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HEAVY PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Heavy Prog definition

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

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

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

- written bt Atavachron (David)

Current Team as of 12/24/14

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

Heavy Prog Top Albums


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

4.40 | 2544 ratings
MOVING PICTURES
Rush
4.37 | 2154 ratings
HEMISPHERES
Rush
4.32 | 1996 ratings
A FAREWELL TO KINGS
Rush
4.29 | 1848 ratings
PERMANENT WAVES
Rush
4.25 | 2331 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.24 | 2287 ratings
IN ABSENTIA
Porcupine Tree
4.19 | 1123 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.16 | 698 ratings
SALISBURY
Uriah Heep
4.14 | 988 ratings
THE MOUNTAIN
Haken
4.11 | 1888 ratings
2112
Rush
4.10 | 1843 ratings
DEADWING
Porcupine Tree
4.11 | 953 ratings
VISIONS
Haken
4.13 | 562 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.11 | 616 ratings
LOOK AT YOURSELF
Uriah Heep
4.08 | 948 ratings
AQUARIUS
Haken
4.05 | 1207 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.07 | 683 ratings
DEMONS AND WIZARDS
Uriah Heep
4.05 | 829 ratings
FRANCES THE MUTE
Mars Volta, The
4.03 | 1364 ratings
LIGHTBULB SUN
Porcupine Tree
4.10 | 381 ratings
FROM WITHIN
Anekdoten

Heavy Prog overlooked and obscure gems albums new


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

ZOOMA
Jones, John Paul
HIGH TIDE
High Tide
ONCE WE WERE BORN ...
Divine Baze Orchestra, The
MÉMOIRES INCUBUSSIENNES
ExCubus

Latest Heavy Prog Music Reviews


 Reflections Of A Floating World by ELDER album cover Studio Album, 2017
3.96 | 30 ratings

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Reflections Of A Floating World
Elder Heavy Prog

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars Hailing from Boston, these heavy proggers toe an almost-grungy LED ZEPPELIN line as they jam along--never less than eight minutes. The band has great ideas, great aspirations, and a great sound, however, I see room for growth: more sophistication, more diversity in singing styles (or voices), and maybe even some improvement in recording engineering (bringing things more forward in the mix.

1. "Sanctuary" (11:14) opens with a delightful chunky heaviness that is lost a little during guitar soloing--a midsection that sounds a LOT like a cross between 1970s LED ZEPPELIN and THIN LIZZY. The vocals could be a little stronger, more prominent. (8.5/10)

2. "The Falling Veil" (11:13) opens with some gentle "get to know me" front-porch guitar picking before the song leaps into full gear in a SEVEN IMPALE and LED ZEPPELIN way. The spacious, "far away" effect on the vocal is more appropriate for this heavy rocker. I LOVE the soft, down section in the eighth minute and the Mellotron-drenched section that follows. This song just keeps better the longer it plays! Reminds me a lot of the power and talent of GHOST MEDICINE's Jared Leach. (9/10)

3. "Staving Off Truth "(10:18) beautiful opening before bursting into a djenty tour de force at 1:15. By the time the vocals join in, the song has settled into a kind of ALICE IN CHAINS sound and feel. Awesome! Another awesome down tempo section begins at the end of the fifth minute and turns into a cool YES/ALLMAN BROTHERS section thanks to the pedal steel guitar. Around 6:30 things revert back to the AinC style/sound only with a less insistent vocal, but then at 7:03 things shift into a brief two-guitar picking distant drum section before amping back up into the heavier stuff (again reminding me of a heavier THIN LIZZY). Nice drumming on display on this one! (9/10)

4. "Blind" (13:24) opens with the sound so mucked up that I thought something was wrong with my headphones' connection the first time I heard it. But after about half a minute the "joke" is played out and the rockin' groove comes forth in full force and full focus. Unexpectedly, soon after all instruments save for an "distant" electric piano and organ/synth drop out while a distant voice sings in a newsy voice. Once he finishes stating his plaintive case, the grunge returns--and eventually the singer sings--in the same voice and mix using the same melody as before--over the heavy stuff. At 4:30 there is shift into a section based on an arpeggiated riff from the electric piano. The drums shift and the rest of the band gradually join in pumping out another great multi-guitar weave of heavy prog. Nice, interesting song full of unexpected shifts and turns. The final two minutes is the real highlight with a crashing meeting of passion coming from all the instrumentalists at the same time, yielding an awesome crescendo. (8.5/10)

