Header

PROG FOLK

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Prog Folk definition

In the wake of the 60's, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. BOB DYLAN, JOAN BAEZ, WOODY GUTHRIE, JOHN DENVER, BUFFY STE-MARIE, but also the FARINA couple Richard and Mimi for the US and SHIRLEY COLLINS and EWAN McCOLL (mentor of BERT JANSCH, JOHN RENBOURN ) for the UK and HUGUES AUFRAY in France. In Quebec, there was the "Chansoniers" phenomenon among which CLAUDE LEVEILLE and FELIX LECLERC were the most popular, waking up the sleepy "Belle Province" and stand up for itself from the English rule. The English part of Canada also brought up JONI MITCHELL, LEONARD COHEN (although he was from Montreal) and NEIL YOUNG.

As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity. As DYLAN soon abandoned to style to create Country Rock with his next album, his British equivalent Scotsman DONOVAN stayed true to Folk Rock. In the US, THE BYRDS were the main promoters of the style by now, culminating with the superb "Eight Miles High" track with a lengthy (for the times) guitar solo of almost one minute. But countless other bands on the west coast, such as LOVE, JEFFERSON AIRPLANE (and later its spin-off HOT TUNA), GRATEFUL DEAD, QUICKSILVER MESSENGER SERVICE, PEARLS BEFORE SWINE, and TIM BUCKLEY all started in the folk rock realm. Even San Fran's SANTANA with its Latino traditional music and, on the east coast, NY's THE LOVING SPOONFUL had folk roots. Notwithstanding the immense popularity of SIMON & GARFUNKEL and their delicious harmonies, Folk Rock was appealing only to the rock public as the older generations turned their backs in folkies.

In the UK, following on their countrymen DONOVAN, many Scotsmen were very influent in exploring new grounds for folk rock: INCREDIBLE STRING BAND (led by Scots Palmer and Williamson) with their two highly influential albums "5000 Layers Or The Spirit Of The Onion" & "The Hangman's Beautiful Daughter" and THE PENTANGLE (led by other Scots Renbourn, Jansch and McShee and their superb bassist Danny Thompson) and its incredible fusion of folk, blues and jazz style were very instrumental in developing the style to the same extent as FAIRPORT CONVENTION and THE STRAWBS who by that time were still more conventional US "west-coast folk rock". The single artistes in folk rock became known as Folk Troubadours were also numerous and often presented a more progressive side of folk: AL STEWART, NICK DRAKE, ROY HARPER, TYRANOSAURUS REX (actually a duo of Steven Took and Marc Bolan) , JOHN MARTYN etc.

However, the real angular album that will lead to further change of Folk Rock is FAIRPORT CONVENTION's "Liege & Lief" album, that proved to be highly influential for another generation of groups: this album concentrated into electrifying seminal English traditional folk and retained that quaint Englishness taste. It is interesting to see that both leaders of FAIRPORT quit the band after this success to go their respective way: Sandy Denny to a solo folk songwriting career and Ashley Hutchings to a very traditional folk rock. By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Groups like THE THIRD EAR BAND and QUINTESSENCE relied on eastern Indian music influences and, sometimes, medieval tones. Other groups like the weird COMUS, THE TREES, SPIROGYRA, FOREST, the superb JAN DUKES DE GREY (all listed in the ProgArchives) but also TRADER HORNE, TUDOR LODGE, FOTHERINGAY, MAGNA CARTA, TIR NA NOG (all of whom could also be in the ProgArchives) were out to break new ground but with less commercial success as their predecessor. By 1972, all of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds. Such as HORSLIPS, DANDO SHAFT, STEELEYE SPAN, AMAZING BLONDEL, ALBION DANCE BAND and SPRIGUNS OF TOLGUS. Although JETHRO TULL had some definitive folk roots right from the start, their only albums that can be regarded as Prog Folk are 77's Songs From The Woods and 78's Heavy Horses. Ian Anderson (another Scots) was very keen in acoustical traditional songs. Some Folk Troubadours such as TIM BUCKLEY and JOHN MARTYN started turning records more and more axed towards fusing jazz and folk (a bit in what THE PENTANGLE were doing) , others became more and more electric and they started to be referred to as Singer Songwriters especially those with country rock influences.

