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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 7/1/2022

Ian (Tapfret)
Mike (siLLy puPPy)
Ian (Nogbad_The_Bad)
Mira (Mirakaze)

Eclectic Prog Top Albums


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

4.63 | 4538 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.56 | 3604 ratings
RED
King Crimson
4.47 | 2246 ratings
GODBLUFF
Van Der Graaf Generator
4.43 | 2361 ratings
PAWN HEARTS
Van Der Graaf Generator
4.42 | 3120 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.35 | 1824 ratings
IN A GLASS HOUSE
Gentle Giant
4.32 | 1786 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.31 | 2140 ratings
OCTOPUS
Gentle Giant
4.31 | 1747 ratings
THE POWER AND THE GLORY
Gentle Giant
4.30 | 1637 ratings
STILL LIFE
Van Der Graaf Generator
4.30 | 1641 ratings
FREE HAND
Gentle Giant
4.31 | 938 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.28 | 1673 ratings
ACQUIRING THE TASTE
Gentle Giant
4.25 | 1514 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.26 | 623 ratings
ANABELAS
Bubu
4.26 | 429 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.23 | 524 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.20 | 762 ratings
SLEEPING IN TRAFFIC - PART TWO
Beardfish
4.14 | 2135 ratings
DISCIPLINE
King Crimson
4.13 | 2364 ratings
LIZARD
King Crimson

Eclectic Prog overlooked and obscure gems albums new


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

NOT OF SOUND MIND
Zapotec
AEROLIT
Niemen, CzesŁaw
CLOSE GRIP
Gourishankar, The
INTERPOSE+
Interpose+

Latest Eclectic Prog Music Reviews


 At the Edge of Light by HACKETT, STEVE album cover Studio Album, 2019
3.91 | 320 ratings

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At the Edge of Light
Steve Hackett Eclectic Prog

Review by sgtpepper

4 stars Hackett finishes the prolific decade by issuing his 4th solo album of original material and his bar remains high.

The album starts with a smoking short 2-minute instrumental dominated by his typical electric guitar hooks. "Beasts in our time" has a spooky violin motive, mellow Hackett-sung part that could have been easily Blackmore's nights. Watch out for interesting instrumentation including saxophone and a fairy tale like xylophone or bells. Hackett also throws some metal riffs in showcasing his wide palette of interests. "Under the eye of the sun" is a pretty dynamic composition with the busy rhythm section. But the crown jewel comes with "Those golden wings" that brings us to partly to the time of castles and knights with the orchestral instruments, choir vocals before we come back to the presence. This is a great example of Hackett's proficient composing and tasty song development not speaking of fantastic guitar solo at the end.

You won't be surprised when you listen to this album if you heard other 4 ones; there are strong melodies and no shame in providing vocals. Hackett doesn't take many risks but delivers another delicious menu while not recycling the package the contents. Well.. if you don't mind hearing guitar, which is simply played in the Hackett mode ;-)

 Saber, Querer, Osar y Callar by RODRIGUEZ-LOPEZ, OMAR album cover Studio Album, 2012
2.82 | 18 ratings

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Saber, Querer, Osar y Callar
Omar Rodriguez-Lopez Eclectic Prog

Review by Kempokid
Collaborator Prog Metal Team

3 stars The electronic era continues with yet another vibey mood piece that puts more significance on the textures and vague bits of imagery mixed throughout rather than a more tangible sense of individual songwriting, this time feeling like a bit of a middle ground between the strange, but bright pop melodies of Octopus Kool Aid and the endlessly dark, murky atmosphere of Un corazón de nadie. The main point of interest here is the way the electronic instrumentation ends up feeling like a bit more of a backdrop to the other elements at play here rather than dominating the compositions in the past, with a far stronger emphasis on the interplay between the fuzzy vocal melodies and drum beats being notable. It's all pretty well played and leads to crafting a pretty mysterious vibe that's worth listening to if you really like that stuff, but I also found that with the exception of the very emotionally charged final track Angel Hair, nothing else here was really something that outright moved me in a way beyond simply finding it pretty cool. This is definitely the sort of album more for the fans than one that I'd ever really consider as a good point to start listening to Omar Rodriguez Lopez.
 Mr. Fantasy by TRAFFIC album cover Studio Album, 1967
3.63 | 199 ratings

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Mr. Fantasy
Traffic Eclectic Prog

Review by Mortte

5 stars It is very rare these days music artist put out masterpiece and it´s best album as the first release. But it wasn´t in the 60/70ties, with Traffic also for example Family, King Crimson, Dr. John, Magma, Caravan and Comus did that! Also I think Pink Floyd, Wigwam, Faust, the Jimi Hendrix Experience, Captain Beefheart and the Magic Band, Amon Düül II released masterpieces as their first album, although not their best albums. Those were the years when came a huge amount of great music! Of course Traffic members weren´t beginners, Steve Winwood had been in very successful Spencer Davis Group, other members had also earlier bands, but not as known. Anyway Traffic got success in the UK from the beginning and later also in the US. I believe when Winwood, Mason and Wood jammed together with Jimi Hendrix would not decrease their popularity.

