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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 07/10/2016

Rob (Epignosis)
Sagi (Sagichim)
Logan (thellama73)
Kevin (Magnum Vaeltajas)

Eclectic Prog Top Albums


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

4.61 | 3689 ratings
IN THE COURT OF THE CRIMSON KING
King Crimson
4.54 | 2901 ratings
RED
King Crimson
4.49 | 1757 ratings
GODBLUFF
Van Der Graaf Generator
4.42 | 2478 ratings
LARKS' TONGUES IN ASPIC
King Crimson
4.42 | 1873 ratings
PAWN HEARTS
Van Der Graaf Generator
4.35 | 1438 ratings
IN A GLASS HOUSE
Gentle Giant
4.31 | 1413 ratings
H TO HE, WHO AM THE ONLY ONE
Van Der Graaf Generator
4.30 | 1335 ratings
THE POWER AND THE GLORY
Gentle Giant
4.29 | 1651 ratings
OCTOPUS
Gentle Giant
4.29 | 1296 ratings
STILL LIFE
Van Der Graaf Generator
4.32 | 726 ratings
THE SILENT CORNER AND THE EMPTY STAGE
Hammill, Peter
4.28 | 1283 ratings
FREE HAND
Gentle Giant
4.25 | 1291 ratings
ACQUIRING THE TASTE
Gentle Giant
4.23 | 1209 ratings
VOYAGE OF THE ACOLYTE
Hackett, Steve
4.27 | 463 ratings
ANABELAS
Bubu
4.27 | 415 ratings
BANTAM TO BEHEMOTH
Birds And Buildings
4.26 | 362 ratings
MEMENTO Z BANALNYM TRYPTYKIEM
SBB
4.20 | 645 ratings
SLEEPING IN TRAFFIC - PART TWO
Beardfish
4.16 | 750 ratings
SPECTRAL MORNINGS
Hackett, Steve
4.12 | 1855 ratings
LIZARD
King Crimson
4.30 | 202 ratings
1000 AUTUNNI
Ske
4.11 | 1651 ratings
DISCIPLINE
King Crimson
4.11 | 1062 ratings
THREE FRIENDS
Gentle Giant
4.20 | 307 ratings
BORIS
Yezda Urfa
4.19 | 310 ratings
MULTIPURPOSE TRAP
Birds And Buildings
4.16 | 400 ratings
MOTORPSYCHO AND STĹLE STORLŘKKEN: THE DEATH DEFYING UNICORN
Motorpsycho
4.23 | 214 ratings
SI PARTIE 1
Nemo
4.21 | 240 ratings
PAMIęć
SBB
4.20 | 246 ratings
COMA
Nemo
4.25 | 182 ratings
SBB [AKA: WOłANIE O BRZęK SZKłA AND SLOVENIAN GIRLS]
SBB
4.10 | 528 ratings
UK
UK
4.14 | 327 ratings
IN CAMERA
Hammill, Peter
4.05 | 892 ratings
THE LEAST WE CAN DO IS WAVE TO EACH OTHER
Van Der Graaf Generator
4.18 | 193 ratings
ZE SłOWEM BIEGNę DO CIEBIE
SBB
4.24 | 142 ratings
DETTA HAR HÄNT
Gösta Berlings Saga
4.05 | 449 ratings
SLEEPING IN TRAFFIC - PART ONE
Beardfish
4.13 | 216 ratings
TODD RUNDGREN'S UTOPIA
Utopia
4.15 | 192 ratings
DIAGONAL
Diagonal
4.10 | 259 ratings
LAST EPIC
A.C.T
4.37 | 83 ratings
NIL NOVO SUB SOLE
Nil
4.10 | 262 ratings
BARBARES
Nemo
4.09 | 245 ratings
CITY OF THE SUN
Seven Impale
4.31 | 92 ratings
ECHOES OF FALLING STARS
Daal
4.23 | 117 ratings
AEROLIT
Niemen, CzesŁaw
4.05 | 308 ratings
LADY LAKE
Gnidrolog
4.08 | 226 ratings
DODECAHEDRON
Daal
4.16 | 147 ratings
SNAFU
East Of Eden
4.20 | 121 ratings
HAIKARA
Haikara
4.06 | 257 ratings
NIGHTINGALES & BOMBERS
Mann's Earth Band, Manfred
4.04 | 308 ratings
CHAMELEON IN THE SHADOW OF THE NIGHT
Hammill, Peter
4.06 | 233 ratings
IN EXTREMIS
Days Between Stations
3.96 | 1035 ratings
THE POWER TO BELIEVE
King Crimson
4.04 | 260 ratings
THE LOW SPARK OF HIGH HEELED BOYS
Traffic
4.02 | 294 ratings
THE MUSIC THAT DIED ALONE
Tangent, The
3.97 | 560 ratings
MAMMOTH
Beardfish
4.01 | 287 ratings
SOLAR FIRE
Mann's Earth Band, Manfred
4.13 | 129 ratings
PICTURES
Island
4.20 | 97 ratings
ET CETERA
Et Cetera
3.92 | 1572 ratings
STARLESS AND BIBLE BLACK
King Crimson
3.97 | 412 ratings
DESTINED SOLITAIRE
Beardfish
4.06 | 169 ratings
DANCES OF THE DRASTIC NAVELS
Daal
4.04 | 188 ratings
NOT A GOOD SIGN
Not A Good Sign
3.98 | 312 ratings
LE SACRE DU TRAVAIL
Tangent, The
3.99 | 271 ratings
LE VER DANS LE FRUIT
Nemo
4.00 | 241 ratings
THE SANE DAY
Beardfish
3.95 | 411 ratings
+4626 - COMFORTZONE
Beardfish
3.91 | 1038 ratings
GENTLE GIANT
Gentle Giant
4.37 | 55 ratings
SHESHET
Sheshet
4.07 | 139 ratings
IMAGINARY FRIENDS
A.C.T
4.18 | 87 ratings
THE APOCALYPSE INSIDE OF AN ORANGE
Rodriguez-Lopez, Omar
4.14 | 100 ratings
MOVIN' ON
Circus
3.97 | 272 ratings
BEHIND THE SUN
Motorpsycho
4.09 | 123 ratings
SKYMIND
Taal
4.42 | 49 ratings
ONDE, QUANDO, COMO, PORQUĘ, CANTAMOS PESSOAS VIVAS
Quarteto 1111
3.96 | 289 ratings
OVER
Hammill, Peter
4.07 | 127 ratings
EVER AFTER
Sanhedrin
4.17 | 86 ratings
OF THINGS THAT NEVER WERE
Worm Ouroboros, The
4.04 | 148 ratings
SI PARTIE II - L'HOMME IDÉAL
Nemo
4.20 | 78 ratings
MARIONETKI
Niemen, CzesŁaw
4.29 | 61 ratings
SEN BALıK DEğILSIN KI
Gevende
4.16 | 86 ratings
PHANEROTHYME
Motorpsycho
4.05 | 127 ratings
MERCATOR PROJECTED
East Of Eden
4.13 | 92 ratings
STRANGE IS THIS WORLD
Niemen, CzesŁaw
4.54 | 37 ratings
PLAT DU JOUR
Plat Du Jour
4.26 | 61 ratings
KOROWOD
Grechuta, Marek
3.97 | 195 ratings
REWOTOWER
Profusion
4.12 | 90 ratings
SENNA
Mahogany Frog
4.04 | 127 ratings
ENIGMATIC
Niemen, CzesŁaw
4.05 | 109 ratings
SODOM & GOMORRAH
From.uz
4.21 | 64 ratings
DIALOG S VESMÍREM
Progres 2
3.93 | 234 ratings
THE FINEST OF MIRACLES
Ciccada
3.99 | 143 ratings
IN CASE OF LOSS..
Areknamés
3.97 | 161 ratings
IN SPITE OF HARRY'S TOENAIL
Gnidrolog
3.90 | 291 ratings
JOHN BARLEYCORN MUST DIE
Traffic
3.83 | 1838 ratings
IN THE WAKE OF POSEIDON
King Crimson
3.96 | 156 ratings
2ND HANDS
Gourishankar, The
4.17 | 63 ratings
MOTORPSYCHO + JAGA JAZZIST HORNS: IN THE FISHTANK 10
Motorpsycho
4.04 | 101 ratings
PRÉLUDE Ŕ LA RUINE
Nemo
3.92 | 205 ratings
A BLACK BOX
Hammill, Peter
3.86 | 455 ratings
GENESIS REVISITED II
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

