving you an hour, show me.

I had tried listening to earlier Klone, but I couldn't get past the death yell screams that were completely absent from the last two albums that I loved. It looks like I missed out. This album leans heavily on the last two albums (primarily Here Come the Sun), but it scatters in several songs from the previous two, heavier albums. What a great introduction to these new to me tracks where the death yells were tastefully interspersed and quite infrequent. I may need to visit those albums now.

The tracks from the last two albums were played quite truthful to the studio versions, but with a rough edge and more aggression, sometimes due to the heavier or more distorted guitar or bass, sometimes due to heavier drums, and often due to Yann's mastery of his voice and him frequently riding right on the edge of pure aggression (case in point, last few minutes of Nebulous).

The track selection and order in this recording are perfection. The songs flow and take you many places through various soundscapes, from dreamy to crushing heavy, but always with a deep, emotional, melancholy.

There's something a little different about this band and this album is a great representation and it would be a good introduction to the band. The guitars are very clean for a heavy band and the percussion is often sublte and complex (think Tool's Danny Carrey). The guitars from the the albums before those are more distorted and more metal somewhat, but still pretty light on the gain. The use of seven string guitars or heavily drop-tuned guitars contributes to the heaviness on most songs and makes up for the lower-gain sound. The earlier Klone tracks remind me of Riverside at times. On this live album there are also some subtle keys and atmospherics that vary a little from the studio albums and make things a little more interesting.

Klone covers a lot of themes, moods and styles, but they all flow together very well with a unique sound of their own. It's all weaved together by a tight and powerful rhythm section playing an interesting, blended style and some of the best vocals you will ever hear.

This album will deeply satisfy a Klone fan, but I suspect it would be very well appreciated by any fans of heavy prog. For me, personally, it's the other life bookend of this surreal past 15 months. A bookend different from the other. Hardened, tougher, changed, yet sensitive and evolved.

I can't give this one 4 stars and there is no 4.6, so it is a 5 for me.

 Warhorse by WARHORSE album cover Studio Album, 1970
3.58 | 68 ratings

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Warhorse
Warhorse Heavy Prog

Review by prog_traveller!!

4 stars Bassist Nicholas "Nick" Simper is known for having played in Deep Purple, with whom he recorded the first three albums (Shades Of Deep Purple, Book Of Taliesyn and Deep Purple) before being replaced in 1969 by Roger Glover, from Episode Six. The following year Simper joined the Warhorse, a line-up that included singer Ashley Holt, keyboardist Frank Wilson (Velvett Fogg), guitarist Ged Peck and drummer Mac Poole (Big Bertha). The group, however, did not have much luck and only released two records, Warhorse in October 1970 and, with a different line up, the much less significant Red Sea in 1972. Two years later Warhorse sadly dissepeared.

The full length Warhorse, produced by Ian Kimmet and recorded at Trident Studios in London, can be framed in the progressive rock genre, although there are evidently moments referable to the neo-rising hard rock movement. In my opinion, Wilson's keyboards are the most peculiar aspect of this group that subtly recall the style of Iron Butterfly and Uriah Heep, two bands that were raging at the time. The songs that shape the work and make it enjoyable in my opinion are definitely Woman Of The Devil and Ritual, which shows the band struggling with very sustained and pulled rock. Also very interesting are the more studied and complex No Chance and Solitude, much more calm and typically progressive motifs, even with dark veins. Also noteworthy is the over-the-top performance of the singer Holt in the St. Louis cover, a song that would have a fair commercial future.

It is a very enjoyable album, played without excess, without pretensions, dirty enough, not essential but still important for those in search of the cult record.

 New Born Day by RUPHUS album cover Studio Album, 1973
3.93 | 88 ratings

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New Born Day
Ruphus Heavy Prog

Review by prog_traveller!!

4 stars You should definitely know this "flagship of the Norwegian prog scene", which drew its jazz-rocky and progressive tracks through the stormy prog scene from Gentle Giant to King Crimson as well as Yes, Jethro Tull and Uriah Heep from 1970 to 1981, after all, Ruphus is still considered one of the best and most creative Scandinavian prog bands in Norway today. "The New Born Day" from 1973 is their absolute flagship album.

