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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 7/1/2022

Louis (rdtprog)
Nick (nick_h_nz)
Todd

Heavy Prog Top Albums


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

4.38 | 3045 ratings
MOVING PICTURES
Rush
4.37 | 2605 ratings
HEMISPHERES
Rush
4.33 | 2398 ratings
A FAREWELL TO KINGS
Rush
4.27 | 2729 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.27 | 2223 ratings
PERMANENT WAVES
Rush
4.26 | 2684 ratings
IN ABSENTIA
Porcupine Tree
4.20 | 1245 ratings
THE MOUNTAIN
Haken
4.19 | 1290 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.19 | 866 ratings
SALISBURY
Uriah Heep
4.12 | 2143 ratings
DEADWING
Porcupine Tree
4.16 | 724 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.11 | 2272 ratings
2112
Rush
4.12 | 1148 ratings
VISIONS
Haken
4.13 | 767 ratings
LOOK AT YOURSELF
Uriah Heep
4.07 | 1446 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.07 | 843 ratings
DEMONS AND WIZARDS
Uriah Heep
4.06 | 976 ratings
FRANCES THE MUTE
Mars Volta, The
4.05 | 1115 ratings
AQUARIUS
Haken
4.03 | 1628 ratings
LIGHTBULB SUN
Porcupine Tree
4.08 | 468 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

HARVEST TIME
Elonkorjuu
SKELETON IN ARMOUR
Fusion Orchestra
HIGH TIDE
High Tide
ZUNDAPP
Zundapp

Latest Heavy Prog Music Reviews


 Demons and Wizards by URIAH HEEP album cover Studio Album, 1972
4.07 | 843 ratings

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Demons and Wizards
Uriah Heep Heavy Prog

Review by AFlowerKingCrimson

4 stars I originally posted this under a different username a while ago but since this is the 50th anniversary of this album I figure now would be a good time to put it up again (I'll get to all my other old reviews eventually).

For a long time this was just about the only Uriah Heep album I had or listened to. I had one other, return to fantasy, which was good but for some reason rarely played it. Demons and Wizards on the other hand I played the crap out of. For the longest time I only had it on vinyl but recently bought it on cd and it sounds good.

There are both good things and bad things to say about this flawed but still very good album. First a few of the flaws. The track "circle of hands" while a good heavy rocker that starts out with ominous organ, has a screechy sound at the end that I find rather annoying. I'm not sure what the sound is that is causing the high pitched screech. It might be a microphone or guitar. In fact it might even be intentional since it was left in and not edited out. Speaking of which, with a little careful editing and going back and carefully examining the master tapes or acetate the band could have cleaned things up a bit including that aforementioned screeching and made and even better album. My guess is that this being 1972 everyone in the band was either high, drunk, stoned or all three and didn't give a crap. The other annoying thing about this album and this is probably the worse offense is the high pitched strained falsetto singing at the end of the song "all my life." It's not a very good song to begin with but David Byron's singing at the end of it should have been either redone or not sung at all. I don't see how anyone can think that was ok to leave in. Like I said, must have been the drugs.

Now, for the good stuff. The album starts with what is probably one of my favorite songs under three minutes of all time(2:59 to be exact)"the wizard." I saw Uriah Heep a few months ago in the summer and thankfully they did this song which alternates between strummy acoustic guitar backed balladry and more up tempo rock with a slight heavy metal sound going on the background. I'm not sure I can say exactly why I like this song so much but it just has a very nice flow to it and definitely sounds of the times. Some people regard UH as a proto metal band or even a proto prog metal band but to be fair the band did a lot of different kinds of things. Some stuff was heavy some not so much. There are definitely some real rockers on this album such as "rainbow demon," "easy livin" and "traveller in time" and all are pretty good. "Easy livin" is possibly the most well known song by Uriah Heep and probably the only one I have heard on commercial radio. The two part track "paradise/the spell" is possibly the most progressive thing on this album and is very nice. It really grows on you. It's also very well done and is a nice conclusion to a classic but not perfect album.

I haven't heard every album by Uriah Heep. I have only heard maybe half a dozen or so but this is my probably my personal favorite although to be fair I haven't listened to the others that much. Magicians birthday is good too and in someways maybe an improvement but I still prefer this one. Roger Dean signed my vinyl copy which does have a pretty cool cover but I'm sure it's the music more than anything else that makes it special for me. A very very good album that has some charming flaws but still very enjoyable especially for fans of seventies heavy prog or hard rock with some proggy moves. A solid four stars. Crank it up!

 In Absentia by PORCUPINE TREE album cover Studio Album, 2002
4.26 | 2684 ratings

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In Absentia
Porcupine Tree Heavy Prog

Review by AFlowerKingCrimson

4 stars I wrote this review (modified slightly) several years ago under a different username but will repost it now being that today is the 20th anniversary of this classic album. However, I have decided to give it four stars instead of my original five. It's still an excellent album but maybe more like 4.5 than a full 5 for me but for this repost I am rounding down to 4 instead of my initial decision to round up.

"It's so erotic when your makeup runs. "

I suppose there is a good reason this album is featured in the top 100 here at Progarchives. I have kind of gone back and forth between whether I feel this a four or five star album. However, at the very least it is worthy of 4.5 stars. Anyway, the music here is quintessential Porcupine Tree. It has the qualities of the albums before it as well as some of the heavier edge of the albums that followed it. I'm not too keen on the two after this but this album is really something special. It's arguable as to whether or not this was Porcupine Tree's big breakthrough album. It certainly did get them a larger audience in no small part due to the fact that they were touring with Yes around the time this album came out. It's also one of PT's most consistent and most popular albums among prog fans and probably among PT fans as well. This album also marks the first time Gavin Harrison makes an appearance as their new drummer(replacing Chris Maitland) and does a very fine job.