In Germany, HOELDERLIN (and their fantastic debut album), EMTIDI, OUGENWEIDE, CAROL OF HARVEST, WITTHEUSER & WESTRUPP were exploring German folk while KALACAKRA , SILOAH and EMBRYO were indulging with Indian music. In South America, most notably in Chile, LOS JAIVAS (very bent upon Andean Indian music) and EL CONGRESSO (more Spanish-Latino folklore) were using folk in their rock, so much that some press talked about them referring it with the hateful term Inca Rock. In Quebec, the progressive movement exploded with the cultural identity and the Chansoniers tradition and this was carried out with LES SEGUIN and HARMONIUM and so many more. In France, many groups were out for folk rock such as RIBEIRO ALPS, TANGERINE, and ASGARD. In Spain, Flamenco playing a dominant role as well as Basque folk, TRIANA, ITOIZ and HAIZEA were the head of the movement once the Franco regime fell apart after his death.


There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists. Among the UK groups are obviously GRYPHON, GENTLE GIANT and THIRD EAR BAND, in France: MALICORNE and RIPAILLE and in Scandinavia: ALGARNAS TRADGARD and FOLQUE.


Hugues Chantraine

Current Team as at 09/06/2012

ClemOfNazareth
Kenneth Levine
Sean Trane

Prog Folk Top Albums


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

4.64 | 2290 ratings
THICK AS A BRICK
Jethro Tull
4.32 | 1745 ratings
AQUALUNG
Jethro Tull
4.23 | 219 ratings
ALTURAS DE MACCHU PICCHU
Jaivas, Los
4.17 | 954 ratings
SONGS FROM THE WOOD
Jethro Tull
4.13 | 389 ratings
FIRST UTTERANCE
Comus
4.13 | 428 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.16 | 221 ratings
GRAVE NEW WORLD
Strawbs
4.23 | 92 ratings
EZEKIEL
Itoiz
4.12 | 215 ratings
HERO AND HEROINE
Strawbs
4.17 | 132 ratings
ST. RADIGUNDS
Spirogyra
4.15 | 157 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.33 | 50 ratings
ERWARTUNG
Eden
4.09 | 236 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.03 | 831 ratings
STAND UP
Jethro Tull
4.01 | 990 ratings
A PASSION PLAY
Jethro Tull
4.12 | 106 ratings
HÖLDERLINS TRAUM
Hoelderlin
4.00 | 780 ratings
HEAVY HORSES
Jethro Tull
4.12 | 88 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
3.98 | 788 ratings
MINSTREL IN THE GALLERY
Jethro Tull
4.02 | 163 ratings
FROM THE WITCHWOOD
Strawbs

Prog Folk overlooked and obscure gems albums new


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

STONE ANGEL
Stone Angel
GUSLIAR
Pesniary (Pesnyary)
THE WATERS OF SWEET SORROW
Midwinter
NYA LJUDBOLAGET
Nya Ljudbolaget

Download (Stream) Free Prog Folk MP3


Open player in a new window

Download (Stream) Free Prog Folk MP3

Latest Prog Folk Music Reviews


 Thick As A Brick Live In Iceland by ANDERSON, IAN album cover Live, 2014
4.00 | 7 ratings

BUY
Thick As A Brick Live In Iceland
Ian Anderson Prog Folk

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

4 stars In the movie "The Other Guys", there is a running gag where Mark Wahlburg's character, a New York detective, shows off all sorts of "unmanly" skills, and explains each having been learned as a child to tease other kids. One incident has him showing off ballet moves to impress his ex-wife. The following dialogue occurs:

Allen Gamble: Hey, I didn't know you can dance. Terry Hoitz: We used to do those dance moves to make fun of guys when we were kids to show them how queer they were, okay. Allen Gamble: You learned to dance like that sarcastically? Terry Hoitz: Yeah, I guess.

It's fairly well known and documented that Ian Anderson wrote Thick As A Brick as a deliberate parody of prog rock epics, because he was annoyed by critics calling "Aqualung" a concept album. Lyrically, he takes some obvious shots at said critics, where the title comes into play, and also sends joking barbs at his own band, as well as his fans.

Ironically, Anderson's joke became one of the most loved prog tracks of all time. The lyrics, as tongue-in-cheek as they are, are fun, and although they change focus more than a little throughout the song, manage to convey an interesting trip through a family's power struggle. Musically, Anderson created memorable melodies, and a wonderfully complex symphonic piece that used recurring and evolving themes that build to one of the most satisfying climaxes of any musical genre. (excuse me while I have a cigarette)

Four decades later, Anderson decided to honor the piece with a sequel album and a world tour featuring complete performances of both albums. I'm sorry to say that circumstances prevented me from attending any of the shows in my part of the world. But at least this album serves as an historical record of the event.