SENNI ESKELINEN & STRINGPURÉE BAND
Stringpurée Band
NOT OF SOUND MIND
Zapotec
ZEALOTRY STERBLICHEN SCHIZOPHRENIA
Seamus
MASAL
Prat, Jean-Paul

Latest Eclectic Prog Music Reviews


 The Battle by APERCO album cover Studio Album, 2016
3.89 | 17 ratings

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The Battle
Aperco Eclectic Prog

Review by HAL

4 stars Aperco from Tel Aviv, Israel presents themselves with their self-released debut album "The Battle". The CD comes in a very nice digipack cover with embossed details on the front, and a nicely crafted booklet with lyrics and credits. Aperco is Tom Maizel (guitar and vocals), Tal Maizel (keyboards), Yuval Raz (bass) and Dor Adar (drums).

"The Battle" presents itself as sort of a concept album with repeating themes from the instrumental, almost symphonic "Intro" to the closing track "Awaken". The second track "Focused" is of course heavily inspired by Dutch band Focus, but still could be pulled off Camel's "Snow Goose" or any early Camel album for that matter. Great flute playing from guest artist Eran Teicher opens the track and ups my expectations for the rest of the albums. "Another Day to Live" continues its Camel inspiration with a beautiful guitar solo opening, before acoustic guitar introduces the first vocal part of the album, and this reveals for me the biggest downside of Aperco's music. The vocals are weak and feels partly very strained and too often offkey. The instrumental parts with more guitars, and even a sax solo from guest artist Neil Kalman, very much weigh up for the poor vocals, as the overall song writing is quite good, even if they bring very little new to the fold.

"A Call for submission" open with different voices floating in and out, before the tracks falls into the same category as the previous track with rather weak vocals and long instrumental guitar passages.

The 11 min. title track is much more varied, with more instrumental passages, incl. piano and synths. Another highlight of the album! Next follows two instrumental pieces, with "Euphoria" kicking off in up- tempo fashion, before slowing down into almost ambient territory, slowly building into a Camel inspired tune with flutes once again added. Overall, a bit dull. "Delirium Before Lunch" is more experimental with more syncopated sticks and riffs, jazzy parts and sound collages. Tracks opens and closes with a solo piano, with a short acoustic guitar added at the end. This doesn't do much to me, I am afraid.

"Dissonant Sound Within" open with a rather lacklustre vocal part, before some very nice guitar soloing from the frontman kicks in and makes the track an enjoyable experience.

"Horizon" is a short instrumental piece with flute and acoustic guitar deeply rooted in Camel territory, before the grand final "Awaken". Similar only in name to the famous closing track from Yes' "Going for the one". Getting past the vocals in the opening section, an instrumental feast with flutes, guitars and keyboards unveils, culminating with a new take on the opening theme from "Intro" and "Focused".