Album starts with gently beats in "Heaven In Your Mind" that is Winwood, Capaldi and Wood composition. Soon comes really melodic vocals from Winwood & Capaldi. Chorus words "guiding your visions to heaven and heaven is in your mind" could not descripe this terrific opener better! In "Berkshire Poppies" mood changes fully: it starts with clumsy waltz, that soon goes into unbridled momentum! Musically very funny piece, but lyrics seem to be quite serious telling that time typical story of escaping the system. Next "House For Everyone" is absolutely one of Mason´s best songs! Starting as somebody is putting music box on you can easily imagine some mechanical dancer beginning to rotate. Very great melodies in this too! "No Face, No Name and No Number" is the most beautiful ballad piece from Capaldi & Winwood in this album. Next "Dear Mr. Fantasy" is the most known song from this album, but I think it´s weakest after "Giving To You". Of course it´s good rocker with great guitar solo from Steve, but really not give a right picture of the album

But in the vinyl B-side greatness continues: "Dealer" is again very melodic piece from Capaldi. Next "Utterly Simple" is again Mason track and the most psychedelic song in this album, where Mason even plays sitar. Direction changes more rock into "Coloured Rain" that has again great vocals from Steve and very intensive solo part. Mason´s last song "Hope I Never Find Me There" is again very melodic and almost as great as "House For Everyone". "Giving To You" is very cheerful jam-piece and ends this awesome album just so well!

I believe this is not five star album to puritan prog lister, but to me who love terrific psych rock as much as great prog this really is!! Somehow I had to listen this many times before I understood it´s genius! Really this isn´t the most trippy psychedelic album, it´s more full of great melodies and really awesome singing and playing! To me all three first Traffic albums and "Low Spark Of the High Heeled Boys" are masterpieces (yes, even Last Exit, I really love also it´s B-side), but all their other seventies albums are four stars albums. So you can thing this band is so dear to me! One reason why I love so much those three first album is Mason, who also composed very great songs, later I think Winwood and Capaldi didn´t have enough ideas. The other story is their nineties comeback album "Far From Home", I have listened it maybe twice and what I remembered, it really hasn´t got that warmth as their old material. Traffic was very succesfull in it´s time, but these days to me it seems it´s little bit forgotten comparing other great bands of those days. I really hope young people, who have found splendor of the Jimi Hendrix Experience, the Doors, Cream, the Who etc. will also find this band, because it is as terrific!

 Surrender of Silence by HACKETT, STEVE album cover Studio Album, 2021
4.10 | 105 ratings

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Surrender of Silence
Steve Hackett Eclectic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars I think this is Steve's 28th studio album, which is probably more than the combined output of those he left in Genesis, but although I saw him play earlier this year none of this material was featured as he was touring his highly popular Genesis Revisited shows. So, when it comes to prog he has two back catalogues that are very different, while he is still releasing new and wonderful music even though he is now in his seventies. Over the last 40+ years he has released music from many different styles, being one of the few prog musicians to go the whole hog and write and record classical music, and he can play solo acoustic classical performances as well as standing in front of an electric band, and in many ways this album is a coming together of his past while also looking in new directions.

He provides nylon, steel string & 12-string guitars, oud, charango, sitar, harmonica, and vocals, and is joined by one of his touring line-ups with Roger King (keyboards, programming & orchestral arrangements), Rob Townsend (saxophone, clarinet), Jonas Reingold (bass), Nad Sylvan (vocals) and Craig Blundell (drums) while he has also brought in additional musicians which includes two more drummers in Phil Ehart (Kansas) and Nick D'Virgilio (Spock's Beard etc). Musically he is moving through tribal, New Age, classical and prog, but surely the whole album should be deemed as progressive as he is truly pushing boundaries and mixing and blending styles together to create something which is vital and hugely impressive.

Many old progheads, like me, will have a strong fondness for his early solo albums as they were released when we were teenagers and had a massive impact on us. However, unlike many of his contemporaries from back then he has continued to tour and record incessantly, and his current output is to the same high standard as it has always been. When asked my favourite period of Genesis, I always give the same answer, Hackett (as opposed to the normal Gabriel or Collins) and there is no doubt that he has continued to develop and deliver even since leaving that entity. Listen to his music with an open mind and discover that Hackett is still pushing himself and his followers yet even though he keeps moving this is always identifiable and part of his canon as opposed to being removed. One never knows what to expect from his albums, except they will always be sheer class, and this is no exception.

 Genesis Revisited Live: Seconds Out & More by HACKETT, STEVE album cover Live, 2022
3.58 | 10 ratings

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Genesis Revisited Live: Seconds Out & More
Steve Hackett Eclectic Prog

Review by Dapper~Blueberries

3 stars To my knowledge, I haven't reviewed a live album, like maybe I have but I just forgot. That being said, I did feel like doing one today because I thought with the amount of new stuff this year, it is befitting to get into the car and take a little detour from the studio stuff with the live elements. I usually love live albums. Usually, mind you. Sometimes they can be pretty garbage, whether it be a bad set or just a bad recording, but relatively speaking I never find any live album. Hearing a band play their best songs with new changes compared to the studio works, sometimes refreshing a song in your head so it can be revitalized more clearly. They are also, in my mind, way better than compilation albums, which only have studio recordings that you'd get from the normal studio album, and with streaming services, it'd be really weird to listen to the compilation version of a song when you can just hit play on the one from the original album, ep, or single. With live albums, that problem is vindicated out of the picture, with a new song, and ultimately a new idea out in place for the audience to enjoy.

So that is where I'd like to point towards Genesis and their live albums. If we are gonna talk about Genesis live shows, we'd have to talk about Seconds Out. It is a 2 LP goliath of the Phil Collins era Genesis that shows songs from Trick Of The Tail, Lamb, Selling England, and even a smidgen of Nursery Cryme and Foxtrot. It is a must-have for any Genesis collector and fan. With that being said, it is also a given to talk about Steve Hackett and his live concerts, specifically the Genesis Revisited shows. He has released a number of these live albums where he would play a collection of songs from the classic period of Genesis, starting with Live At Hammersmith in 2013. These shows included songs in the albums he was a part of, so no material (from what I could see) from Genesis To Revelation, Trespass, and Then There Were Three through Calling All Stations. Most of these live albums are around 2 hours long, giving you a wallop of Genesis live content to sit through and take in. As an avid Genesis lover, these are some neat little souvenirs in the gift shop after riding the Genesis rollercoaster. I decided to review one of them, specifically this one where they play a session of the entirety of Seconds Out, plus a few other songs from Steve's solo career since it was released this year and I have a bit to say about it.

