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HEAVY PROG

A Progressive Rock Sub-genre


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Heavy Prog definition

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

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

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

- written bt Atavachron (David)

Current Team as of 12/24/14

rdtprog
Thanos (aapatsos)
Frank (infocat)

Heavy Prog Top Albums


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

4.40 | 2333 ratings
MOVING PICTURES
Rush
4.37 | 1969 ratings
HEMISPHERES
Rush
4.35 | 1829 ratings
A FAREWELL TO KINGS
Rush
4.30 | 1705 ratings
PERMANENT WAVES
Rush
4.24 | 2115 ratings
IN ABSENTIA
Porcupine Tree
4.24 | 2150 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.21 | 1066 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.16 | 889 ratings
THE MOUNTAIN
Haken
4.20 | 476 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.16 | 642 ratings
SALISBURY
Uriah Heep
4.10 | 1743 ratings
2112
Rush
4.09 | 1717 ratings
DEADWING
Porcupine Tree
4.09 | 885 ratings
VISIONS
Haken
4.08 | 884 ratings
AQUARIUS
Haken
4.06 | 1128 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.10 | 557 ratings
LOOK AT YOURSELF
Uriah Heep
4.06 | 781 ratings
FRANCES THE MUTE
Mars Volta, The
4.03 | 1270 ratings
LIGHTBULB SUN
Porcupine Tree
4.06 | 622 ratings
DEMONS AND WIZARDS
Uriah Heep
4.10 | 355 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
ZUNDAPP
Zundapp
ONCE WE WERE BORN ...
Divine Baze Orchestra, The
HIGH TIDE
High Tide

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Latest Heavy Prog Music Reviews


 Pretending 2 Run by TILES album cover Studio Album, 2016
4.13 | 14 ratings

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Pretending 2 Run
Tiles Heavy Prog

Review by OldSchoolProg

5 stars This two disc concept album has been many years in the making, but well worth the wait. Part time proggers Tiles and producer Terry Brown show us that they can craft some great stories backed by a solid progressive, and at times, heavy sound. It's gets better and better with every listen, there's a lot of music here, something for everyone. Most notable differences from other Tiles releases, vocal layering and harmonies, including a choir, are in the forefront of this Tiles sound. Musically with minor comparisons to Rush, but still distinct and original. A bevy of guest artists make an appearance, most notably Ian Anderson and Mike Portnoy (and son Max recording together for the first time). This release rivals their critically acclaimed Presents of Mind, if not bettering it in maturity and experience. It's a lot of music to get through in one sitting, I gave Presents a 4-4.5, I'm going all the way to a 5 on this as the pinnacle of their catalog at this moment.
 Together  by JANE album cover Studio Album, 1972
3.69 | 122 ratings

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Together
Jane Heavy Prog

Review by Igor91

4 stars Jane's debut album, "Together," is a prime example of early heavy prog from Germany. They also inject a bit of psychedelia into their brand of heavy prog. The reviews/ratings of this album are varied here on PA, and good points are made both to praise and to criticize this album. I, for one, really enjoy this album.

The songs are all good, but what really stands out for me is the singing of vocalist Bernd Pulst. This would be the only album he would be featured on, and the next year he was dead. Such as shame for a great talent to die so young. I have not been able to find any information on why he passed away, but I'm guessing it was drug related. Anyway, to give you an idea what he sounded like, think of something like Joe Cocker with a German accent. Some people don't care for it, but I think his vocal performance gives the music an emotional element often missing in prog rock. While none of the musicians are technical masters of their instruments, the performances are solid. At times some of the songs sound a bit like Eloy circa "Inside" or "Floating," but this album actually predates those, so I guess Eloy sounded a bit like Jane! The opener "Daytime," and the closer "Hangman" are the two standout tracks for me, primarily for their emotional impact. The most progressive track is the 11+ minute "Spain," which changes direction several times.

While Jane would go on to greater success on subsequent albums, their first is by far my favorite. Recommended to those who can enjoy a progressive rock album without all the technical wizardry that often goes with it. 4 stars.

 Affinity by HAKEN album cover Studio Album, 2016
3.88 | 191 ratings

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Affinity
Haken Heavy Prog

Review by LearsFool
Collaborator Post/Math Rock Team

3 stars As my man, the late great Spaceape, once chanted: One step forward! Two step backward!