Comparisons with Camel is inevitable, and obviously, Gilmour-era Floyd comes to mind. I would also like to mention Norwegian band Airbag among the closest references, especially on "Dissonant Sound Within". Front man Tom Maizel performs very well on guitars, but his vocals are sadly inferior to his instrumental performance. Production is not top notch, but still decent. Somewhere between 3 and 4 stars for this one, but "The Battle" ends on a high with the closing track, which leaves me in good mood and makes me probably play this album several more times. Rounded up to 4 stars!

 Edit Peptide by BUBBLEMATH album cover Studio Album, 2017
4.95 | 2 ratings

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Edit Peptide
Bubblemath Eclectic Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars

According to the label, Bubblemath are an Eclectic Prog / Avant-Pop / Technical Metal Quintet, while Prog Archives simply call them "eclectic". In my humble opinion, they're both correct, and wrong. When I put this on the player I knew immediately what this style of music was, namely "pronk". Yes boy and girls, at long last we have a band that is determined to keep the name "Cardiacs" alive and kicking. A mere short fifteen years since the debut, the line-up (who got together in 1998) is still the same, they just had a small issues getting this finished. I'm sure they haven't' been recording full-time for the last fifteen years, but there are times when the listener wonders how on earth they managed to move from point A to point B in a song, as this is complex, tight, and completely off the wall.

Don't try to work out what time signature a certain piece of a song may be in, or what chord structure they are using, and instead just relish the total insanity and musical chaos of what is going on. They use a (fairly) straightforward musical line-up, just use the instruments in somewhat unusual manners. The quintet is Blake Albinson (electric guitar, acoustic guitar, nylon string guitar, keyboards, tenor sax, vocals), Jay Burritt (electric bass, fretless synth bass, fretless electric bass, upright electric bass, vocals), Kai Esbensen (keyboards, vocals), James Flagg (drums, percussion, vocals) and Jonathan G. Smith (vocals, electric guitar, acoustic guitar, flute, clarinet, chimes, gong, glockenspiel, xylophone, mountain dulcimer, mandolin, banjo). Yes, they all sing.

I love this album, it's just plain awesome, although I can pretty much guarantee you won't be singing any of the songs, although they somehow manage to be melodic as well as, well, weird. Zappa would love these guys, who also have a hint of Specimen 37 in what they are doing, and if you want something so far out of both normal mainstream, and the progressive mainstream, then this is going to be worth discovering.

 Barndomens Stigar by KULTIVATOR album cover Studio Album, 1981
3.83 | 69 ratings

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Barndomens Stigar
Kultivator Eclectic Prog

Review by Kaelka

4 stars "Eclectic prog", why not? But Zeuhl? Not in my ears! I'm prepared to concede that some bits and pieces may be considered, in a certain light, as having a slight Zeuhl-like feeling, but I'm sure that it's incidental and I'm ready to wage a small but consequent sum that those guys had never heard Magma (take it or leave it, there is no real Zeuhl outside of Vander's work) when they started recording this beautiful album.

No seriously folks, from the first time I discovered this wonderful lost jewel a few months ago, and on every consecutive listening until now, all I hear in "Barndomens Stigar" is the overwhelming influence of National Health (and also of Hatfield And The North, of course). No need to go too far : the first (short) piece "Haga Hastar" has a "Tenemos Roads" tempo and a Milleresque guitar solo that sounds as if it was coming straight out of Hatfield's first album. The second one "Vemod" starts with a few keyboard notes played by the swedish Dave Stewart, before the northern cousins of the Northettes (the Kultivatorettes?) start singing. And all 10 numbers (including the bonus track) include NH-inspired moments, even those with northern-folk flute parts such as "Barndomens Stigar" itself.

What have those guys become since 1980 ? It would be nice to talk to them and ask them if Miller, Stewart and Pyle have been their inspiration. I'm quite sure that was the case.

In any case, no Canterbury freak, and especially the Hatfield and National Health lovers, should miss this album.

4 enthusiastic and much-deserved stars then.

 Kamma by WHALEPHANT album cover Studio Album, 2016
4.04 | 15 ratings

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Kamma
Whalephant Eclectic Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars One of the joys of being involved in the progressive scene for more than twenty-five years, is that I am often contacted and asked if I would like to review an album by a band I have never heard of. As I am always open to new experiences (how else would you know how delicious snails can be?), I inveterately say yes. So, this is how I came across Whalephant, yet another progressive band hailing from Russia. I can remember when coming across a Russian progressive act was quite a rare event, especially pre-internet, but these days the scene seems to be exploding over there, and what I find particularly of great interest is the way that they often refuse to conform to what many people view as 'progressive', both in terms of the music they play and the instruments they use to do it.

I had a look at their website, but given it's all in Russian it may as well be Greek as I don't comprehend it, but it is possible to stream the album, watch some videos and also look at their official press photos, which show a seven person line-up. According to Bandcamp, the line-up is Nickolay Inshakoff (composer, sound producer, violin, keyboards and synthesizers), Ilia Yartsev (clarinet, synthesizers), Veronika Chagrina (guitars), Dmitry Sokolov (bass), Anna Kuryachaya (drums), Ekaterina Bakanova (vocals), Elizaveta Yartseva (violins, violas), Aleksey Zlenko (cello), Ivan Shcherbakov (didjeridoo) and Ivan Kalugin (vocals) (I know that's more than seven, but what can I say?). Yes, there is quite a mix of things going on in there. There is also a statement from the band that reads 'We hope that everyone will find himself and his story in it, notice allusions and reminders inside the track and the album as a whole. Do not look for religious or political overtones - they are not there. Listen with your heart. Immerse yourself in the soundtrack to your dreams and thoughts. Take a walk with us on your own mind'.

