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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 26/10/2019

Louis (rdtprog)
Thanos (aapatsos)

Heavy Prog Top Albums


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

4.39 | 2789 ratings
MOVING PICTURES
Rush
4.37 | 2357 ratings
HEMISPHERES
Rush
4.32 | 2190 ratings
A FAREWELL TO KINGS
Rush
4.28 | 2019 ratings
PERMANENT WAVES
Rush
4.25 | 2509 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.25 | 2471 ratings
IN ABSENTIA
Porcupine Tree
4.19 | 1205 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.17 | 1126 ratings
THE MOUNTAIN
Haken
4.18 | 784 ratings
SALISBURY
Uriah Heep
4.12 | 2053 ratings
2112
Rush
4.11 | 1974 ratings
DEADWING
Porcupine Tree
4.12 | 1056 ratings
VISIONS
Haken
4.13 | 654 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.12 | 694 ratings
LOOK AT YOURSELF
Uriah Heep
4.07 | 1308 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.07 | 902 ratings
FRANCES THE MUTE
Mars Volta, The
4.07 | 758 ratings
DEMONS AND WIZARDS
Uriah Heep
4.05 | 1029 ratings
AQUARIUS
Haken
4.03 | 1472 ratings
LIGHTBULB SUN
Porcupine Tree
4.07 | 428 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
VULTRESS
Cosmic Nomads
HIGH TIDE
High Tide
ONCE WE WERE BORN ...
Divine Baze Orchestra, The

Latest Heavy Prog Music Reviews


 Anesthetize by PORCUPINE TREE album cover DVD/Video, 2010
4.67 | 560 ratings

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Anesthetize
Porcupine Tree Heavy Prog

Review by MaxnEmmy

5 stars One of the best live rock concerts in the last decade. This captured the band during their "Fear of a Blank Planet" tour in 2010 and was the last great PT album from the creative mind of Steven Wilson. After this album they released "The Incident" which was not well received by the public and Steven broke up the band. I think he felt the band had run its course and he wanted to work with other musicians. He has now had a 10 year career as a solo artist, and I don't think Porcupine Tree will ever reunite. He wants players that like jazz and PT was a rock outfit. His solo albums are good but there is something special in the porcupine tree catalog that he has not been a able to replicate with his current bands. PT produced an anesthetic which was melancholy yet blissful. The band had a message and it resonated with people from the 90's to the 2000's. I saw them in concert several times in NYC at the theater in Times Square and it was phenomenal music. They actually sounded better live than on record (or the studio). I never heard a band so tight and well equipped to deliver. One of the best concerts they gave was in the late 2000's which they had Kings X open for them. Mind blowing. If you remember the glory days, you are blessed.
 Rush by RUSH album cover Studio Album, 1974
2.94 | 1055 ratings

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Rush
Rush Heavy Prog

Review by hugo1995

1 stars It's hard to believe anyone actually enjoys this album and music. It is boring music made for boring people who enjoy vanilla ice cream. This album almost can't even be considered a rush album, it is so different to everything else. It is all blues with no complexity, but lacks the adventure and thrill that blues contemporaries such as Led Zeppelin offered. It's even harder to believe that a few years after this they were creating prog, and not just prog, but prog classics.

Give this album a hard pass. If you're like me and love to listen to an entire bands catalogue, give this a listen. Don't be surprised when you are bored. Most bands have a decent first debut album, Rush does not.

For Rush's sound, their real first album is the next one.

 First Base by BABE RUTH album cover Studio Album, 1972
3.72 | 139 ratings

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First Base
Babe Ruth Heavy Prog

Review by Psychedelic Paul

4 stars BABE RUTH were a Jazzy Blues-Rock band who hailed from England, despite naming themselves after an American baseball legend. Although the band managed to reach first base in their native England, it was in North America where the band hit a home run and achieved commercial success when their first album achieved gold. They first emerged in the leafy town of Hatfield, Hertfordshire in 1971 and released their aptly-titled "First Base" album in 1972. They followed it up with four more album releases throughout the 1970's:- "Amar Caballero" (1973); "Babe Ruth" (1975); "Stealin' Home" (1975); and "Kid's Stuff" (1976). The band decided to call it quits after their fifth album in 1976, but they got together again thirty years later to record the long-awaited comeback album "Que Pasa" (2007). It's time now to strike out for a home run with Babe Ruth's "First Base" album. The baseball-themed fantasy artwork for the album cover was designed by Roger Dean, who also designed many YES album covers.

The album gets off to a rip-roaring start with "Wells Fargo", a song you can bank on to deliver some hard-drivin' Blues-Rock with vocalist Janita "Jennie" Haan having the same raw and earthy edge to her voice as blues legend Janis Joplin. The song gallops along at a tremendous pace with the lively horn section sounding like they're having a real blast here. The saxophonist probably needed to lie down in a darkened room just to catch his breath after his energetic non-stop performance in this 6-minute opener. There's a far more sedate pace to "The Runaways" with Jennie Haan sounding far more restrained here. It's a sensual piano piece featuring an oboe and cello in symphonic accompaniment. This rousing classically-inspired music gradually builds up in intensity, emerging into a sonorous crescendo of sound for the spectacular finale, in a bass-heavy song that's very reminiscent of some of Renaissance's epic masterpieces. This is quite possibly the best song that Renaissance *never* recorded. It's time now to go ape-crazy for "King Kong", a cover version of the old Frank Zappa and the Mothers of Invention song. This is one heck of a crazy jam session, with the band given free rein to improvise away to their heart's content. This is the kind of fast and furious, Jazzy improvisational free-for-all that couldn't possibly be written down formally as musical notation, regardless of whether or not you know your crotchets from your quavers.