5. "Sonntag" (8:40) I get the Krautrock references to this song but the instrumental contributions here are a little too sparse, unchanging, and the groove not as hypnotizing as many great German songs of the 1970s. Plus, there are a couple of times that the drummer seems to loose his concentration, connection, or enthusiasm for the kind of Jaki Liebezeit beat the song really requires. (8/10)

6. "Thousand Hands" (9:37) One of my favorite prog epics of the year--thanks in no small part to some great guitar weaves, great drumming, awesome Mellotron use, catchy chord progressions and melodies, and the most fitting vocals on the album! Another song in which the second half surpasses the (awesome) first half. (9.5/10)

4.5 stars; a near-masterpiece of progressive rock music and certainly a band with tremendous potential. Can't wait to see what they do next!

 Novak by PORCUPINE TREE album cover Singles/EPs/Fan Club/Promo, 2008
2.86 | 5 ratings

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Novak
Porcupine Tree Heavy Prog

Review by thwok

3 stars This single is somewhat hard to find. It was available earlier this year on Discogs and on EBay for $35, which is a lot of money for two songs. Transmission is a London-based independent label. These songs fall into the calmer, spacier end of the PT spectrum. Of the two tracks, I like "Buying New Soul" more than "Novak". Its length allows the band to develop the basic material more. Without any vocals, this single is background, not center stage, music. However, Wilson shares a common trait with Bach and Beethoven. He seems almost incapable of putting out music that isn't at least thoughtfully put together. If you're a PT fan & you can get it, this is a worthy single.
 Bartók In Rock by DIALETO album cover Studio Album, 2017
3.61 | 18 ratings

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Bartók In Rock
Dialeto Heavy Prog

Review by Mellotron Storm
Prog Reviewer

3 stars DIALETO is a band from Brazil who have changed their sound it seems almost from album to album. I have their debut and the one previous to this one I'm reviewing and really enjoyed both. "Bartok In Rock" is influenced by Bartok and his Folk stuff and it's all instrumental. A trio of drums, bass and guitar with a surprise guest in David Cross who plays violin on the opening song. The opener and closer are by far my favourites and for my tastes this one pales when compared to the two I have. Apparently there was a lot of improvising going on here I just wish Cross was on for the whole album.

"Mikrokosmos 113" opens with that violin slicing away as rumbling drums then a full sound kick in. Suddenly it's bass and drums only then the violin returns. Themes are repeated. I like the guitar before 3 minutes. A nice energetic opener. "Mikrokosmos 149" opens with bass and drums as the guitar joins in. I like the tone of it but that will change.

"An Evening In The Village" has some interesting sounds to start which are somewhat experimental before it kicks in after a minute. It ends like it began. "Roumanian Folk Dances" is divided into six parts ending with a catchy number. Not big on this suite but there is some variety and I like some of it. "The Young Bride" ends it. It sort of trips along and I keep thinking it's going to break out and we do get a heavier sound eventually.

This just doesn't do much for me sadly despite some stellar moments. Again you should check out that opening track with David Cross on it.

 SWF Sessions 1973 by ODIN album cover Live, 2007
3.51 | 16 ratings

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SWF Sessions 1973
Odin Heavy Prog

Review by GruvanDahlman
Prog Reviewer

4 stars Here is a pleasant surprise and recording by a really obscure band that never broke through the barriers and boldly got to ride into Stardom City. Odin is a somewhat uneven but talented band from the early 70's and being from that era the music is really typical of the era, as far as Heavy prog is concerned. The recipe for their musical stew is a big dollop of hardrock, a generous splash of progressive textures with just a hint of avantgarde. Does this sound tasty to you? To me it's a satisfying blend but it's not the most fulfilling dish I've come across and the reason for this is their blend of own compositions and covers. My only real complaint or wish is that they had made or had been able to write and record more of their own songs, because they're really good.

