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ECLECTIC PROG

A Progressive Rock Sub-genre


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Eclectic Prog definition

The term 'eclectic' in the context of progressive rock describes a summation of elements from various musical sources, and the influences and career paths of bands that take from a wide range of genres or styles. While progressive music can be, in a larger sense, eclectic, the 'Eclectic Prog' term is specially meant to reference bands that trespass the boundaries of established Progressive Rock genres or that blend many influences.

Eclectic Prog combines hybrids of style and diversity of theme, promoting many elements from different sources. The Eclectic category recognizes bands that evolved markedly over their career (in a progressive, evolutionary way), or have a plural style without a clear referential core.

The basic features lie within the music's variety, rich influences, art tendencies and classic prog rock elements. Among the representative bands are KING CRIMSON, VAN DER GRAAF GENERATOR, and GENTLE GIANT.

- written by Ricochet (Victor)

Current Team as at 14/02/2018

Kevin (Magnum Vaeltaja)
Ian (Tapfret)
Simon (Mascodagama)

Eclectic Prog Top Albums


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

4.62 | 3865 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.54 | 3053 ratings
RED
King Crimson
4.49 | 1859 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 2605 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.43 | 1981 ratings
PAWN HEARTS
Van Der Graaf Generator
4.36 | 1523 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1492 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.30 | 1431 ratings
THE POWER AND THE GLORY
Gentle Giant
4.30 | 1753 ratings
OCTOPUS
Gentle Giant
4.29 | 1373 ratings
STILL LIFE
Van Der Graaf Generator
4.31 | 770 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.28 | 1365 ratings
FREE HAND
Gentle Giant
4.26 | 1369 ratings
ACQUIRING THE TASTE
Gentle Giant
4.23 | 1276 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.27 | 500 ratings
ANABELAS
Bubu
4.25 | 448 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.26 | 378 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.19 | 669 ratings
SLEEPING IN TRAFFIC - PART TWO
Beardfish
4.12 | 1955 ratings
LIZARD
King Crimson
4.15 | 795 ratings
SPECTRAL MORNINGS
Hackett, Steve

Eclectic Prog overlooked and obscure gems albums new


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

SNAFU
East Of Eden
L'ENFANT ASSASSIN DES MOUCHES
Vannier, Jean-Claude
DADARUHI
Replikas
DIAGONAL
Diagonal

Latest Eclectic Prog Music Reviews


 Flash by FLASH album cover Studio Album, 1972
3.65 | 104 ratings

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Flash
Flash Eclectic Prog

Review by Progfan97402
Prog Reviewer

4 stars If it weren't for the Yes connections, I would have passed on this group because their albums were always graced with very tasteless and unprog-looking covers. I guess Peter Banks felt the group needed artwork that's the polar opposite of Roger Dean to show they're more grounded than Yes. This was their debut, released not too long after Fragile, and with not just Peter Banks, but Tony Kaye on board, it's little surprise this sounds not unlike how Yes may have sounded like had Peter Banks stayed on board. Colin Carter at times sounds like Jon Anderson, and gets help with Ray Bennett on bass and Michael Hough on drums as well. And to my ears, despite the very extended solos found throughout the album it's still more grounded than Yes. I was really surprised that "Small Beginnings" was actually a hit as I never heard this song on the radio, and I'm old enough to remember how FM radio was like, to be honest I was too young to remember when FM radio was something like progressive FM rock radio, as opposed to the much more familiar AOR format that I grew up on. But this song does have that Yes feel, and it's a bit obvious. "Morning Haze" moves away from the Yes-template to a more acoustic piece, more in tune with the likes of Crosby, Stills & Nash (well a little) than Yes. "Children of the Universe" starts off sounding not much like Yes, but then as it progresses, the Yes sound does return. I am rather baffled about the ARP synthesizer (likely 2600 as it was still too early for the Odyssey) as Tony Kaye seemed at that time resistant of playing anything other than organ and piano, and the reason Yes replaced him with Rick Wakeman who had no trouble also using Moog and Mellotron. "Dreams of Heaven" again shows a Yes influence, but this is a really lengthy piece where Peter Banks really shows what he's capable of on guitar. "The Time it Takes" closes the album, and I love this piece. Not quite as Yes-like here, it's a nice organ-dominated ballad.