"New Born Day" was born in a house near Trondheim where the group locked themselves up for a whole month before joining the studio with producer Stein Robert Ludvigsen. The formation, numerous, included seven elements of which only two, the guitarist Kjell Larsen and the bassist and flutist Asle Nilsen, will be constantly present in all the band's productions. In addition to them we have Hans Petter Danielsen on guitar, jazz composer Håkon Graf on organ, piano and vibraphone and Thor Bendiksen on percussion. In this very first version the Ruphus had two solo voices, one female, incredibly powerful and of great appeal, that of Gudny Aspass, and a male, pleasant but unfortunately less thick, more feeble and monochord, that of Rune Sundby who also played sax and acoustic guitars. It is precisely Gudny's great charisma that makes this rough and precious album unique, which reveals enormous potential by leveraging the enthusiasm of musicians who are eager to show all their skills. The album follows the tradition of British hard rock. Striking riffs, together with a dynamic organ sound and an agile rhythm section, create a down-to-earth rock sound. Romantically flowing flute interludes also provide one or the other well-dosed tranquility. Sometimes there is a dangling into the realm of light-footed progressive rock, which also offers a more complex rhythm. Here, too, the energy emanating from the pumping bass should be emphasized.

When listening to the forty-minute album, you quickly understand the euphoria, which is definitely justified. Already the two-part male / female singing, which is often performed in duet form or set chants, is inspiring, as is the extensive flute use, or the saxophone, which sometimes also mingles with it fat organ sounds combined.

The debut of Ruphus is built on an imposing hard rock matrix with deep bluesy veins that will disintegrate over time, first leaving room for a more deeply prog album like "Ranshart" (1974) to then bring out more markedly jazz rock traits like those of "Let Your Light Shine" (1976), produced by the legendary Terje Rypdal.

"Colored Dreams", the opening track, enters our brain with force and Gudny's disruptive voice moves on a carpet of Hammond and decisive guitar riffs. The impact is convincing but this formula, which makes us think more of Uriah Heep than anything else, allows us to glimpse only in part the fantastic evolutions that await us further on. The acoustic guitar, which kindly opens "Scientific Ways", makes us savor other scenarios. The voice is that of Rune and unfortunately its limits are appreciated but it is precisely when Gudny enters the scene that the games become interesting: an articulated rhythm section is added to instrumental intertwining that could remind a little of Gentle Giant for a song with ample melodic and symphonic openings and anything but linear writing. The explosive incipit of "Still Alive" almost catches us off guard. Thundering is the Hammond organ by Håkon Graf. The bass is in the foreground with Crimsonian echoes and almost Horror scenarios embellished with sax and vibes. "The Man Who Started it All" begins with the romantic piano echoed by the flute and the tones gradually become more dramatic and pressing. "Trapped in a Game" is literally illuminated by Gudny's performance as he challenges his limits by pushing his voice higher and higher. The organ interlude that cuts the piece in two may instead recall something of "Foxtrot". "Trapped in a Game", with the bass in the foreground and the organ in evidence, still plays on complex arrangements that bring us back to Gentle Giant. The piece still benefits from the splendid presence of Gudny and this time jazzy connotations emerge that make this piece one of the best successful of the lot. "Day After Tomorrow" is the longest and perhaps also the most complex song on the album and stands out for its magnificent organ progressions and symphonic openings with references to Yes and EL&P.

Definitely a Scandinavian piece of Prog music history that you should definitely have in your high-quality record collection as a Prog lover.

 Ranshart by RUPHUS album cover Studio Album, 1974
3.21 | 62 ratings

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Ranshart
Ruphus Heavy Prog

Review by prog_traveller!!

4 stars In retrospect, the Norwegian Ruphus are named as a formative progressive band of the 70s in their Nordic homeland. But like so many bands of that time, they developed and changed almost constantly over the years, especially through various lineups, and also went through several style changes. While the debut "New Born Day" (1973) was still rooted in traditional hard rock, this was followed by the "Ranshart" (1974) discussed here, a symphonic progressive rock album that was clearly marked by Yes, without being considered pure clones. Subsequently, Ruphus clearly tended towards Jazz Rock, the musical direction for which Ruphus is still known today, with the 76 work "Let Your Light Shine" being the highlight in the band's discography.