The opening two songs are original compositions and to me they're the best of the lot on this album. "Turnpike Lane" is a playful tune that goes from sheer fun and upbeat tempo into serious jamming that lets my cup filleth over. But it is the second track, "Life is only", that is the jewel in the crown here. The simple opening riff is soon replaced by an avantgarde, sort of aschew theme which is quite agreeable and liberating. After some vocals it turns yet again into a serious jamming. If you don't like that sort of stuff you might Think it's boring but I like the instrumental excursions and it gets me thinking of other bands that got famous for this type of jams, like Deep Purple for instance. I love this track, beacause it is heavy, hits hard and the performance is really raw and passionate.

Odin seemed to really dig Frank Zappa and you hear bits and pieces that reminds you about him. Even in "Turnpike Lane". The track "King Kong" is a very well executed choice of a cover and it is great fun. "Oh no" is yet again Zappa and alright aswell. Like I said, I do like some well executed jamming. The album Closes with its third cover, "Make up your mind", originally by Quatermass. This being a live version it holds extended jamming as well. I like the song in it's original form but this brings a certain something to the table.

Now, this is sort of hard to rate. Do I think any prog music collection needs this album? Weeeell, no. Maybe not. Or I don't know. But I do like this album and it pleases me in ways that moves towards a spiritual experience. To me it is excellent, though my only wish is that they had played more of their own compositions. So, having said all that I will give it four stars but I will also offer a caution to those that look at my rating as being the same as the album being utterly groundbreaking, because it's not. It's simply heartwarming, passionate, joyful Heavy prog from the golden years of the early 70's. Try it, you might like it.

 Transcendental Circus by ORPHEUS NINE album cover Studio Album, 2017
4.08 | 14 ratings

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Transcendental Circus
Orpheus Nine Heavy Prog

Review by IStanBull

5 stars I hate writing reviews but this is an underrated band that deserves more attention. A friend told me about their CD saying I would love the keyboards. I've heard enough shredders and figured I didn't really need another one in my collection, so I blew it off. Then a couple weeks later some guy outside the library had a song playing from his phone, thanks to Shazam I found out was Hand of Make-Believe. It was in 7/4 but melodic and catchy, with kind of Rush flavors. There were some nice harmonies and great lead vocals, with a really sweet and tasteful guitar solo fitting perfectly over Mellotron, and then some pretty Rhodes that went all ring mod before screaming Hammond organ. I decided to look up Orpheus Nine and saw many interesting song titles...so I took a chance.

Not the least bit disappointed! This isn't a meaningless shredding album. It isn't a concept album either as far as I can tell, but a lot of the music still ties together and the whole thing's cleverly bookended. At the center of it is the title track, a 6-part suite called Transcendental Circus that's longer than 21 minutes. By far one of the coolest songs I've ever heard in my life. From any band EVER. There's so many musical ideas packed in here that sometimes they go onto the next one before you know what hit you. But it all holds together, and in different parts you hear references to other parts and realize it's all a unified epic. Most of it's instrumental, but when the singing shows up it's amazing. In part 2 (Hallowed Playground) it starts with the lead singer doing really soulful "mmms" and "ohs" and "oohs" that almost made me cry (and then the solo lead that I thought was guitar but might be synth? WOW!) In part 4 (Swimming In Our Four O'clock Tea) there's like Gentle Giant harmonies and rounds, which are beautiful but have a sense of humor too. And the music in all 6 parts is incredible. Part 1 (Barcarolle Of Bedlam) has tons of crazy time signatures but it sounds so cool and different, a lot of Keith Emerson and King Crimson stuff in here with wild guitars and mind blowing keyboards plus an explosive drum finish. Part 3 (Intergalactic Clown Festival) is jazz fusion with Chick Corea keys and some funky bass. Part 5 (Not Within The Memory Of Elephants) really rocks and has a suprising tribal twist in the middle. Finally part 6 (Freak Tent Mausoleum, which also a lyric in Reaper's Carousel) is a weird freaky carnival that includes a classical waltz and a metal section that's like an orgy between Iron Maiden, ELP and Pink Floyd...and then like Tarkus it climaxes with a recap of part 1. So much talent but it's focused and isn't wasted. The whole suite is powerful and awesome. And fun!