The performance of Thick As A Brick 1 (as it now must be known) is spectacular. Despite the band not being Jethro Tull, which really means that Martin Barre is not there, the sound is unmistakably Tull. Florian Opahle's guitar comes close enough to Barre's performance style and tone to satisfy the nostalgic listener.

The piece itself is stretch out to over fifty minutes, mostly by extending solos, all of which are exceptional, and some rearrangements and expansions of other passages. If anything, the difficult sections are faster, tighter, and more impressive than the original.

My only complaint is a seven minute interlude in the center of the piece, I presume to give Anderson some rest, where the song stops, and Anderson extols the male members of the audience to get prostrate exams, and even coerces one member of the audience to (faked, I hope) examine another behind a screen on the stage. While (very) slightly amusing, it is not something I want to hear frequently, and edited it out of the track for my MP3 player.

The performance of the sequel is strong as well, but since the album is still new, there is little variation, other than solos on the performance.

My rating, 4.5 stars for 1, 4 stars for 2. If you love the original, and want to hear a new version, this album is a must. If you do not have TAAB2, you might want this disk instead of the studio version, as it comes with that great version of 1.

 Anastasis by DEAD CAN DANCE album cover Studio Album, 2012
3.68 | 89 ratings

BUY
Anastasis
Dead Can Dance Prog Folk

Review by TCat

4 stars After a long break, DCD return with the two main players/performers still true to form, almost as if they never took a break. This seems to me to be a more mature work. The tracks are also completely fleshed out, there are no short compositions here. The shortest one is Opium at almost six minutes. Because of this, the entire album does not seem as choppy as others. However, the overall effect from this results in a more "same-y" feel than in past albums. This is not a big negative for the album though. There seems to be a little more safeness to the tracks also. The progressiveness has been toned down somewhat throughout this recording, however, the beautiful orchestration on this makes up for that. When you listen to this, there is no doubt as to who you are listening to. I have to agree with the other reviewers here, that it seems this is a slight step back from their previous progressiveness. But, I would encourage fans to get this album because you will still love it, there are still some wonderful highlights here, especially in the last two tracks. In "Return of the She-King", Lisa's vocals seem a lot fuller and it works well for that track. Brendan's vocals in "All in Good Time" are some of the most soulful I have heard from him for quite a while. Beautiful and simple describes the last track, but not simple boring, not at all. Simple yet expressive and complex in it's own right. Definitely an excellent addition to any prog rock music collection, but not quite at that "essential" rating. Welcome back DCD, you've been missed. May there be many more albums to come!
 Songs of Love and Loss by HARPER, ROY album cover Boxset/Compilation, 2011
5.00 | 2 ratings

BUY
Songs of Love and Loss
Roy Harper Prog Folk

Review by SteveG

5 stars The creation of a lifetime. Literally. Roy Harper will be forever known as an outrageously political singer of Folk Prog songs like The White Man and Dark Cloud of Islam.

But on every album Harper has produced since his first, Sophisticated Beggar, Harper has opened up one of his veins and bled out a song from his heart stating either his adoration of or pain from a romantic relationship.

The first song from this compilation, Black Clouds, comes off Harper's first album and is followed by similar songs from his following albums and not necessary in chorographical order. But it doesn't matter as Harper, like his music, is unchanging in vocal performance and guitar playing and his ability to wear his heart on his sleeve and tell us his deepest feelings.

This album is only available at present in a 2 CD release and download.

The first thing that will strike you is the youthful photo of Harper on the CD's front cover from circa 1966 to a present photo on the inner sleeve is how much Harper has physically changed. The inner photo shows Harper with white hair, receding hairline, bespectacled and looking every bit of his 70 plus years. So you think you be in for a noticeable then versus now sonic comparison. But Roy likes to fool people and his "re-sculpturing" and remastering of these songs can only be differentiated by reading the accompanying liner notes. The sonic quality is simply amazing and is an audiophiles treat.