In many ways I find myself being reminded of Roz Vitalis, and given how highly I think of them that certainly isn't a bad thing, as they bring the kitchen sink into their style of eclectic progressive rock. Another band that springs to mind is iamthemorning, yet another Russian act that are refusing to conform to any pre-conceived ideas. Whalephant have long instrumental passages, but also have some beautiful accentless female vocals, and musically the band melds and flows so that the instruments and even the number of those playing them can vary immensely from song to song. This is very much an album for the listener to lose themselves inside, and is one that is all the better for being concentrated on by using headphones.

Yet another wonderful debut album, from a band that need discovering and heard by a much wider audience.

 The Night Siren by HACKETT, STEVE album cover Studio Album, 2017
3.75 | 78 ratings

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The Night Siren
Steve Hackett Eclectic Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars One has to admit that legendary guitarist Steve Hackett has carved out quite a career, easily the most prolific and consistent of all the former Genesis maestros. Eschewing commercial fame and fortune, this consummate artist has always remained faithful and committed to a progressive rock experience defined by his unique and pioneering style. While there are a few technician-focused fans who would want an endless revamping of his classic Firth of Fifth solo, done in 100 different variations, he is the master of his own destiny and rightly so. Thus, all his solo albums have a linear core that is his undeniable muse which explains why this, his 25th studio album, fits perfectly in the grand Hackett scheme of things. What I really enjoy the most is his allegiance to a dedicated crew who understand his vision and craft, thus supplying the perfect platform for his compositions. Master keyboardist Roger King has been around for decades, applying dense symphonic sheen to each track, the powerful Gary O'Toole's drumming has also been around for quite a span. Wind man Rob Townsend applies all forms of flute, sax and such. Throw in past contributors Amanda Lehmann, Nick D'Virgilio, Ben Fenner, Nad Sylvan, Troy Donockley and a few newcomers and you get exactly what you expect: a diversified and entertaining set list that spans a wide swath of style and sound. On the other hand, I truly miss the exotic low end presence of the masterful Nick Beggs, perhaps one of the finest bass players on the planet. The biggest difference with "Wolflight" (seen by many critics as a very similar album) is that the tracks here seems to flow one into another with nary a whimper or doubt. This is especially obvious within the first bloc of 4 tracks.

Lest we forget, Steve also sparkles on acoustic, Spanish and nylon guitar, as witnessed by a few non-electric releases that form part and parcel of his vast body of work. The opener "Behind the Smoke" is a dizzying vortex of sound and fury, belted with those Kashmir-ian symphonic cascades that conjure Far Eastern images, welded by some whirling dervish pyrotechnics that only he can muster. Wispy, cloudy, opaque and at times blustery, this is a fine opening track and an outright jewel on its own. Slight deflection into a different zone, "Martian Sea" is also very ingenious, incorporating sinewy sitar-guitar noodlings that are awe-inspiring. The James Bond-ish twang of "Fifty Miles from the North Pole" is super cool, very mindful of Phil Manzanera's magical "Listen Now" album, a unique British form of pop-prog that is sadly very understated and yet highly interesting. The atmosphere is lush and dense, a brooding sense of foreboding and I daresay, danger that is ultimately quite thrilling. There is so much genial instrumental activity here: violin, didgeridoo, trumpet, choir voices and double bass. Steve launches a series of blistering bleeds, typical of his slow-hand style, a master of simple complexity (or is it complex simplicity?). The sparkling "El Nino" recalls certain themes that wink back at the Genesis days (see if you prog sleuths can pick 'em out), as well as that main theme in Jeff Wayne's classic War of the Worlds album, the disturbingly ominous orchestrations that instill a sense of dread. There is also a brazen classical lift that many will recognize. It's all very fun.

Another bend in the road takes the listener to "Other Side of the Wall", perhaps referring to a nostalgic revisit of a 'garden wall' that started this trespassed nursery cryme that sold England by the pound until the Lamb lied down on Broadway. I, perhaps contrary to other critics, found this simple, minimalist piece quite revealing and deeply engaging. Again this segues nicely into a pleasant frolic with the flamenco-tinged "Anything but Love", not really outright prog but this is a perennial Hackett trait. He actually plays harmonica quite well and his extended electric guitar solo adds the necessary fizz to make this sparkle in the rain.

"Inca Terra" is another major highlight, a perfectly constructed prog-rock epic that encapsulates the Hackett musical credo, offering a wide panorama of stylistic twists and turns , quirky vocal harmonics, immediate melodies that need little deciphering , a gentle pace and unforeseen evolution into the deepest progressive rock recesses. Kudos here to vocalist Nad Sylvan, who really shows his mettle, crafting a convincing body of sound. But when Steve unleashes his fiery guitar, the path becomes increasingly clear, the man is quite the legend.

Discovering traditional roots has always been a Hackett tradition, so "In Another Life" offers the Troy Donockley Celtic treatment on his Uilleann pipes, firmly allied with Steve's fluid and ripping guitar lead, this piece strangely sounding almost like a Mike Oldfield composition. Lots of ebb and flow, misty melancholia and cinematic atmosphere.

The windswept "In the Skeleton Gallery" revives the oft-quoted Kashmirian essence, blushed with those slightly Saharan orchestrations, fortified by a pummeling binary pulse and some bewildering wind instrument (clarinet, I believe) work from Rob Townsend. Sinewy, bold and comforting, the track takes the listener into the upper levels of imagery and sound detail. The second section goes in an altogether different realm, an odd marching military pace amid swirling strings and a hard rock denouement that does the trick. Hackett as his most creative and spectacular, taking risks and be damned.