We all know Haken. I love Haken. First they blistered through some wonderful prog metal 'n' roll with the one-two punch of "Aquarius" and "Visions", and then they knocked us all out with the mean left hook of "The Mountain". That third album, ladies and gentlemen, the structure, the flow, the instrumentals, the Gentle Giant vocals of "Cockroach King"... you know it's simply one of the best albums of the decade. So obviously, even with the hype around them evaporating, they had a tall order with this one. And they get points for effort, with a nice if increasingly common concept around computers and the effects of technology, and the length of the tracks and album. We knew that it would be good, but now I'm one of the ones asking just how good it actually turned out.

In what has to be both a good and bad sign, the main thing I find myself talking about is the production. There's the step forward, indeed, as everything sounds clearer and tighter. Between that and the structure of the tracks, there's also this cold, logical form that synthesises their first two albums into a whole. Especially in light of the concept, it mostly works. "Affinity" is an enjoyable listen. I'm also pleased with the inclusion of the second CD of the versions of each track, allowing a listener to take the instrumentals in without the vocals, or for crazy people like me to toast over them.

But now we're getting into the issues. In general, there's nothing new, no progression. There's no special payoff for the wait after "The Mountain", which did do things differently, not even a return to anything from that album. The concept falls flat lyrically, paling before, say, last year's 3RDegree album, and in general the vocals are sub-par on top of that, so that CD2 is definitely the better listen. Most of all, though, is that while the instrumentals are entertaining in the moment, they don't leave much of an impression after listening. I remember "The Point of No Return", "Cockroach King", "Falling Back To Earth"... all I remember here is "affinity.exe", the electronic washes that proclaim the album and pique the interest but, like Steven Wilson's "First Regret" last year, is simply more memorable than what follows.

I'm more than happy to give them a pass on this one, it's something that I know I enjoyed from a good band, but they can do much better than this.

 Signals by RUSH album cover Studio Album, 1982
3.95 | 1111 ratings

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Signals
Rush Heavy Prog

Review by maryes

4 stars As a RUSH fan, I confess when I've heard "Signals" for the first time , I stayed perplexed by the completely different direction they decided give to their music and "go aboard" into a "minimalist wave" sound. In fact was very difficult to me "digest" such substantial change. Only after the release of the next album "Grace Under Preasure" I started to hear this new approach with other perspective and I appreciated with pleasure this new dimension of RUSH"s sound. Naturally I can't consider this album in the same level of "Moving Pictures" or "A Farewell To Kings" but, nowadays I think which is a really good album. I can detach the track 1 "Subdivisions" , track 2 "The Analog Kid" , track 4 "Digital Man" ( this one the best track of whole album" , track 5 ". The Weapon " and finally track 6 "New world Man" ( where the band "dive" into a reggae/rock mix ). To conclusion, if this album is not in the same level of RUSH"s masterpieces... still deserves a 4 stars !!!
 Beyond the Visible Light by OVRFWRD album cover Studio Album, 2014
3.65 | 9 ratings

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Beyond the Visible Light
Ovrfwrd Heavy Prog

Review by Neu!mann
Prog Reviewer

3 stars The debut album by the Minneapolis band Ovrfwrd might not have been so impressive had the session gone as planned. But the 11th-hour loss of their vocalist (a literal loss: he never showed up at the recording studio) was a blessing in disguise to the embryonic group, suddenly reconfigured as a much stronger instrumental quartet.

Bands like Ovrfwrd express the higher ideals of Progressive Rock by honoring the adventurous spirit of the early 1970s, but in a modern vernacular more genuinely progressive than Prog. This is a group that insists on playing music requiring more than three working brain cells (to perform, and appreciate), at the same time making it sound entirely unforced.

First albums by new bands aren't supposed to be this adept. The oddly-titled "Can We Keep the Elephant?" is an assertive curtain-raiser, but the music really begins to gel in "Stones of Temperance", smoothly juxtaposing lovely unplugged moments against harder amplified sounds, in a heavy yet melodic workout highlighting the natural interplay between all four players.

The even more cinematic "Raviji", at eleven-plus minutes the album's longest track, is an obvious highlight, demonstrating the forceful energy of the quartet with enough variation in mood and emotion to fill several different songs (on several different albums). Ditto "The Man With No Shoes", and especially the slow but dramatic jam in its second half, achieving a sense of dramatic nuance most proggers yearn for but rarely attain.

The album was recorded more or less live in the studio, with discreet overdubs: a great way to maintain the essential energy and rapport of a genuine band. The songwriting is perhaps not as spontaneous as it would later become. Instead, this debut effort was all about the new ensemble asking, "Who are we? Where are we going with this?" (quoting ace drummer Rikki Davenport in a recent video interview). The answer was an exhilarating process of discovery, for the group and for listeners, before the epiphany of the "Fantasy Absent Reason" album, released a year later.