As far as Progressive Rock goes, the first disc is mostly solo acoustic Roy with little backing except for occasional string arrangements from the late David Bedford, on All You Need Is, or some unlisted sessions players employed by early super producer Shel Talmy (The Who, Kinks,) on North Country, that fleshs out Harper's songs of love and pathos. For those interested in what exactly Ian Anderson refers to when he points out Harper's influence on his acoustic guitar playing will see immediately what he is talking about. Generally one love and loss song follows the other in a sequence that could only make sense to Harper as it's his life. But the message is unmistakable. We have all been there and can relate. But who could open up emotionally like this man? I know of few that have managed to be able to express such emotions and feeling in song and I have been around for a while and have actually heard Bob Dylan sing before he was even famous as well as countless others who were. And none come close to Harper on such a consistent basis that you know that every song must have been an emotional rollercoaster for him record. But we have them and sometimes it's a rollercoaster for the listener. Thank God for two separate discs.

The second disc contains Harper's true Progressive Folk Rock with guest players such as Bill Bruford, Chris Spedding, Dave Cochran and the ever present Jimmy Page. The songs include such concert standards as Hallucinating Light, The Fly Catcher, Cherishing The Lonesome and the stunning On Summer Day (from Harper's most personal album Death or Glory?).

Again, the combination of Harper's remastering and the power of these songs is simply stunning and sometimes emotionally overwhelming. But this album is truly the particular work of a great artist's lifetime and you can tell it was put together by Harper with love.

If you're not into an emotional journey than this double album is not for you. But if you care for some in your Progressive Rock music then step on up. Just remember, you can listen to one disc at a time. As great as this album is, some of us have to. Five stars and have a cigar.

 L'inferno dei musici by OLOFERNE album cover Studio Album, 2014
3.81 | 5 ratings

BUY
L'inferno dei musici
Oloferne Prog Folk

Review by DrömmarenAdrian

3 stars First when I heard this record i wondered why this wasn't classified as rock progressivo italiano but after some listenings I understand it's because the music is so acoustic and modest that it is hard to consider it symphonic. The dominant use of violins and flutes adds another aspect to the music so the prog folk classification is perhaps not very wrong. I liked what I heard on this record immediately. Oloferne is an Italian band from Chiaravalle which has done four albums since 2003 and "L'Inferno dei musici" is from this year 2014. It is a short record with nine songs and the cover is beautiful. The colours remind me of the hell but it doesn't seem horrible there. I just see fine instruments.

The music is well played folk rock with happy enjoyable melodies and the vocals are sung in a pleasant way. I think I like the two first songs most. The first instrumental track is a lovely opener to this musical world and the next track shows it's also pleasant with song. The three "L'Inferno dei musici"-trakcs have nice little playful melodies which I like. I liked everything I heard on this record but I can't give it more than three stars. It is because it feels quite obvious that this music isn't striving towards the skies. The result is a bit weak in comparison with other records.

Alessandro Piccioni, Giacomo Medici, Gianluca Agostinelli, Giuseppe Cardamone and Marco Medici have done a great job with this record but perhaps they should have tried something harder. The cover of Premiata Forneria Marconi's "Impressioni di settembre" works well but a cover is a cover, and this one reminds me of the much greater PFM' version which I want to hear instead. I like the light and joyful spirit on "l'Inferno dei Musici" by Oloferne. Three strong stars!

 Bayon by BAYON album cover Studio Album, 1977
3.00 | 7 ratings

BUY
Bayon
Bayon Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars One could be excused for noting ragged demographic parallels between East Germany's BAYON and France's TAI PHONG. Both involved a national from the base country and at least one Asian member to potentially impart far eastern predilections to the mix, with Cambodian group member Sonny Thet, and guest Sam Ay Neou joining Christoph Theusner on the group's first album but not, as it turns out, their first recordings. But while TAI PHONG played conventional symphonic prog with limited absorption of overt Vietnamese influence, BAYON, at least here, is characterized by generally mellow prog folk with electrified psychedelic passages.

At times Eastern aspects can be discerned but I would not recommend the album on that basis. While it's hard to compare them to many contemporaries, at the same time their sound is not as distinguished as one might hope, tending to float by unnoticed a little too often. Still, tracks like "Cello Suite" reveal a predilection for chamber music, and the largely unadorned "Meer Und Himel" and "Sommerlied" compare favorably to the Basque boom of the time - for example -ITOIZ - as well as very early RUNRIG and even the mellower work of the Welsh BRAN. "Cherie" sports fine flute from Theusner and bolstered rhythms, suggestive of some Brazilian prog and mainstream rock of the day.

