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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

4.40 | 2495 ratings
MOVING PICTURES
Rush
4.37 | 2109 ratings
HEMISPHERES
Rush
4.32 | 1960 ratings
A FAREWELL TO KINGS
Rush
4.29 | 1818 ratings
PERMANENT WAVES
Rush
4.24 | 2249 ratings
IN ABSENTIA
Porcupine Tree
4.24 | 2291 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.19 | 1107 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.16 | 969 ratings
THE MOUNTAIN
Haken
4.17 | 688 ratings
SALISBURY
Uriah Heep
4.17 | 547 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.11 | 1858 ratings
2112
Rush
4.10 | 1814 ratings
DEADWING
Porcupine Tree
4.09 | 938 ratings
VISIONS
Haken
4.11 | 604 ratings
LOOK AT YOURSELF
Uriah Heep
4.08 | 936 ratings
AQUARIUS
Haken
4.06 | 1185 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.07 | 672 ratings
DEMONS AND WIZARDS
Uriah Heep
4.06 | 821 ratings
FRANCES THE MUTE
Mars Volta, The
4.03 | 1341 ratings
LIGHTBULB SUN
Porcupine Tree
4.10 | 372 ratings
FROM WITHIN
Anekdoten

Heavy Prog overlooked and obscure gems albums new


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

ZUNDAPP
Zundapp
MÉMOIRES INCUBUSSIENNES
ExCubus
SNEAK ME IN
Lucifer's Friend
HARVEST TIME
Elonkorjuu

Latest Heavy Prog Music Reviews


 El Dia de la Tormenta by STORM, THE album cover Studio Album, 1979
2.98 | 5 ratings

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El Dia de la Tormenta
The Storm Heavy Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Unfairly frequently dismissed simply for being such a complete change in sound from their minor- classic hard-rocking proto-prog debut (although it was late to that game by arriving in 1974!), Spanish band The Storm, formed by brothers 'ngel (guitars) and drummer Diego Ruiz, delivered a tasteful and reliable follow-up `El Dia de la Tormenta' (`The Day of the Storm') in 1979 that actually has plenty going for it. The band switched back over to their native Spanish language and headed in more of a `proggier' direction, and they ended up offering a set of highly melodic dreamy rock tracks, pleasing ballads and even some gentle symphonic instrumental pieces on this more than worthwhile follow-up.

`Este Mundo' is a cool opening rocker full of atmosphere and pensive mood, with plenty of whirring keyboard variety and bashing drums throughout, and although not quite as heavy blasting as the debut, there's still a welcome grunt to the guitars that instantly calls to mind that first album, given an extra touch of bite during the solos. `La luz de tu voz' is a slow-burn rocker with nice floating synths and a sweetly grumbling tone to the guitars, but the standout spot is a repeating infectious chorus where the lead voice soars with confidence.

The band definitely play their prog-card on `Saeta ensayo (1st Parte)', a lightly proggy instrumental that probably wouldn't have sounded out of place on the Camel albums of the same later Seventies period. A slow fade-in reveals crisp guitar runs chugging in unison alongside fanciful synth themes, with the lightest of dance-like flavours to the drumbeats to help it maintain an infectious and up- tempo energy the whole time, and there's plenty of wailing soloing throughout.

So enjoyable is the close of the first side that the band kick right back in with a second run at `Saeta ensayo, and `2nd Parte' reprises similar moments but also slows down for some more powerful gutsier spots, but before too long it's all galloping riff guitars soloing madly alongside frantic synth wig-outs. The freewheeling and joyful `Lejos de la Civilizacion' is a lightweight but spirited pop-rocker, and `Desde el mar y las Eestrellas' is tougher but holds a firm romantic quality with epic guitar soloing straight to the heart around the warmest of humming synths, and just listen to the sweetly murmuring bass throughout! Closer `El dia de la Tormenta' is simply another pop- rocker, the highlight being some almost trilling reprising synth-pop breaks from the keyboards.