"Black Dog" opens Side Two, although it's nothing to do with the classic Led Zep song of the same name. No, this is more of a laid-back Blues-Rock piano number, at least to begin with. The song might sound moody and mellow in the opening, but it's really a wolf in sheep's clothing, because there's a rompin' stompin' Hard Rock song just waiting to get out. Beware, this is a mean "Black Dog" with sharp teeth that might just leap up and bite, so watch out! If the next song "The Mexican" sounds familiar, that's because it's a Jazzed-up version of the spaghetti western music of Ennio Morricone. Hola amigo! It's perfect music for listening to whilst watching "gringo" Clint Eastwood despatching some more Mexican banditos with his trusty six- gun after they've insulted his mule. It's a return to some heavy Blues-Rock for the final song on the album "The Joker", where vocalist Jennie Haan is in mean and moody, bad mama mode again. It's the kind of good old American Pie Southern Rock song you could listen to whilst driving your chevy down to the levee, even if the levee was dry. Sometimes, it's hard to believe Babe Ruth are really as English as a chip buttie, or a vindaloo curry.

"First Base" is a good old-fashioned American Southern Rock album - from the leafy suburbs of Hatfield in England! Babe Ruth may not have hit a home run with this album in their native England, but it's easy to see why they were much more popular with our American cousins. Obvious comparisons can be drawn with the Blues-Rock of Janis Joplin and Big Brother & the Holding Company. Babe Ruth sound as American as Billy Bob Thornton or Randy California eating blueberry pie and wearing a Stetson hat and cowboy boots.

 Sound Awake by KARNIVOOL album cover Studio Album, 2009
4.09 | 302 ratings

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Sound Awake
Karnivool Heavy Prog

Review by Kempokid
Collaborator Prog Metal Team

4 stars I've heard many people think of Karnivool as the Australian equivalent to Tool, and in many respects, I really can't blame people for thinking that, especially on this album. Sound Awake shares many similar traits to much of Tool's material, having a strong alternative metal tinge all throughout, with long, complex song structures that contain many hints of a more accessible, catchy project underneath, where even if a song goes on for 12 minutes, it'll have motifs that immediately grab you and just don't let go. This album is also a far better one than Themata, honing in on the more proggy aspects of their music, creating an album that's far more appealing than the at times annoying or mediocre debut, while also demonstrating their instrumental prowess.

The structure is one aspect of this album that I believe causes it to be so consistently engaging, starting off with 3 of the greatest tracks on the album, especially the opening track, Simple Boy, but then the album still scatters some other of the clear highlights at various places throughout the album, ensuring that there's never a major point in time where it's just filler track after filler track. The passion and incredible melody and bassline on Simple Boy are absolutely perfect for setting up the more grandiose, proggy nature of the album while still showing the fact that the band isn't being alienating at the same time, given how the majority of the focus is directed towards the lovely vocals of Ian Kenny. What instrumental sections are present here are extremely fitting for the song, feeling less like additions to the song to make it more impressive sounding, and more like vital components of the song that are absolutely essential for the flow of it to be as flawless as it is. This song's honestly so good that I feel like I could write an entire long winded paragraph based entirely upon this alone. Goliath is great at showcasing the more heavy side of the band, especially with the mixing having the bass sound about twice as loud as in most other songs, although it works here, the short, sharp bassline perfectly complementing the more intense side of the band, while simultaneously maintaining a lot of the melody that permeates the album. New Day completes this amazing trio of songs with the heartfelt New Day, having a near despondant tone during many parts, but gradually fills out, starting out as primarily acoustic, and by the halfway point evolving into a beautifully textured piece of alternative metal with dizzying drum performances and groovy riffs. The track then further develops by honing in on the prog aspects of the band, the metal riffs morphing into rich, layered instrumentation that is absolutely to die for through and through.

While the album becomes more inconsistent from this point on, with songs like Set Fire to the Hive and The Caudal Lure being cool in their own rights, but nothing too special, the highlights of All I Know, and Umbra, along with the powerful closers of Deadman and Change keep the pace going enough for this to honestly be negligible in a lot of cases, especially since even these more mediocre track tend to have a few points which really stick regardless.Umbra is one of the few cases on the album where the solos and instrumentation are the absolute highlights, maintaining the same kind of tone and feel of the song while differentiating itself enough to be amazingly memorable and entertaining. While Change is the actual closer of the album, it's the triumphant Deadman that feels like a true culmination of the album, with a wild rhythm section heavy with syncopation, morphing throughout, each section becoming more intense and complex, with the 4 four minute mark dropping out to create some more atmospheric moments to contrast with the glorious first section. What makes this part so excellent to me is the repetition of the chorus melody as the melodic motif of the guitars here, but changing it up enough to display it in a completely different light more indicative of more guitar driven progressive rock, rather than full blown metal. This is Karnivool's most accomplished song in my opinion, combining everything great about their sound and approach into an absolutely incredible epic, and perfectly brings the album to a close.

Despite singing my praises about this album to no end here, I do admit that this isn't a perfect album at all, as while I did mention that the track sequencing mitigates the major issues with the filler here, there's still undoubtedly some filler that could have been cut in order to make this a more concise listen, as 72 minutes is a bit much for an album that is fairly similar sounding thorughout. Overall, despite these shortcomings, I still believe that this is a thoroughly enjoyable album and a demonstration of how onecan fuse alternative metal and prog without it sounding like a clumsy or generic mess, although I guess Tool can teach the same lesson. I'd highly recommend this album to showcase the quality that modern prog can have, along with just recommend it in general to those who enjoy guitar driven music with decent complexity to it.