The sweeping euphoria of "West to East" recalls the tormented symphonics of past jewels like "In Memoriam", loaded with colossal contrasts and bombastic expanses. In many ways, archetypal of what makes Hackett an original and dedicated artist, with his very own style and with little need to dilly-dally about. Roger King again shows off his remarkable composing and arranging. The rather upbeat Floydian style is a pure skill that really hits the mark.

The album draws to an end with "The Gift", an affectionate portrayal of the patented Hackett tone, all slippery and emotional. The master of sustain and thrill. And consistently so?. A thoroughly entertaining and professional work from the guitarist who needs no more accolades, "I know what I like" and I choose to like it a lot.

4 blaring eves

 The Night Siren by HACKETT, STEVE album cover Studio Album, 2017
3.75 | 78 ratings

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The Night Siren
Steve Hackett Eclectic Prog

Review by Stiyekton

4 stars This is a good, entertaining, and interesting album that is better than Wolflight mainly because the ideas here are more developed. "Behind the Smoke," one of the highlights of the album, is a exciting, heavy song that does a great job as an opener with catchy melodies, a dark feel, and a great buildup in the middle. "Martian Sea," a song with a bit of a punk vibe, is not one of the best tracks on the album, with a chorus that is just too catchy and an instrumental section that seems like it might have just been improvised. "Fifty Miles from the North Pole" is better, with interesting singing, guitar playing, drumming, and mood changes that keep the song interesting for its seven minutes. The instrumental "El Niño" is in my opinion the best track on the album. This track is very melodic and also musically interesting with its seamless time signature changes and its signature Steve Hackett style. "Other Side of the Wall" is a less interesting track that does not really go anywhere. "Anything But Love" is a fun song with Latin influences that still manages to feel like Steve Hackett. "Inca Terra" is one of the best tracks on the album. This track just manages to pack several different styles, with good vocal melodies, interesting rhythms, and changes in atmosphere, all while still being very cohesive. "In Another Life" really just seems like a generic filler track. "In the Skeleton Gallery" is another highlight of the album, with a dark vocal section giving way to a part with a weird rhythm followed by some great guitar playing and drumming. "West to East" is a simple song with a fun, happy chorus, and the instrumental part from the first track works extraordinarily well as a part of this song. "The Gift" is an emotional ending that works well but is not one of the more memorable parts of the album. While this album does have a little bit of filler, it is overall a worthy and memorable part of Steve Hackett's career, and it is more than worth checking out.
 Acquiring The Taste by GENTLE GIANT album cover Studio Album, 1971
4.25 | 1291 ratings

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Acquiring The Taste
Gentle Giant Eclectic Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nş 119

'Acquiring The Taste' is the second studio album of Gentle Giant and was released in 1971. The dissonant counterpoint, the nearly eponymous debut peculiarity that made them renowned, has their first appearance in 'Acquiring The Taste'. On this album, each of the six musicians, alternatively, played different instruments, with a massive use of electronic keyboards that gave a nearly symphonic feature to the album. With this album Gentle Giant begins the incredible versatility of their music which explores many various genres, ranging from jazz, blues, hard rock, experimental, classical and medieval, but always in the root of the tasteful progressive rock music.

The line up on the album is Gary Green (vocals, 6 string guitar, 12 string guitar, 12 string wah-wah guitar, donkey's jawbone and cat calls), Kerry Minnear (vocals, electric piano, organ, mellotron, vibraphone, Moog piano, celeste, clavichord, harpsichord, tympani, xylophone and maracas), Derek Shulman (vocals, alto saxophone, clavichord and cowbell), Phil Shulman (vocals, alto and tenor saxophones, clarinet, trumpet, piano, claves and maracas), Ray Shulman (vocals, bass, violin, viola, electric violin, Spanish guitar, tambourine, 12 string guitar, organ bass pedals and skulls) and Martin Smith (drums, tambourine, gongs and side drum). Paul Cosh (trumpet and organ), Tony Visconti (recorder, bass drum and triangle) and Chris Thomas (moog programmer) are additional musicians that appear on the album.

'Acquiring The Taste' has eight tracks. All songs were written by Kerry Minnear and the three Shulman brothers. The first track 'Pantagruel's Nativity' is one of my favourite songs of the album and became a classic Gentle Giants' track. It's a song with continuous music and a nice melody. It has beautiful keyboards very well combined with a powerful and great guitar work. What is most impressive on this track is the use of so many musical instruments such as saxes, vibraphone, celesta, harpsichord, tympani, trumpet, clarinet and so on. The second track 'Edge Of Twilight' is one of the most avant-garde musics on the album. It's a very dark music with short vocal line, nice to hear and with a good explorative musical work. The third track 'The House, The Street, The Room' is another avant- garde music with nice melody and the exploration of strange sounds. This is one of the heaviest songs recorded by the band that at some times reminds me the typical apocalyptic sound of Van Der Graaf Generator. The fourth track is the title track 'Acquiring The Taste'. It's a very short instrumental track, another avant-garde and explorative track with some nice and catchy musical moments despite its length. The fifth track 'Wreck' is probably with 'Pantagruel's Nativity' one of the two best tracks on the album. It's a strong song with the fantastic and typical vocal harmony of the group with great and interesting musical passages especially the keyboards and guitar passages. This song reminds me 'Argus' of Wishbone Ash. The sixth track 'The Moon Is Down' is another interesting song that starts very slow but that develops into a more energetic sound. It's another song with nice and good exploratory musical passages and with a beautiful vocal work. The seventh track 'Black Cat' is the calmer song on the album but with more experimental musical passages. It has some good and interesting musical moments but it seems to me the less inspired song of the album and the weakest song on it. The eighth and last track 'Plain Truth' is a solid rock song with the typical Gentle Giant's guitar work and also with good vocal harmonies. It's probably the most accessible track on the album, the less complex and the more traditional, and less typical of them. Still, it's a solid closer for this interesting, great and surprising work.