So due to this being a live album, I feel it'd be odd to do a track-by-track layout like how I do most of my reviews. Instead, I figure to do a compare and contrast of sorts and then give some pointers about how I think this album is good, and some things I am not a huge fan of. So I will be comparing and contrasting this and Seconds Out, not to see which is better, but to see how this one is different from the very stellar live album.

Let's contrast first. To start, at the beginning we get some solo stuff from Steve's back catalog, specifically his recent solo album right now, Surrender Of Silence. I think they played these songs here because A. Shadow Of The Hierophant is a song that every Steve Hackett fan knows too well and B. Too warm up for their actual Genesis stuff. Speaking of which, I have noticed some parts of the two songs have become a bit heavier. Not to the point where they become metal, but enough to interest me a bit, those songs being Supper's Ready and Los Endos. The Apocalypse in 9/8 part in Supper's Ready has this ominous aura in it, which I think helps it a lot in its being an apocalyptic measure. Los Endos on the other hand has the melody played after the start a lot heavier. These differences are noticeable to my Genesis-trained ears, and such have become key points of interest for this record.

However, that is the only point that contrasts it, because aside from the obvious different band members, aside from Steve Hackett of course, this is just Seconds Out. Not front to back, but if you took away the Steve Hackett songs you'd just find Seconds Out. Every song is played exactly like how you might hear from early Genesis, nothing short of great songs, but honestly, this is where my problems lie. It doesn't try anything new, Steve doesn't try anything new, and when they are new they'd be reserved for only a specific moment. While these moments are memorable, there are only two.

For me, the Genesis name is a name that means innovation, creativity, and a golden age of progressive rock long past. Steve was a part of that creativity and innovation, but I believe here more than ever those memories of Genesis have blinded him to not try new things with these Genesis songs. I do not want to just hear Supper's Ready no matter how much of a masterpiece it is, I want to hear Steve taking Supper's Ready and making it his own. Mr. Hackett here is doing what'd be considered the bare minimum, and I know this is discrediting his effort, I can see that, but having over 5 Genesis Revisited albums is way too much.

I know the Genesis name sells, and I know these songs are good, but I also know that Steve Hackett's other stuff also sells as with the popularity of albums such as Voyage Of The Acolyte, or Spectral Mornings. It is odd to me that he never revisited his early solo works for live shows since they are also very popular among progressive rock heads, of which he is one. I think my main problem with Hackett's Genesis series is that it's Genesis, nothing more and nothing less. It doesn't make me want to listen to Steve Hackett, it makes me want to listen to Genesis, and I guess if you want a little more Genesis in your life this will do nicely, in fact, if you do not mind the whole of it then I bet you'd love it, and I cannot deny that I liked it. However for me, if you are gonna liven up the Genesis name and you aren't Genesis themselves then you gotta have a trick up your sleeve.

I'd be dishonest to say that I dislike this album, I'd be also dishonest to say that I love this album. This is a fine live show, totally harmless and inoffensive. The album is true to its word, a revisiting of Genesis, nothing more nothing less, but that is the album's downfall. I hope Steve tries to move a bit more away from Genesis in his coming years and shows off more of his talents rather than those he has worked with. Who knows, maybe it'll work out spectacularly.

 Washington Square Church by FRIPP, ROBERT album cover Live, 2022
4.52 | 4 ratings

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Washington Square Church
Robert Fripp Eclectic Prog

Review by Warthur
Prog Reviewer

4 stars Compiles and condenses the choicest cuts from Fripp's brief residency at Washington Square Church from late July to early August 1981. This would have been at a time when King Crimson's Discipline was recorded, but had not yet released - but rather than previewing the sound of that album, these small solo concerts were if anything a mild step back to 1979 and his Frippertronic shows undertaken in that year, prior to Fripp pivoting back to band projects (with the League of Gentlemen project coming and going, the Discipline project forming, and then the new King Crimson emerging from out of Discipline).

If you've heard Let the Power Fall or the God Save the Queen side of God Save the Queen/Under Heavy Manners, you know what to expect here; if you haven't, you'd probably be best advised to check out the reissues of those before you opt for even more Frippertronics. This is good, but between this and Fripp's other releases in this vein (both by himself and with Eno) it does seem like the format has its limitations and you only need so much of this stuff.

 God Save the Queen / Under Heavy Manners by FRIPP, ROBERT album cover Studio Album, 1980
3.31 | 70 ratings

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God Save the Queen / Under Heavy Manners
Robert Fripp Eclectic Prog

Review by Warthur
Prog Reviewer

4 stars Don't come to Fripp's second solo album expecting any of the surprisingly tight pop numbers of Exposure, or a return to the approach of King Crimson; Fripp seems to have decided to spend the rest of his short solo career of 1978-1981 (after which he returned to band work) concentrating on exploring the possibilities of Frippertronics, a recording technique developed by Fripp and Eno when they made their mid-1970s albums. This entailed Fripp's guitar playing being recorded to tape and played back on loop as the performance continued - so raw Frippertronic pieces begin sparse and become more and more layered, and Fripp ends up soloing opposite himself. It's a simple gimmick which is used to rather charming effect.

Although the liner notes to the subsequent Let the Power Fall claimed that that album picked up where God Save the Queen left off, it's perhaps truer to say that Let the Power Fall and the God Save the Queen side of this release overlap: both were recorded on Fripp's summer 1979 Frippertronics tour of small venues, but whereas the performances on Let the Power Fall span from June to August, the God Save the Queen tracks all came from appearances on July 30th.