Best tracks: Simple Boy, New Day, Umbra, Deadman

Weakest tracks: Set Fire to the Hive, The Caudal Lure, Illumine

Verdict: A relatively consistent album that could be seen as an Australian equivalent to Tool in many respects relating to their sound, with often long, explorative songs that are packed with melody and complexity while also tapping into the core sound of alt metal. I'd recommend this as long as you're willing to put up with a couple of moments that are a bit drawn out.

 Sacrifice by BLACK WIDOW album cover Studio Album, 1970
3.73 | 161 ratings

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Sacrifice
Black Widow Heavy Prog

Review by Psychedelic Paul

5 stars BLACK WIDOW were a British Jazz-Rock band formed in Leicester in 1969. They released their first album under the name Pesky Gee! in 1969, before wisely deciding to change the name of the band to Black Widow. Their first album as Black Widow, titled "Sacrifice" (1970) caused some controversy at the time because of the dark satanic occult imagery in the lyrics and accompanying mock sacrifice video for the title song. It was all part of an elaborate stage act though and they were no more satanic than Black Sabbath and nowhere near as outrageous as the Shock Rock stage act of Alice Cooper. The band dropped the dark satanic imagery for their next two albums, the imaginatively-titled "Black Widow" (1971) and "Black Widow III" (1972), although those two albums failed to achieve the success of the first album. They recorded another album in 1972, predictably titled "Black Widow IV", although that album wouldn't see the light of day for another 25 years until 1997. Another album titled "Return to the Sabbat" was released in 1998, although it contained no original material as the album consisted entirely of an earlier recording of their 1970 "Sacrifice" album. Black Widow weren't quite dead and buried yet though because they rose from the grave with their long-awaited comeback album "Sleeping with Demons" in 2011.

The opening song "In Ancient Days" conjures up a spooky Hammer horror movie image of a graveyard at night, where the haunting sound of the solo organ gives the impression that some ghostly apparition is about to suddenly leap out of the shadows. Don't have nightmares though, because this is just a prelude to some uplifting funky Jazz-Rock. It's easy to see why some religious conservatives might have been spooked by these sinister demonic lyrics though:- "Here in my thirteenth life the mystic power of old returns, and as I say these words, my soul again in Hell, I conjure thee, I conjure thee, I conjure thee, I conjure thee appear, I raise you mighty demon, come before me, join me here." ..... The lyrics might be dark and occult, but the music is really jaunty and Jazzy and proggy and the satanic sacrificial imagery in the lyrics and video never did their album sales any harm. The lively and invigorating Jazz-Rock of Black Widow bears no relation to the dark Heavy Metal of Black Sabbath, who the band have sometimes been compared to. There's more doom and dark satanic gloom on the way with "Way to Power", where the Four Horsemen of the Apocalypse are mentioned in the sinister lyrics, although the rollicking music is another solid slice of foot-stomping British Jazz-Rock. This lively feel-good music is more likely to inspire jumping and jiving on the dance floor, rather than giving the listener a scary touch of the heebie-geebies. The next song "Come to the Sabbat" DOES sound very sinister though, so it might be time to hide beneath the bedcovers, especially when you hear the repeated sinister refrain of "Come to the Sabbat, Satan's There". There's really nothing to worry about though, as we live in far more enlightened times these days, and this stirring harum scarum Jazz-Rock hokum is no more scary than a candlelit pumpkin at Halloween. Side One closes with "Conjuration", which rumbles along nicely to a slow marching rhythm with the rousing horn section weaving their magical spell.

Black Widow have conjured up a big romantic power ballad for the Side Two opener: "Seduction". You're sure to be seduced by the lush string arrangements and the playful and pleasurable Jazz organ solo. This song is like a bright ray of sunshine breaking through the clouds compared to the dark satanic imagery conjured up in Side One. The singer sounds like he's head over heels in love with these warm and tender lyrics:- "Would you have me stay with you, Squeeze and hold you tight, Smooth you with my tender touch, Share your bed at nights." ..... From the sound of things, it could be his lucky night. Next up is "Attack of the Demon", a rompin' stompin' barnstorming display of Jazzy prog to stimulate and invigorate the senses. We end the album with the powerful 11-minute-long title track "Sacrifice". It's an all-out sonic assault of thunder and lightning for the final song. The music barrels along at a relentless pace with the manic drummer and frantic Hammond organist hammering away in a non-stop cacophonous frenzy of high-decibel sound and energy. This is music designed to hit you straight between the eyes with the awesome power of a thunderbolt.

Black Widow represents British Jazz-Rock at its brilliant best. The band weave a wonderful web of timeless timbral tunes, ranging from raucous rockers to romantic refrains. It's no "Sacrifice" to say this stunning album deserves to be in any discerning Jazz-Rock connoisseur's collection.