Conclusion: This album represents a giant's step into their music, relatively to their previous eponymous debut studio album. 'Gentle Giant' represents probably their less complex musical work and it's for sure their most hard and heavy rock album. By the other hand, 'Acquiring The Taste' represents, for me, the most experimental, most discordant and most avant-garde album, in all their musical career. This album has everything that characterized Gentle Giant's music, the fusion of several and different musical styles such as rock, blues and jazz, the influence of the renaissance and medieval music and the prolific use of multi musical instruments. It's interesting to note, that in the sleeve text, the band made their declaration with the objective of defining what they wanted to do in the music: ''Acquiring The Taste' is the second phase of sensory pleasure. If you've gorged yourself on our first album, then relish the finer flavours (we hope) of this, our second offering. It is our goal to expand the frontiers of contemporary popular music at the risk of being very unpopular. We have recorded each composition with the one thought - that it should be unique, adventurous and fascinating. It has taken every shred of our combined musical and technical knowledge to achieve this. From the outset we have abandoned all preconceived thoughts of blatant commercialism. Instead we hope to give you something far more substantial and fulfilling. All you need to do is sit back, and acquire the taste''. And this is all really true.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Kamma by WHALEPHANT album cover Studio Album, 2016
4.04 | 15 ratings

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Kamma
Whalephant Eclectic Prog

Review by zravkapt
Special Collaborator Post/Math Rock Team

4 stars Whalephant is a Russian group based in Moscow and founded in 2009. The group is lead by composer Nikolay Inshakov and this is their debut album. Mostly instrumental, some songs have a female lead vocalist singing in English. The style on this album is a mix of symphonic, electronic, jazz and folk. There are the usual keyboards/drums/guitars but also strings, clarinet and what sounds like the Australian instrument the didgeridoo. Lots of great instrumental work, some of the vocal-oriented tracks are generally accessible and almost single-like. The title track opens the album with atmospheric synths. Eventually piano, arpeggioed guitars and bass take over before switching to an almost prog metal vibe.

"Windrose" is a moody, classical inspired piece. It builds in instrumentation and intensity. Nice synth solo almost halfway. Over halfway an emotional guitar solo backed by great bass playing. "On The Wing" has a nice groove to it. Good melodies as well. The highlight of the album very well may be "Daskuul." This has a great symphonic/electronic opening. Bass comes in being doubled by synths. Nice atmosphere to this track with great playing. Wordless female vocals come in over halfway. "Stay" is based on a funky riff. One of the songs featuring the operatic vocals of Ekaterina Bakanova.

"Childhood" features a children's choir, singing in Russian I believe. Musically it based mainly on piano and strings/wind instruments. Drums show up later; at first pounding, then later playing a beat. The sound and production on this album is really well done. Very good performances of interesting material. This is available on Bandcamp. I will give this 4 stars.

 Phersu by PROFUSION album cover Studio Album, 2015
3.85 | 38 ratings

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Phersu
Profusion Eclectic Prog

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

4 stars Somebody thinks that the word "Persona" derives from this strange creature names Phersu which is represented on some painting in the Etruscan tombs. Profusion is a band from the same area, even if the drummer is Georgian. Some Georgian artists are also guests in the album.

3 years fter the excellent Rewotower which contained a masterpiece song like the arrangement of the traditional Georgian "Chuta Chani", the band is back with an album which opens heavy and powerful with "Snooze". This song is catchy, vocals and guitar are remarkable, but the whole band shows an excellent technical skill. In some parts I have heard a little SPOCK'S BEARD or TRANSATLANTIC vibe, but very much harder, and thinking better, also Riverside, mainly in the instrumental parts.

Let's go track by track, then.

"Free Fall" is opened by heavy guitar and keys. Directly in the Prog-metal realm, but the singing is melodic. The main chord sequence reminds to a 60s Italian famous pop band, the EQUIPE 84. Just a concidence, because the song changes theme several times and there is a lot of different stuff inside. I must add that I reallly like the clean high- pitched voice of Luca LATINI.

"Forgettful Hero" is opened by piano, instead. A short moment of relax after two good heavy songs. There's a short intro of Gilmour-ish guitar, but it's just an illusion, as the heavyness returns quickly to introduce a folky melodic part of piano and voice. A great song, also when the heavyness comes back. The melodic lines are always catchy. There's an american band that comes to my mind: the "1974". If you have liked that band, you'll surely like this as well.

Again a piano intro, but this time "Wrinkled Maiden" is sang by one of the guests, the impressive vocalist Anita Rachvelishvili. She's capable of clean and also operatic singing. The song is one of the more melodic of the album and I think the one with the highest commercial potential, even if it can't be considered "commercial" at all.

Back to metal with "Nomen". I don't understand if some of the lyrics are just "scat" or if they are in, who knows, Georgian? There's Jakub Mietła playing the accordion and the song has a very folk vibe, so it could even be another rearranged traditional like Chuta Chani. One of the album's highlights for its complexity. I wonder how they can be on stage. Unfortunately their website doesn't report any incoming gig currently, at May 2017.

Another unexpected instrument: a harp introduces "Infinity". A keyboard maybe? good championing, in case. This song is very melodic, and it makes me think again to RIVERSIDE (I like that Polish band really a lot...is it evident?). Should the band release a single, this could be the one.

Also the speech opening of "Masquerade" is in a perfect prog-metal vein, but the guitar base is leaning more to classic rock. Of course the signature is odd, that's prog folks!