Their name may resemble a failed Scrabble hand: never a decent vowel when you need one. But Ovrfwrd succeeded in making a strong first impression, with better to come.

 Affinity by HAKEN album cover Studio Album, 2016
3.88 | 191 ratings

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Affinity
Haken Heavy Prog

Review by XavierMX

5 stars It's unfortunate that there are those who would even consider rating this work something less than '4 stars'. The debate between 4 and 5 is beyond the scope of any necessary review. Better we leave that to the forums or party conversation.

I'm typically too verbose, so I will try and be as succinct as I can about this album.

It takes a lot to be compared to Dream Theater, much less be considered as equal or even better. I'm not even entirely convinced that this album isn't better than anything DT has ever written (coming from a huge DT fan). It doesn't mean that it 'replaces' or 'goes above' DT's best works; but it does occupy a different space altogether, while still maintaining an obvious inspirational influence of DT's style. This space, however, may even inhabit more musical dimensions and sophistication than we've received from DT in years.

I'm not saying they should even be compared to DT. This is just one metric that helps elaborate any discussion on their musical prowess.

***The Highlights (only songs that receive a 5 out of 5)***

Initiate - An intensely dramatic opener (first piece counts more as a set-up/overture to the album) that has soaring melodies and interesting rhythms indicative of Haken's other albums. It's hard to describe this song in words alone, which is yet another hallmark of a great piece of music.

1985 - A multi-faceted epic that is exponentially enhanced by a potential love of 1980s feelings. Even if the 80's weren't your thing, this wonderful piece of music quickly evolves into something more. It actually reminds me quite a bit of Tool's Aenima (title track from the album Aenima) crossed with DT's Octavarium (again, title song from the album). It is dramatic in the same fashion that Initiate is, but includes even more depth and linear continuity. Again, listening to the entire song in order to get the full understanding is required.

The Architect - An epic that will be enjoyed in a widely fashion from person to person. There are musical reasons for this. But suffice to say, it has depth and structure just like most other songs on this album.

Earthrise - Just beautiful and musically complex in its structural simplicity. Depending on your age, the lyrics may also mean something to you.

The Endless Knot - Perhaps the most rhythmically complex song on the album. An exciting climax that comes surprisingly close to the end of the album.

Bound By Gravity - Gets better with subsequent listens.

As you can see, the majority of songs on the album are worthy of near perfect scores. The ones that are not listed here are not bad; in fact, they may rate highly on another band's release. It's just that this album is of such high quality (high and CONSISTENT quality) that it's almost overwhelming to listen to.

Taking into consideration that this is the FOURTH time this band has impressed the world musically with their virtuosity and originality, I wouldn't hesitate to call this group one of the most prominent modern classic bands in the making.

They are definitely worthy of the progressive rock label and worthy of any individual's time... or at least, worthy for those individuals who have a passion for extremely exciting, impressive, and meaningful music. The band themselves, along with this album, will become more appreciated over time. Mark my words.

 Permutations by MERCURY TREE, THE album cover Studio Album, 2016
4.77 | 11 ratings

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Permutations
The Mercury Tree Heavy Prog

Review by JohnNicholson

5 stars The Mercury Tree, the Portland, Oregon, math rock trio of Ben Spees (vocals, guitars, keyboards), Connor Reilly (drums), and Oliver Campbell (bass), returned in March with its fourth studio album Permutations. The latest album follows upon the magnificence of Countenance, which came out in September 2014, with an even more massive wall-of-sound.

Call it noise-rock suspended and then smashed in the atmosphere, or dream-rock propelled off a cliff and hitting the ground, the sonics The Mercury Tree crafts crams the headspace with agitated unrest and strung out rapture, amply displaying the raging and fervent fire that exists at the heart of the beast known as The Mercury Tree.

Album-starter 'Symptoms' is actually one of The Mercury Tree's best tunes, running on restless drum rhythms, an ominous bass line thrum, majorly warped guitar lines, and hazy, androgynous-sounding vocals. The powerful guitars fire on all cylinders, swerving off the road, then realigning themselves before picking up the pace and skidding around the bend. A noisy conflagration of sound hits the middle and end sections of the song with abrasive and more delicate notes colliding and spinning out of control.