The vocals are not a strength but they do help offset the instrumental suite which turns out to be the direction they took with their most enduring work in the theme music realm. This particular closer is not as noteworthy as those which came before and would follow, being more amorphous and less pointed in its approach, but is still a worthwhile listen.

As has been noted by reviewers under "First Recordings", the role language and politics of the time cannot be underestimated, so I cannot pretend this is a comprehensive and balanced review (like all my others!) but BAYON's debut might work better if you are familiar with both and worship at the temple of that most delicate of progressive sub genres.

 Now You See Me by MOLD, COLIN album cover Studio Album, 2014
4.95 | 2 ratings

BUY
Now You See Me
Colin Mold Prog Folk

Review by tszirmay
Special Collaborator Crossover Team

5 stars Now I See You!

When considering Colin Mold's third release after 2007's "Water of Divinity" and 2012's "A Girl on Castle Steps", the latter being quite a revelation , I had to take into consideration that I was and will continue to be an ardent follower and fan of such a gifted artist, so I will be biased and totally opinionated . I relish all of his work, including the 'very raw' Kara project, his first recording adventure. Upon listening to "A Girl..." the very first time, I knew that I had found another artist that simply fit neatly into my personal conception of music, armed with a haunting voice that, simply put, resonated very deeply within my soul, for reasons that I do not and care not to understand.

While nowhere near the hyper-complex poly-rhythmic prog-rock that we all enjoy, the music of Colin Mold is utterly honest, oozing from a sensitive soul who expresses himself with a great amount of humility, originality and personality. Having been a music teacher as well as a touring member of Karnataka proves that he possesses chops and skills that are clearly beyond the ordinary. His guitar playing is exemplary, a style that is passionate and highly compact, somewhere between Steve Hackett and Iona's Dave Bainbridge, while he handles symphonic keyboards as well as occasional piano and uses the violin to heighten the effects that he wishes to depict. Lyrically, he also depends on Cindy L. Spear to provide some emphasis to Colin's picturesque yet simply expressed instrumentals, exuding just the right amount of sonic grandeur and preciousness.

But where Colin Mold really outclasses the competition in the singer-songwriter category, is his ownership of a drop-dead beautiful voice, an extremely expressive delivery as well as a tone that is plainly amazing. He sings with great passion, not just obvious skill. In our beloved genre, the level of instrumental musicianship is first rate and without any uncertainty, the cream of the rock crop. But when Greg Lake (bless his heart), still wins prog vocalist polls in 2014, you can only surmise that prog is not exactly microphone heaven! There is a paucity of truly world class voices and many otherwise stellar recordings are diminished by some rather unremarkable vocals. Colin owns a warm, suave, suggestive, passionate, fragile yet powerful tone that seems to emote very convincingly, at least to my ears. Listening to it is sheer panacea, a healing disposition that never fails to amaze and charm. In terms of comparison, let us imagine a mixture of Justin Hayward, Simon Lebon, Tony Hadley, Peter Gabriel or Chris Deburgh, not exactly a shabby crew by any standards. Regardless, I always get the impression, a rare one I must admit, that he is singing for just me, so how could I not be enthused?

Colin is one of us, a gifted man living a typical life, with all its routines, its comforts and its disappointments, especially when dealing as we must with fellow human beings, who are not always saints and often sinners. "Now You See Me" is quite appropriately titled, the music is way more vocal-centric than before, as if he decided to create something even more personal than in the past. There are 10 lovely songs on the menu, nothing too long or too brief, just perfect little nuggets that shine in the bright light of recognition and appreciation.

"Shelter" is a not a version of the Rolling Stones classic (thankfully, I dislike their music forcefully), a rollicking opener nevertheless that immediately goes for a rhythmic jugular, get the juices boiling , and as such, a perfect appetizer. Bouncy, upbeat and confident, this will get one's toes tapping in a hurry, a haunting melody and a surging vocal to prove the point.

Things get somewhat more symphonic and grandiose with "Eye of the Wind", a Celtic-tinged masterpiece that features a grandiloquent yet surly axe solo that screeches boldly, right from the opening bars. Evocative commentary on contemporary issues as 'the mystery of life unfolds again', the modern delivery seeks to appeal and it does so convincingly amid 'the dark troubled times'. Call this CNN-prog, if you wanna!