A piano intro for "Veteran". Also this song is catchy, but it's everything but trivial. Frequent signature changes, unexpectable chord sequences, pauses, an everything going ahead smoothly. My compliments to the composer(s). The piano solo interlude deserves a mention even if short.

"Vanity Fair" opening is classic prog-metal, but it proceeds with a teathrical melody. Is it only me or there's a little bit if Genesis influence? Just a little bit before the first chorus. This is another complex song, and let me specify that I have listened to the album on headphones at high volume. I am also used to relisten to the tracks while I'm writing a review, and just now I've had a quick flash of LED ZEPPELIN, too. Really an excellent album without any weakness.

Also the closing track has a piano intro. "Forbidden" has a very melodic slow start. The vocals are important. I've tried to imagine it sang b a female vocalist. It wouldn't have been that good, I think. Latini's voice fits really well in this song. A slow song, without the metal imprinting of the rest of the album is a good choice as closer, but even without distorted guitars, the choir and Latini are enough to give it an impresion of "power".

So, even if the album lacks a materpiece like Chuta Chani, is more consistent than RewoToweR in the sense that all the songs are almost of the same (excellent) level. Another excellent addition, especially if you like prog-metal.

 Gentle Giant by GENTLE GIANT album cover Studio Album, 1970
3.91 | 1038 ratings

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Gentle Giant
Gentle Giant Eclectic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nş 118

'Gentle Giant' is the self titled debut studio album of Gentle Giant. Their music tried the most daring fusion of jazz, classical and rock. The band was formed by Schulman brothers who had before joined some blues band in Glasgow. The major point of strength of the sextet were Kerry Minnear's electronic keyboards, the guitar playing by Gary Green and Philip Schulman's winds. Besides their complex scores, their sound differed from other bands especially for Derek Schulman's singing, so aseptic that in some way resembles Conservatory's solfege and Gregorian chant.

So, the line up on the album is Gary Green (backing vocals, lead guitar, 12 string guitar and flute), Kerry Minnear (lead vocals, backing vocals, keyboards, some bass, cello, synthesizer and some tuned percussion), Derek Shulman (lead vocals, backing vocals and some bass), Phil Shulman (lead vocals, backing vocals, saxophone, trumpet and recorder), Ray Shulman (backing vocals, most bass, violin, some guitar and percussion) and Martin Smith (drums, percussion and xylophone). Paul Cosh (tenor horn on 'Giant') and Claire Deniz (cello on 'Isn't Quiet And Cold?'), are additional artists that appear on the album as guest musicians.

'Gentle Giant' has seven tracks. The first track 'Giant' written by Derek Shulman, Phil Shulman, Ray Shulman and Kerry Minnear is a fantastic begin to the album. This is a truly classic progressive Gentle Giant's song very dynamic and creative. I love the way how the guitar is played and the great keyboard work made by Kerry Minnear. This is one of the best moments on this album. The second track 'Funny Ways' written by Derek Shulman, Ray Shulman and Kerry Minnear is a song completely different from the previous one. It's a mellow song more classic and acoustic with an extraordinary exploration of several musical instruments, some classic and acoustic which are fantastically married with the others, electric and more modern. It's also in my humble opinion a song with a relatively complex musical composition. This is a perfect example how these guys were absolutely unique. The third track 'Alucard' written by Derek Shulman, Phil Shulman, Ray Shulman and Kerry Minnear is, if you have noticed, 'Dracula' spelled backwards. This is an atypical song of the group because is more a hard rock influenced song. It's relatively complex and has some interesting and good instrumental musical passages and with disturbing vocals. However, this never was one of my favourite songs on the album. The fourth track 'Isn't It Quiet And Cold?' written by Kerry Minnear is a very mellow song that reminds me The Beatles and some stuff of early King Crimson's albums. The song is performed in an unplugged style with strange and delicious parts performed especially by violin and cellos. This is a song very simple and despite being a song with a very soft and nice melody this isn't one of my favourite tracks on the album too. The fifth track 'Nothing At All' written by Derek Shulman, Ray Shulman and Kerry Minnear is the biggest song on the album and is really a truly surprising track. This is another atypical song of Gentle Giant and it has practically everything. The song begins as a soft and nice acoustic ballad with melancholic harmonies, in the middle it grows as a hard and heavy rock song, then comes the curious drum solo by Martin Smith, so typical on the albums of those times, curiously with the piano of Kerry Minnear adding some nice melodies on the background and finally the song ends with the initial soft and beautiful acoustic ballad. This is one of the strangest, original, curious and interesting songs ever composed by the group, a real must. The sixth track 'Why Not' written by Kerry Minnear is in my humble opinion another high point of the album. This is a heavy Rock'n'Roll song a little bit dark and frantic with some calm and nice passages. It's worth of noting the appearance for the first time in their music, of the clear influence of the medieval music, which isn't surprising because this is a song of Minnear and he is a musician strongly influenced by those music. The seventh track 'The Queen' is a rock version of their national anthem 'God Save The Queen'. It's a short version arranged by Derek Shulman, Phil Shulman, Ray Shulman and Kerry Minnear. I've nothing special to say, unless that it reminds me Queen who did it five years later on their fourth studio album 'A Night At The Opera', a version that I personally prefer.

Conclusion: Who usually read my reviews on Progarchives, especially those who are about Gentle Giant, know that I'm a big fan of the group. Gentle Giant was one of the pioneer bands of progressive music and was also one of their biggest and best representatives. And about the album, 'Gentle Giant' is an excellent debut album. It's probably their less complex musical work and it's for sure their most hard and heavy rock album. But, we mustn't forget that this is an album of 1970 and therefore one of the first progressive rock albums in prog rock history. However, this album already have some of the main characteristics of their music like the avant-garde and experimentalism, the fusion of rock, blues and jazz, the influence of the renaissance and medieval music and the prolific use of the multi musical instruments.