"Ranshart", which was re-released by Karisma Records in various formats, remastered by Jacob Holm-Lupo, was recorded in a slightly different line-up for the debut. Singer Gudny Aspaas and singer Rune Sundby had left the band. There were also several changes on the instrumental side and one had shrunk from a septet to a quintet. The following can be heard on this album: Rune Østdahl (vocals), Kjell Larsen (guitar), Håkon Graf (keyboards), Asle Nilsen (bass, flute) and Thor Bendiksen (drums). The personnel changes also went with a changed musical direction. The five songs on "Ranshart" thrive on melodic, at the same time interlaced compositions in a symphonic progressive rock pace. Not only through the polyphonic vocal harmonies, but also in the arrangements you can sometimes recognize the certain Yes inspiration. At the same time, Ruphus prefer a restrained, sometimes more straightforward approach, which, in addition to euphoric, impressive moments ('Pictures Of A Day', 'Back Side'), sometimes slips into a somewhat too harmless point of view. It's easy to listen to, shows potential, has surprises in store, especially with some flute parts and analog keyboards, but Ruphus only found their actual musical destiny with the future change to jazz rock.

To open the dance a winking "Love is My Life" that immediately highlights the skills of Rune Østdahl with her Andersonian voice that stands out on high tones. The song, sunny and flowing, can recall something of Kansas, especially when the guitar parts prevail. The keyboards of Håkon Graf are perhaps a little secluded but incisive. With its arpeggiated guitars and Moog, "Easy Lovers, Heavy Moaners" makes its proximity to Yes feel more and more clearly in a particularly sweetened formula. "Fallen Wanders", which originally closed the A side of the vinyl version, raises, with its fusion forays, the prices of an album which, despite some creative flickers, proves to be significantly less experimental than the debut. The top of the work is represented by "Pictures of a Day", a long instrumental of over 8 minutes which opens with some electronic suggestions and which shines for its simple and gaudy symphonicity. The flute, played by bassist Asle Nilsen, helps to create suggestions very close to the Genesis of "Foxtrot", especially in the central portion of this flowing and variegated piece. The closing is entrusted to an equally long song, "Back Side", festive, with long sequences of Moog and an appeal that unmistakably leads us back to Yes, also as regards the excited rhythm part, supported by the drums of Thor Benediksen .

The album was recorded in 1974 in Oslo in the legendary Roger Arnhoff studios and released shortly after for Polydor. Although it is an indisputably beautiful work and universally appreciated by fans of our genre, it received a rather cold reception at the time and this probably led the group to change style again. Østdahl left and in his place Aspaas was called again to give life to a new work that was projected towards new horizons, perhaps even more surprising than the debut.

 Wake The Sleeper by URIAH HEEP album cover Studio Album, 2008
3.39 | 181 ratings

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Wake The Sleeper
Uriah Heep Heavy Prog

Review by prog_traveller!!

5 stars With the album "Sea of light" Uriah Heep returned to the path of old glory. the powerful sound of Hammond and the magnificent riff heralded the second arrival of the heavy rock giants. The line-up has stabilized since 1989 and in 1998 they released a pretty good album "Sonic origami". And then the silence ... In addition to touring and great live albums, the band has evaded in terms of studio work. They have released a number of live albums of which I will mention "Acoustically Driven" and the now legendary "The Magician's Birthday Party". And then comes 2008, Uriah Heep releases a new album "Wake the sleeper" the only change in the lineup was in the position of drummer where the legendary Lee Kerslake (16 April 1947 - 19 September 2020 R.I.P.) was replaced by Russell Gilbrook. Russell Gilbrook had great shoes to fill, and honestly the drums on this album were done perfectly.