This was obviously the only album with Tony Kaye, he would jump ship to Badger. Regardless, it's not a perfect album, some of the solos tend to go on longer than needed, but I love how it sounds like a more down to earth version of Yes. Worthy of your attention, especially if you're a Yes fan.

 Fireships by HAMMILL, PETER album cover Studio Album, 1992
3.66 | 127 ratings

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Fireships
Peter Hammill Eclectic Prog

Review by Matti
Prog Reviewer

3 stars Peter Hammill is a long-time favourite of mine, but his vast and many-sided solo discography is challenging to get to know thoroughly. Several of the 80's and 90's albums are partly familiar to me via PH compilations. Fireships and the next one, The Noise (1993) together demonstrate the dichotomic ways in Hammill's creativity. While the latter is noisy and rocking, Fireships concentrates on the softer side. Sadly Hammill's idea of "BeCalm" series of albums didn't materialize further. Of his collaborators only multi-talent co-producer David Lord and violinist Stuart Gordon appear on most tracks here. Two other Graaf mates, bassist Nic Potter and flautist/saxophonist David Jackson, have smaller contributions.

The opener 'I Will Find You' is one of the most unoriginal pop ballads Hammill has ever recorded. The freshness soon wears out as the banal love song just keeps on repeating the same. 'Curtains' is a deeply emotional slow-tempo song featuring piano and a string arrangement. 'His Best Girl' is another highlight, extremely delicate and moody song with interesting lyrics about a possessive relastionship. 'Oasis' has a Middle-Eastern flavour on soft percussion and soprano sax (slightly reminding me of Peter Gabriel's Passion soundtrack). Not quite as moving as the two songs before it, but still very good. 'Incomplete Surrender' continues on the slow and delicate route. A bit too extended at nearly seven minutes, and at this point the listener starts to feel sleepy.

The title track grows from the sonic sparseness ŕ la Out of Water (1990) to the edgier and more synthetic sound of Roaring Forties (1994). Even the use of drum machine is justified, to give some variety to the mellow album. 'Given Time' is a slow ballad in which the elegant electric guitar sounds are colouring the sparseness nicely. Also the final song 'Gaia' is in a very slow tempo, and the sonic delicacy builds up to cathartic passion. Cinematic, deeply emotional and perhaps a bit syrupy. All in all, Fireships is pretty well executed set of mellow and passionate songs. Those listeners wishing for more edginess may feel disappointed (and narcotic), but if you're fond of Peter Hammill at his calmest, this is definitely an album worth checking out.

 Starless And Bible Black by KING CRIMSON album cover Studio Album, 1974
3.93 | 1653 ratings

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Starless And Bible Black
King Crimson Eclectic Prog

Review by sgtpepper

4 stars There's no way for any of the classic 70's KC albums with Bill Bruford to get less than 4 stars. This one is more experimental and has the ominous darkness in it. The first track, Great Deceiver, is the most accessible number of the album. The live tracks are sometimes leading nowhere until we come to the splendid last two tracks. It is great deal of experimenting and instrumental maturity that these two tracks epitomize. Fracture has a perfectly dark atmosphere and David Cross strenghtens the tone with his violin. Fracture is one of the reasons why this album deserves 4 starts despite the unfinished feeling about some of the live tracks here. For a better introduction into the KC of that era, start with Larks Tongues in Aspic instead.
 SBB [Aka: Amiga Album] by SBB album cover Studio Album, 1978
3.24 | 73 ratings

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SBB [Aka: Amiga Album]
SBB Eclectic Prog

Review by WFV

3 stars This is a funky rock record with fusion moments with an Eastern European slant. I can see why other proggers don't have a feel for this sort of album from the late seventies. With that said, I find it a curiosity and I really like it. It's a step up from background music for me, I can turn it up really loud and it doesn't seem loud enough. I like this better than the previous Jerzyk, and if you are as likely to spin a Parliament record as a Focus record I suggest giving this album a try. Excellent guitars and keyboards, definitely get the version with twenty songs
 Collaborator by DJAM KARET album cover Studio Album, 1994
2.74 | 22 ratings

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Collaborator
Djam Karet Eclectic Prog

Review by WFV

3 stars If you like your ambient dark, this is the album for you. One look at the album and song titles is enough to tell the listener what is going on with the music. I like that - no mystery, no wasted thought.