 (A Ballad Of) A Peaceful Man by GRAVY TRAIN album cover Studio Album, 1971
3.54 | 79 ratings

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(A Ballad Of) A Peaceful Man
Gravy Train Heavy Prog

Review by Psychedelic Paul

5 stars GRAVY TRAIN were an English melodic prog band, established in St. Helens, Lancashire in 1969. The band never quite managed to make it onto the gravy train of success with their four studio albums. Their eponymous debut album "Gravy Train" (1970) had a heavier sound than the album reviewed here. This second album "(A Ballad of) A Peaceful Man" (1971) features lush string arrangements and is widely regarded to be their best album. Gravy Train followed it up with two further albums:- "Second Birth" (1973); and "Staircase to the Day" (1974). This fourth and final album with a new producer was highly- rated, but sadly, the band decided to call it a day after becoming demoralised when their precious music equipment was stolen from the back of their van. Such are the harsh realities of the music business - an unforgiving world of dashed hopes and broken dreams.

This is an album of two halves - just like a game of soccer - with the three big romantic ballads grouped together on Side One and all of the powerful heavy rockers on Side Two. "Alone in Georgia" is a tremendous album opener. It's a really big production number that Phil Spector would have been proud of, featuring lush strings and rich orchestration with the bereft singer passionately pouring his heart out over his lost love, in true romantic balladeer style. This emotionally-rich and powerful ballad is a resonant Wall of Sound that really tugs at the heartstrings with its impassioned and melodramatic lyrics:- "Left me alone in Georgia, Left me alone inside a city, Why did she go without saying, Why did she leave without a goodbye?" ..... You'd need a heart of stone not to moved by this rousing romantic rhapsody. And now we come to the title track "Ballad of a Peaceful Man", opening to the sound of a flirtatious flute and sweeping strings. This is no gentle ballad though. This is a surging and passionate power ballad that emerges into a sonorous symphony of sound with a powerful anti- war message contained within the lyrics:- "Every time I look upon the market square, There's a monument erected to the dead who fell in war, Pardon me for crying, But I've seen the sight before, I hope it never comes again, Make your mind up, It's our only chance, To live in peace or set the world alight, Alight, yeah!" ..... Amen to that! Make Love, Not War. It's a stark reminder that this song was written at the height of the Cold War, when the fate of the world was very much in the balance. The third song "Jule's Delight" really is a delight to listen to. It's a gorgeous flute-driven melody floating on a symphony of sensational strings. This dramatic music might not quite reach the sublime heights of "Nights in White Satin" or a "Whiter Shade of Pale", but it's a marvellously-rich, mellifluous melody that's best listened to at night between silken sheets of pale satin - preferably with a romantic partner for company.

The opening song on Side Two, "Messenger", is very reminiscent of Jethro Tull. It's a proggy and playful flute-driven song but with a powerful anti-war message contained within the lyrics:- "Messenger swift, Won't you tell me the words that you carry, Stop for a moment and lie with me, I pray you'll tarry, Five more young men who'll never be able to marry, How long will this war last before you die too? Before you die too?" ..... The sound of the flighty flute in the opening brings to mind the merry minstrel Ian Anderson standing on one leg with flute in hand, but it's really another dark tale about the horrors of war. Don't get too downhearted though, because there's a splash of vivid psychedelic colours in a wild and unrestrained fuzz-toned guitar jamboree for the golden grand finale. The next song, "Can Anybody Hear Me?", is a raucous out-and-out rocker with the raspy-voiced singer giving it his all. Everyone can hear him sing this song, including the neighbours, if you play this music LOUD like it's meant to be played. Again, the music sounds like Jethro Tull, but this is Jethro Tull given a burst of high-energy, foot-stomping adrenalin. This is heavy-duty rock wearing Doc Marten boots, a hard hat and a yellow fluorescent jacket. Next up is "Old Tin Box" which rattles nicely along like..... an old tin box. It's an upbeat and up-tempo Jazz-Rock number featuring the soaring sound of a saxophone. The steady rhythmical beat is redolent of a train rattling down the tracks, so make way because this is no gravy train - this is more like an unstoppable diesel locomotive going full speed ahead. There's no let-up either for "Won't Talk About It", because this is another hard-rocking song with a take-no-prisoners attitude. It's raw and aggressive Blues-Rock where the singer sounds like he's had a bad day, but he doesn't want to talk about it, so stay out of his way. There's no doubt about it, "Won't Talk About It" is the heaviest song on the album by far. Think of Deep Purple with a flute, and that's the powerful song we have here. We're "Home Again" now for the final song on the album, which has something of a tribal native American rhythm to it, so it might just be time to get out the peace pipe and do a rain dance before returning "Home Again" to the comfort of the wigwam for the evening.

Gravy Train have really surpassed themselves with this marvellous melange of music, featuring big romantic orchestral numbers on Side One and hard and heavy rockers on Side Two. Their first album was pretty good, but they've gone one better with this album by incorporating some lovely sweeping string arrangements, giving the music a rich orchestrated fullness. This superb second album should have put them on the gravy train to success, but sadly, it wasn't to be. They were just one of many promising British prog bands who fell by the wayside in the early 1970's, but on a brighter note, they stuck around just long enough to record four great albums, which have now been given a new lease of life thanks to the modern wonder of the Internet.

 Round The Edges by DARK album cover Studio Album, 1972
3.23 | 40 ratings

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Round The Edges
Dark Heavy Prog

Review by Psychedelic Paul

3 stars DARK were a short-lived British Psychedelic Rock band based in Northampton, who released just one album before splitting up and going their separate ways. Their super-rare "Round the Edges" (1971) album has now become a real collectors item as there were apparently only sixty private pressings made of the original LP album, which were mainly given away to family and friends of the band. According to the New Musical Express, the album has now become one of the rarest and most valuable records of all time, fetching ridiculous prices of anywhere between 5,000 and 25,000. The album was reissued on CD in 2003 with four bonus tracks added to the original six songs on the album. A compilation album titled "Teenage Angst (The Early Sessions)" was issued on CD in 1993. Let's throw some light on the Dark "Round the Edges" album now and give it a listen.