As soon as you put the disc in your player, most of you won't believe your ears as you hear the frontal assault of the title track: double kick , Wah-wah, Hammond and the classic, legendary vocal harmonies that have always constitute the trademark of the band. All terribly vintage, yet with a terribly modern sound, for an almost entirely instrumental song that strikes, takes no prisoners and leads straight to the first real song, "Overload". And here, if anyone had still had doubts about the health of the five Englishmen, you can be sure that things are going great: a solid, engaging and rhythmic Seventies hard rock, in which Bernie Shaw proves to still have splendid vocal cords. Excellent central and final parts, with more than welcome back and forth between keyboards and guitar, just like in the old days. "Tears Of The World" brings back to the most recent Uriah Heep, those of the last two / three albums to be clear, with a royal, melodic, elegant song but always seasoned with great underlying energy. Continuing with the listening, we meet "Light Of A Thousand Stars", another excellent mid tempo which, in the melodies and rhythms, recalls none other than 1972's "Sweet Lorraine", while "Heavens Rain" is more rhythmic, with a groove remarkable and several atmospheric passages. The rocky "Book Of Lies" acts as a bridge to get to "What Kind Of God", one of the best songs on the album, which starts slowly and solemnly, with Phil Lanzon's organ on the shields, and then grows in intensity in the finale. Still double bass in "Ghost Of The Ocean", a song reminiscent of the best Uriah Heep of the mid-70s, thanks to the vigorous performance, the syncopated organ and the choirs, always perfect and performed with splendid mastery. This is followed by "Angel Walk With You", with a dreamy and pathos-filled intro, which in a minute flows into a granite mid tempo that is always well balanced by the right amount of melody. Shaw definitely in good shape and great organ solo in the middle of the song. Seventies atmosphere of "Shadow", dominated by a riff that seems to come from the sessions of a "Demons And Wizards" or a "Sweet Freedom" and completed by the usual, very effective refrain. Closes "War Child", majestic, at the start, in the vocals and in the carpet of keyboards and guitar, massive in the verses thanks to a nice riff stopped and exciting in the chorus. A piece that seems to have been made on purpose to make the public sing in concerts and that concludes in the best way an album that all Uriah Heep fans have been waiting for for a long time.

The most surprising thing is the freshness, vigor and energy that these 11 songs are able to unleash. The perfect album from start to finish with all the elements that have raised this band (unfortunately not nearly enough) to stardom.

 Time Stand Still: The Collection by RUSH album cover Boxset/Compilation, 2010
1.95 | 30 ratings

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Time Stand Still: The Collection
Rush Heavy Prog

Review by arriving

3 stars This compilation seemingly serves two purposes: (1) to "mildly exasperate" [replace with stronger language as appropriate] established fans and completionists hoping for something more than a cheap collection of thirteen more radio-friendly familiars and (2) as a cut-price entry point to low-income newbies who've heard the name but don't want to invest in anything more substantial. The spread of ratings on this collection presumably reflects the relative priorities of the listeners, and which of the two "purposes" is more relevant to them. While it's UTTERLY SUPERFLUOUS to the established fan, except as a re-ordering of some classics, the material it offers is not suddenly corrupted by its target audience. More to the point, nobody comes into this life an established fan.

Now, I confess I'm slightly biased: I picked this up in HMV for three or four quid aged 13 or so, having been lent "Moving Pictures" by a friend for a week and being sufficiently impressed (although my 4/4-regimented brain became quickly confused) as to wonder what else this band might have released. And it's after buying this that my interest was properly piqued (although "MP" is still my favourite by a mile). Alongside some early-era classics ("Fly by Night", "By-Tor" etc.) and obligatory 'hits' (all relative in the prog world, of course? "Spirit", "Sawyer", "Limelight"), we get what probably constitutes the best of Rush's slightly maligned '80s output (although, unfortunately, not "Subdivisions"), the brilliant 'title track', "Grace Under Pressure", "Big Money" and the like. I have to confess that, to my ear, hitherto unaccustomed to outright prog and satiated on the occasionally arty MOR of my parents, this latter category had particular appeal, although with time my interest has migrated "backwards", as it were - although I still maintain Rush offered more mature lyrics and less riffy (an adjective I almost always use pejoratively) songs in their 80s period.

Song for song, this is obviously a great album. It's perfectly fair to say that five randomly chosen songs from this CD would almost certainly beat the five songs on 2112's second half, for example. I'd go further and say that I'd rather listen to this right now than 2112 (which is, to be honest, overrated and silly). As a cohesive entity overall, though? the cover art looks dramatic if unimaginative, we have some general liner notes (good background but nothing Wikipedia can't offer) and not much else, the track ordering isn't particularly inspired, the selection far from perfect, even as a commercially-oriented release?but, then again, for the naïve and impecunious uninitiated, I can't think of many better ways of spending three pounds (or was it four?). I admit I don't share the general prog distrust of compilation albums, particularly for bands who don't make concept albums, but plurality of opinion is always useful.

That being said, if you want to get a prog-newbie into Rush, you'd probably be better off lending them Moving Pictures?

 Homesick by CHAIN REAKTOR album cover Studio Album, 2021
4.18 | 10 ratings

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Homesick
Chain Reaktor Heavy Prog

Review by Michael919

5 stars Outstanding debut!