This is actually the album that was my gateway to contemporary ambient music. It showed me that it could be cool - if heavy rockers like Djam Karet were into making this stuff I could be into listening to it. I do wish I was more familiar with Kit Watkins - his prog career started with so much potential, I can't help but wonder where his muse took him after shedding Happy the Man and Camel.

This one is certainly for ambient fans and hardcore Karet listeners that are up for a change of pace from their usual recordings.

 Side Three by BELEW, ADRIAN album cover Studio Album, 2006
4.02 | 73 ratings

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Side Three
Adrian Belew Eclectic Prog

Review by WFV

4 stars Side Three is the final piece of Belew's Side trilogy, all released in the early Two Thousands. I adore Frank Zappa and King Crimson, but have found it hard to get into Adrian's solo stuff in the past. Well this was the album I've always waited to hear as I find this album a terrific balance between Belew's avantwierd and mainstream sensibilities. The flow is top notch from beginning to end and I've found this album has opened new doors for me and solo Belew. After I got into this record I looked up this guys credits - he's worked for damn near EVERYBODY in the music biz. He really is a living musical legend and the king of the unheralded artist team. 4.5 stars
 Flash by FLASH album cover Studio Album, 1972
3.65 | 104 ratings

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Flash
Flash Eclectic Prog

Review by SonomaComa1999

3 stars REVIEW #10 - "Flash" by Flash (1972). 07/08/2018

Guitarist Peter Banks was unceremoniously expelled from the band Yes two months prior to the release of their second studio album "Time and a Word". Despite playing on the album, its cover featured a picture of the band which included Banks's replacement Steve Howe, although he never appeared on the album at all. Over the next couple years Yes would become a household name and a leviathan of progressive rock, releasing seminal albums such as "The Yes Album", "Fragile", and "Close to the Edge" with their new and far superior guitarist, who brought a classical style which helped define their sound. At this point it might seem like Steve Howe had always been the guitarist for the band, especially considering he's the band's sole remaining "original" member to this day on tour. As for Banks, he became an afterthought, quietly passing away in 2013 with very little fanfare. He did release some material following his expulsion from Yes, but mostly with his group known as Flash.

Flash was formed in 1971 by Banks and vocalist Colin Carter, who did some work with future Camel keyboardist Peter Bardens. Banks added a friend of his in Ray Bennett who he had knew since his time in Yes to play bass guitar, and then recruited Mike Hough to play drums. Initially desiring to be a standard prog quintet, after signing onto Capitol subsidiary Sovereign, the label expressed their desire for the band to add a keyboardist, making the band's lineup very similar to that of the now-immensely popular Yes. Banks would further recruit former Yes keyboardist Tony Kaye, who had also been unceremoniously booted by the band following "The Yes Album" to make room for Rick Wakeman. Both exiled musicians represented a more mainstream and rocking sound than what Chris Squire and Yes were pushing for at the time, and naturally Kaye appears as a featured keyboardist (not a part of Flash itself) for the band's self-titled debut album. In typical Hipgnosis fashion, the album cover is abstract, this time being a rather shameless drawing of a girl's upskirt. All that aside, Flash presents itself as a rather unscrupulous Yes clone, but unlike blatant rip-offs such as Starcastle and the like, this band actually features past members of the band, while still retaining the original sound which Yes captured on their first two albums. Furthermore, Flash serves as an indicator of how Yes would have went given it kept Banks and Kaye in the band rather than acquiring Howe and Wakeman.