Next number 'Exhume the Worst' is immersed in lurching guitar burn and a ponderous drum beat and is a test to the less intrepid eardrum.'Spees hovers sweetly and lightly over the noise, leavening the harshness with his pleasantly mild vocal tones.''Permutations' revels in its staticky, fuzzed-up ambience that's cut with loops of warped, tape recorder-like sounds.'It is one of the centrepieces of the album which easily showcases the band's trajectory on their way of progress. 'Ether/Ore' comes on like an experimental barrage of serrated guitar jags and a dynamically propulsive drum beat.'Spees' vocals rise from the deep, and are still indecipherable.'The song's spine, with its recognizable verses, is pop in construct while the chorus arrangements slay with blazing guitar pyrotechnics and effects.'The song features guest appearance from saxophonist Tony Mowe, who adds another dimension. Its claustrophobic ending makes it sound quite a blast!

This burns out into the smoldering embers of comedown 'Placeholder' with the drawn out piano section fading away amid the brighter sparkle of slowly chiming guitar-bass interaction.'It's a delightful respite from the aggressive fury that preceded it.'This lull turns into the full-on narcotic sway of another style-changer 'Unintelligible.''Spees pulls out his gently soporific vocals amid the twiddle of gleaming drum beats and delectably woozy guitar grind.'But this beginning is a deceit because mid-way through, the sonics amp up in intensity with the rhythmic churning of bending guitar distortion and a more kinetic drum beat.' By the end of the song, the guitars and drums are voraciously consumed by an all-encompassing devolution of immolating noise.

'Sympathesizer' is probably the most catchiest song on the album. It varies in speed ranging from an almost drone to a more fast- paced prog piece. Tony Mowe once again provides his saxwork, but this song also features the former member Aaron Clark who does some guitar work.

The remaining three songs wrap around 25 minutes of music which goes from Porcupine Tree-inspired 'Seek and Release,' to a well- control and balanced 'mess' on one of my favourites 'Prometheist.' The closing epic 'Deep Five' just confirms the prior allegations that 'Permutations' is the band's most progressive record out to date. It was hell of a task to beat 'Countenance,' but they did it. And they did it with style.

 Fantasy Absent Reason by OVRFWRD album cover Studio Album, 2015
3.87 | 14 ratings

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Fantasy Absent Reason
Ovrfwrd Heavy Prog

Review by Neu!mann
Prog Reviewer

4 stars Describing the music of Ovrfwrd presents a welcome challenge, worthy of the music itself. The Minnesota quartet plays a muscular throwback style of rich, instrumental '70s rock, complex and exciting but without sounding retro in any way, all built around tightly woven Crimsonesque knots of electric guitars and keyboards: no vocals, and better off that way. It's no surprise that the group is currently touring in support of Tony Levin's STICK MEN trio, obvious kindred spirits offering an ironclad endorsement by association.

But calling it Heavy Prog only waves a hand in the general direction of the band's musical ambitions. There's plenty of finesse to match their unmistakable power: the slow, romantic vistas setting up "Dust Nova"; the elegant ambiance of "Creature Comforts". And is that a genuine flute I hear, augmenting the agitated intro to "Utopia Planitia"?

The extended title track at the top of the album is a declaration of principles, all by itself: only 16-minutes long (a blink of the eye, by Prog standards), but able to shift the listener's ears sideways around his head when played at a suitable volume (i.e. loud). Note the gentle harpsichord keyboard patch, before the power chords begin their relentless descent: a moment of pure Prog opposition, leading into a smoky after-hours organ vamp and another edgy guitar solo. Almost immediately we're grasping for toeholds on constantly shifting yet entirely comfortable terrain, in what has to be one of the more exciting album openers of the previous year.

All the music was tightly arranged, but the quartet knows how to jam as well, in an intuitive way that renders the effort all but invisible. Listen to the groovy "Brother Jack McDuff" (presumably named for '60s jazz organist and bandleader Eugene 'Jack' McDuffy), with its bluesy early Tull vibe, complete with quasi-woodwind keyboard setting. Here and elsewhere the music reveals an occasional jazzy accent, in this instance set to a swinging 3/4 time signature (except when it morphs gracefully to 11/16). But it certainly isn't Jazz.

And it isn't quite Rock either, despite the unmistakable Hard Rock authority of the songwriting and performances. My advice is to stop fussing about labels (a difficult task, for any true Proghead) and simply enjoy the music. Even without the necessary vowels, Ovrfwrd is one of those rare bands able to challenge a listener's expectations, and thus offer legitimate hope for an increasingly dumbed-down millennium.