The Storm would fold soon after this album, and sadly this second release is completely overshadowed by the hard-rocking debut (although that one's reputation is well deserved!). Because `El Dia de la Tormenta' has such a strong `pop' melodicism throughout it will likely be a bit too easily dismissed by stuffier proggers, but it retains a great dignity with strong vocals, intelligent and restrained yet dynamic playing and easy to enjoy rock tunes given light prog touches. It actually shows a lot more depth, variety and thought than the debut, and it just might be (whisper it!) the better of their two albums!

Absolutely a three and a half star album well worth the listen for the more forgiving of prog fans. A great album!

 The Storm by STORM, THE album cover Studio Album, 1974
3.98 | 14 ratings

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The Storm
The Storm Heavy Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Despite forming in 1969, Spanish band The Storm didn't get around to releasing their debut s/t album for five years, and somewhat surprisingly the group, formed by brothers Ángel (guitars) and drummer Diego Ruiz, performed in English. However, the wait was worth it, as 1974's `The Storm' is a minor classic belter of ballsy heavy rock with a touch of psych and blues, all grafted to a keen pop edge and lively roaring vocals, with a couple of instrumental tracks worked in too, and its `proto-prog' fusion of Sixties/Seventies sounds is in the Hammond organ-dominated manner of Deep Purple, Atomic Rooster and Procol Harum among others.

Opener `I've Gotta Tell You Mama' is a punchy three-minute up-tempo rocking blast of energy, all Ángel's crunchy guitars, José Torres' thick slab bass, Diego's snappy drumming and Luis Genil's dense dirty Hammond backing an infectious chorus. The spiky `I Am Busy' is another brash rock n' roller with plentiful twisting grooves and shrieking vocal outbursts, but even better is `Un señor llamado Fernández de Córdoba', a chilled instrumental jam driven by guitars that move from dreamy ringing chimes to grumbly slow-burn bluesy meltdowns with just a touch of an early Pink Floyd/David Gilmour sound to them. Then there's a great raspy lead vocal and nice wiry guitar grooves with strangled acid-rock wailing soloing throughout the sweaty and sexy first side closer `Woman Mine', and dig that subdued little sparkling Hammond organ break in the second half that keeps getting belted with heavy bluster and noise!

Side B's `It's All Right' is a harmless hip-swivelling Hammond organ-coated groovy rock n' roller with a catchy group chorus, ditto the dirtier `I Don't Know' and its raucous lead vocal, mangled guitar noise with a little lightly jazzy break in the middle. The seven minute `Crazy Machine' offers another snarling improvised jam that also throws in purring jazzy breaks and spacey psych interludes, and it's crammed with endless widdly-diddly guitar tantrums, violent swirling organ washes and machine-gun fire drumming (Diego even charges into the `oh-so-Seventies' obligatory drum solo!). Fast and furious instrumental closer `Experiencia sin órgano' burns with a heavy bluesy strut and wraps the set on no shortage of howling guitar histrionics.

The Storm would release a gentler and more lightly proggy follow-up ` El Dia de la Tormenta (`The Day of the Storm')' at the end of the decade before splitting in the early Eighties, but their reputation is more or less sustained on the strength of this powerhouse debut rocker. It's not so much that the group were especially original, but what they did, they did damn well, and any band from the era that played in a similar style would have killed to have such a strong work in the discography! Great energetic playing and cool catchy tunes - what more could you want?

Four stars...and don't forget to play it LOUD!

 Reflections On The Future by TWENTY SIXTY SIX AND THEN album cover Studio Album, 1972
4.31 | 79 ratings

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Reflections On The Future
Twenty Sixty Six And Then Heavy Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars So you kind of dig those early hard-rocking so-called "proto-prog" bands but don't think they musically explore enough, or you love the early works of the classic Symphonic Prog bands but wish they had a bit more hair on their chest and weren't afraid to make a bit more noise? Then German band Twenty Sixty-Six and Then and their English language debut album `Reflections on the Future' from 1972 might be just what you're after, a Mellotron and Hammond-dominated rocker that incorporates traces of early Genesis and Van der Graaf Generator to their crossover of late Sixties/early Seventies rock sounds, plus a touch of Beggars' Opera and Nektar with traces of psychedelic and space rock explorations also worked into their punchy fuzzy tunes.