Flash's first album did see some surprising commercial success, largely thanks to the success of a edited single version of the opening track "Small Beginnings". In its original form it presents itself as a near ten-minute rocker, but for radio it was cut down to just over three minutes - both variants are good in their own respective ways. First impressions are pretty clear-cut; Flash sounds very similar to Yes, from the symphonic style all the way down to Colin Carter's voice, which is a slightly deeper clone of Jon Anderson's vocals. Musically it fuses the Yes album and Time and a Word into a concise hybrid, with a more rocking and accessible tone. "Small Beginnings" rose as high as #29 on the American Billboard Hot 100, while the album in its entirely followed close at #33. Given that the year of this album's release was 1972, it coincided with the popularity of Yes's "Close to the Edge" album, which took the world by storm and spawned several imitators. Listening to the single version of this song, it will omit the very progressive instrumental shifts and guitar escapades, opting rather to focus on Carter's vocals in a more succinct way that would work on the radio rather than on a deep cut. That being said, by listening to the edited version you are not missing much; while Banks does a lot of work on the guitar, none of it is particularly resonant, at least on this track. Kaye's keyboards are relegated to a backing act, reflecting the band's desire to follow the quintet style. Perhaps the greatest similarity to Yes comes at the end, when the wordless vocals come in alongside the synth, which provides that sublime sound similar to "Siberian Khatru".

Bennett takes over on acoustic guitar and vocals for the next song "Morning Haze", which apart from being a fine upbeat ballad, still retains that Yes acoustic tinge. It seems that Flash wanted to take Yes's more poppy sensibilities and use those entirely to compose their music. However, this album is still obviously progressive rock; if the three longer cuts did not already indicate that. "Haze" is only half as long as the album opener, and is a rather refreshing interlude, even if it hardly stands out as a takeaway on the album. We return towards more proggy and fast-paced tendencies with "Children of the Universe" which matches "Beginnings" at roughly nine minutes long. Here is where the album begins to pick up steam and allows itself to stand out; this piece features a rather comfortable tempo driven by the bass rhythm and Kaye's keyboards (he is allowed to do a Moog solo through the middle of this one). Just like the music, Flash's lyrics are like a watered-down version of Yes, with the band trying to retain the pretentious and philosophical lyrical style of Anderson. On "Universe" Flash emerges packing a punch with their music, combining the maritime guitar style of Banks with the symphonic vocals to make a song which despite approaching ten minutes, does not drag on like those written by obscure 70's prog acts.

Opening up the second side of the LP, Flash presents their strongest offering in the form of their longest piece, the nearly thirteen-minute epic "Dreams In Heaven" which I consider to be the biggest takeaway from this album. Opening up in a furor, the band shifts back and forth from outright rock to mellow acoustic passages before introducing the central musical themes of this song. Before exposing the lyrics, the band reveals a crescendo that reminds me a lot of the riff from Black Sabbath's 1973 song "Spiral Architect" off the album "Sabbath Bloody Sabbath", released a year later. I mean, it sounds remarkably similar, which wants to make me think that Sabbath was somehow influenced by Flash for that song, although it might be a trick of my imagination and/or pure coincidence. On "Heaven" Carter's vocals seem to diverge from those of Anderson's in terms of intensity, which is a promising sign given I can only handle so much of pure imitation. This is a pretty textbook progressive epic, with two lyrical sections book-ending a musically rich middle instrumental section that allows Banks to show off his refined guitar techniques. While I usually never go into obscure prog albums expecting to have legitimate takeaways that I could go back to far after I've made my review, "Dreams in Heaven" might very well last a decent amount of time on one of my playlists; the "Spiral Architect" motif and the intensity of the beginning and end serve as very listenable prog, which is very promising. My favorite part of this song follows the vocal bridge at around the eight-minute mark, when the tone of the song gradually grows sinister thanks to the heavy riffs of Banks, coupled with some jazz influences. Overall this is a track definitely worth giving your attention to. The album concludes with another mellow piece titled "The Time It Takes" which puts greater emphasis on the keyboards of Kaye than an acoustic guitar. The band makes use of the sound of crashing waves in order to conclude the album, which is a nice little touch that sort of salvages a rather weak closing track.

Flash's self-titled debut album is not bad at all; in fact it has a lot of good moments, something which surprised me given that solid obscure prog works from the 70's are few and far between. Nevertheless, this album is more mediocre than good, only being saved by the epic "Dreams In Heaven", and being hampered by the band's reliance on the Yes sound. Flash would release two more albums before abruptly breaking up in 1973, but even then those do not match up to the original in terms of innovation or commercial success. The band found a way to enter all their albums into the Billboard 200 album charts here in the States, which I found surprising - probably owing to the NSFW cover art. A fan of symphonic prog and Yes in particular should certainly give this album a listen, and even a more generic listener might want to give this one a go. As for my review, I will play it safe and give it a three-star (77% - C+) rating which is respectable for an obscure band. Basically a microcosm of the early Yes sound.