We journey into the "Darkside" for the album opener, which sounds from the title alone, like it might be some dark satanic number, ala Black Sabbath. It all sounds very ominous, like thunderbolt and lightning, very very frightening, but it's really about the "Darkside" of the moon, so there's no need to have nightmares. This psychedelic music is more Iron Butterfly than Black Sabbath. It's a heavy, rough-and-ready, seven and a half minute fuzzy-toned psychedelic jam. It begins as a sweet strawberry sundae of laid-back psychedelia but gradually turns into an aggressive stormy Monday of way-out heavy guitar riffing, and very good it is too. It's not quite in the same league as "In-a-Gadda-da-Vida", but the music has the same raw earthiness to it. We're dancing around the "Maypole" now for the second song, but don't worry, it's not some airy-fairy nonsense about ridiculous-looking Morris Men making fools of themselves as they dance around the "Maypole." No, this is another high-powered, flower-power psychedelic freak out. In true psychedelic fashion, the bizarre lyrics make no sense at all, so one wonders if these guys were eating magic mushrooms before they wrote the following enigmatic lyrics:- "The elephants were dancing round a maypole and a tree, The dog in front loves the dog behind, just like you and me, The English pub collapses like a pack of English cards, I thought we'd have to die of thirst, instead we'll have to starve." ..... Far out, man! It's time now to "Live for Today", because tomorrow might never come, although we're still here to listen to this album nearly fifty years on, having survived the Cold War together. "Live for Today" is the longest song on the album at just over eight minutes in duration. It begins as a laid-back mellow groove, but there's ample time for a long instrumental freak-out of fuzzy chainsaw guitar riffing to close out Side One.

There's really not much to add about the three songs on Side Two:- "R.C.8", "The Cat" & "Zero Time", other than to say they're all hard and heavy psychedelic fuzz-guitar freak-outs, just like Side One, which might even begin to sound monotonous and repetitive to some ears. The music is very much in the style of the American psychedelic band Blue Cheer, who also have the same raw earthiness to their sound. There are no gentle romantic ballads to break up this album and give it more variety. The album is one long unadulterated jam session of fuzz-guitar Hard Rock from beginning to end although, if you're in the mood for a good old-fashioned non-stop barrage of raw, wild and frenzied Psychedelic Rock, then this trippy album might be just your cup of tea.

Don't be afraid of the Dark, step into the light and take a rainbow-coloured psychedelic trip back in time with the Dark "Round the Edges" album. It might not have the power to give you a temporary altered state of conciousness, but you can still get high on this great music without the aid of any psychedelic substances. This is raw and earthy, back to basics, foot-stomping Psychedelic Rock with no pretensions of grandeur. The album might not appeal to fans of Progressive Rock generally, but it IS an essential album for lovers of classic British Psychedelic Rock, and the rarity value of this lost album treasure alone means it's well-worth giving the album a listen. The original LP album is said to be the "Holy Grail" for record collectors.

 Peten-Shi To Kuuki-Otoko by NINGEN-ISU album cover Boxset/Compilation, 1994
3.00 | 1 ratings

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Peten-Shi To Kuuki-Otoko
Ningen-Isu Heavy Prog

Review by FragileKings
Prog Reviewer

— First review of this album —
3 stars This is the first compilation album of Ningen Isu. It was released on Meldac in 1994, the fifth release on that label and the final release in the band's contract with the label until resigning with them in 1999.

This compilation includes songs from their first four original studio albums with Meldac: Ningen Shikkaku (1990), Sakura no Mori no Mankai no Shita (1991), Ougon no Yoake (1992), and Rashoumon (1993). There are three bonus tracks as well.

The album does a good job of representing these albums. Ningen Shikkaku has Ayakashi no Tsuzumi, Tengoku ni Musubu Koi, and Ringo no Namida. These three songs capture that band in a very heavy and hard hitting retro sound that was their style on the debut album. The music resembles classic Budgie and Black Sabbath while sometimes going faster, bearing some influence of both NWoBHM and speed metal.

From Sakura no Mori no Mankai no Shita, there's Kokoro no Kaji, Yashagaike, and Taiyou Kokuten. This album's guitar sound brought us closer to the mid-seventies but the band's style remained a blend of seventies heavy and hard rock with some eighties influences. Kokoro no Kaji begins almost like thrash metal, Yashagaike features a Japanese folk beginning before the song evolves into a heavier electric mood, and Taiyou Kokuten reflects the band's fondness for doom-heavy, Black Sabbath-styled songs.

Two songs are from Ougon no Yoake: Shinpan no Hi and Kofun no Neji. This album was more progressive with longer songs; however, these two tracks here, while still showing the band's progressive rock influences, are more concise and capture the band's metal spirit. It's interesting to note that future compilations would largely ignore this album. Unfortunate, as I consider it one of their best.

Finally, from Rashoumon we have Namakemono no Jinsei, which is a medium tempo but rousing heavy rock track about the life of a loafer; Seishun Rock Daijin, a hard rocker with an upbeat mood; Maisoh Mushi no Uta, which begins like a slow, hard rock track but breaks double-time into a lead guitar solo in tandem with the bass; and Motto Hikari wo, which was the opening track on Rashoumon and is a one-punch, two-punch hard and heavy rocker that's quite catchy I find.