The album starts off with the memorable "blackest eyes." This song marks the first and only time I ever heard them on mainstream commercial radio (WZZO out of Allentown PA) back soon after it was released. Next up is another PT classic in "trains." This song reminds me of something off of either Stupid Dream or Lightbulb Sun(the two albums that preceded this). From here on end the songs seem to take turns between heavy and dreamy. Many people cite this as the first time the band experimented with metal sounds and while this is true for the most part the band has always had more than one mood or sound permeating their music. Even before this they had heavy moments but maybe they weren't as intense as some of the moments on here and later. On here there is probably more of a symphonic element and less of a spacey element although Porcupine Tree never seem to abandon any of their trademark qualities entirely and even the later albums include their distinct sound.

Overall, this is a must have album from the earlier part of this century and a perfect entry album for anyone who wants to check out Porcupine Tree.

 Thank You from the Future by MOON LETTERS album cover Studio Album, 2022
3.91 | 19 ratings

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Thank You from the Future
Moon Letters Heavy Prog

Review by Dapper~Blueberries

4 stars We've looked at many bands and albums over these few months, so let's keep this trend up. I have looked at more gothic bands, most notably Anglagard and Discipline, with both releasing albums that I think are all-time masterpieces. However, I never found a band that was gothic, but with the tempo of more happy bands, such as Moon Safari or Cheeto's Magazine. A more pastel goth band if you will. That is until now. 2022 has been a great year for progressive rock and it just keeps on coming at you with great releases. I doubt that fact will end any time soon but I do think it is worth talking about this album since it has become a bit of a fan favorite for me.

Moon Letters is a Seattle-based supergroup made up of members from bands such as Wah Wah Exit Wound, Spacebag, Panther Attack!, Bone Cave Ballet, and The Autumn Electric, though I am not sure if those are real bands or just made-up names to spark attention. Besides that, little is known about the group besides the fact that they made an album in 2019, Until They Feel The Sun. This sophomore album, Thank You From The Future, was released this year and has gained some notoriety. I heard about it from the Youtuber Notes Reviews, so I'd like to thank them for introducing me to this album because it is great.

The first song of Sudden Sun sets the scene for this album, featuring fast rhythmic guitars and spacey keyboards. These two factors plus the very articulate drumming do bleed some of that more joyous progressive rock moods into my veins. Honestly, it very much reminds me of Cheeto's Magazine, but a lot more hard-hitting and a bit more retro than contemporary. It is genuinely a mood lifter of a song that helps in its presentation. However, I have a problem with how this song is played out. It is a four-minute song, but it feels like it is multiple songs all at once. Now, this wouldn't be an issue, after all, many Prog epics have this sort of thing, the problem is that it's not a Prog epic, it is a four-minute song. I can never get any time to breathe because things change so rapidly that it feels less like a fun rollercoaster. It is like that one ride at a local fair that is supposed to be fun but instead jerks around causing a headache. A song that is fun but insanely chaotic doesn't help it in the long run.

This also applies to The Hrossa. It is a very fun and jovial song, with a tiny hint of what would become the main staple through this album, and that is the more gothic flair added on. However, it does still have that incredibly jerky progression, where one minute it's one thing, and the other is something else. It does try to be a bit more straightened out with the track being 6 minutes instead of 4, but the feelings are still there. These feel like concepts for something greater as a whole due to how they are presented in these differing lights, which is neat, but I do want something a little juicier without being bombarded with nothing but technical skill. There has to be something more.

And we'll get something more with the rest of the album. The first two songs were the appetizer for the main courses, with the first being Mother River. Gone is the overly fast progression; instead, we get that revitalization of that more gothic sound The Hrossa hinted at. Now, instead of just the happier and go-lucky retro progressive rock bands, we get flavors of Discipline and Anekdoten. This one-two punch of the fun and happy side, with the darkness, gives this album a very interesting and flavorful palette to work with. We can also see some very cool space influences. It feels very Syd Barretesque at times, added with the modern skill presented, with the more straightened-out progression and you'll get one great song. It is just a fun time for me to be perfectly honest.

These aspects continue with Isolation And Foreboding, which is probably the only track that is a little less happy, as seen with the title. The first half feels very mysterious, with the bass being at center stage, chugging the sound along this path. At the halfway point the song shifts gears quickly to something a lot more slower and concrete, with an almost psychedelic rock ballad that honestly moves me. It is so delicate, yet I feel like if I tear it apart it could never break. This song's title does not lie, this song does have elements of isolation and foreboding; the first half being that isolation, that mystery, the intrigue, and resolve; the second half being that foreboding, the calm yet so strong movement that sets with you even after the song ends. This has become one of my favorites of this album, and I think it is hard not to see why.

Let us liven up the mood a bit with Child Of Tomorrow. This time we get a bit more of a European-influenced track, with a clear folk identity, but not scraping away their more rock-influenced sound. It is kinda like how Urskog by Kaipa was: a very European-flavored album that hailed its flag in the retro progressive rock scene. However here we get more of that rock emphasis, which I think suits this style well. It is very atmospheric, with visions of green plains and small villages filled with people. I know this will be an odd comparison, but this feels like a Gryphon track, but if it were designed to be less folksy, and a lot more rocking. It is honestly super fun hearing this more green-flavored style of progressive rock put through a new filter.

This album has the best for last, and that is Fate Of The Alacorn. This is the best conclusion the band can make for this album, really satisfying me with a good mix of that jovial sound, that gothic sound, and even a bit of that more Kaipa-influenced retro progressive rock sound thrown into the spin of things. I especially love the ending, how it builds with these horns that go through the wringer by the guitars and drums, creating this moody and intense melody that bleeds into me. It is a track that values what came before, almost like a generation-long tribute to the first, second, third, etc songs. It is satisfying to hear such a good closure on this album?wait what? There's more? What do you mean there's more? One last song?but this is the?oh wait never mind, I guess there is still one more song left to cover.

The REAL final song for this album is Yesterday Is Gone, and to be honest, it's just fine. The track itself is basically what you might expect from this album, especially with how the album sounds, and it does do a good job of keeping the torch lit for a little while longer, but I do feel as though it is severely misplaced on the album. This does not feel like the last track on this album, it feels more suitable for the middle. With it being at the end I feel like this album, while still good, ends less with a bang and more with a whimper. Fate Of The Alacorn left me satisfied, and to be honest I am not hungry enough for dessert, so this track isn't really necessary, at least not necessary to be the final piece on this album.