Between this and Let the Power Fall, you have pretty much all the Frippertronics experiments you could want, most likely, unless you're such an addict to the schtick that you want to splash out on the Exposures boxed set, which contains more Frippertronics concerts than anyone could possibly know what to do with. The same constraints that affect the form when played live apply just as much here as there, though in both cases Fripp does a good job of using those constraints as a springboard for creativity. If you liked the Fripp and Eno albums, you'll probably also enjoy much of this.

Particularly noteworthy is 1983, a foreboding track in which Fripp is able to evoke a range of haunting new sounds which sets it apart from much of the rest of his Frippertronic material in how far it goes into the dark landscapes it evokes; think of it as the Frippertronic answer to Eno's Ambient 4: On Land.

The Under Heavy Manners side of the equation is an experiment in Discotronics - taking a Frippertronics performance and then layering more stuff over it. There's funky bass; there's a drum loop; on the title track itself there's even a (pseudonym-disguised) David Byrne, making it sound a bit like an off-cut from My Life In the Bush of Ghosts (which makes sense because this would be around the time that album was being put together, and Fripp guested on it). Fripp, perhaps, was already tiring of the constraints of working as a 100% independent "highly mobile unit" and was looking for ways in which his newly-expanded guitar palette could be applied in a band context.

After this Fripp would more or less jump to working in a band context - first in the League of Gentlemen, then in Discipline, and then Discipline surprised everyone (including Fripp) by metamorphosing into a revived King Crimson. Although Fripp would do occasional subsequent Frippertronic concerts, the success of the new King Crimson would soon take up much of his time; although he would do occasional solo records subsequent to this, it would be in pursuit of the "Soundscapes" technique, taking advantage of new technologies to perform something akin in creative spirit to Frippertronics but distinct in execution. So between this and Let the Power Fall, and the recently issued Washington Square Church concert recordings, you really capture the peak of Frippertronics.

 Let the Power Fall by FRIPP, ROBERT album cover Studio Album, 1981
3.03 | 66 ratings

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Let the Power Fall
Robert Fripp Eclectic Prog

Review by Warthur
Prog Reviewer

4 stars Though released in 1981 (along with the sole album from the brief League of Gentlemen new wave band project), Let the Power Fall actually dates from Fripp's burst of solo activity in 1979 - a year when he released his first solo album, recorded his second, and instead of doing a full-band tour opted to perform in unusual venues (like music shops and the like) as just him, his guitar and pedals, and a tape setup to perform "Frippertronics". The idea was to act as a "highly mobile unit" - taking the DIY ethos of the era to the next level - and some of the results are found on this album, which compiles some of the Frippertronic improvisations from these shows.

The way Frippetronics works inevitably means that all the tracks are somewhat samey: each starts out with Fripp and a blank tape. He plays some guitar; the sound goes on the tape; the Frippertronic tape system then replays what's been recorded so far and Fripp adds a further level of music. As such, every composition starts out fairly sparse and simple, and then becomes more ornately layered as the track progresses.

This was all pioneered by Fripp and Eno on their collaborations, but here Fripp is doing a deep dive into the art form, doing what he can to tease out fhte possibilities of a format which, whilst interesting, has certain restrictions. Inevitably, as time goes by the repeated phrases become softer and quieter as they become more overlaid by subsequent recordings. In some respects this is a strength; a harsh or discordant note is smoothed out by this process, an error can be "painted" over. In other respects, this constrainst Fripp in how he constructs tracks: he always tends to have some harsh, loud notes early on, because he knows he'll need to use them to construct the early layers of the track, and if he doesn't lay them in firmly at the start they'll get lost in the tape fairly quickly.

Let the Power Fall is honest about what it is - it bills itself as "an album of Frippertronics", and that is what you get. One such album is, to be honest, probably enough. Fripp would go very sparse on the solo albums after this - he's done much more as a collaborator or as a member of various band projects - and maybe part of the reason is that having satisfied himself here with the possibilities of what he can do with just himself and his equipment, he has only infrequently felt a need to do more.

The album is interesting both as a guitar-oriented ambient release - a rarity in the field - and as a snapshot of Fripp developing the sort of guitar tones he'd bring to the table in the 1980s incarnation of King Crimson, which was already coalescing when Fripp decided to release this onto the market. Perhaps, then, this was a farewell letter - however temporary - to Fripp's brief but interesting solo career of 1978-1981.

 Body Control by GRAMOND, SÉBASTIEN album cover Studio Album, 2003
3.00 | 2 ratings

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Body Control
Sébastien Gramond Eclectic Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

3 stars After a very good start with a 12 minutes jazzy track, I'm perplexed about "There's A Place For You To Run Away" that initially sounds very similar to Pink Floyd's "Crumbling Land". But after what I consider a false start, it changes drastically toward noisy post rock. Sometimes it can happen: something that you have heard and forgotten emerges from below. I don't think it's plagiarism. Maybe an incident....but it's very similar...

Let's go ahead: I suppose that "NJ 69" means a place and a date. Effectively it's a funk instrumental with a jazz club feel. Few more than one minute but very good, then another short: "The Empty Life Of A Dope" is a jazz track with excellent rhythmic section and a good clean guitar.

"Doo You Wah To Be A Bop" is a strange acapella choir. Just consider that everything that sounds in this album is played and sung by Gramond. The choir starts from a sort of dark classical ambience then moves to swing and scat. This explains the track title. Funny.

The title track opens electronic. It's a totally different thing. Sequenced drums and basses and a 8 notes theme made by various synths. Quite hypnotic. I like it.