`At my Home' is a fairly typical `proto-prog' up-tempo and relentless rocker, all Gagey Mrozeck's wild snarling electric guitar, Veit Marvos and Steve Robinson's Hammond organ (both are credited to keyboards throughout) , Dieter Bauer's mud-thick bass, Konstatin Bommarius's thrashing drums and a confident, raucous vocal from Geff Harrison (who is actually English, and would later be involved with other German prog-related groups such as Tritonus and King Ping Meh). It's a reliable and addictive opener that Atomic Rooster and Deep Purple fans are sure to love, but the best is yet to come!

`Autumn' holds a dreamy introduction of electric piano tiptoes and Mellotron wisps that rise into grand symphonic veils over humming Hammond organ. It kicks to life with chugging guitars full of bite and reveals a heavy symphonic piece full of frantic little bursts, and listen to the way Harrison emulates Peter Gabriel's raspy croon in the final minutes! Retaining a trace of flighty hippie-rock to its fantastical lyric, `Butterking' constantly bombards the listener with booming Mellotron blasts, instantly reminding of the heavier moments of Van der Graaf Generator, and there's plenty of lengthy passages of runaway piano soloing, sillier vocal spots that again invoke Peter Gabriel and frantic organ pomp and whimsy backed by boisterous rumbles of drums to remind of `Trespass' era Genesis.

The flip-side's almost seventeen minute title track `Reflections on the Future' is mostly a free- wheeling Beggars Opera-like fancy and prancing vocal/organ tune that gets attacked with a throat shredding lead vocal and long bouts of histrionic guitar wailing, but it eventually drifts into ambling deep-space freeform sonic explorations ala early Pink Floyd or Nektar's `Journey to the Center of the Eye' debut. Finally, drenched in scratchy Mellotron and glorious piano, short closer `How do you Feel' both vocally and musically reminds of the stately Van der Graaf Generator and Genesis moments with its murky regal dignity, instantly calling to mind both Peter Hammill's overwrought drama and Peter Gabriel's wounded melancholic wail, and the chorus could have easily fit on the first few Genesis albums.

Despite additional recordings to what ended up on the LP (some of the bonus tracks here hint at a strong E.L.P/The Nice/Triumvirat-like bombastic dexterity), the band would sadly split up mere months after its release, leaving behind only this first-rate work that's in desperate need of some belated extra attention! If the above described mix of Sixties/Seventies sounds and proto/symphonic styles sounds enticing, then there's no higher recommendation than `Reflections on the Future', something of a lost classic from the vintage prog period.

Five stars.

 Age Of Madness by JANE album cover Studio Album, 1978
2.90 | 39 ratings

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Age Of Madness
Jane Heavy Prog

Review by Progfan97402

2 stars I will have to be honest about this album: it's disjointed, it's messy. Age of Madness was the end of their space rock phase, and what they demonstrated on Between Heaven & Hell, you'd think they were able to continue on the greatness of that album. Unfortunately that's not the case. The instrumental title track is actually quite good, has more than a hint of Eloy in it, which is really no surprise when you know that Manfred Wieczorke is responsible for the keyboard playing (he left Eloy after the fiasco of Power and the Passion - itself a great album - for a more financially stable band, in this case, Jane). But there is so much questionable stuff that just doesn't appeal to me. They attempt to sound like the Kinks with Ray Davies type of vocals on one song, and much of the rest of the album left little impression on me. I have to say that Fire, Water, Earth, Air, Live at Home, and Age of Madness show Jane at their finest (particularly their space rock phase), so I'd suggest you go for those albums instead.
 Lost & Found 1972-1973 by CAPTAIN BEYOND album cover Boxset/Compilation, 2017
3.00 | 1 ratings