I have to admit that the coolness of the makeup of this father / sons plus 1 band from the Netherlands gave me a little extra motivation to check it out. I was not expecting to find such a terrific album.

Chain Reaktor have set the bar exceptionally high with their debut album. This is a very high quality output. The compositions are very strong, mature and varied and the musical performances are all very good. There is really good variety here, from neo-prog to heavy prog with a great mix of classic and modern prog elements. The vocals are authentic and likable, with nice harmonies. Did I mention the really strong composition? The production is also very well done.

I don't think many could listen to this album and believe that it isn't a band that's been together for years. But then, the listener realizes that they have been together for years, a lifetime for the sons. Very cool makeup and even cooler album.

4.5 stars rounded up to 5, because of the "debut multiplier"....and it's darn good.

 In Hearing of Atomic Rooster by ATOMIC ROOSTER album cover Studio Album, 1971
3.81 | 232 ratings

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In Hearing of Atomic Rooster
Atomic Rooster Heavy Prog

Review by prog_traveller!!

4 stars Atomic Rooster was an interesting formation of the first half of the seventies, in perfect balance between hard rock and progressive. The presence of a noisy and distorted guitarist (John Du Cann), the orientation of songwriting towards full-bodied and repeated riffs, typical of the then prevailing rockblues (Zeppelin, Purple, Sabbath), the rude and bluesy singing of the frontman (Peter French, but only for this record). On the progressive side, the undoubted and evident leadership of the keyboardist, born Vincent Rodney Cheesman but for all Vincent Crane, founder of the group together with the drummer Carl Palmer, as well as the typical creative and spectacular use of the drums, passed from the hands of Palmer , soon eclipsed to land on far more fortunate shores, those of the equally talented Paul Hammond.

The group has been heavily influenced, from the beginning and throughout its history, by the mental health problems of its leader, in the grip of cyclical depressive obsessions which unfortunately resulted in a suicide, which occurred in 1989. Graduated in music theory and composition since 1964 , Crane was a rock keyboard player with his own precise and recognizable style both on the organ and especially on the piano.

Let's rewind the tape and go back to the beginning of the seventies, when Atomic Rooster are on the crest of the wave, after the publication of the homonymous debut and, above all, of the masterpiece Death Walks Behind You, both dated 1970. The single Tomorrow Night goes strong in England and finally the album is also released in the States, making Death Walks Behind You the most successful record of the band and one of the first examples of fusion between hard rock and progressive rock. The band then began working on the successor and soon released the single Devil's Answer, written by guitarist John Du Cann, a true unrecognized architect of the group's hard turning point and top-level songwriter, together with Crane. The piece will reach the fourth place in the charts, becoming the most successful of the band. However, at this point something breaks: with the recordings practically completed, Du Cann and Paul Hammond leave the band, while the arrival of singer Pete French is made official. Whether the decision was theirs or whether they were instead persuaded to leave remains debated. The most credited version is that the divorce was caused by Vincent Crane's decision to abandon the dark hard rock / progressive of the previous record, moving towards soul and funky veins. Which in fact will happen later. The disc is thus terminated by Crane, who composes most of the songs (unlike what happened on the previous album), with the help of his wife Pat Darnell. Indeed, it seems that Crane removed some of Du Cann's guitar parts from the final mix, replacing them with piano and organ or lowering the volume in the final mix. A fact that is evident when listening and which has certainly reduced the potential of what remains a great and forgotten album.