Organ, operatic vocals, screams...what is it? "My Dear, My Fear" is an unexpected album closer. The weird melody accmpanied by the organ is reminding of Arzachel's "Azatoth". Nice but totally unexpected.

In brief, this short album contains godd stuff, but it's not very consistent. I mean that every track is good when taken standalone, but the mixture is disconnected. Not necessarily a defect, it depends on the listener.

Anyway, as almost all the many Gramond's albums, this is downloadable for free from Jamendo. If you have 30 minutes to spare on it, they aren't wasted.

 Les nouveaux mondes (2022) by NEMO album cover Studio Album, 2022
4.04 | 7 ratings

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Les nouveaux mondes (2022)
Nemo Eclectic Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars A hearty thank you and a merci to Anne Claire of Bad Dog Promotions for sending me this brand-new reworking of French band Nemo's debut album, in order to apply some commentary. I latched on to this remarkable group with its "Si Partie 1" recording and have been faithfully owning all subsequent releases up to the final tour de force "Coma", which turned out to be the band swan song as far as new material and live shows are concerned. Leader Jean-Pierre Louveton marches onward with his wondrous JPL project, which keeps the Nemo style going. "Nouveaux Mondes" was recorded in 2002 with JP on guitar and vocals, Guillaume Fontaine on keyboards, Benoit Gaignon was the bassist and drummer Pascal Bertrand, who left right after this one. The 'classic' line-up featured the first two with Lionel B Guichard and Jean Baptiste Itier respectively, and this, until the end. As I have never heard the debut, there will be no comparisons offered but it did receive lofty praise upon arrival on the prog scene, as its an adaptation of the literary works of none other than the celebrated Jules Verne (Nemo?). As with most French prog, the language may be an issue for the anglophone only, perhaps also the theatrical style as 'le francais' is by its very nature a flamboyant, passionate, and often ostentatious expression of words and sounds. Just treat it as another instrument, sip on your goblet of Clos Vougeot and enjoy the ride.

The epic 10-minute "Abysses" sets the tone from the outset with crunchy riffs, clever flicks of the wrist and a driving beat. As the theme is all about the ocean's netherworld, the mood is deep and overbearing, as Louveton shows off his significant talent, a master stylist who has an immediately recognisable design, somewhat akin to Alex Lifeson in that he masters the contrasts exceptionally well, his rhythm work even flashier than his solos, which he generally keeps brief and to the point. From that opener on, the flow is well crafted between softer moments, atmospheric contrasts as well as bruising tracks, often within the same track. Nothing is ever boring or mundane, always some kind of surprise lurking around the corner. The second track, "Au Dessus des Toits" is a particularly expressive journey, with stimulating sounds, loquacious vocals, and endless pleasure. Relentless, resolute, undulating and persevering are some of the words that come to mind, as "Tempete" slams into your earphones, a savage and biting guitar directs the route, as the piano twinkles and the bass line weaves a reptilian furrow in the under growth. Gloomy power strums propels the musical submarine through the harrowing gale force winds, the thunderous swells, and the swirling seas. Up and down, we go, like a liquid roller coaster that knows no respite. Some believe the moon landing is an ongoing conspiracy, well Verne went there thanks to a huge cannon, saw the 'fromage' for himself while leaping from crater to crater and may have even planted the Tricolore on some ridge. Nemo just provides the expansive musical soundtrack for such a novel concept. His repeated guitar motif is full of romantic commotion, only to be slashed by a wicked roar that sears like a moonbeam. "Dans La Lune Encore" is pure magic.

How do you like ancient history? When Bonaparte conquered Egypt in 1798, he proclaimed to his soldiers" From the heights of the Pyramids, forty centuries look down upon us". Champollion was the first to decipher the hieroglyphs and subsequently Egyptology was brought to Europe. This dynamic track "Au Dessus des Pyramides" is the most appealing and bombastic track served up by the band, an exotic soundtrack, with a slight Middle Eastern tinge, especially in the persevering guitar leads as well as the swooping violin strings. A towering monument, among the eternal Gizeh shrines.

Ready for some extreme contrasts? Speed kills they say. "Depart-Europe" is a 'fly seat of the pants' acrobatic exercise with punishing organ work from Guillaume Fontaine, wicked drum patterns and unbridled power from the exuberant guitars. "Les Fleuves Sacrees" is the exact opposite, a Sino-Japanese cadence, delicately played as if the axe is a koto, with a marimba-like foundation undulating serenely along the rice paddies, intricately steering towards some kind of internal peace. This flows right into" Luna", where the xylophones continue their voyage, only to be taken over by an obsessive guitar foray, metronomic drums (Itier is a much-underrated stickman) and a rather brilliant moonlit jam session that is both clever and inspirational, check out the Magma-esque choir section, jaw droppingly unexpected!

The title track is a piano led etude that exudes persuasive elegance, a whistled melody amid the gentle shuffling drums, only to evolve into an electric guitar tour de force of the highest quality. Back to the serene keyboard pattern and a racing dash to the horizon, where the New World lies in waiting. Tired yet? How about a little safari? "Africa" shuttles forward with marimbas, binary tribal drum beats, all expertly interwoven, as Louveton sets up the rolling bass with some wicked guitar phrasings that are elephantine and gnarly like a baobab, while the sudden appearance of cascading mellotrons really give the arrangement a cinematographic grandeur, worthy the sub-Saharan wildlife, gently fading into the glowing sunset.