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Lost & Found 1972-1973
Captain Beyond Heavy Prog

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

— First review of this album —
3 stars It's a music lover's wet dream when one of their most revered under appreciated bands from the early 70s, who released but a couple albums and then faded into the ethers like a footnote in a voluminous tome, finally scrapes out the decades-old barrels and finds a few goodies to throw out to their staunch and loyal followers. Such is the case in 2017 when from out of the blue the short-lived heavy prog outfit CAPTAIN BEYOND unexpectedly puts out a new compilation called LOST & FOUND 1972-1973. How are the fans to take this? Is this a litmus test to see how well received it is and prognosticate a possible reunion and dare i even say - new album? Yes, the early 70s heavy prog rockers led by ex-Deep Purple vocalist Rod Evans along with guitarists Larry Reinhard and Lee Dorman from Iron Butterfly and drummer Bobby Caldwell who played with Johnny Winter crafted their supergroup into a major cult hit but never really got the respect they deserved and after two decent albums and one not so much so disbanded presumably never to be heard from again.

Well before you get your knickers too much in a bind, let me just state clearly that this is NOT an album that consists of entirely new material. Well, there is one new track that never was released but otherwise this is merely a collection of demos and alternate takes. Most of these tracks appeared (in final form of course) on the eponymous debut album whereas one comes from the oft loathed third album 'Dawn Explosion.' Curiously there is nothing from the second album 'Sufficiently Breathless.' This album is exactly what you would expect, namely a collection of material that was probably never meant to see the sunlight outside of its eternal crypt in someone's basement or attic or who knows where with all the raw and gritty pre-production values one could imagine. And that's exactly what we get here.

The only totally new track here is the hilariously titled 'Uranus Expressway' (yeah, i can't help but thinking it could be nicknamed 'Hershey Highway!!!!' LOL. Despite the silly title, this is a serious bluesy rock track that is nothing out of the ordinary from the day and wisely left off of the debut album for it doesn't have that progressive flair like many of those earliest of tracks. It actually echoes back to a more primeval era of Deep Purple minus John Lord's keyboard contributions, of course, but actually a decent energetic rocker that finds the band in fine form with a tinge of Southern twang that correlates the Johnny Winter connection. All in all these are interesting relics from the past and will undoubtedly be ravishingly devoured by rabid fans foaming at the mouth for any scraps of residue from the hitherto inaccessible vaults, but other than the single new track there isn't much that is out of the ordinary from what's actually on their albums. It's not like these tracks are so different compared to some of those on the Beatles' different versions for example. This is definitely a good and worthy extra supplement for any collector's shelves but not one i feel warrants the essential label. Nice album cover :)

 Noctourniquet by MARS VOLTA, THE album cover Studio Album, 2012
3.54 | 288 ratings

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Noctourniquet
The Mars Volta Heavy Prog

Review by russellk
Prog Reviewer

3 stars With this, their last album before a timely disbanding, THE MARS VOLTA complete the transition from a psyched-out retro-prog band to a standard rock band with a few tricks. Gone are the epic tracks, the demented guitars, the crazy concepts. All that is left are the songs and, despite their undoubted quality, they're not quite enough.

Part of the problem is that by this point the band is itself a slimmed-down version of the eight-man goliath from their glory days. No Ikey on keyboards is a severe loss, for example (as was his untimely passing in 2014). But at the heart of it is the disintegration of the relationship between Rodríguez-López and Bixler-Zavala. Hard to make great music when the trust and respect isn't there. So, with a few exceptions, the songs here are one dimensional, pallid imitations of their previous work.

All that said, there are plenty of bands who would be proud to have Empty Vessels, Aegis, The Malkin Jewel and the last two minutes of In Absentia on their resume. On the other hand, there are more than a few clunkers on this album, particularly near the end.