 Saison 8 by LAZULI album cover Studio Album, 2018
3.82 | 31 ratings

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Saison 8
Lazuli Eclectic Prog

Review by The Crow
Prog Reviewer

4 stars After enjoying their performance live recently on Midsummer Prog Festival 2018 and having only listened their first album before (and not enjoying it very much), I decided to go through the last record of the band!

And I have to say the very positive impression that these songs gave me when I listened live are more or less the same than in this album. Their music is not really progressive, groundbreaking or original, but the overall quality of the record is just excellent, both in terms of production and compositions.

The album starts with J'attends un Printemps is a very beatiful and delicate way, with fine keyboards and vocals, accompanied by soften guitars, but soon the power of the whole band explodes in 02:57 sounding just great and very cohesive, making a crescendo which is a trademark of the band.

Un Linceul de Brume is even better, with a great beginning with echoed guitars and the great voice of Dominique Leonetti, who shows his qualities as a great Singer. The final part of the song is an apotheosis of leňde, distortions and a brutal double pedal on drums. Mes Amis, Mes Frčres is rockier, even with some Hammond organ in the verses and a great guitar solo. Not so good as the two previous tracks, but good for being played live.

Les Côtes es a very surprising change of directions, with a very cool beginning which sounds like a strange carnival music, dark and atmospheric. And even the predictable crescendo maintains catches the listener's attention! Just like Chronique Canine, another dark tune which follows the path of the previous one but in a more rhythmic and guitar-oriented way and with another great use of the leňde, an instrument which gives this band an special and very welcomed personality.

Mes Semblables retrieve the rock mood of the third track, but with an oriental influence in the verses and a good instrumental bridge. De Deus Choses Lune is another hit of the album with powerful percussions on the verses, fine vocals (again) and tons of dramatism. And the leňde steals the show again!

The album ends with the excellent Les 4 Mortes Saisons, a sweeping acoustic song which is almost perfect in its minimalism.

Conclusion: if you are searching for intricated prog passages or tons of complexity you are on the wrong track, because Lazuli are some kind of world music rock band with some touches progressive elements. But the quality of their music is undeniable, just like their very strong and catchy live performances.

They are not the most original sounding band and they abuse of crescendos in their songs, but the incredible and unique use of the self-invented instrument leóde and the quality of the production, the vocalist and the rest of the band, make the listening of this album a real pleasure.

Excellent work! I'm eager to hear more albums of this band.

Best songs: Saison 8 has not a single bad or mediocre song, but J'attends un Printemps, Un Linceul de Brume, Les Côtes, De deux Choses Lune and Les 4 Mortes Saisons are the best.

My rating: ****

 The Guardian's Office by GUARDIAN'S OFFICE, THE album cover Studio Album, 2002
3.66 | 20 ratings

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The Guardian's Office
The Guardian's Office Eclectic Prog

Review by b_olariu
Prog Reviewer

4 stars The Guardian's Office, what a nice name for a prog band, the art work aswell is excellent, is a side project of Fruitcake drummer Pal Sovik. The band is from Norway nad released so far a single album in 2002 self titled. Besides Sovik, there are another top musicians involved here, 2 members from Wobbler, Morten Andreas Eriksen and Tony Johannessen plus female bassist Froydis Maurtvedt. So, what about the music, it sounding like is was composed in mid '70, recalling heavy prog bands like Uriah Heep, Blakulla, Rag y Riggen, even Wobbler or Fruitcake ,etc with that specific nordic atmosphere on all pieces. The passages are from heavy riffs combined in excellent way with keyboards and acustic guitar parts, always intresting, sometimes slow and plodding, sometimes little more up tempo, but always great. Theare some great and inventive instrumental sections on all pieces, even an instrumental track named Office Of Hard Cash, really good. I like aswell very much the vocal arrangements, Tony Johannessen voice is quite strong, I like the tone, deep , sad, perfect for such music, the perfect example is the slow dark piece Dark Girl. The guardian is another highlight, flute and keyboards are fantastic. All in all I really like what I've heared here, is quite little known in prog circles, I think it desearves more. A catchy prog album with a fantastic art work. 4 stars for sure.