You won't go wrong the rest either. Of Zygotes And Grace Notes is a gorgeous classical piano intro. Eightfold Way is very unique and has many twists and turns, there's lots of different synths and I love the bass. (If you get the CD and read the lyrics they put a cryptogram in it too, but I didn't try to figure it out yet.) Fetish is one of my favorites, another soulful vocal and great melodic song, and in the middle there's kind of an Arabic thing with funny bad news headlines over top of it. No Illusions is the least prog sounding, more of a jazzy blues swing but it's still a good song. Age Of Rhyme And Reason flat out rocks - I could see this one getting a live crowd pumped up. Reaper's Carousel comes right after the title track and has a monster bass line all through it, with more nice harmonies at the end. Sandcastles is mostly piano and vocal with a great deal of emotion.

This all leads to my other favorite, the epic finale, The Fall Of The House Of Keys. It starts with a full orchestra playing about a 2-minute overture before a muted Rhodes fades up. From there it builds slowly and keeps building until it just can't contain itself anymore and explodes. This song is a masterpiece and the perfect ending to a 5-star masterpiece of an album.

Maybe some people will think there's too many different styles and sounds and that they should just pick one. But I think that's part of why I love Transcendental Circus. It isn't predictable, it doesn't all sound the same and again the music ties together and seems right as an album. The music breathes and so does the audio - no loudness war BS here. Also the whole CD design and art look great.

Why isn't this on those top 10 lists I'm starting to see??? It should be. And it should be in your collection too. Go get it today! I can't wait to see what Orpheus Nine will do next.

 Recordings by PORCUPINE TREE album cover Boxset/Compilation, 2001
4.19 | 353 ratings

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Recordings
Porcupine Tree Heavy Prog

Review by axeman

5 stars I think this might be one of the best releases the Tree has made. I started listening to them during their grunge period, which for the most part remained my favorite period, although I enjoyed the atmospheric period, past Sunday of Life, while I find tolerable and Voyage 34, which is mainly trip-trance stuff, and less enjoyable.

But recently, I've almost got Stars Die and Sky on a loop. I've really started to get into the gently winding, evolving tones that Wilson seemed to love during the time. And Maitland's drums, especially the brush work on the excellent Stars Die.

That atmosphere is what this album offers. atmosphere, soundscapes, accompanied by some jangly acoustic guitar. It's kind of fitting that in a release filled with shelved pieces, a track named Untitled.

I think the feat that the Wilson achieves here is he's made a compilation album that's worth something.

 Clouds by NON NEWTONIAN MAN album cover Studio Album, 2017
4.68 | 6 ratings

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Clouds
Non Newtonian Man Heavy Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

5 stars That was a surprise! Another prolific band quasi appearing out of nowhere this year. Such a high quality album when it comes to a debut! NON NEWTONIAN MAN are from Piacenza, Italy, though musically not deriving from the wide-ranging RPI playground. Hence this comes way more in the heavier vein of fellow countrymen Dropshard and Soul Secret. A six piece unity with assumed family relations and the guarantee of a lush as well as virtuoso sound. Man! They are really growing in confidence when even announcing a series of albums, a progressive project named 'Three Worlds' exactly. Where each one features nine songs linked together with 70 minutes running time.

Something conceived well in advance with certainty, yeah, that means a working phase of just about ten years! 'I'm tired of chains, that bind my brain' - the album seems to deal with several characters and mental respectively philosophical issues. And now, who is this Non Newtonian Man? The protagonist who thinks and acts in a distinct non-linear manner? The lyrics are in English, though abstract, encrypted, difficult to explore. The sole exception I could detect would be the title of the extended Olandese Volante - the Italian expression for Flying Dutchman. Maybe they feel like being the responsible crew which is condamned to cross the ocean for ever and ever? Food for thought in good supply.

My focus is more on the instrumental flow anyway. Complementing to the main seasons the band is moving through four chapters here with some breathtaking purposefulness. In association with the other long runner Biomechanical this may be regarded as the album's centerpieces. Though the more I'm listening I find it difficult to highlight any particular song ever. Or the other way round, I easily could recommend each. So what. This is heavy, slightly metal bordering stuff, decorated with prominent organ/piano and good vocals featuring traces of accent. Don't know why really, but there's something special happening when Italian born vocalists are singing in English. I personally do like that in many cases.

'I was frozen while my demons grew, but now I'm here at last' - finally the story seems to run into a temporary happy end. 'Clouds' sounds like developed with much thoughtfulness and ease. Fantastic workout! Can't say where they should improve. Only the closing song Queen surprisingly appears somewhat half-baked to me towards the end. But this probably is designed with intent, to represent the transition to the sophomore album. While considering a chain of wonderful compositions there is a constant state of change given. I strongly recommend to have a concentrated listen. Musicianship and mixing do leave nothing to be desired. If the NON NEWTONIAN MAN is capable of continuing in this way, at the latest then they'll evolve to a great inspiration when it comes to the prog genre.