I'd say if you want more good modern progressive rock you'll come to the right place with this one. It is a flavorful album that features many songs that while short leave a lasting impression on me. I will listen to some of these songs a lot more throughout the next few months because they are excellent in their stature, but some tracks are a bit lesser than those that I praised. This album isn't perfect, but I do think all and all it is a fun time that harkens back to that more fun side of progressive rock, while also adding a bit more edge to the mixer. It is like a dark chocolate cake, it is darker, but still has an aura of happiness.

 Thank You from the Future by MOON LETTERS album cover Studio Album, 2022
3.91 | 19 ratings

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Thank You from the Future
Moon Letters Heavy Prog

Review by WJA-K

2 stars This is a truly commendable record by Moon Letters. Musically, it is sound. I'm sure many prog lovers will be happy to hear this, even to own this.

I'm not one of them. I do recognize the interesting song structure, great playing and arrangements. But I do think the lyrics are clunky, the singing isn't that great and the melodies too contrived to pique my interest.

Listening to it feels like duty to me. I wouldn't do it for pleasure.

This album gets two stars from me. I do acknowledge it is well crafted and it will certainly appeal to many here at progarchives. But I'm not oneof them.

 Thank You from the Future by MOON LETTERS album cover Studio Album, 2022
3.91 | 19 ratings

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Thank You from the Future
Moon Letters Heavy Prog

Review by Steve Conrad

5 stars "a resoluteness toward life and love..."

Simmering Sophomore Release

Seattle's collective progressive musical force, MOON LETTERS, leaves the impression of five seasoned, skilled musicians giving every last ounce of creative, sacred, majestic, melodic musical enchantment in the sculpting of this their sophomore album, "Thank You From the Future."

Then, drained, drenched, and strangely invigorated, they walk together from the studio, into some spectral future, glancing, spent, into some vast galaxies and into hitherto unseen inner depths.

As corroboration and parameters, I quote the band's statement of intent, of territory to be covered, of terrain explored, "Our satellite-obsessed musicians humbly hope that these invocations reflect a resoluteness toward life and love. With desire to face that which is needed to overwhelm and overflow the fear and hate so prevalent today, we are at your service."

Overwhelm and Overflow

In such a spiritual space- even drawing from one of my favorite writers, C. S. Lewis- this quintet utilizes unexpected melodic twists and turns, guitars that sigh, wail, chime, and rock, bass tones deep and crunchy at times and other times lissome and flowing.

A multitude of keyboards creating atmospheres of symphonic splendor, cinematic drama, psychedelic/space-y textures, mystic string sounds.

The drumming that shows complexity, sensitivity to the overall musical flow, power and passion.

But the Star of the Show...

Well, for me, anyhow- the richly textured, imaginative, evocative, clean and clear, beyond lovely vocal arrangements, providing that final graceful coup de couer that puts this music into another realm entirely. The lead voice is lovely on its own, but this outfit has found a way to magnify and complement and develop the voices into some pretty special.

Overall...

Compositions flow, so often with unexpected twists and turns, always with a melodicism and beauty that sometimes left me breathless. The pace would change from somber, to majestic, to lilting, to pleading. And then back again. Rich. Textured. Emotional.

Closing Thoughts

Superb example of musicality, musicianship, compositional skill, intelligence, taste, and workmanlike commitment on this sophomore release from MOON LETTERS. For me, "Essential: a masterpiece of progressive rock music."

 The Mars Volta by MARS VOLTA, THE album cover Studio Album, 2022
3.49 | 26 ratings

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The Mars Volta
The Mars Volta Heavy Prog

Review by Dapper~Blueberries

4 stars 'Tis a good day, the sun is shining, the birds are whispering, and everything is alright. I think it is prime time for another very popular band to come back and make the day even better, I mean Porcupine Tree did it with Closure / Continuation, why not another one? Maybe another band with a heavy sound and a very experimental attitude to their music?maybe a band that tries new things every time they release something. Maybe?maybe we need a little bit of The Mars Volta in our lives right now.

The Mars Volta is a really big name in the progressive rock community, like really, really big. Honed in by two members of At The Drive-In, the harmonical falsetto emperor Cedric Bixler-Zavala, and the technical mad scientist who seems to never age a day Omar Rodríguez-Lķpez. These two legends have been in the experimental music business since even with their early works in At The Drive-In, especially with the highly influential, Relationship Of Command. Their work together paved the way for that alternative/punk brand of modern Prog that I love. Where bands such as The Flower Kings made the green road of retro progressive rock, Marillion made the neo-progressive rock ladder, and the acts of Porcupine Tree and many others shaped the more contemporary side of progressive rock, this band right here made a style that I can only deem as progressive punk. They and Coheed and Cambria made progressive rock a lot more mainstream by their combination of alternative rock, punk, and post-hardcore to bridge the gap in a way between the very symphonically heads of progressive rock, and the more rebellious heads of more punk rock kids. So far they have released 7 albums, not counting the 2021 Deloused demos album and all of which are consistently great. Not a single album from this band dissatisfied me or left me in the dark. All of them, from Deloused In The Comatorium to Nocturniquet has been as solid as a platypus stuck in a well. However, after Nocturniquet they disappeared, well not quite. They worked ok other projects, like Omar's solo work, and even At The Drive-In again for the album In ? ter a ? li ? a. They were still up to date with the prog sphere, but for then The Mars Volta was in a state of uncertain retirement.

However, now they came back, after pretty much ten years, however, it was without reason though. So in 2012 or 2013, Cedric joined the Church of Scientology, which resulted in Omar and him growing a bit apart. However, the church was very bad, especially towards Cedric's wife, Chrissie. I will not get into the big details, but to put it short this album was a result of Cedric's moving away from the church due to their very harmful, and very illegal activities, especially with the actor Danny Masterson. As a result, the songwriting became a lot less abstracted into a dungeon and more straightforward and personal. There was also Omar, who had a hand in the making of this album. He decided to make this one of their most revolutionary albums yet, and to make it revolutionary they wanted to step away from the progressive rock sounds they had on their previous records, and while not necessarily abandoning all that they were, they did bring out a new, blank canvas. This new direction resulted in their most pop-centric albums to date, not because they were selling out, but rather experimenting with a brand new sound. They are still experimental, but where on other records they were experimental in the vein of big long songs, they instead hunkered down a bit and experimented with a genre they had barely done before. To be honest, I gotta say, I like this new direction the band puts forth.