 Lost Kite by LOST KITE album cover Studio Album, 2012
3.91 | 2 ratings

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Lost Kite
Lost Kite Eclectic Prog

Review by WFV

4 stars Swedish father and son duo enter the prog fray in 2012 with their self titled debut. About the title and band name the more I think about it the more I like it, and the music somewhat projects a kite twisting in the wind feel.

Father is a prog vet who played in a group called Kultivator which released a one off mini masterpiece in Barndomens Stigar, a distinct zeuhlish Canterbury left field winner from the early eighties.

Son is obviously quite talented and they both know their way around a studio. Even if it sounds manufactured at times their is tangible charm to this release that stays with the listener through the four tracks. This is no zeuhl or Canterbury - they play it straight with a light and airy feel surrounded by professional polish. For me, an extremely likeable album that displays in spades what I consider to be lacking in prog - soul. I was really looking forward to their next to releases after hearing this one several times, and while I like those, I'm likely in the minority but I like this one the best.

Three stars for a good not great album and another star for a great band name, effective cover art and father/son partnership

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Eclectic Prog bands/artists list

Bands/Artists Country
16 DEADLY IMPROVS United States
17F Switzerland
4/3 DE TRIO France
8 DAYS IN APRIL Germany
A.C.T Sweden
ABRETE GANDUL Chile
ABSOLUTE ELSEWHERE United Kingdom
ABSURDCUS Romania
ACADEMIE OF FARSIDE Indonesia
ACINTYA France
ADVENT United States
AFFINITY United Kingdom
AKO DOMA Slovakia
AKRITAS Greece
AKT Italy
JEAN-PIERRE ALARCEN France
ALBATROS Germany
ALCO FRISBASS France
ALEXL Brazil
ALGERNON United States
ALLOMERUS Australia
ALON United States
ALPHA RALPHA France
ALQUILBENCIL Spain
ALQUIN Netherlands
ALTABLANCA Argentina
ALTAIR Spain
ALTERNATIV QUARTET Romania
ALTERS Poland
MICHEL ALTMAYER France
AMPLEDEED United States
ANAKDOTA Israel
APERCO Israel
COSTE APETREA Sweden
APPLE BELLS Poland
ARBATEL Mexico
ARDO DOMBEC Germany
AREKNAMÉS Italy
ART AND ILLUSION Italy
ARTCANE France
PETER ASHBY United Kingdom
THE ASHQELON QUILT Israel
ASTRID PRÖLL Puerto Rico
ATHELSTONE Malta
ATLANTIDE France
AUDIENCE United Kingdom
AUDIO VISIONS United States
AUNT MARY Norway
AVE ROCK Argentina
AVIATOR United Kingdom
ÁVORA DI CARLLA Brazil
AXON-NEURON United States
BAD ALCHEMY United States
VLADIMIR BADIROV Uzbekistan
BAG France
DAVID BAGSBY United States
BAKU LLAMA United States
FRANCK BALESTRACCI France
BARBARO Hungary
BARRACUDA TRIANGLE Sweden
AL BASIM Iraq
BASTA! Italy
BATABEAT Canada
BEAR IS DRIVING United States
BEARDFISH Sweden
ADRIAN BELEW United States
SERGIO BENCHIMOL Brazil
IL BERLIONE Japan
MICHAEL BERNIER United States
BIRDS AND BUILDINGS United States
BLOQUE Spain
THE BOB LAZAR STORY New Zealand
BOOTCUT Sweden
EMMANUEL BOOZ France
BORDERLINE SYNDROME Greece
EDUARDO BORT Spain
BRAINSTATIK United States
VYTAS BRENNER Venezuela
BRIGHTEYE BRISON Sweden
BUBBLEMATH United States
BUBU Argentina
JEAN-LOUIS BUCCHI France
BUDKA SUFLERA Poland
ARNAUD BUKWALD France