 Affinity by HAKEN album cover Studio Album, 2016
3.88 | 191 ratings

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Affinity
Haken Heavy Prog

Review by RuntimeError

3 stars Very good, but overproduced record leaves you empty handed after a couple of listens.

Haken's latest, 'Affinity' offers something very different compared to 'The Mountain'. The band decided to go to a different direction, which is certainly a good thing for a prog band. While Haken's songwriting has always been rather mediocre, they make up by superb instrumental proficiency and interesting progression within each song. In this record Haken decided to use a lot of choruses, and I mean a lot, and It get's boring quickly. While at the first listen it may seem exiting, you want to skip these parts at your third listen.

However; this record contains wonderful songs and they do put a smile on your face. 'Earthrise' and '1985' are must songs for every progfan to listen this year. The proggy instrumental section at the end of 'Earthrise' is Haken at their best. 'The Architect' offers some nice heavy pounding with some kind of 80's-90's Sci-fi movie soundtrack feeling. Rest of the songs have left me quite underwhelmed unfortunately and I won't be spending too much time with this record anymore.

As said earlier, the production is too much. It fees like every instrument is edited to grid and this record is played by midi sequencers which was not the case for earlier Haken records.

Summary: + Earthrise, 1985, The Architect - Bound by Gravity, Initiate

3,5 stars.

 Between The Leaves by DEJA-VU album cover Studio Album, 1976
4.13 | 35 ratings

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Between The Leaves
Deja-Vu Heavy Prog

Review by Mellotron Storm
Prog Reviewer

3 stars I picked this up based on my great appreciation for the hard rocking Norwegian band HOST. After HOST's first album the drummer and guitarist left and eventually formed DEJA-VU which still rocks pretty hard but is more in the Symphonic realm than HOST. Interesting that both bands would release an album in 1976, the last for both although the only one for DEJA-VU as the record label didn't get behind this release, in fact after a small test pressing they dropped the band. The drummer here would later join KERRS PINK. My biggest issue by far with this album is the vocals, I can hardly stand them. They remind me of KANSAS so yeah the guy can sing I just don't like them at all, so sappy. And yes the record label made the right choice in my opinion. Oh, the vocals are in English by the way.

"Burning Bridges" has a powerful sound to start, really impressive. It turns spacey with those background synths, so good. Vocals before 6 minutes and while I'm not a fan of them this is my favourite track. Some nice laid back guitar before 8 minutes. "Between The Leaves" opens with clavinet but soon the drums, guitar and bass join in. So much going on. It settles and the vocals join in after a minute, not a fan at all. "Free Man" has such a great sound to it instrumentally especially the guitar and synths. Vocals just after a minute. Clavinet after 1 1/2 minutes and I love the dark sound but the vocals ruin it for me. A calm with floating synths after 3 minutes as the guitar soars in the background slowly. A great ending to this one as well.

"Flying" has a laid back sound with keys as reserved vocals join in. This is very ballad-like until it kicks in around 2 minutes but the contrasts will continue. An interesting instrumental break starts before 4 minutes. "Somebody Cares" has a cool intro and check out the clavinet and the AREA-like sounds after 2 minutes. It then picks up. The flavour changes 3 1/2 minutes in which sounds amazing but then the vocals join in and kind of soil the rest of the song for me. "Time" has a darker tone to it which I really like. Reserved vocals and keys as it settles around 2 minutes. Good song. "Visions Of Nirvana" is the 6 1/2 minute closer that opens with strummed guitar as laid back vocals join in. We get a pleasant instrumental break before the vocals return. It's okay.

If this were all instrumental it would be easily 4 stars but I just can't get past the vocals. I'm sure most won't have that same problem so keep this in mind.

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Heavy Prog bands/artists list