The opener Breakthrough is a great hard rock piece, in which Pete French highlights all his qualities as a vocalist and demonstrates that the choice to bring him into line-up was anything but strange. Here it really feels good how the parts of Du Cann have been eliminated, giving great evidence to Crane's work on the piano and organ and listening to the live versions of the piece only confirms it. The result is still excellent, but inevitably different. The same thing can be said of the following Break the Ice, written by Du Cann and in which the guitar is practically inaudible, bypassed by the bass and the organ. The piece's almost funk vein is beautiful, with enormous tension in the central break and the rough and excellent voice of French. Decision / Indecision is a sweet yet successful ballad, conducted by the piano and endowed with a beautiful melody, with a general touch that reveals not only Crane's absolute stature and sensibility as a musician, but also his modernity and the perfect fusion of hard and prog. Instead, a base closer to jazz and boogie for the curious and vibrant instrumental A Spoonful of Bromide .., in which the guitar finally appears. On Black Snake we return to the disturbing sounds of Death Walks Behind You, in particular in the Crane solo, but all in all the tone here is more suffused and almost soulful; Were it not precisely for the added value of the organist's work, the piece would hardly appear worthy of mention. Head in the Sky (Some experts have defined this record as a first example of a metal style inspired by the biting riff of "Head in the sky", the hardest song on the album)is closer to the typical hard rock approach, with a great work by Hammond on drums and Du Cann's guitar that returns to be heard profusely in the solo phase, as well as in the subsequent The Rock, in which soul influences re-emerge , complete with a wind arrangement. A reminder that will find full expression in the continuation of the band's career. In the specific case of The Rock, however, the contribution of the winds contributes little to the fate of a song that seems more like an improvisation, than a real song. The Price closes, in which French returns to roar around a Crane riff, which leaves room for guitar dubbing, while Hammond's work is always commendable, with his impetuous and varied style. Curiously, the single Devil's Answer will not be included in the release of the album and will only find its place in subsequent reissues. Another peculiar choice, given its success.

In Hearing Of becomes the last testimony of this line up, even if, curiously, the four musicians depicted in the internal cover design have never actually played together. The album is, if you like, a transitional record and has been considered such for a long time, essentially ending up being forgotten, just as Atomic Rooster themselves and their leader Vincent Crane are forgotten. A truly undeserved fate, in all cases.