A great band. Whether they appealed to you or not, you should be grateful for the way they pushed the boundaries of hard, psychedelic prog rock. Just not on this album.

 Machine Years by TONEV, KALIN album cover Studio Album, 2017
4.14 | 5 ratings

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Machine Years
Kalin Tonev Heavy Prog

Review by Replayer

5 stars Having previously been the main force behind Bulgarian instrumental prog outfit TravelHouse, keyboardist Kalin Tonev recorded Machine Years as his first solo album, which I find to be a very impressive effort.

Machine Years is an instrumental prog album, the only vocals present being in the form of short samples. The album's cover is indicative of its retro-futuristic sound, blending 70s style riffing with electronic and contemporary influences. Kalin has developed a style of his own and the compositions' style is very cohesive, while also showcasing variety. The entire album is drenched in Hammond organ, drenched I say! However that is not to say that the album is dominated by the organ, which is often relegated to the background. Kalin also uses Mellotron string samples on several tracks in a sparse, but effective manner.

In addition to Kalin, who is responsible for keyboards, samples and programming as well as composing the music, the album notes credit three guitarists. Two of them, Biser Ivanov and Daniel Eliseev, had previously played with Tonev in TravelHouse. However, it is Nenko Milev who plays guitar for the bulk of the album. The bass and drums are programmed, but this is no slight on the quality of the album, as they sound real and they're played in a very natural manner, so that I didn't even notice until I read the album credits.

I'm not going to describe every single track, since there are thirteen of them, but rather cover a subset to provide an idea of the album's sound.

Human Not Machine sets the tone for the album, a heavy but joyous track loaded with Hammond organ, guitar riffs, and Minimoog.

Beings is the only track that features contributions from two different guitarists, namely Milev and Eliseev. The track alternates between heavier guitar-dominated sections and spacier synth sections.

Eliseev also appears on the next track, Dust, which abandons the heaviness of the previous tracks and is a spacy and mellow instrumental featuring an ethereal synth pad accompanied by acoustic guitar. A lovely composition.

Mad Dancer is the album's most diverse track, featuring an electronic intro and outro, wordless female chanting samples, distorted guitar riffs, frantic organ solos, and even Baroque organ fugues.

I particularly enjoy Kalin's Minimoog solos on on News from Nowhere, the album's longest track.

Garden is a introspective track, centered on a melancholy bass line and electric piano.

I must say that I enjoy Tonev's organ playing very much and that he has developed his own unique style that does not bring up comparisons with Keith Emerson, Rick Wakeman, Jon Lord, Tony Banks, Ken Hensley, David Sinclair, Peter Bardens or other notable rock organists I'm familiar with.

As a side note, I was offered a free review copy of this album. However, upon listening to the first track, Human Not Machine, on Bandcamp, I immediately decided to buy the album on the opening track's strength alone. It's albums such as these that make me optimistic about the future of prog and remind me that it's still alive and kicking. 4.5 stars rounded up.

 Machine Years by TONEV, KALIN album cover Studio Album, 2017
4.14 | 5 ratings

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Machine Years
Kalin Tonev Heavy Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

Kalin is a "new" musician to me, but he has been involved in the progressive scene in his native Bulgaria for some years, both in bands and by running a regular radio show. What we have here is an instrumental album, with Kalin providing keyboards and drum programming, and then he has been joined by three different guitarists. But, it must be said that this doesn't sound like a solo project, but much more like a band. Kalin relishes in a filthy keyboard sound, providing chords and passages that wouldn't sound out of place on a Keith Emerson album, if Keith was in his darkest and foulest mood as opposed to his honky-tonk sideshows. The best way I can think of putting it, is that if Chris Squire played keyboards instead of bass then he would have a sound like this.