Bands/Artists Country
2112 Argentina
4X United Kingdom
99 NAMES OF GOD United States
A FORMAL HORSE United Kingdom
ABASH Italy
ABIGAIL'S GHOST United States
ADVENT HORIZON United States
AFTER THE FALL United States
AICAN Russia
ALBATROS Spain
ALGABAS Russia
ALGARAVIA Brazil
ALTERED STATE United States
AMUSIA Canada
ANABASI ROAD Italy
THE ANABASIS United States
ANDROMEDA Germany
ANEKDOTEN Sweden
ANKH Poland
ANOMUS Finland
ANTI-DEPRESSIVE DELIVERY Norway
ANXTRON Brazil
APOLLO Finland
ARABS IN ASPIC Norway
ARAXES Switzerland
ARC United Kingdom
ARCANE Australia
ARCANE ATLAS United States
THE ARISTOCRATS Multi-National
ARMAGEDDON United Kingdom
ASTEROID Sweden
ATLANTIDE Italy
ATLAS CUBE Germany
ATLAS VOLT Sweden
ATOMIC ROOSTER United Kingdom
AUSTRALIS Chile
AUTOMATIC FINE TUNING United Kingdom
BABE RUTH United Kingdom
BADGER United Kingdom
BAKER GURVITZ ARMY United Kingdom
BAKERY Australia
BALISET United States
BALLOON Netherlands
BARAKA Japan
DAVID BARRET TRIO Canada
BATTLE CIRCUS New Zealand
ERIC BAULE Spain
BBI France
BI KYO RAN Japan
BIBLE BLACK Japan
A BIG GOODBYE United States
BIGELF United States
BIRTH CONTROL Germany
THE BITTERS United States
BLACK BONZO Sweden
BLACK MARKET SEROTONIN United Kingdom
BLACK WIDOW United Kingdom
BLOOD CEREMONY Canada
BODKIN United Kingdom
BOLT United States
BOOK OF HOURS Sweden
BREAKING ORBIT Australia
THE BROWN Japan
BULL ANGUS United States
BURNING SAVIOURS Sweden
CACTUS PEYOTES Brazil
CAMAFEO Argentina
CAPHARNAUM Canada
CAPTAIN BEYOND United States
CAPTAIN OF THE SWEDISH TEAM Canada
CARDEILHAC Switzerland
CARGO Netherlands
CARGO CULT REVIVAL United States
CARPADIUM United States
CARPE NOTA United States
CASUAL SILENCE Netherlands
CELELALTE CUVINTE Romania
CELESTIAL OEUVRE United States
CHAIN United States
CHOLO VISCERAL Peru
CHRONOBUNNY Norway
STEVE CICHON United States
CLEAR BLUE SKY United Kingdom
CLEVIS United States
CLIMAX Bolivia
COBWEB STRANGE United States
COLLAPSE France
COLT Poland
CONTRA United States
CONTRARIAN United States
COSMIC NOMADS Australia
A COSMIC TRAIL Germany
TYLER COTNER United States
COUNTRY LANE Switzerland
CRACK THE SKY United States
CRYPTIC VISION United States
CRYSTAL BREED Germany
MICKEY CURTIS AND SAMURAI Japan
CYNICISM MANAGEMENT Slovenia
CYTRUS Poland
D'ACCORD Norway
DAH Yugoslavia
DÁNAE Argentina
DAREDIABLO United States
DARK United Kingdom
DEAD END SPACE United States
DEAFENING OPERA Germany
THE DEATH COBRA Australia
DEEEXPUS United Kingdom
DEFORMICA Argentina
DEJA-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 FLIGHT Germany
EASTER ISLAND United States
EIGHTH WHALE United States
ELF PROJECT United States
ELIAS HULK United Kingdom
ELONKORJUU Finland
ENCHANT United States
ENFANT Bolivia
ENMARTE Argentina
ENORMITY United States
EPHRAT Israel
EPITAPH Mexico
ESCHERBACH United States
ESTIGMA Chile
ETT ROP 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
FLOTANTE Chile
FORGOTTEN SUNS Portugal
FRAME Germany
FREEDOM'S CHILDREN South Africa
FRIJID PINK United States
FUMIGUN Chile
FUNGUS Italy
FUSION ORCHESTRA United Kingdom
FUSION ORCHESTRA 2 United Kingdom
FUZZY DUCK United Kingdom
GÅTE Norway
GATE 6 Netherlands
GENEROUS MEN Sweden
GHOST IN MIRRORS United Kingdom
GHOST TOAST Hungary
GLASSWORK Spain
GNOMONAUT United States
MOOSEHEART GODBLESS THEE United States
GODZILLA IN THE KITCHEN Germany
GOMORRHA Germany
GOODTHUNDER United States
GOSIA United Kingdom
GRAN TORINO Italy
GRAVY TRAIN United Kingdom
THE GREAT LABYRINTH PROJECT United States
GREYHAVEN United States
H.A.A.S. Colombia
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
EL HOMBRE ASTRAL Spain
HØST Norway
HUMAN LIFE INDEX United States
HUMUS FUGA Guatemala
I AM THREE PEOPLE Finland
I BOW CANDLES Multi-National
IDEE CONFUSE Italy
IMAGERY Brazil
IMAGIN'ARIA Italy
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