Prog is my Ferrari. Jem Godfrey (Frost*)

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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
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
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
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
HAMADRYAD Canada
PETER HAMMILL United Kingdom
HANAGARIA Israel
HAPPY THE MAN United States
GAVIN HARRISON & 05RIC United Kingdom
STEVE HART United Kingdom
HEADSHEAR United States
HERD OF INSTINCT United States
HOBO Yugoslavia
HOBSON'S CHOICE United States
HOKR Czech Republic
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
INNER LIGHT ORCHESTRA Finland
INTERFACE Japan
INTERPOSE+ Japan
ISKANDER Germany
ISLAND Switzerland
IT United States
IT'S THE END Norway
IX Venezuela
IXT ADUX United States
JANOS VÁRGA PROJECT Hungary
JEAVESTONE Finland
JOY UNLIMITED Germany
JULIAN'S TREATMENT United Kingdom
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KARMABLUE Italy
KATAYA Finland
KHARMINA BURANNA Peru
KIDS EAT CRAYONS Canada
KING CRIMSON United Kingdom
KLOTET Sweden
KOIAK Chile
KOLORS OF ZOUND Austria
KOMARA Multi-National
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KRACQ Netherlands
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KROMLECH Mexico
KTU Multi-National
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KULTIVATOR Sweden
KWADRAT Poland
KYTAJA Finland
LAPLACE Argentina
LALLE LARSSON Sweden
LASER PACE United States
THE LAZE United Kingdom
LAZULI France
LEMURYA France
LETHEAN Italy
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
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
MAQAMA Israel
MARSUPILAMI United Kingdom
MASTERMIND United States
ME EL-MA Israel
THE MEDICINE CABINET United States
HAI MEIRZADH Israel
MEN OF LAKE Italy
METROGNOM Norway
MICHIRU Japan
JOHN MINER United States
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MINIMUM VITAL France
MIRTHRANDIR United States
KIMIO MIZUTANI Japan
MOJO POJO Venezuela
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
NECROMONKEY Sweden
NEMO France
NEMO France
NÉODYME Canada
NEOGRASS Norway
NEUTRONS United Kingdom
NEWCROSS United States
NICE BEAVER Netherlands
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NIL France
NOT A GOOD SIGN Italy
NOVA Finland
NURT Poland
OBLIVION SUN United States
OCTOHPERA Brazil
ODYSSEE Germany
RYO OKUMOTO Japan
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
PALEY'S WATCH United Kingdom
PANDORA SNAIL Russia
HET PANDORRA ENSEMBLE Netherlands
PANGÉE Canada
PEANUT BRITTLE SATELLITE United States
THE PENGUIN CAFE ORCHESTRA United Kingdom
PENTWATER United States
THE PEROTIC THEATRE Germany
PHILHARMONIE France
PINGVINORKESTERN Sweden
BRUNO PITCH France
THE PITTS MINNEMANN PROJECT United States
PLAMP Switzerland
PLAT DU JOUR France
PLATURNO Chile
POETICA IN SILENTIO Netherlands
LAURI PORRA Finland
VYACHESLAV POTAPOV Kazakhstan
JEAN-PAUL PRAT France
PRAXIS Mexico
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PROCOSMIAN FANNYFIDDLERS Norway
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PROGRES 2 Czech Republic
PROMETHEAN Finland
PSI VOJACI Czech Republic
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LA PURA REALIDAD Mexico
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QUAKER Argentina
QUARTETO 1111 Portugal
QUILT Canada
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SIMON RAILTON United Kingdom
RAW MATERIAL United Kingdom
REDD Argentina
THE REDZEN Italy
THE REFORMATION United States
EL RELOJ Argentina
REPLIKAS Turkey
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OMAR RODRIGUEZ-LOPEZ Puerto Rico
ROOTS OF CONSCIOUSNESS United States
LA ROSSA France
ANDRES RUIZ Argentina
THE RUNNING MAN United Kingdom
SACCHARINE TRUST United States
SAHARA Germany
SANHEDRIN Israel
SBB Poland
LUCA SCHERANI Italy
SCHIZOFRANTIK Germany
SCYTHE Germany
SEAMUS France
THE SEASON STANDARD Germany
SENOGUL Spain
SEVEN IMPALE Norway
SFILTROM Slovenia
SFINX Romania
SHAMBLEMATHS Norway
SHESHET Israel
SHINSEKAI Japan
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
SIGMUND SNOPEK III United States
SOLUS3 United Kingdom
SOM NOSSO DE CADA DIA Brazil
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SOUL ENEMA Israel
SPECIMEN13 Canada
SPEKTAKEL Germany
SPIROSFERA Italy
SPRING United Kingdom
STA IMA? Croatia
STAR PERIOD STAR United States
STELLA LEE JONES Japan
STICK MEN United States
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STORM CORROSION Multi-National
STRINGPURÉE BAND Finland
JAMES SUDAKOW United States
SUMO ELEVATOR Israel
SUPERLUMINAL PACHYDERM United States
SYLBAT France
SYLVIA BLISS United States
SYNKOPY Czech Republic
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TAAL France
TAGYERIT United States
THE TANGENT Multi-National
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TCP United States
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TELLAH Brazil
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TIME United Kingdom
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TMN Switzerland
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TRAFFIC United Kingdom
I TRENI ALL'ALBA Italy
TRIODE France
TRIPCYCLE Serbia
TROYA Germany
TU United States
TULLY Australia
UK United Kingdom
UMLÄUT Australia
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