Although there is a darkness to this album, it is complimented by plenty of light and brightness and is full of invention and dynamics. There are very little "Look at me and see how quickly I can play" moments, but rather this is an incredibly well-arranged album where there are times that he links into the guitar as if it is Jon Lord and Ritchie Blackmore, or Ken Hensley and Mick Box. This isn't a keyboard solo album, but a progressive rock album with plenty of guts and balls, where the lead instrument is often (but not always) the keyboards. Now I've heard this it has got me wondering what his "real" band albums are like, and when we're going to get the next solo release. But for now, I'll just keep playing and enjoying the wonderful album that is 'Machine Years'.

 Irish Coffee by IRISH COFFEE album cover Studio Album, 1971
3.49 | 37 ratings

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Irish Coffee
Irish Coffee Heavy Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Hailing from Belgium, early Seventies band Irish Coffee only delivered a couple of singles and a sole album in their few years active, but the debut from 1971 is a bit of a dirty raucous ripper of organ dominated heavy rock with light touches of jazz, R n'B and psych but still finds time for more mindful breaks. Think bands like Atomic Rooster, Deep Purple, Rare Bird, Birth Control and Beggars Opera, with gruff Hammond organ to the fore and fleeting moments of drawn out jamming, but mostly delivering a strong punchy collection where the tune itself is always the priority.

Opener `Can't Take It' is up-tempo and infectious, a snappy rocker and blustery vocal belter powered by Jean Van Der Schueren's biting guitar slinging, Willy De Bisschop's pumping chunky bass and Hugo Verhoye's frantic drumming. `The Beginning Of The End' lurches with a dramatic heaviness of marching call-to-arms drum rattles, Paul Lambert's thoughtful organ interludes and dreamy chiming guitars with William Souffreau's blistering red-faced huffing almost taken to testicle- bursting extremes in parts! `When Winter Comes' slows things down for a Rare Bird-like stark and introspective weary rock- ballad (although there's an unexpected but very welcome energetic burst in the closing minute), where the vocals move between sombre spoken word passages, warm group harmonies and a romantic lead vocal full of aching longing crooning a despondent yet tender lyric - and damned if the line `Will you came and be my sun?' wouldn't win over any lady!

Prog fans shouldn't get too excited when they see the two-part `The Show' listed on the back cover that is split over the end of side one and carries on over on the flip. While they both share a similar `come see the show' theme and wild party vibe, the first is a unapologetic pop-stomper with funky grooving wah-wah guitars and brief wailing soloing spots, a screeching vocal and call-and-response Hammond trickles all swirling around a catchy chorus, while the second is dirtier with a murky sweaty sound full of lusty debauchery!

`Hear Me' has a crashing and restless momentum from delirious smoky Hammond organ runs and mangled guitar raggedness, and the tormented `the Devil's in my head, Lord I need you...can't help myself, it's this world that makes me do it!' lyric wouldn't have sounded out of place on an Atomic Rooster album! The almost seven minute `A Day Like Today' is one of the more ambitious pieces, full of ruminative droning Pink Floyd-like guitar drifts, and with its downcast and anxious anti- war lyric and desperate urgent vocal pleadings, its sentiment is undoubtedly genuine. Closer `I'm Lost' is another nice diversion, a gentle come-down pop-rocker with jangling acoustic guitars, a rattle of spirited drums and joyful Hammond organ, and both vocally and instrumentally it reminds of British band Beggars Opera from the same time.

While it's maybe not quite up to the same level as the best albums of several of the above-mentioned bands, listeners who dig those early `proto-prog' groups that made adventurous rock music full of cool playing and great tunes should have a blast with `Irish Coffee'. It's a grower of an album, one that proves highly addictive and seriously fun if you give it enough spins!

Four stars.