This new direction is exemplified with the first track, Blacklight Shine, where instead of this big proggy sound, we have a bomba sound in place with very rhythmic and soft hand drums, with a clear-cut focus on creating a new type of lively atmosphere. The Mars Volta has and always will be a band that embraces their Spanish roots, so this track does give us that very culturally fun music that I think was slightly missing from the band's older works. Oh man, this song is just a fun time, how this song makes me sway my hips, especially at the part where Cedric sings in Spanish. It is honestly a great opener for this album, and even after 10 years, and the genre shift, they sound like The Mars Volta. Progressive rock or not, you cannot deny this song is just a bundle of fun.

Like I said before they are still experimental, even in a pop context with a genre shift from bomba to a more electronic, almost trip-hop sound with Graveyard Love. It is very keyboard driven, with lush sounds creating a more enriched and bountiful feeling. It is also pretty rhythmic, heck I'd say the entire album is rhythmic in a sense. They put a lot of emphasis on the drums here, experimenting with all types of new sounds to create one of the most unique Mars Volta experiences to this day. I gotta say, it does work in their favor.

This is even more obvious with the song Shore Story, which continues that lush sound Graveyard Love proposed and times it by 2. Super atmospheric, and almost Coldplay-like, but obviously with a Spanish American, and much better frankly tone. You can tell they knew what they wanted to make, and with this song, I just wanna groove with them. No matter what The Mars Volta delivers. This also applies to Blank Condolences, but note I will be skipping some tracks, not because they are bad or anything no track here is bad by any stretch of the imagination, but because some tracks sound very similar to one another, and also because reviewing 14 songs it would make this review way too long and repetitive.

Now that I got that out of the way, we step into a more dream pop landscape with Vigil. I noticed a lot of people do not really like this song, and I just do not see why they would hate this, because this is a very pretty song. This is where I think Cedric's vocals peak on this album. His voice ages like the finest wine in the world, and here he is so soft but so filled with passion that I feel so rejuvenated. His dormouse-like falsettos just bleed into me and make me feel good. That is the whole point of pop music right, to make someone feel good? Unlike the very lame single cellular pop music that acts like Ed Sheeran or Drake gives, we get to pop that doesn't get in the way of the band's greatness and instead solidifies their greatness even more.

However Vigil is not the best song off the album, that title goes to Que Dios Te Maldiga Mi Corazon. I am learning Spanish, and so a bit of the cultural impact that language has on the world so this song felt very right in the mood that I get with Spanish culture. This very fun-filled, salsa music with the fun drums, pianos, and Omar's guitar just makes me want to have a good time. It is danceable but in the best way possible. Like Blacklight Shine, my hips seem to move when this song plays, and it all feels so right.

Skipping a bit ahead to Flash Burns From Flashbacks, we sort of getting a mix between the old Mars Volta and this new canvas the band brought out. While it is still poppy, I do feel that Mars Volta's sound from Deloused or Amputechture slowly creeps in through those equivocal guitar tones. This got me thinking of how far the band has come from their first EP to this album. It is almost magical how well they stood the test of time and came back stronger than ever.

We get more of those cultural Spanish sounds with Palm Full Of Crux, with horns that remind me of hearing some Spanish jazz a little while back when I was exploring music more. This song does make me nostalgic in that factor, and it does explore this pop territory the band has going on here. It does make this album have a lot of solid ground to it. However, after this point, the album does dip a tad. Not to the point where it becomes unenjoyable, but with an album with a very big track length and with songs being 2-4 minutes long, you will eventually get some songs that lose the magic a bit. It is a thing that every genre experiences, from jazz, to no wave, to progressive rock. Every genre can experience this, so I do not fault the band for this.

I think after Palm Full Of Crux, right now the next strongest song in this lineup has become Equus 3. The use of electronic sounds and newer keyboards leave this song with a good feeling of very sonically enriched directions. You can feel the weight each beat has, and each press on the keys. Furthermore, the use of these electronic musical instruments gives this a different feeling from the rest of the songs. This band knows how to make distinct songs, and this is a good example of that.

I think the album closes very nicely with The Requisition. It is not my favorite song by any means but it does end the album on a high note. We get that mix of the old and new again, especially with Omar's still very well-done guitar playing skills having this very crisp sound, playing in some minor chords, which I adore. I can tell after hearing this album a few times throughout the day that we are still in good hands, and no matter what I feel like they can work things out with this new pop direction. I am a progressive rock fan first and foremost, but I know good music when I hear it, and this right here is some excellent music.

Some may consider this the band's worst effort, but I will say this. Even The Mars Volta's worst could be another band's best. Their sound, and styles, no matter if they are in the Prog boat or not still, will always be high quality. It is like eating a grilled ham and cheese sandwich. No matter the cheese (Unless it's pepper jack then it can go die.) or what brand of ham you get, it'll still taste really good. The Mars Volta is one of my favorite bands, and I am as excited as everyone else to see this duo come back after a hot minute. They do show that quality will always be over quantity, no matter how long, short, Prog, or pop their songs are.

 Shade Without Color by GHOST TOAST album cover Studio Album, 2022
3.83 | 30 ratings

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Shade Without Color
Ghost Toast Heavy Prog

Review by alainPP

4 stars An instrumental group from Hungary releases 'Shade Without Color' after 2020's 'Shape Without Form', originally it was to be a double album, well here already more than an hour to put their sound in your ears, it's is not bad. Both tracks are taken from the poem The Hollow Men by T.S. Eliot and both albums deal primarily with the subject of emptiness, the process of achieving it.