 Transcendental Circus by ORPHEUS NINE album cover Studio Album, 2017
4.08 | 14 ratings

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Transcendental Circus
Orpheus Nine Heavy Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars A band that names the title of his album "Transcendental Circus" and where you can found some strange and funny titles in some of his songs must have a sense of humor that can only reflect in his music and lyrics. It starts with some bass lines and some upfront keyboards lines from master Jason Kresge. Then the music goes into an AOR/Neo-Prog vein before developing into more complex structures. We can hear many special effects coming from the keyboards. "Fetish" start like an acoustic Hackett style guitar just before bringing some guitar metal riffs with some classical arrangements. "Hand of Make Believe" has some guitar Rush/Tiles influences with some jazzy intrusions and again we are treated with some keyboards magic from Jason. "Age Of Rhyme And Reason" has some furious instrumental parts with a slow break that deliver some inspired Dream Theater parts. But the fun part of the album begins with that 22 minutes of "Transcendental Circus". The special effects of what we can hear in a circus are used and also the special keyboards sound of Geddy Lee in the song "Camera Eye", it can only be intentional... In this song, the band is trying to have the most fun possible by showing their craft and versatility with their instruments. We can hear tons of rhythms changes and Jason taking inspiration from Nathan Mahl, Glass Hammer, Keith Emerson depending on which sections the song is. There are some catchy riffs and some captivating drums fill throughout this epic and a music that goes to different moods from the dark side of metal and the lighter side of Jazz. Part V " Swimming In Our Four O'Clock Tea" brings again that acoustic Hackett guitar influence and some Hamydryad/Gentle Giant multi-part vocals style. The last song "The Fall of The House of Keys" is the only song where you feel that the band has slowed the pace down to take his time to develop the melody which gives more emotion to the music in this 10 minutes song. This is a strong debut from a band that has a lot of potentials, just hope for some more music soon.
 Spiritual Revolution Part Two by SAILOR FREE album cover Studio Album, 2016
3.89 | 8 ratings

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Spiritual Revolution Part Two
Sailor Free Heavy Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Italian band SAILOR FREE was originally active in the early 1990's, releasing two albums before calling it a day. They resurfaced as an active entity in 2010, and have since then issued a further two studio albums. "Spiritual Revolution: Part Two" is the most recent of these, and was released through Italian label Tide Records in 2016.

Those who tends to appreciate modern progressive rock that use and utilize elements similar to and comparable to the likes of Porcupine Tree should find this latest CD by Sailor Free to be an album well worth checking out. Dark, warm and appealing, and very well produced too, this is a quality example of contemporary progressive rock of the kind that should have a wide general appeal.

 Transcendental Circus by ORPHEUS NINE album cover Studio Album, 2017
4.08 | 14 ratings

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Transcendental Circus
Orpheus Nine Heavy Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars This is my first casual encounter with a transcendental circus! Obviously all went well so far. Eh ... I'm quite sure about that. Content-wise one will be faced with established figures like elephants, dragons, clowns, ghosts, wizzards and so on. Well balanced. No need to worry therefore. ORPHEUS NINE evolved from a solo vehicle, started by keyboarder/singer Jason Kresge, into a real band. Based on a heavy prog fundament their songs are showing diverse musical influences. And so it all developed into the approach to record an album which will offer a rock opera somehow. Which generally should live from, maybe let's say, entertainment, diversity, twists and turns, joy of playing ...

The album runs all around the epic title track, this visually appointed by the nice prog typical cover art. That song represents the planned core. And, not always with guarantee, you know, in this case the masterly highlight in the same way. Moreover one can say it's Jason's showpiece in particular, while being a Tour de force regarding his keyboard playing. A prominent cinematic respectively opera attitude, equipped with ambient and jazzy impressions, swirly synths, symphonic and classical sequences. Tricky! I would highlight the lovely excerpt Hallowed Playground first and foremost here.