 Night To Day by TIME COLLAPSE album cover Studio Album, 2017
4.31 | 12 ratings

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Night To Day
Time Collapse Heavy Prog

Review by The Jester

4 stars Time Collapse is a rather new band from Athens, Greece, which I discovered recently through Prog Archives. Being from Greece as well, I'm always trying to pay attention and support the bands that come from my country, assuming they worth it of course. I have to admit that during the last 10 years, many bands appeared in Greece that are very interesting to say the least. One of those bands is Time Collapse without a doubt. Almost a month ago (if I'm not mistaken), they released their debut album Night and Day, which includes 7 songs and has a total running time of almost 40 minutes. In my mind, the album is divided into two major parts. If it was a vinyl edition, for example, A-side would be including the first 4 songs and the B-side the almost 18-minute-long suite Messiah Complex, which is divided into 3 parts. But since there is no vinyl edition available (as far as I know), you can buy the album either in a CD, or in a digital form from the band's account in Bandcamp. Now, let's take a closer look at the album: The opening song that works also as the album's intro is the very good and atmospheric Time Bound, which after 2 minutes is being transformed into Time Collapse. These two songs are forming a short 7-minute-long medley, which gives to the listener a pretty good idea of what this band is about. The beautiful psychedelic soundscapes, mixed with loud guitar riffs, accompanied by the excellent collaboration between the bass and the drums, are creating a great overall outcome, which brings to my mind something between Tool and Porcupine Tree. As for the keyboards, they are giving a little "extra" to their sound, without being too much. The band seems influenced a lot from the two bands I just mentioned, but they manage to blend their influences into their sound in such a way that is not a problem at all. Imagine the loud riffs and sudden changes of Tool, combined with the long atmospheric passages of ? the early ? Porcupine Tree, and you will get an idea. Also, one of the major problems of the Greek bands, is the English accent on many ocassions. Well, no problem here at all. Their singer's voice that is matching the band's sound and his English accent is very good. (Or good enough if you like). Now, having all these things in mind, it's up to you to decide if you are interested or not, but my recommendation would be to give these guys a chance. Maybe they are not bringing something new or groundbreaking in the modern music scene, but they created a very good and powerful album, that could be appreciated by people with "open ears" and minds. It's not Progressive Rock, it's not Progressive Metal, it is something in between.

4 stars for their first and very interesting album, hoping that they will keep up in the same way in the future!

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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
ALGABAS Russia
ALGARAVIA Brazil
ALTERED STATE United States
AMUSIA Canada
ANABASI ROAD Italy
THE ANABASIS United States
ANDROMEDA Germany
ANEKDOTEN Sweden
ANKH Poland
ANOMUS Finland
ANTI-DEPRESSIVE DELIVERY Norway
ANXTRON Brazil
APOLLO Finland
ARABS IN ASPIC Norway
ARAXES Switzerland
ARC United Kingdom
ARCANE Australia
ARCANE ATLAS United States
THE ARISTOCRATS Multi-National
ARMAGEDDON United Kingdom
ASTEROID Sweden
ATLANTIDE Italy
ATLAS CUBE Germany
ATLAS VOLT Sweden
ATOMIC ROOSTER United Kingdom
AUSTRALIS Chile
AUTOMATIC FINE TUNING United Kingdom
BABE RUTH United Kingdom
BADGER United Kingdom
BAKER GURVITZ ARMY United Kingdom
BAKERY Australia
BALISET United States
BALLOON Netherlands
BARAKA Japan
DAVID BARRET TRIO Canada
BATTLE CIRCUS New Zealand
ERIC BAULE Spain
BBI France
BI KYO RAN Japan
BIBLE BLACK Japan
A BIG GOODBYE United States
BIGELF United States
BIRTH CONTROL Germany
THE BITTERS United States
BLACK BONZO Sweden
BLACK MARKET SEROTONIN United Kingdom
BLACK WIDOW United Kingdom
BLOOD CEREMONY Canada
BODKIN United Kingdom
BOLT United States
BOOK OF HOURS Sweden
BREAKING ORBIT Australia
THE BROWN Japan
BULL ANGUS United States
BURNING SAVIOURS Sweden
CACTUS PEYOTES Brazil
CAMAFEO Argentina
CAPHARNAUM Canada
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