The three bonus tracks are Daiyogen, a rugged, speed metal number that slows down for a solid metal riff in the middle before picking up the pace again; Hashire Melos, a Maiden-esque instrumental that was used for a Honda motorcycle commercial, and the Yashagaike single B-side version of Jinmensou. The original song appeared on the debut ep. This version was recorded with an acoustic guitar intro instead of the clean guitar intro of the original.

This is rather a good compilation, capturing the band's heavy and hard rock sound while at the same time giving some room for the impression that they are also a progressive band. For a first time listener, you will be get an excellent impression of Ningen Isu's early years. No other compilation includes as many tracks from the second to fourth albums. As well, two of the three bonus tracks are available only on this compilation. My personal thoughts are that there are some songs on those albums that better represent the band's prog side. So, for fans of progressive rock, this album is alright, but it's better for fans of hard and heavy rock with a progressive edge to it.

Two strikes against this are one: it's out of print, and two: in 2016 most of Ningen Isu's catalogue to date was reissued on HQCDs and so the actual reissued albums from 2016 sound better than this compilation album. The album can be found on iTunes and possibly with other streaming services. Used CDs are available on the Internet

 Taihai Geijutsu-Ten by NINGEN-ISU album cover Studio Album, 1998
4.00 | 2 ratings

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Taihai Geijutsu-Ten
Ningen-Isu Heavy Prog

Review by FragileKings
Prog Reviewer

4 stars Taihai Geijitsu-ten is the seventh album by Ningen Isu. It features the return of Masahiro Goto on drums, who had previously played on the fourth album, Rashoumon in 1993. The album was released on the Trycle label, their only album with that label. After the band's contract with Meldac expired in 1994, they released an album on an independent label in 1995 and then were fortunate enough to release their sixth album on Pony Canyon thanks to a collaboration with a manga artist. But after that, they were still without a regular label and their drummer, Iwao Tsuchiya left the band. From this album though, their fortunes were going to improve.

The album title translates as "Degenerate Art Exhibit" and was inspired by the Nazi exhibits of modernist art in the 1930's as examples of degenerate art. Guitarist Shinji Wajima reckoned that rock and pop music were also a type of degenerate art and thought it would make a good album title.

The music here has taken a retro turn once more. The guitar sound is decidedly old school, early seventies, and at least a couple of reviewers have called this album very heavy psych. The opening track, Tainai Meguri, begins with some punchy chords and Goto's psychedelic/early seventies/Ginger Baker-inspired drumming. The album stays pretty close to this approach throughout and wraps up sounding very much like a lost gem of 72/73.

As is usual for a Ningen Isu album, there are heavy stoner rock / early doom metal tracks with a strong Sabbath influence. "Ahen-kutsu no Otoko (The Man in the Opium Den)" and "Dunwich no Kai (The Dunwich Horror)" are two tracks that hammer low and heavy. But there's more to the album than just that.

"Kuzouzu no Scat" is a grooving, hard rock track whose title was inspired by Heian Period Buddhist art in Japan that depicts in nine frames the stages of decay of a human corpse. Wajima's "Chu, churu, chu-chu-chu-chuu, yeah" sounds uncannily like Jim Morrison. Suzuki's "Chinurareta Hinamatsuri (Blood-soaked Dolls Day)" is a unique cross of progressive heavy rock and traditional Japanese singing. It also includes what I think is a Taishogoto, a type of koto, a traditional stringed-instrument. Meanwhile, "Kikuningyou no Noroi (Curse of the Chrysanthemum Doll)" is probably the only Ningen Isu song to have any keyboards, but only at the end, and "Ginga Tetsudou 777 (Galaxy Express 777)" is the only track in their catalogue to include horns.

Two other tracks that stand out for me are "Mura no Hazure de Big Bang", a song that captures the band's humorous side. The lyrics open with, "Today is the Sheep's Sports Day / One Sheep, two sheep they jump over the fence". The song's chorus mentions an explosion on the outskirts of the village. It's a pretty fun song. I also really like "Tentai Shikou-shou". This roughly translates as "Celestial Body Dysguesia". Dysguesia in the condition some women experience when they're pregnant and their taste preferences change. The title could suggest someone have a special palatability for space, but I'm not sure as the title that of a short story. This is possibly one of the band's most melodic songs. It's pretty cool because it begins with a drum pattern and slightly distorted guitar and the bass guitar comes in played high up the neck and the bass strings humming the main melody. It's also unusual because it's one of the very few Ningen Isu songs to include hand claps.

This album gets very high ratings on the Internet with one person ranking this in the number one position for 19 of Ningen Isu's 21 albums. My first reaction when I heard it was that it was indeed their best album. However since then, I have found I like quite a few of Ningen Isu's albums just as well and possibly even better. Still, for fans of early seventies heavy rock and progressive rock, this album satisfies very well considered it was released 25 years after the phenomena of this music had passed.

 Fuzzy Duck  by FUZZY DUCK album cover Studio Album, 1971
3.36 | 88 ratings

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Fuzzy Duck
Fuzzy Duck Heavy Prog

Review by Psychedelic Paul

4 stars With a bizarre and humorous bandname that sounds like a warm and cosy family pub, the comically-titled FUZZY DUCK were a shortlived, London-based, Hard-Rock band with just one self-titled album to their name. A Fuzzy Duck is a very rare bird indeed and it's a rare album too because there were only 500 pressings made of the original 1971 LP album with its very silly cover. The CD reissue added four bonus tracks to the original eight songs on the album. So, what can we expect from this bizarrely-named band with the even more bizarre album cover? Well, there's the ever-present sound of a powerful Hammond organ combined with wild and fuzzy guitar riffs, and when you reach the final track on the album, you might even hear the rare sound of a Fuzzy Duck too!