"Bataille Navale" is an original 2002 bonus live track, a whopping 11-minute midnight rambler, with Gregg Rollie-like organ, Gaignon and Bertrand at the command, while Jean-Pierre lets it rip, an extended, bluesy, technical and complex solo that is very much in the blues rock tradition, with unmatched dexterity, searing passion, and articulate determination. The middle section favours a more sedate environment, all melody and atmosphere, both vivid and expressive. JP puts his foot on the pedal once again as the players are introduced with typical Gallic flair and the guitar swells into the tornado that it most certainly is. A glimpse into the beginning of this band. Lovely 77 minutes of classic science fiction themed musical adventure, 20,000 leagues under the sea.

4.5 new worlds LA FIN

Data cached

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
ALICE'S MIRROR Italy
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
ANANE Indonesia
APERCO Israel
COSTE APETREA Sweden
APPLE BELLS Poland
ARBATEL Mexico
ARDO DOMBEC Germany
AREKNAMÉS Italy
ARMADA United Kingdom
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
BABA YOGA Italy
BAD ALCHEMY United States
VLADIMIR BADIROV Uzbekistan
BAG France
DAVID BAGSBY United States
BAKU LLAMA United States
FRANCK BALESTRACCI France
BARBARO Hungary
ERIK BARON & D-ZAKORD France
BARRACUDA TRIANGLE Sweden
AL BASIM Iraq
BASTA! Italy
BATABEAT Canada
BEAR IS DRIVING United States
BEARDFISH Sweden
ADRIAN BELEW United States
CLÉMENT BELIO France
SERGIO BENCHIMOL Brazil
IL BERLIONE Japan
MICHAEL BERNIER United States
BIOCORD Ukraine
BIRDS AND BUILDINGS United States
BIZIRIK Chile
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
CABINETS OF CURIOSITY United States
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
CHILDWOOD Netherlands
CICCADA Greece
CIRCLES END Norway
EL CIRCULO DE WILLIS Spain
CIRCUS Switzerland
CIRKUS United Kingdom
THE LES CLAYPOOL FROG BRIGADE United States
THE CLAYPOOL LENNON DELIRIUM United States
COLONEL CLAYPOOL'S BUCKET OF BERNIE BRAINS United States
LES CLAYPOOL United States
BARRY CLEVELAND United States
CLOUDS ON STRINGS United States
CMU United Kingdom
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
ERIC DELAUNAY France
DEPARTMENT OF REVENGE United States
DAMJAN DEURIC Serbia
THE DEVIL'S STAIRCASE Multi-National
DIAGONAL United Kingdom
DICE Sweden
DIONYSOS Canada
DISCORDIA Finland
DISEN GAGE Russia
DISTINGUISHED PANEL OF EXPERTS Multi-National
DIZZY MYSTICS Canada
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
ECHOTEST United States
ECLECTIC MAYBE BAND Belgium
EDENSONG United States
EFECTO Chile
EL EFECTO Brazil
EKPHRASIS France
EKSEPTION Netherlands
ELECTRIC MUD Germany
ELEKTRYK BESTIA United States
EMMETT ELVIN United Kingdom
EMERGENCY EXIT France
EMPATHI Thailand
EMPTY SPACE ORCHESTRA United States
EPIC TANTRUM United States
EPIDERMIS Germany
ERE G Canada
ESPERANTO Multi-National
ESTHEMA United States
ET CETERA Canada
EVELINE'S DUST Italy
EXCESSIVE VISAGE Germany
EXCLUSIVE RAJA France
EXODUS TO INFINITY United States
EXPERIMENTAL Chile
EXPERIMENTAL QUINTET Romania
LOS EXPLORADORES Norway
FAMILY United Kingdom
FANTASIA Finland
FERVENT SEND Multi-National
FETUS MAXIMUS Finland
OLIVIER FEUILLERAT France
FIFTH SPECIES United States
FINNEUS GAUGE United States
FISSION TRIP United Kingdom
FLASH United Kingdom
FLÄSKET BRINNER Sweden
FLIGHT United States
THE FLOCK United States
HUGO FLORES Portugal
RACHEL FLOWERS United States
FOND OF TIGERS Canada
FONDERIA Italy
FOXTROT Norway
FRAMUS 5 Czech Republic
FRATERNITY Australia
FREN Poland
FRIENDSHIP TIME Sweden
ROBERT FRIPP United Kingdom
FROM.UZ Uzbekistan
FRUMPY Germany
FUN MACHINE United States
FUSIOON Spain
FUZZ PUDDLE United States
THE GAK OMEK United States
GALAAD Switzerland
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RON GEESIN United Kingdom
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GEPH United States
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JEAN-PHILIPPE GOUDE France
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PATRICK GRANT United States
GRATTO United States
THE GREATEST SHOW ON EARTH United Kingdom
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GREEN ASPHALT Sweden
GREYLYNG United States
GRIOT Portugal
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HEADSHEAR United States