A sound stamped heavy prog that I will gladly fit into a post heavy prog stoner, if you see the subtlety. An album that is easy to listen to with incisive 'Get Rid Of', marking the imprint of the group and well-placed quotes, 'Leaders' more post than heavy, 'Chasing Time' the longest title and jam with sudden breaks, more spleen too. 'Let Me Be No Nearer' with this Arabic intro on a MYRATH, a crazy HAWKWIND sound, to the ORESOUND SPACE COLLECTIVE for the soaring violin, guitar, bass and tinkering. The final female voice brings sensuality. 'Acceptance' on a singular air, jazz-rock, groovy, atmospheric, vocals in the background, innovative. 'Deliberate Disguises' arrives, much more metal, almost syncopated, a bath of youth always with some voices which make you forget that we are on instrumental. 'Reaper Man' oriental intro before leaving on a heavy and electronic rhythmic tune; a tune ā la QUANTUM FANTAY, it becomes captivating; the nervous finale that explodes and definitely gets you moving! Symphonic electronic 'Whimper', between an EPICA, a RAMMSTEIN, a THERION, it moves; a heavy riff there yes it is on, a solemn apocalyptic rise with 'The Hollow Man' quoted. 'Rejtekből' as a finale on an atmospheric crescendo, lamenting Middle Eastern female voice, the divine cello with clear percussion giving the atmosphere, a jewel.

Attention, trap album which 'does not look like' at the start; very quickly, there are pearls, jewels with lots of carats in there, it's just magnificent and stunning. An album to own and listen to on certain evenings as a cinematic base, bewitching post-rock.

 Cosmic Comedian by DEAD END SPACE album cover Studio Album, 2022
3.00 | 4 ratings

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Cosmic Comedian
Dead End Space Heavy Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

3 stars The sixth album produced by a Swedish trio that originally started under the moniker Johnny Engström Band. Not a sensation probably, but definitely worth an extra note, since 2008 they are releasing music offered by exactly the same line up, what I can see. DEAD AND SPACE is consisting of ... mastermind Johnny Engström (guitar, vocals) of course ..., plus Niklas Högberg on the bass, and finally drummer Galle Johansson. Although not having heard any of their prior efforts yet I'm inclined to declare this one belonging to their best productions however. This because they are offering great accessible compositions here, coming with a flavour in other ways contributed by the likes of Rush, Anyone, Evergrey for example.

'I'll catch you if you fall ...' shifting mood, clever refrain including sing along appeal, coming close to a perfect melodic heavy prog tune the opener Falling turns out to be my favourite. The following The Other Side is nearly knocking at the 10 minute door, one can note the appearance of symphonic keyboards with bombast appeal, also an ambitious guitar solo, fine! Some songs like Night Drive and Magic Wand are stepping out of the row a bit, while equipped with a stronger mainstream rock stamp. Okay, summed up, this is not overly original as such, but with 'Cosmic Comedian' they are having a recommended matter in supply anyhow. I would say predominantly due to the obvious song writing skills, which comes apparent again and again. 3.5 stars.

 Fountains by TDW / DREAMWALKERS INC. album cover Studio Album, 2021
3.96 | 7 ratings

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Fountains
TDW / Dreamwalkers Inc. Heavy Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars I have been a fan of Tom de Wit for a few years now, and even took part in a documentary which was included in his last release, the excellent 'The Day The Clock Stopped', and any new album is always going to be of great interest. He decided to record this album quickly, and once again utilised the Annihilator rhythm section of Rich Gray (bass, backing vocals) and drummer Fabio Alessandrini, with Tom providing vocals, guitars, synths, and orchestrations and then bringing in multiple guests who each added some parts/solos to one track each as well as using some singers to act as a choir. The concept behind this album is also an interesting one as it is possible to describe this his eight release was an album made by the fans, for the fans. He used song input from fans who pre-ordered the previous album to write songs based on those concepts, and six of the songs contained on this album are taken from these ideas while he then wrote another four to tie them all together.

TDW is very much a prog metal band, with both elements often being taken to extremes, and anyone coming to this from the outside would not realise that this is a multi-instrumentalist with some additional guests. The use of a world class rhythm section is inspired, and with Fabio and Rich playing together in a frantic metal band together since 2017 they have an understanding of what each other will be doing within the complexity of this complicated music as they are used to keeping up with Jeff Waters. Musically we move between symphonic metal and progressive while there are times when we touch on death metal, world music, jazz, flamenco, and so much more. There are so many changes and switches taking place that one never knows where the music is going to lead, with a section of a song often very different to the rest, let alone between the individual songs themselves.

Tom has a laser focus on what he wants to achieve, bringing together the right people to ensure he meets that vision, the result being something which is progressive, technical, metallic and so much more. The use of flute in "Hunter's Eyes" is inspired as it is so unexpected, but so are the staccato riffs and changes in tempo, yet this is never a difficult album to listen to as there is a commercial thread within which makes it incredibly palatable. This is yet another superb achievement and is highly recommended.

 Chapter 1: The Game Begins by SONIQ CIRCUS album cover Studio Album, 2022
3.94 | 8 ratings

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Chapter 1: The Game Begins
Soniq Circus Heavy Prog

Review by alainPP

4 stars SONIQ CIRCUS offers a fruity and symphonic neo prog with this 3rd album, they who started in 2007; they remind me of MAGIC PIE for phrasing and musical research, SPOCK'S BEARD and RUSH, a bit of SAGA. It was precisely by putting SAGA on Google that I came across it in 2011 with 'reflections'. This chapter 1, written more than 12 years ago and dedicated to retracing the events on the M/S Harmony, prints a melodic, contemplative atmosphere on sounds from before and now.

'The Cruise (Prelude)' majestic intro with finesse to the tune of 'Cap'taine coeur de miel' if so; meditation with a reverberating synth ā la AYREON, it starts oriental/medieval with 'Let the Game Begin, Part I' strange by the voice, the slow tempo and the trumpet at the start quite bluffing; a heavy tune for the verse, captivating for the quickly assimilated chorus; back-heavy orchestration; break with trumpet which assimilates perfectly, it's well done in fact and the choirs add to it. 'Let the Game Begin, Part II' for the dark phrasing phonic interlude allowing to launch 'Let the Game Begin, Part III' with a twirling intro, a surly and fresh riff, bucolic as I like to describe it, between a JETHRO TULL and a colorful contemplative rock; it's strange because changing, a clean sound that gives rhythm. The synth brings a colorful break between melodic metal and symphonic heavy on RUSH; the final trumpet touch marks the spirit. 'Cold Water' flight of keyboards for the radio edit concentrated vitamin, more rock. 'The Quarrel' for the 80's ANGE synth, rhythmic, intense; the rest falls on the MAGIC PIE just for the typed, phrasing voice; the keyboards become vintage on a CIRCUS MAXIMUS, the expressive used sound of Marco, the guitar of Marcus on an Ian Crichton with an energetic spleen. 'Toccata - The Storm Approaches' for the hook from chapter 2, a divinatory piano arpeggio on the rest of the cruise?