C & K VOCAL Czech Republic
CABEZAS DE CERA Mexico
CALLE DEBAUCHE United States
CAMERA CHIARA Italy
NEIL CAMPBELL COLLECTIVE United Kingdom
CANGACEIRO Chile
JOSE CARBALLIDO Spain
CARPE DIEM France
CARPET Germany
CARTOON Brazil
CASTLE FUSION Italy
CATAPILLA United Kingdom
CENTENAIRE France
CHAMELEON United States
CICCADA Greece
CIRCLES END Norway
EL CIRCULO DE WILLIS Spain
CIRCUS Switzerland
CIRKUS United Kingdom
BARRY CLEVELAND United States
CLOUDS ON STRINGS United States
CMU United Kingdom
COLONEL CLAYPOOL'S BUCKET OF BERNIE BRAINS United States
CONSIDER THE SOURCE United States
THE COWBOYS FROM HELL Switzerland
CRIME IN CHOIR United States
CRÓ! Spain
THE CRYSTAL SUN United Kingdom
CULPEPER'S ORCHARD Denmark
CURVED AIR United Kingdom
CZAR United Kingdom
DAAL Italy
THE DAEDALUS SPIRIT ORCHESTRA France
DAGMÄHR Canada
DALTONIA Chile
DARK AETHER PROJECT United States
DAYS BETWEEN STATIONS United States
GUILLAUME DE LA PILIERE France
DEBOCO France
DIAGONAL United Kingdom
DICE Sweden
DIONYSOS Canada
DISCORDIA Finland
DISEN GAGE Russia
DISTINGUISHED PANEL OF EXPERTS Multi-National
DJAM KARET United States
JULIUS DOBOS Hungary
WILLIAM D. DRAKE United Kingdom
DREADNAUGHT United States
DREADNOUGHT United States
DRIFT United States
EARTH SIZE DIAMONDS United States
EAST OF EDEN United Kingdom
ECHOES France
EDENSONG United States
EFECTO Chile
EKSEPTION Netherlands
ELEKTRYK BESTIA United States
EMMETT ELVIN United Kingdom
EMERGENCY EXIT France
EMPATHI Thailand
EMPTY SPACE ORCHESTRA United States
EPIDERMIS Germany
ERE G Canada
ERIK BARON & D-ZAKORD France
ESPERANTO Multi-National
ESTHEMA United States
ET CETERA Canada
EVELINE'S DUST Italy
EXCLUSIVE RAJA France
EXPERIMENTAL Chile
EXPERIMENTAL QUINTET Romania
FAMILY United Kingdom
FANTASIA Finland
FETUS MAXIMUS Finland
OLIVIER FEUILLERAT France
FINNEUS GAUGE United States
FLASH United Kingdom
FLÄSKET BRINNER Sweden
FLIGHT United States
THE FLOCK United States
HUGO FLORES Portugal
FOND OF TIGERS Canada
FONDERIA Italy
FOXTROT Norway
FRAMUS 5 Czech Republic
FRATERNITY Australia
FRIENDSHIP TIME Sweden
ROBERT FRIPP United Kingdom
FROM.UZ Uzbekistan
FRUMPY Germany
FUN MACHINE United States
FUSIOON Spain
THE GAK OMEK United States
GALAAD Switzerland
GARDENIA Argentina
GARGAMEL Norway
GAYLORD United States
GECKO'S TEAR Italy
RON GEESIN United Kingdom
GENTLE GIANT United Kingdom
GESTALT Japan
JANE GETTER United States
GEVENDE Turkey
GEYSIR Germany
GLAZZ Spain
GLOBALYS Belgium
GNIDROLOG United Kingdom
GOAD Italy
GOMA Spain
GOOD NIGHTOWL United States
GÖSTA BERLINGS SAGA Sweden
JEAN-PHILIPPE GOUDE France
THE GOURISHANKAR Russia
SÉBASTIEN GRAMOND France
THE GRAND ASTORIA Russia
GRATTO United States
THE GREATEST SHOW ON EARTH United Kingdom
MAREK GRECHUTA Poland
GREYLYNG United States
GRIOT Portugal
GROOVECTOR Finland
THE GUARDIAN'S OFFICE Norway
GUERNICA Japan
TREY GUNN United States
GUNS AND BUTTER United States
GURUH GIPSY Indonesia
GUZZLEMUG United States
GYPSY United States
H7G Costa Rica
STEVE HACKETT United Kingdom
HAIKARA Finland
BRENDAN HAINS Australia
HALF PAST FOUR Canada
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HAPPY THE MAN United States
GAVIN HARRISON & 05RIC United Kingdom
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