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THE HIGH FIDELITY ORCHESTRA Mexico
HOBO Yugoslavia
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HOKR Czech Republic
THE HOLY FAMILY United Kingdom
HOME United Kingdom
HOMÍNIDO Chile
HOUSE OF USHER United States
HUNE Canada
ICED INK United States
ICHTHYANDER DAD'S ONLY DOLPHIN Ukraine
IKARUS Germany
ILLŔCHIME QUARTET Italy
ILLUSION United Kingdom
IMAGES France
IMMORTAL ONION Poland
IN ABSTRACKTO Mexico
INFINIEN United States
INISTEKAR Canada
INNER LIGHT ORCHESTRA Finland
INSTANT CURTAIN Italy
INTERFACE Japan
INTERPOSE+ Japan
THE INVINCIBLE CZARS United States
ISKANDER Germany
ISLAND Switzerland
ISOBAR United States
IT United States
IT'S THE END Norway
IVIRON Germany
IX Venezuela
IXT ADUX United States
JANOS VÁRGA PROJECT Hungary
JAPANSKI PREMIJERI Croatia
JEAVESTONE Finland
JOY UNLIMITED Germany
JULIAN'S TREATMENT United Kingdom
JUNE CLEAVER AND THE STEAK KNIVES United States
KARMABLUE Italy
KASKADEUR Germany
KATAYA Finland
KEOR France
KHARMINA BURANNA Peru
KIDS EAT CRAYONS Canada
KIKU LATTE / CICHLA TEMENSIS Japan
KING CRIMSON United Kingdom
KLOTET Sweden
KOIAK Chile
KOLORS OF ZOUND Austria
KOMARA Multi-National
KORPUS 2 (Корпус 2) Russia
KRACQ Netherlands
KRAKEN IN THE MAELSTROM Italy
KROMLECH Mexico
KTU Multi-National
KTZAT ACHERET Israel
KULTIVATOR Sweden
KUMORIGAHARA Japan
KWADRAT Poland
KYTAJA Finland
LAPLACE Argentina
LALLE LARSSON Sweden
LASER PACE United States
THE LAZE United Kingdom
LAZULI France
LEMURYA France
LETHEAN Italy
THE LIGHT IN THE OCEAN United States
LIND Germany
BJORN J:SON LINDH Sweden
LIZARD Poland
LOBSTER NEWBERG United States
LOCOMOTIV GT Hungary
THE LONG HELLO United Kingdom
LOST KITE Sweden
LUARVIK LUARVIK Estonia
LUCIFER WAS Norway
LUCY Brazil
LUX TERMINUS United States
MA BANLIEUE FLASQUE France
MACHIAVEL Belgium
MAD FELLAZ Italy
MAELSTROM Canada
MAGICAL PLANETS United States
MAHOGANY FROG Canada
MAJOR PARKINSON Norway
MAKAJODAMA Sweden
MAKKIWHIPDIES United States
MAMMUT Germany
MAN ON FIRE United States
MANFRED MANN'S EARTH BAND United Kingdom
MANNING United Kingdom
MANTIS ATEA Mexico
MAQAMA Israel
MARSUPILAMI United Kingdom
MASTERMIND United States
MASTERS OF DECEIT United States
MAYBE Argentina
ME EL-MA Israel
THE MEDICINE CABINET United States
HAI MEIRZADH Israel
MEN OF LAKE Italy
METAPHYSICAL ANIMATION United States
METROGNOM Norway
MICHIRU Japan
MIMEDYR Norway
JOHN MINER United States
MINI (TÖRÖK ÁDÁM & MINI) Hungary
MINIMUM VITAL France
MARCO MINNEMANN Germany
MIRTHRANDIR United States
MISSIGNO Greece
KIMIO MIZUTANI Japan
MOJO POJO Venezuela
MOONPARTICLE Multi-National
MORAINE United States
EDUARDO MORENO Spain
MÖRGLBL France
STEVE MORSE BAND United States
MOSER WOODS United States
MOTORPSYCHO Norway
MOUTH Germany
MR. EUPHORIA United States
MR. HYDE Chile
DOMINIK MÜLLER Germany
MUSICA FICTA Israel
N.Y.X Italy
NAPRA Hungary
NARAJAMA Czech Republic
NARANJA MECANICA Cuba
NARR France
THE NATURAL MYSTIC Italy
NAU ALETHEIA Argentina
NEBYLO NÁS PěT Czech Republic
NECROMONKEY Sweden
NEMO France
NEMO France
NÉODYME Canada
NEOGRASS Norway
NEUTRONS United Kingdom
NEWCROSS United States
NICE BEAVER Netherlands
CZESŁAW NIEMEN Poland
NIL France
NOISE IN YOUR EYE United Kingdom
NOT A GOOD SIGN Italy
NOVA Finland
NURT Poland
OBLIVION SUN United States
OBSKYR Sweden
OCTOHPERA Brazil
ODD JOHN HAWKINS Puerto Rico
ODYSSEE Germany
OGO DYS Sweden
RYO OKUMOTO Japan
OMIE WISE Portugal
OMNIPOTENT YOUTH SOCIETY China
THE OPEN WINDOW United States
OPERATION: MILKSNATCH United States
ORDER OF THE LIVING Finland
ORGIYA PRAVEDNIKOV Russia
ORIGINS United States
ORNE Finland
OS MUNDI Germany
THE OTHELLO SYNDROME United Kingdom
OUT OF THE BEARDSPACE United States
OZ URUGULU Switzerland
PAJARO Argentina
PALEY'S WATCH United Kingdom
PANDORA SNAIL Russia
HET PANDORRA ENSEMBLE Netherlands
PANGÉE Canada
PEANUT BRITTLE SATELLITE United States
PEGGY'S LEG Ireland
THE PENGUIN CAFE ORCHESTRA United Kingdom
PENTWATER United States
THE PEROTIC THEATRE Germany
PHARNAL France
PHILHARMONIE France
PINGVINORKESTERN Sweden
BRUNO PITCH France
THE PITTS MINNEMANN PROJECT United States
PIXIE NINJA Norway
PLAMP Switzerland
PLAT DU JOUR France
PLATURNO Chile
POETICA IN SILENTIO Netherlands
PONDUS Sweden
LAURI PORRA Finland
POSTURES Sweden
VYACHESLAV POTAPOV Kazakhstan