SONIQ CIRCUS offers a heavy neo prog with worked intimate breaks; unclassifiable, modern, symphonic, heavy and fresh just for the addition of the trumpet, a beautiful opus. A young group that he must take the time to listen to.

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
ABOUT:BLANK Italy
ADVENT HORIZON United States
AFTER THE FALL United States
AICAN Russia
ALBATROS Spain
ALDENFIELD United States
ALDI DALLO SPAZIO Italy
ALGABAS Russia
ALGARAVIA Brazil
ALIZARIN United States
ALL SHADES OF WRONG Spain
ALTERED STATE United States
ALTHEA Italy
AMALGAM EFFECT United States
AMERICAN DRAFT United States
AMUSIA Canada
ANABASI ROAD Italy
THE ANABASIS United States
ANDROMEDA Germany
ANEKDOTEN Sweden
ANIM8 Australia
ANKH Poland
ANOMUS Finland
ANTI-DEPRESSIVE DELIVERY Norway
ANXTRON Brazil
ANYONE United States
APAIRYS France
APOLLO Finland
ARABS IN ASPIC Norway
ARAXES Switzerland
ARC United Kingdom
ARCANE Australia
ARCANE ATLAS United States
THE ARISTOCRATS Multi-National
ARMAGEDDON United Kingdom
ARTYFICTION Poland
ASTEROID Sweden
ATLANTIDE Italy
ATLAS CUBE Germany
ATLAS VOLT Sweden
ATOMIC ROOSTER United Kingdom
ATRIS United States
AUSTRALIS Chile
AUTOMATIC FINE TUNING United Kingdom
AZURE United Kingdom
BABE RUTH United Kingdom
BADGER United Kingdom
BAKER GURVITZ ARMY United Kingdom
BAKERY Australia
BALISET United States
BALLOON Netherlands
BARAKA Japan
BARON CRÂNE France
DAVID BARRET TRIO Canada
BASS INVADERS United States
BASTIAN PER Argentina
BATTLE CIRCUS New Zealand
ERIC BAULE Spain
BBI France
BEAUTIFUL BEDLAM Australia
BI KYO RAN Japan
BIBLE BLACK Japan
A BIG GOODBYE United States
BIGELF United States
BIRTH CONTROL Germany
THE BITTERS United States
BLÅ LOTUS Sweden
BLACK BONZO Sweden
BLACK MARKET SEROTONIN United Kingdom
BLACK THUNDER Canada
BLACK WIDOW United Kingdom
BLOOD CEREMONY Canada
THE BLOODY MALLARD United Kingdom
BODKIN United Kingdom
BOLT United States
BOOK OF HOURS Sweden
BOSS KELOID United Kingdom
BREAKING ORBIT Australia
THE BROWN Japan
BULL ANGUS United States
BURNING SAVIOURS Sweden
CACTUS PEYOTES Brazil
THE CALMER United States
CAMAFEO Argentina
CAPHARNAUM Canada
CAPTAIN BEYOND United States
CAPTAIN KICKARSE AND THE AWESOMES Australia
CAPTAIN OF THE SWEDISH TEAM Canada
CARDEILHAC Switzerland
CARGO Netherlands
CARGO CULT REVIVAL United States
CARPADIUM United States
CARPE NOTA United States
CASUAL SILENCE Netherlands
CELELALTE CUVINTE Romania
CELESTIAL OEUVRE United States
CHAIN United States
CHAIN REAKTOR Netherlands
CHOLO VISCERAL Peru
CHROMATIC ABERRATION United States
CHRONOBUNNY Norway
STEVE CICHON United States
CIDEVANT Germany
CLEAR BLUE SKY United Kingdom
CLEVIS United States
CLIMAX Bolivia
COBWEB STRANGE United States
COLLAPSE France
COLT Poland
CONFUSION FIELD Finland
CONTRA United States
CONTRARIAN United States
COSMIC NOMADS Australia
A COSMIC TRAIL Germany
TYLER COTNER United States
COUNTRY LANE Switzerland
CRACK THE SKY United States
CRYPTIC VISION United States
CRYSTAL BREED Germany
MICKEY CURTIS AND SAMURAI Japan
THE CYBERIAM United States
CYNICISM MANAGEMENT Slovenia
CYTRUS Poland
D'ACCORD Norway
DAH Yugoslavia
DÁNAE Argentina
DAREDIABLO United States
DARK United Kingdom
DCODED Spain
DEAD END SPACE United States
DEAFENING OPERA Germany
THE DEATH COBRA Australia
DEEEXPUS United Kingdom
DEFORMICA Argentina
DÉJĀ-VU Norway
DELLA TERRA (AEGIS INTEGER) United States
DELTA RED Mexico
DELVOID Norway
DEMIANS France
DEVIL DOLL Multi-National
DIALETO Brazil
DIAPASYN United States
DIFICIL EQUILIBRIO Spain
DILEMMA Netherlands
DILLINGER Canada
THE DIVINE BAZE ORCHESTRA Sweden
DIVINE IN SIGHT United States
EL DOOM & THE BORN ELECTRIC Norway
DR. Z United Kingdom
DRAGON Belgium
DRIVEBY Austria
DRUGI NAčIN Yugoslavia
DUST SCULPTURES United States
EARTH ELECTRIC Portugal
EARTH FLIGHT Germany
EASTER ISLAND United States
EAT GHOSTS / MINERVA Germany
ECHO RHYTHM United States
EIGHTH WHALE United States
ELDER United States
ELDOVAR Germany
ELF PROJECT United States
ELIAS Australia
ELIAS HULK United Kingdom
DANIEL ELISEEV PROJECT (D.E.P.) Bulgaria
ELONKORJUU Finland
EMPIRE BATHTUB United States
ENCHANT United States
ENFANT Bolivia
ENMARTE Argentina
ENORMITY United States