The album opens with the energetic rocker, "Time Will Be Your Doctor", a song that was also covered by Tucky Buzzard. This song is your prescription for a good healthy dose of booming and bombastic solid British rock. The dynamic keyboard player and wild fuzzy guitarist are really in their element with this powerful percussive piece. It's upbeat, it's up-tempo, and it's uplifting, and it's just what you need to keep the doctor away. The curiously titled "Mrs Prout" is another stentorian blast from the past that sounds like it's on anabolic steroids. It's a song with a powerful throbbing rhythm with all the explosive energy of a stick of dynamite, so light the blue touch paper and stand well back because this song is a blast. The unrelenting pace continues with "Just Look Around You". There's no time for a breather as this is another thunderous foot-stomping forte that barrels along at full velocity. This is sonorous supersonic British Rock that's as solid as a block of granite. We're nearly halfway through the album now with "Afternoon Out", another full-force fortissimo with a pulsating rhythm going full speed ahead and building up into a dramatic crescendo of sound for the powerful finale. I doubt if many people have actually witnessed the powerful drummer on this album in action, but judging from his frenetic non-stop energy displayed here, he must be as lively and animated as Animal from The Muppet Show.

Side Two opens with "More Than I Am", an uplifting and upbeat song that's positively overflowing with optimism as these lyrics reveal:- "I try to be more than I am, I'm doing all I can, And I'm more happy than, The greater could be man." ..... It's another lively, high-powered song, driven by the unstoppable power of the Hammond organ. There's no let-up in the incredible pace of this album with "Country Boy", a rammin' slammin' rocker with all the power of a hydraulic ram, so stand well clear because this is music with a ballsy take-no-prisoners attitude. There's no let-up either for the timeless "In Our Time", a window-rattling, wild guitar and keyboard jamboree. This is rollicking rock & roll as it's meant to be, so play it LOUD! The album closes with the short playful piece "A Word from Big D", in which we get to hear the quack of the Fuzzy Duck!

This powerful album is as solid as a proverbial rock with an unrelenting pace from beginning to end. It's an album with timeless appeal, featuring a glorious combination of the powerful Hammond organ sound and psychedelic fuzzy guitar riffs. The "Fuzzy Duck" album is not particularly proggy - it's just a good old-fashioned slice of Classic British Rock.