NOLAN POTTER'S NIGHTMARE BAND United States
JEAN-PAUL PRAT France
PRAXIS Mexico
PRAZSKY VYBER Czech Republic
PREFERS TO HIDE IN THE DARK Various
PROCOSMIAN FANNYFIDDLERS Norway
PROFIL Germany
PROFUSION Italy
PROGRES 2 Czech Republic
PROMETHEAN Finland
PROMETHEUS United States
PROPORTIONS Multi-National
PROTOFONIA Brazil
PSI VOJACI Czech Republic
PSICOTROPIA Spain
LA PURA REALIDAD Mexico
PURGE SOLENOID United States
QUAKER Argentina
QUARTETO 1111 Portugal
QUESO SAGRADO Mexico
ARNAUD QUEVEDO & FRIENDS France
QUILT Canada
QUODIA United States
RACHEL'S BIRTHDAY Germany
SIMON RAILTON United Kingdom
RAW MATERIAL United Kingdom
DENNIS REA United States
REDD Argentina
THE REDZEN Italy
THE REFORMATION United States
EL RELOJ Argentina
REPLIKAS Turkey
RING United Kingdom
RITRATTO DI UN MATTINO Italy
OMAR RODRIGUEZ-LOPEZ Puerto Rico
ROOTS OF CONSCIOUSNESS United States
LA ROSSA France
ROZMAINSKY & MIKHAYLOV PROJECT Russia
RTFACT Multi-National
ANDRES RUIZ Argentina
THE RUNNING MAN United Kingdom
SACCHARINE TRUST United States
SAHARA Germany
SANHEDRIN Israel
SARCOPHAGUS NOW Sweden
SBB Poland
LUCA SCHERANI Italy
SCHIZOFRANTIK Germany
SCYTHE Germany
THE SEA WITHIN Multi-National
SEAMUS France
THE SEASON STANDARD Germany
SENOGUL Spain
SEVEN IMPALE Norway
SFILTROM Slovenia
SFINX Romania
SHAMBLEMATHS Norway
SHESHET Israel
SHINSEKAI Japan
DAMON SHULMAN United Kingdom
SILENT GRACE Ukraine
FABIOLA SIMAC Mexico
SINATLIS TSELITSADI (THE LIGHT YEAR) Georgia
RIKARD SJÖBLOM Sweden
SKALDOWIE Poland
SKE Italy
JÓZEF SKRZEK Poland
SKY United Kingdom
SLEEPY PEOPLE United Kingdom
JULIE SLICK United States
MALCOLM SMITH United States
MIRA SNELDER Netherlands
SIGMUND SNOPEK III United States
SOLAR WIND Israel
SOLUS3 United Kingdom
SOM NOSSO DE CADA DIA Brazil
SOMA PLANET Spain
SONS OF ZEVEDEUS Greece
SOPHISTREE Germany
SOUL ENEMA Israel
SPACE JUNK IS FOREVER United States
SPECIMEN13 Canada
SPEKTAKEL Germany
THE SPIRIT OF CHRISTMAS Canada
SPIROSFERA Italy
SPRING United Kingdom
SPROINGG Germany
SQUINTALOO Germany
ST. HELENA Norway
STA IMA? Croatia
STAN D'ART Poland
STAR PERIOD STAR United States
STELLA LEE JONES Japan
STICK MEN United States
STIMPY LOCKJAW United States
JEREMY STORCH United States
STORM CORROSION Multi-National
STRINGPURÉE BAND Finland
JAMES SUDAKOW United States
SUMO ELEVATOR Israel
SUNYATA Singapore
SUPERLUMINAL PACHYDERM United States
SWIFAN EOLH & THE MUDRA CHOIR Norway
SYLBAT France
SYLVIA BLISS United States
SYNCAGE Italy
SYNKOPY Czech Republic
SYRIUS Hungary
TAAL France
TAGYERIT United States
THE TANGENT Multi-National
TÁNGER Argentina
TCP United States
TELIOF Israel
TELLAH Brazil
TEN SECONDS United Kingdom
TERRENO BALDIO Brazil
THEY United States
THIEVES' KITCHEN United Kingdom
THIS ONENESS United States
THORS HAMMER Denmark
TILLISON REINGOLD TIRANTI Multi-National
TIME United Kingdom
TIME STRUCTURE France
TIN SCRIBBLE United States
TMN Switzerland
TOM'S HANK United States
TOOTSCATS Russia
TOWNSCREAM Hungary
TRAFFIC United Kingdom
I TRENI ALL'ALBA Italy
TRIODE France
TRIPCYCLE Serbia
TROYA Germany
TU United States
TULLY Australia
THE TWO HEADED EMPEROR United Kingdom
UK United Kingdom
UMLÄUT Australia
THE UNDERGROUND RAILROAD United States
URBAN NOMAD Canada
UTOPIA United States
VĆRKET Denmark
VAN DER GRAAF GENERATOR United Kingdom
LAURENCE VANAY France
JULIUS VANDERBILT United Kingdom
JEAN-CLAUDE VANNIER France
VELUDO Brazil
VINDICATION United States
THE VIRIDIAN GROOVE Venezuela
VISITOR 2035 United Kingdom
VISITORS France
VISOKOSNOE LETO Russia
VITA NOVA Multi-National
VITAL DUO France
VITKASTE Finland
VOX NOSTRA France
VOYAGER IV Germany
VU METERS Italy
VULGAR UNICORN United Kingdom
VY Puerto Rico
WALPURGIS Germany
WEJAH Brazil
WHALEPHANT Russia
WIDEPLAY Finland
WIPPY BONSTACK United States
WLUD France
WOOLLY WOLSTENHOLME'S MAESTOSO United Kingdom
WOMEGA Belgium
THE WORM OUROBOROS Belarus
ALEX WROTEN United States
WRUPK UREI Estonia
XENOGRAFT Australia
XL Finland
YEAR ONE United States
YEZDA URFA United States
YGGDRASIL Faroe Islands
YOLE France
YONIN BAYASHI Japan
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ZECHS MARQUISE United States
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ZHONGYU United States
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THE ZONE United States
ZWEITON Germany

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