One song may top this, in terms of more accessibility at least. Eightfold Way marks THE strong contender for spreading the word via diverse radio and internet broadcasts. A rather virtuoso finish, The Fall Of The House Of Keys then appears with classical and symphonic roots again. Excellent starter! While listening I'm feeling rather comfortable when occasionally visiting that intergalactic playground with all those festivals, mausoleums, carousels and sandcastles given. Sounds similar to Styx, Saga, Red Bazar in parts, but also further, I mean more eclectic bands in the vein of Tiles, Zip Tang for example. Now have a go at it!

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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
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
BATTLE CIRCUS New Zealand
ERIC BAULE Spain
BBI France
BI KYO RAN Japan
BIBLE BLACK Japan
A BIG GOODBYE United States
BIGELF United States
BIRTH CONTROL Germany
THE BITTERS United States
BLACK BONZO Sweden
BLACK MARKET SEROTONIN United Kingdom
BLACK WIDOW United Kingdom
BLOOD CEREMONY Canada
BODKIN United Kingdom
BOLT United States
BOOK OF HOURS Sweden
BREAKING ORBIT Australia
THE BROWN Japan
BULL ANGUS United States
BURNING SAVIOURS Sweden
CACTUS PEYOTES Brazil
CAMAFEO Argentina
CAPHARNAUM Canada
CAPTAIN BEYOND United States
CAPTAIN OF THE SWEDISH TEAM Canada
CARDEILHAC Switzerland
CARGO Netherlands
CARGO CULT REVIVAL United States
CARPADIUM United States
CARPE NOTA United States
CASUAL SILENCE Netherlands
CELELALTE CUVINTE Romania
CELESTIAL OEUVRE United States
CHAIN United States
CHOLO VISCERAL Peru
CHRONOBUNNY Norway
STEVE CICHON United States
CLEAR BLUE SKY United Kingdom
CLEVIS United States
CLIMAX Bolivia
COBWEB STRANGE United States
COLLAPSE France
COLT Poland
CONTRA United States
CONTRARIAN United States
COSMIC NOMADS Australia
A COSMIC TRAIL Germany
TYLER COTNER United States
COUNTRY LANE Switzerland
CRACK THE SKY United States
CRYPTIC VISION United States
CRYSTAL BREED Germany
MICKEY CURTIS AND SAMURAI Japan
CYNICISM MANAGEMENT Slovenia
CYTRUS Poland
D'ACCORD Norway
DAH Yugoslavia
DÁNAE Argentina
DAREDIABLO United States
DARK United Kingdom
DEAD END SPACE United States
DEAFENING OPERA Germany
THE DEATH COBRA Australia
DEEEXPUS United Kingdom
DEFORMICA Argentina
DÉJŔ-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
EIGHTH WHALE United States
ELDER United States
ELF PROJECT United States
ELIAS HULK United Kingdom
ELONKORJUU Finland
ENCHANT United States
ENFANT Bolivia
ENMARTE Argentina
ENORMITY United States
EPHRAT Israel
EPITAPH Mexico
ESCHERBACH United States
ESTIGMA Chile
ETT ROP PĹ HJÄLP Sweden
EVERON Germany
EVERY OTHER FATE United States
EXCUBUS Canada
EXPLORERS CLUB United States
EXSIMIO Chile
FACING NEW YORK United States
THE FALL OF TROY United States
FANTASMAGORIA Japan
THE FAR SIDE Italy
FIELDS United Kingdom
FITNES Serbia
FIVE OF THE EYES United States
FLOTANTE Chile
FORGOTTEN SUNS Portugal
FRAME Germany
FREEDOM'S CHILDREN South Africa
FRIJID PINK United States
FUMIGUN Chile
FUNGUS Italy
FUSION ORCHESTRA United Kingdom
FUSION ORCHESTRA 2 United Kingdom
FUZZY DUCK United Kingdom
GĹTE Norway
GATE 6 Netherlands
GENEROUS MEN Sweden
GHOST IN MIRRORS United Kingdom
GHOST MEDICINE United States
GHOST TOAST Hungary
GLARESHIFT Italy
GLASSWORK Spain
GNOMONAUT United States
MOOSEHEART GODBLESS THEE United States
GODZILLA IN THE KITCHEN Germany
GOMORRHA Germany
GOODTHUNDER United States
GOSIA United Kingdom
GRAN TORINO Italy
GRAVY TRAIN United Kingdom
THE GREAT LABYRINTH PROJECT United States
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