EPHRAT Israel
EPITAPH Mexico
EPIZOOTIC Sweden
ESCHERBACH United States
ESTIGMA Chile
ETT ROP PÅ HJÄLP Sweden
EVERON Germany
EVERY OTHER FATE United States
EXCUBUS Canada
EXPLORERS CLUB United States
EXSIMIO Chile
FACING NEW YORK United States
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
FLYING CIRCUS Germany
FORBIDDEN MYTH Greece
FORCE OF PROGRESS Germany
FORGOTTEN SUNS Portugal
A FORMAL HORSE United Kingdom
FRAME Germany
FREEDOM'S CHILDREN South Africa
FRIJID PINK United States
FUMIGUN Chile
FUNGUS Italy
FUSION ORCHESTRA United Kingdom
FUSION ORCHESTRA 2 United Kingdom
FUTURE WAS PERFECT Bulgaria
FUZZY DUCK United Kingdom
GÅTE Norway
GATE 6 Netherlands
GENEROUS MEN Sweden
GHOST IN MIRRORS United Kingdom
GHOST MEDICINE United States
GHOST TOAST Hungary
GIANT STEP Indonesia
GLARESHIFT Italy
GLASSWING United States
GLASSWORK Spain
GLISTENING LEOTARD Germany
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
GREYHAVEN United States
GUPPY FISH Greece
H.A.A.S. Colombia
HACKBERRY Netherlands
HADES Norway
HAIL THE SUN United States
HAKEN United Kingdom
HALLELUJAH United Kingdom
HAYSTACKS BALBOA United States
HAZE Germany
HEADSPACE United Kingdom
HEIR TO MADNESS United States
HERO Italy
HEROINE United States
HIGH TIDE United Kingdom
HILLWARD Canada
HOLLINGSHEAD Sweden
EL HOMBRE ASTRAL Spain
HØST Norway
HUMAN LIFE INDEX United States
HUMUS FUGA Guatemala
I AM THREE PEOPLE Finland
I BOW CANDLES Multi-National
I VIAGGI DI MADELEINE Italy
IDEE CONFUSE Italy
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
INTROVISIĶN Costa Rica
INVASIVE SPECIES United States
L' IRA DEL BACCANO Italy
IRISH COFFEE Belgium
IZ United States
JACK YELLO Germany
JACKAL Canada
JANE Germany
JARDIN DE PIEDRA Peru
JENGHIZ KHAN Belgium
JIMMY CHAMBERLIN COMPLEX United States
JOHN PAUL JONES United Kingdom
JONESY United Kingdom
JOVIAC Finland
JUGLANS REGIA Italy
JUNIPHER GREENE Norway
JUNK FARM Germany
KALEIDOREAL Sweden
KARMAMOI Italy
KARNIVOOL Australia
KEPLER TEN United Kingdom
KES Turkey
KETTLESPIDER Australia
KIN PING MEH Germany
KINDLER United States
THE KINDRED Canada
KING OF SWEDEN Finland
KINGFISHER SKY Netherlands
KIROPTERA Germany
KLONE France
KOPECKY United States
KOSMODOME Norway
KOURTYL France
LAGITAGIDA Japan
LANDBERK Sweden
LANDSCAPE Netherlands
LAST LAUGH Sweden
LAUNDRY United States
LUCAS LEE United States
LEECH Estonia
LEGEND United States
LEST France
LEVIN - MINNEMANN - RUDESS United States
LIQUID SCARLET Sweden
LIQUID WOLF Finland
LONE STAR United Kingdom
A LONELY CROWD Australia
LORD HELMET United States
LORD ONLY United States
LOST APPARITIONS United States
LOST NATION United States
LOVE FAGERSTEDT Sweden
LUCIFER'S FRIEND Germany
LUFEH United States
LUGNORO Sweden
MAD ARTWORK Sweden
MADRIGAL Germany
MAGELLAN United States
MAGNA VICE Finland
MALOMBRA Italy
THE MARS VOLTA United States
MARSYAS Italy
FELIX MARTIN United States
MASTER EXPERIENCE Italy
MAXWELL'S DEMON United States
MAY BLITZ United Kingdom
MCOIL Germany
MEDEA Netherlands
MELODRAMUS United States
MENTAL FRACTURE Israel
THE MERCURY TREE United States
METANOMIA Argentina
MICAH United States
MIGHTY ZAZUUM Croatia
MILESTONE Russia
MOCAH Argentina
MĶDULO 1000 Brazil
MOLASSESS Netherlands
HEDVIG MOLLESTAD TRIO Norway
MONTRESOR Australia
MONUMENT / ZIOR United Kingdom
MOON LETTERS United States
MOON TAN Canada
MOONGRESSIVE Italy
MORTE MACABRE Sweden
MOTHER TURTLE Greece
MOTHERJANE India
MRS. KITE Germany
MUMPBEAK United Kingdom
MURPHY BLEND Germany
NAIKAKU Japan
NAKED France
THE NATIONAL ORCHESTRA OF THE UNITED KINGDOM OF GOATS Italy
NEBULOSA Sweden
NECROMANDUS United Kingdom
NEM-Q Netherlands
NEPOčIN Yugoslavia
NEVÄRLLÄJF 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
NOTION BLUE United States
NOUGHT United Kingdom
NOW IN COLOR Australia
OCEAN France
OCEANA COMPANY Netherlands
ODD PALACE Denmark
ODIN United Kingdom
OF THE I Switzerland
OKO Yugoslavia
OKTOPUS United Kingdom
OLLOCS United States
ONSÉGEN ENSEMBLE Finland
OPRAM France
OPUS 3 Chile
OPUSCULUS Canada
ORATRISM France
ORIGENS Brazil
ORION DUST France
ORPHAN BLOOM United States
ORPHEO Netherlands
ORPHEUS NINE United States
OSADA VIDA Poland
OUR MAN IN THE BRONZE AGE United Kingdom