Data cached

Heavy Prog bands/artists list

Bands/Artists Country
2112 Argentina
41POINT9 United States
4X United Kingdom
99 NAMES OF GOD United States
ABASH Italy
ABIGAIL'S GHOST United States
ADVENT HORIZON United States
AFTER THE FALL United States
AICAN Russia
ALBATROS Spain
ALDENFIELD United States
ALGABAS Russia
ALGARAVIA Brazil
ALIZARIN United States
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
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
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
BABE RUTH United Kingdom
BADGER United Kingdom
BAKER GURVITZ ARMY United Kingdom
BAKERY Australia
BALISET United States
BALLOON Netherlands
BARAKA Japan
DAVID BARRET TRIO Canada
BASS INVADERS United States
BATTLE CIRCUS New Zealand
ERIC BAULE Spain
BBI France
BI KYO RAN Japan
BIBLE BLACK Japan
A BIG GOODBYE United States
BIGELF United States
BIRTH CONTROL Germany
THE BITTERS United States
BL LOTUS Sweden
BLACK BONZO Sweden
BLACK MARKET SEROTONIN United Kingdom
BLACK WIDOW United Kingdom
BLOOD CEREMONY Canada
BODKIN United Kingdom
BOLT United States
BOOK OF HOURS Sweden
BREAKING ORBIT Australia
THE BROWN Japan
BULL ANGUS United States
BURNING SAVIOURS Sweden
CACTUS PEYOTES Brazil
CAMAFEO Argentina
CAPHARNAUM Canada
CAPTAIN BEYOND United States
CAPTAIN 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
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
THE CYBERIAM United States
CYNICISM MANAGEMENT Slovenia
CYTRUS Poland
D'ACCORD Norway
DAH Yugoslavia
DNAE Argentina
DAREDIABLO United States
DARK United Kingdom
DEAD END SPACE United States
DEAFENING OPERA Germany
THE DEATH COBRA Australia
DEEEXPUS United Kingdom
DEFORMICA Argentina
DJ-VU Norway
DELLA TERRA (AEGIS INTEGER) United States
DELTA RED Mexico
DELVOID Norway
DEMIANS France
DEVIL DOLL Multi-National
DIALETO Brazil
DIAPASYN United States
DIFICIL EQUILIBRIO Spain
DILEMMA Netherlands
DILLINGER Canada
THE DIVINE BAZE ORCHESTRA Sweden
DIVINE IN SIGHT United States
EL DOOM & THE BORN ELECTRIC Norway
DR. Z United Kingdom
DRAGON Belgium
DRUGI NAčIN Yugoslavia
DUST SCULPTURES United States
EARTH ELECTRIC Portugal
EARTH FLIGHT Germany
EASTER ISLAND United States
EAT GHOSTS / MINERVA Germany
EIGHTH WHALE United States
ELDER United States
ELF PROJECT United States
ELIAS HULK United Kingdom
DANIEL ELISEEV PROJECT (D.E.P.) Bulgaria
ELONKORJUU Finland
ENCHANT United States
ENFANT Bolivia
ENMARTE Argentina
ENORMITY United States
EPHRAT Israel
EPITAPH Mexico
EPIZOOTIC Sweden
ESCHERBACH United States
ESTIGMA Chile
ETT ROP P HJLP Sweden
EVERON Germany
EVERY OTHER FATE United States
EXCUBUS Canada
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EXSIMIO Chile
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FANTASMAGORIA Japan
THE FAR SIDE Italy
FIELDS United Kingdom
FITNES Serbia
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FLOTANTE Chile
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
FUSION ORCHESTRA 2 United Kingdom
FUTURE WAS PERFECT Bulgaria
FUZZY DUCK United Kingdom
GTE Norway
GATE 6 Netherlands
GENEROUS MEN Sweden
GHOST IN MIRRORS United Kingdom
GHOST MEDICINE United States
GHOST TOAST Hungary
GIANT STEP Indonesia
GLARESHIFT Italy
GLASSWORK Spain
GLISTENING LEOTARD Germany
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GOODTHUNDER United States
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HAZE Germany
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EL HOMBRE ASTRAL Spain
HST Norway
HUMAN LIFE INDEX United States
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I AM THREE PEOPLE Finland
I BOW CANDLES Multi-National
IDEE CONFUSE Italy
IMAGERY Brazil
IMAGIN'ARIA Italy
IMPULSO DE LOS SONIDOS INCONSCIENTES Argentina
IN OCEANS United Kingdom
IN THE PRESENCE OF WOLVES United States
INDIAN SUMMER United Kingdom
INDISCIPLINE Canada
INFRONT Russia
INTROVISIN Costa Rica
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IZ United States
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JACKAL Canada
JANE Germany
JARDIN DE PIEDRA Peru
JENGHIZ KHAN Belgium
JIMMY CHAMBERLIN COMPLEX United States
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KES Turkey
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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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A LONELY CROWD Australia
LORD ONLY United States
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LOVE FAGERSTEDT Sweden
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LUGNORO Sweden
MAD ARTWORK Sweden
MADRIGAL Germany
MAGELLAN United States
MAGNA VICE Finland
MALOMBRA Italy
THE MARS VOLTA United States
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MAXWELL'S DEMON United States
MAY BLITZ United Kingdom
MEDEA Netherlands
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THE MERCURY TREE United States
METANOMIA Argentina
MICAH United States
MIGHTY ZAZUUM Croatia
MILESTONE Russia
MOCAH Argentina
MDULO 1000 Brazil
HEDVIG MOLLESTAD TRIO Norway
MONTRESOR Australia
MONUMENT / ZIOR United Kingdom
MOON LETTERS United States
MORTE MACABRE Sweden
MOTHER TURTLE Greece
MOTHERJANE India
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
NEVRLLJF Sweden
NEW SUN United States
NIGHT SUN Germany
NIGHTRIDER France
NIMB Mexico
NINGEN-ISU Japan
NO BRAIN CELL Greece
NO LIFE ORCHESTRA Norway
NO MORE PAIN United States
NOMADIC HORIZON United States
NON NEWTONIAN MAN Italy
NORTHWIND United States
NOT OTHERWISE SPECIFIED United States
NOUGHT United Kingdom
OCEAN France
OCEANA COMPANY Netherlands
ODD PALACE Denmark
ODIN United Kingdom
OF THE I Switzerland
OKO Yugoslavia
OKTOPUS United Kingdom
OLLOCS United States
ONSGEN ENSEMBLE Finland
OPRAM France
OPUS 3 Chile
OPUSCULUS Canada
ORATRISM France
ORIGENS Brazil
ORION DUST France
ORPHAN BLOOM United States
ORPHEO Netherlands
ORPHEUS NINE United States
OSADA VIDA Poland
OVRFWRD United States
P.A.W.N. Germany
PENDULUM Indonesia
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
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
QUATERMASS United Kingdom
RAG I RYGGEN Sweden
RAINER TANKRED PAPPON Brazil
RAM United States
REACHING REVERY United States
RED STAR REVOLT 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
SHAA KHAN Germany
SHADOW MERCHANT United States
SHOW-YEN Japan
SIENA ROOT Sweden
SKELETONBREATH United States
SKORE Hungary
SKY ARCHITECT Netherlands
SL THEORY Greece
SLP Canada
SOLAR ARCHITECT Canada
SOLARHALL Finland
SOLUTION SCIENCE SYSTEMS United States
SONIQ CIRCUS Sweden
SORRY NO FERRARI United States
SOUND & SHAPE United States
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
STILL LIFE United Kingdom
STOLAS United States
STORM AT SUNRISE United States
THE STORM Spain
STRATEGY United States
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 Netherlands
TEA Switzerland
TEMPEST United Kingdom
TESKA INDUSTRIJA Yugoslavia
THAYKHAY Spain
THEMATIC United States
THEORY OF AFFECT Russia
THERHYTHMISODD Sweden
THDOL 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
TWENTY SIXTY SIX AND THEN Germany
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
VLOOO France
VEMM Italy
VINUM SABBATUM Finland
VIRUS Germany
VIVALMA Brazil
VOLVOX Argentina
VON FRICKLE United States
VOS VOISINS Canada
VOTCHI Czech Republic
VULKAN Sweden
VULTRESS United States
WALRUS United Kingdom
WARHORSE United Kingdom
WARPICKS Norway
WARPIG Canada
WATERLOO Belgium
WEEND' France
ANDY WEST United States
WHERE ARE YOU LIAM? Russia
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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