The lengthiest track is the 7 minute 23 epic "Blood on Your Hands", a moody hymn that takes no shortcuts and introduces once more some towering guitar playing of the highest order. Colin's voice is spell-binding, deeply resonating, vivid and dignified. There is a strong Gabriel feel here that only adds to the glory. The song's dynamics are thrilling, aided by some precise backing vocals, creating an ebb and flow from serene to explosive that keeps the heart beating wildly. Lovely stuff, indeed.

The gripping beauty of "Amelia- the vagabond" will waste little time in forging a profound sense of epiphany, a progressive song of the highest order that expresses brilliantly the story of the intrepid aviator who disappeared into the Pacific mist and into legend for ever after. With a solitary voice and piano (like the plane and her pilot), Colin weaves a liberating voyage of uncharted discovery and heroic adventure. The sumptuous guitar underlines the dramatic undercurrents, the sorrow of her disappearance and the ongoing mystery surrounding her whereabouts (like Malaysian Airlines 370, nothing was ever found, only further perpetuating her myth!). Tremendous symphonic adornments with dense mellotron and synth work only maintain the melancholic nature of the breathtaking piece.

The celestial "Will We Ever Return" is another scorching hymn, packing a stupendous chorus that is beyond description, as that masterful voice seeks to convince and seduce once again. Damn that man can sing! "Will we ever come back to the garden we once knew, to the paradise we left", I mean really! Simple yet effective words, no mumbo-jumbo gobbly-gook, again seared by some sizzling guitar forays that reach for the heavens. A 'longing for' ballad that luxuriates in ethereal melodicism, deeply sensitive and wrapped in a ravishing pulse. The definition of gorgeous.

"The Follower-Jonestown Lament" is the second longest piece, a harrowing essay on the power of manipulative discourse and how it can influence otherwise normal people, as historically expressed by the Jonestown mass suicide in Guyana, where 909 devout followers of Reverend Jim Jones committed suicide with Kool-Aid laced with cyanide. A harbinger of Waco, Heaven's Gate and the Temple of the Sun Order mass suicides that stunned the world. Colin spares little restraint in expressing the confusion of obedience, the steadfast belief in utopic irrational-ism and human willingness to believe in the unknown. Just a sensational prog song of the very highest pedigree.

After such a slew of rather epic, sad and forlorn material, "Blue Wings" comes across as somewhat more positive and upbeat, Colin unleashing some Oldfield like fret-board arches, the sun is out, the sky is blue. All is well in progland.

"Running Dry" is another winner, a compact, restrained and highly melodic ditty, again with a chorus that comes right out of recent Peter Gabriel, with blazing synth backdrops, aggressive guitar and loopy bass, all pushing the envelope further, finished off by some surly and twisting guitar phrasings. The lyrics again address the frail human condition and how we constantly and resoundingly find ways to screw up the lovely planet we live on, breathing the same air and yet finding ways for strife and pain to overrule. 'Can we survive?'

The title track is a total groove piece, a cool rhythm spearheads the progression of the melody, the chugging Gabriel-esque mood is even more evident with the Eastern-tinged violin and the splendid lyrics that evoke the former Genesis front-man quite reverently. The chorus is world-class mind blower, sticking madly to the pleasure nodes and giving the cortex a good sonic massage. Wiggling bass really does the convincing, propelling the mood forward. Colin peels off a bewitching solo on his trusted guitar that seals the deal in the most comfortable manner possible.

"My Celtic Home" ends this spectacular album of a high note, an obviously progressive piece that targets the uniqueness of Celtic music and how it has been influenced and how it continues to influence world music. Ornate piano and that sultry voice glide over poignant 'wild horses' lyrics, something about 'ancient stories' and 'Celtic crosses', allied with dense orchestrations and a glorious sense of pride and accomplishment. Colin anoints some violin flutters to compliment the guitar dance. Just plain brilliant, uplifting and romantic music.

Fans of recent Peter Gabriel will also enjoy this genial artist immensely, an honest, humble and original addition to the prog universe, who needs not to overplay his numerous talents and keeps everything pure and simple. The quality of the material is off the charts, a truly magnificent set of songs. Another gorgeous and highly quixotic musical adventure, the real Colin Mold has shown himself again.