OVRFWRD United States
OXIMORA Mexico
P.A.W.N. Germany
PARADIGM BLUE United States
PARAZIT Mexico
PENDULUM Indonesia
PENNA United States
PENTESILEA ROAD Italy
PERMIAN INCIDENT Norway
PERSEPHONE'S DREAM United States
PESKY GEE United Kingdom
PHANTOM'S OPERA United States
PHI Austria
PHOENIX DOWN United States
PINKROOM Poland
PINN DROPP Poland
PINNACLE United States
PIRATE Australia
PLAYGROUNDED Greece
PLESIOSAURIO Argentina
POINTS NORTH United States
POLICROMIA Argentina
POLIS Germany
POP MASINA Yugoslavia
PORCUPINE TREE United Kingdom
PORT MAHADIA United States
PORTMAN Croatia
POSEIDOTICA Argentina
PREHISTORIC ANIMALS Sweden
PRO MUSICA Romania
PROGRESIV TM Romania
PSIGLO Uruguay
PSYCHOCEAN Italy
EL PUENTE DE ALVARADO Mexico
PUGH'S PLACE Netherlands
PULP CULTURE United States
PULSONICA Argentina
QUANTUM Sweden
QUATERMASS United Kingdom
RAG I RYGGEN Sweden
RAINBOW FACE United States
RAINER TANKRED PAPPON Brazil
RAM United States
RANTAMA Finland
RAZA Canada
REACHING REVERY United States
RED STAR REVOLT United States
REFRAME United States
RENAISSANCE OF FOOLS Sweden
ALBERTO RIGONI Italy
ROLE OF THE OBSERVER United States
ROOM United Kingdom
ROSALIA Japan
ROSTRO DEL SOL Mexico
JASON RUBENSTEIN United States
RUPHUS Norway
RUSH Canada
S&L Italy
S.O.T.E. (SONGS OF THE EXILE) Netherlands
SAELIG OYA France
SAILOR FREE Italy
SANDCASTLE Italy
SARCASME France
SARTORIUS Mexico
SCARLET HOLLOW United States
SECTION 3B Multi-National
SENECA United States
SEVEN HORIZONS Italy
SHAA KHAN Germany
SHADOW MERCHANT United States
SHOW-YEN Japan
SIENA ROOT Sweden
SIGNALS OF BEDLAM United States
SILJAN France
SKELETONBREATH United States
SKORE Hungary
SKY ARCHITECT Netherlands
SL THEORY Greece
SLP Canada
SNAILFACE United States
SOLACE SUPPLICE France
SOLAR ARCHITECT Canada
SOLARHALL Finland
SOLUM Sweden
SOLUTION SCIENCE SYSTEMS United States
SONIC DESOLUTION Sweden
SONIQ CIRCUS Sweden
SORRY NO FERRARI United States
SOUND & SHAPE United States
SOUND GOAT PROJECT Poland
THE SOUND OF ANIMALS FIGHTING United States
SPECTRUM Chile
SPETTRI Italy
SPOKE OF SHADOWS United States
SQUAT CLUB Australia
ST. ELMO'S FIRE United States
ST. QUENTIN Germany
STANDARTE Italy
STAVO United States
STEEL MILL United Kingdom
STICKS IN THE CASINO Germany
STILL LIFE United Kingdom
STOLAS United States
STORM AT SUNRISE United States
THE STORM Spain
STRATEGY United States
SUBLUNAR Poland
SUBSPACE RADIO Finland
SUGARLOAF United States
SULPHAT' KETAMINE France
SVANFRIDUR Iceland
SWEET HOLE Spain
SYLVIUM Netherlands
SYNE Italy
T2 United Kingdom
TAKE ME FAR AWAY Russia
TDW / DREAMWALKERS INC. Netherlands
TEA Switzerland
TELEPATH Norway
TEMPEST United Kingdom
TERMINAL DEGREE United States
TESKA INDUSTRIJA Yugoslavia
THAYKHAY Spain
THEM MOOSE RUSH Croatia
THEMATIC United States
THEORY OF AFFECT Russia
THERHYTHMISODD Sweden
THÖDOL France
THREE SEASONS Sweden
THULE Norway
TILES United States
TIME COLLAPSE Greece
TIME TRAVELLER Finland
TINKICKER Denmark
THE TIRITH United Kingdom
KALIN TONEV Bulgaria
TRANSIENCE Australia
TRAUMPFAD Germany
TRILI Puerto Rico
TWANGMEN Austria
TWENTY SIXTY SIX AND THEN Germany
TWIN PYRAMID COMPLEX Sweden
TWO CHILEKINGS Philippines
TYBURN TALL Germany
UNBROKEN SPIRIT United Kingdom
THE UNDERGROUND SET Italy
URANIAN Argentina
URIAH HEEP United Kingdom
VALHALLA United States
VALINOR'S TREE Sweden
VARGTON PROJEKT Sweden
VÉLOOO France
VEMM Italy
VENUS PRINCIPLE United Kingdom
VINUM SABBATUM Finland
VIRUS Germany
VIVALMA Brazil
VOLVOX Argentina
VON FRICKLE United States
VOS VOISINS Canada
VOTCHI Czech Republic
VULKAN Sweden
VULTRESS United States
KALLE WALLNER Germany
WALRUS United Kingdom
WARHORSE United Kingdom
WARPICKS Norway
WARPIG Canada
WATERLOO Belgium
WATERLOO Germany
WEEND'Ô France
ANDY WEST United States
WHERE ARE YOU LIAM? Russia
WHITE VOID Norway
WHITE WITCH United States
WICKED MINDS Italy
THE WINDMILL Norway
WITCHWOOD Italy
WRITING ON THE WALL United Kingdom
XANADU Poland
YANG France
YEARSTONES Norway
YGGDRAZIL Italy
YSMA Germany
YURT Ireland
YYNOT United States
Z.O.A Japan
ZARATHUSTRA Germany
ZION Italy
MICHAEL ZUCKER United States
ZUNDAPP Italy
ZYDRA Chile

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