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Bands/Artists Country
2112 Argentina
41POINT9 United States
4X United Kingdom
99 NAMES OF GOD United States
ABASH Italy
ABIGAIL'S GHOST United States
ABOUT:BLANK Italy
ADVENT HORIZON United States
AFTER THE FALL United States
AICAN Russia
ALBATROS Spain
ALDENFIELD United States
ALDI DALLO SPAZIO Italy
ALGABAS Russia
ALGARAVIA Brazil
ALIZARIN United States
ALL SHADES OF WRONG Spain
ALTERED STATE United States
ALTHEA Italy
AMALGAM EFFECT United States
AMERICAN DRAFT United States
AMUSIA Canada
ANABASI ROAD Italy
THE ANABASIS United States
ANDROMEDA Germany
ANEKDOTEN Sweden
ANIM8 Australia
ANKH Poland
ANOMUS Finland
ANTI-DEPRESSIVE DELIVERY Norway
ANXTRON Brazil
APAIRYS France
APOLLO Finland
ARABS IN ASPIC Norway
ARAXES Switzerland
ARC United Kingdom
ARCANE Australia
ARCANE ATLAS United States
THE ARISTOCRATS Multi-National
ARMAGEDDON United Kingdom
ARTYFICTION Poland
ASTEROID Sweden
ATLANTIDE Italy
ATLAS CUBE Germany
ATLAS VOLT Sweden
ATOMIC ROOSTER United Kingdom
ATRIS United States
AUSTRALIS Chile
AUTOMATIC FINE TUNING United Kingdom
AZURE United Kingdom
BABE RUTH United Kingdom
BADGER United Kingdom
BAKER GURVITZ ARMY United Kingdom
BAKERY Australia
BALISET United States
BALLOON Netherlands
BARAKA Japan
BARON CRÂNE France
DAVID BARRET TRIO Canada
BASS INVADERS United States
BASTIAN PER Argentina
BATTLE CIRCUS New Zealand
ERIC BAULE Spain
BBI France
BEAUTIFUL BEDLAM Australia
BI KYO RAN Japan
BIBLE BLACK Japan
A BIG GOODBYE United States
BIGELF United States
BIRTH CONTROL Germany
THE BITTERS United States
BLÅ LOTUS Sweden
BLACK BONZO Sweden
BLACK MARKET SEROTONIN United Kingdom
BLACK THUNDER Canada
BLACK WIDOW United Kingdom
BLOOD CEREMONY Canada
THE BLOODY MALLARD United Kingdom
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
THE CALMER United States
CAMAFEO Argentina
CAPHARNAUM Canada
CAPTAIN BEYOND United States
CAPTAIN KICKARSE AND THE AWESOMES Australia
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
CHAIN REAKTOR Netherlands
CHOLO VISCERAL Peru
CHROMATIC ABERRATION United States
CHRONOBUNNY Norway
STEVE CICHON United States
CIDEVANT Germany
CLEAR BLUE SKY United Kingdom
CLEVIS United States
CLIMAX Bolivia
COBWEB STRANGE United States
COLLAPSE France
COLT Poland
CONFUSION FIELD Finland
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
THE CYBERIAM United States
CYNICISM MANAGEMENT Slovenia
CYTRUS Poland
D'ACCORD Norway
DAH Yugoslavia
DÁNAE Argentina
DAREDIABLO United States
DARK United Kingdom
DCODED Spain
DEAD END SPACE United States
DEAFENING OPERA Germany
THE DEATH COBRA Australia
DEEEXPUS United Kingdom
DEFORMICA Argentina
DÉJÀ-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
DRIVEBY Austria
DRUGI NAčIN Yugoslavia
DUST SCULPTURES United States
EARTH ELECTRIC Portugal
EARTH FLIGHT Germany
EASTER ISLAND United States
EAT GHOSTS / MINERVA Germany
EIGHTH WHALE United States
ELDER United States
ELF PROJECT United States
ELIAS Australia
ELIAS HULK United Kingdom
DANIEL ELISEEV PROJECT (D.E.P.) Bulgaria
ELONKORJUU Finland
EMPIRE BATHTUB United States
ENCHANT United States
ENFANT Bolivia
ENMARTE Argentina
ENORMITY United States
EPHRAT Israel
EPITAPH Mexico
EPIZOOTIC Sweden
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
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FANTASMAGORIA Japan
THE FAR SIDE Italy
FIELDS United Kingdom
FITNES Serbia
FIVE OF THE EYES United States
FLOTANTE Chile
FLYING CIRCUS Germany
FORGOTTEN SUNS Portugal
A FORMAL HORSE United Kingdom
FRAME Germany
FREEDOM'S CHILDREN South Africa
FRIJID PINK United States
FUMIGUN Chile
FUNGUS Italy
FUSION ORCHESTRA United Kingdom
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FUTURE WAS PERFECT Bulgaria
FUZZY DUCK United Kingdom
GÅTE Norway
GATE 6 Netherlands
GENEROUS MEN Sweden
GHOST IN MIRRORS United Kingdom
GHOST MEDICINE United States
GHOST TOAST Hungary
GIANT STEP Indonesia
GLARESHIFT Italy
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GODZILLA IN THE KITCHEN Germany
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GREYHAVEN United States
GUPPY FISH Greece
H.A.A.S. Colombia
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HAZE Germany
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EL HOMBRE ASTRAL Spain
HØST Norway
HUMAN LIFE INDEX United States
HUMUS FUGA Guatemala
I AM THREE PEOPLE Finland
I BOW CANDLES Multi-National
I VIAGGI DI MADELEINE Italy
IDEE CONFUSE Italy
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IMPULSO DE LOS SONIDOS INCONSCIENTES Argentina
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IN THE PRESENCE OF WOLVES United States
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INTROVISIÓN Costa Rica
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IZ United States
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JIMMY CHAMBERLIN COMPLEX United States
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KES Turkey
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THE KINDRED Canada
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KLONE France
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LANDBERK Sweden
LANDSCAPE Netherlands
LAST LAUGH Sweden
LAUNDRY United States
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LEECH Estonia
LEGEND United States
LEST France
LEVIN - MINNEMANN - RUDESS United States
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LIQUID WOLF Finland
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MALOMBRA Italy
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MARSYAS Italy
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MASTER EXPERIENCE Italy
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MCOIL Germany
MEDEA Netherlands
MELODRAMUS United States
THE MERCURY TREE United States
METANOMIA Argentina
MICAH United States
MIGHTY ZAZUUM Croatia
MILESTONE Russia
MOCAH Argentina
MÓDULO 1000 Brazil
MOLASSESS Netherlands
HEDVIG MOLLESTAD TRIO Norway
MONTRESOR Australia
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MOON LETTERS United States
MOON TAN Canada
MOONGRESSIVE Italy
MORTE MACABRE Sweden
MOTHER TURTLE Greece
MOTHERJANE India
MRS. KITE Germany
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
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NEW SUN United States
NIGHT SUN Germany
NIGHTRIDER France
NIMB Mexico
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NO BRAIN CELL Greece
NO LIFE ORCHESTRA Norway
NO MORE PAIN United States
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NON NEWTONIAN MAN Italy
NORTHWIND United States
NOT OTHERWISE SPECIFIED United States
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NOUGHT United Kingdom
NOW IN COLOR Australia
OCEAN France
OCEANA COMPANY Netherlands
ODD PALACE Denmark
ODIN United Kingdom
OF THE I Switzerland
OKO Yugoslavia
OKTOPUS United Kingdom
OLLOCS United States
ONSÉGEN ENSEMBLE Finland
OPRAM France
OPUS 3 Chile
OPUSCULUS Canada
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ORIGENS Brazil
ORION DUST France
ORPHAN BLOOM United States
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OSADA VIDA Poland
OVRFWRD United States
OXIMORA Mexico
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PARAZIT Mexico
PENDULUM Indonesia
PENNA United States
PENTESILEA ROAD Italy
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
PINN DROPP Poland
PINNACLE United States
PIRATE Australia
PLAYGROUNDED Greece
PLESIOSAURIO Argentina
POINTS NORTH United States
POLICROMIA Argentina
POLIS Germany
POP MASINA Yugoslavia
PORCUPINE TREE United Kingdom
PORT MAHADIA United States
PORTMAN Croatia
POSEIDOTICA Argentina
PREHISTORIC ANIMALS Sweden
PRO MUSICA Romania
PROGRESIV TM Romania
PSIGLO Uruguay
PSYCHOCEAN Italy
EL PUENTE DE ALVARADO Mexico
PUGH'S PLACE Netherlands
PULP CULTURE United States
PULSONICA Argentina
QUANTUM Sweden
QUATERMASS United Kingdom
RAG I RYGGEN Sweden
RAINBOW FACE United States
RAINER TANKRED PAPPON Brazil
RAM United States
RANTAMA Finland
REACHING REVERY United States
RED STAR REVOLT United States
REFRAME 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
SEVEN HORIZONS Italy
SHAA KHAN Germany
SHADOW MERCHANT United States
SHOW-YEN Japan
SIENA ROOT Sweden
SIGNALS OF BEDLAM United States
SILJAN France
SKELETONBREATH United States
SKORE Hungary
SKY ARCHITECT Netherlands
SL THEORY Greece
SLP Canada
SOLAR ARCHITECT Canada
SOLARHALL Finland
SOLUTION SCIENCE SYSTEMS United States
SONIC DESOLUTION Sweden
SONIQ CIRCUS Sweden
SORRY NO FERRARI United States
SOUND & SHAPE United States
SOUND GOAT PROJECT Poland
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
STICKS IN THE CASINO Germany
STILL LIFE United Kingdom
STOLAS United States
STORM AT SUNRISE United States
THE STORM Spain
STRATEGY United States
SUBLUNAR Poland
SUBSPACE RADIO Finland
SUGARLOAF United States
SULPHAT' KETAMINE France
SVANFRIDUR Iceland
SWEET HOLE Spain
SYLVIUM Netherlands
T2 United Kingdom
TAKE ME FAR AWAY Russia
TDW / DREAMWALKERS INC. Netherlands
TEA Switzerland
TELEPATH Norway
TEMPEST United Kingdom
TERMINAL DEGREE United States
TESKA INDUSTRIJA Yugoslavia
THAYKHAY Spain
THEM MOOSE RUSH Croatia
THEMATIC United States
THEORY OF AFFECT Russia
THERHYTHMISODD Sweden
THÖDOL France
THREE SEASONS Sweden
THULE Norway
TILES United States
TIME COLLAPSE Greece
TIME TRAVELLER Finland
TINKICKER Denmark
THE TIRITH United Kingdom
KALIN TONEV Bulgaria
TRANSIENCE Australia
TRAUMPFAD Germany
TRILI Puerto Rico
TWANGMEN Austria
TWENTY SIXTY SIX AND THEN Germany
TWIN PYRAMID COMPLEX Sweden
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
VINUM SABBATUM Finland
VIRUS Germany
VIVALMA Brazil
VOLVOX Argentina
VON FRICKLE United States
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VOTCHI Czech Republic
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WATERLOO Belgium
WATERLOO Germany
WEEND'Ô France
ANDY WEST United States
WHERE ARE YOU LIAM? Russia
WHITE VOID Norway
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
YYNOT United States
Z.O.A Japan
ZARATHUSTRA Germany
ZION Italy
MICHAEL ZUCKER United States
ZUNDAPP Italy
ZYDRA Chile

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