5 progressive optometrists

 Ciclorama by A PRESENÇA DAS FORMIGAS album cover Studio Album, 2011
2.75 | 9 ratings

BUY
Ciclorama
A Presença das Formigas Prog Folk

Review by apps79
Special Collaborator Neo Prog Team

2 stars A Presenca Das Formigas is a Portugese ensemble from Viseu, found around brothers Andre Cardoso (guitar) and Miguel Cardoso (vocals, bass) along with Manuel Maio (violin, mandolin, vocals) and Luis Arrigo (drums).The band was awarded the Zeca Afonso Award at Festival Cantar Abril in 2009 and two years later it exhibited an expanded line-up with Cecilia Pessanha on flutes, Teresa Campos on vocals, Filipa Meneses on acoustic and electric piano along with several guests on acoustic and wind instruments.This version of the band recorded the ''Ciclorama'' album, released independently in 2011.

The basic elements of the ensemble are the clean and ethereal female vocals, the soft acoustic interplays, the folky arrangements based on traditional instruments and the overall melodious feeling towards accesible and mellow musicianship.I cannot detect much of the rumored progressive leanings of the band, apart from some interesting bass lines, vocal harmonies and calm instrumentals with a bit of richer sound.To my ears ''Ciclorama'' sounds more like a melodic Folk/Folk Rock album with a poetic atmosphere, a bit like compatriots BANDA DO CASACO or PETRUS CASTRUS' first album, displaying a physical tendency towards a nice lyricism and some slightly intricate arrangements.Another issue comes from the album's dynamics, propably the absence of electric textures or more adventurous instrumental parts are the reason for this.Otherwise this work has some doses of decent musicianship to offer to anyone in love with ethnic sounds, lots of percussion, violin, mandolin, accordion and flute in a rural and nostalgic atmosphere.There are also fair amounts of piano included, but even so the overall style is closer to the Singer/Songwriting stylings.When Miguel Cardoso becomes more active the music suddenly becomes more emphatic, unfortunately these parts are too few for this effort to be appreciated by a wider basis of Prog fans.

Portuguese Folk combined with pleasant and romantic Art Pop/Rock arrangements.Not a priority, very relaxing stuff, propably heading for the strict lines of Folk/Folk Rock fans.

 Never Since by SCARLET THREAD album cover Studio Album, 2013
4.26 | 7 ratings

BUY
Never Since
Scarlet Thread Prog Folk

Review by Matti
Collaborator Neo-Prog Team

5 stars This beautiful-covered album is the third and latest by Northern Finnish SCARLET THREAD. I haven't heard their earlier works but I read they're mostly instrumental Prog Folk. Here the vocals are by Mari Vuoritie whose bright voice resembles slightly the young KATE BUSH (but without the breath-taking depth in her expression). The instrumentation features violin, and a flautist guests on three tracks. The music is firmly both rocky and folky, with an emphasis on biting guitars, comparable to JETHRO TULL's Martin Barre. Keybaords are added only in the closing track, which is a pity: some organ and/or piano would have crowned the album's overall sound. The music is mostly written by guitarist Jani Timoniemi; lyrics are by the vocalist.

The album structure seem to favour the ideology of working each song to the maximum, instead of building bigger contrasts and arches between the tracks. This results as an evenly strong 45-minute album which at first may have some difficulties to keep the listener's mind focused. That is, the memorable highlights are not so easily found. One of my favourites is 'Tomb' thanks to the organ in it. But this "problem" may concern only the few earliest listenings, each song gets better with time. For example 'Ariadhron' placed in between tracks featuring the flute compensates that lack by the violin - which actually almost sounds like a flute!

The longest track 'An Old Dream' (8:23) is also the finest, with plenty of both flute and violin. And in it the vocals come closest to Kate Bush. 'Instrumental Agony' is a school example of a Prog Folk instrumental. Especially this track shows strong TULL influence; it could come from Songs From The Wood, if that album had violin. 'Turn into Air' is another grower, and so is the other 8+ minute track 'Under the Waters'; luckily the out-of-place vocal distortion is only briefly in the beginning.

I'm becoming more and more convinced this is a great work of British-style Prog Folk that gets better as it gets more familiar. Sadly the band is criminally unknown in Finland too, but it would be completely marketable internationally. I hope that someday I get to know their other releases, and that "Scarlet Thread will be back" as is printed below the credits. 4½ stars rounded up for the lovely cover art by Heli Loukusa.

 The Broadsword And The Beast by JETHRO TULL album cover Studio Album, 1982
3.26 | 441 ratings

BUY
The Broadsword And The Beast
Jethro Tull Prog Folk

Review by Dark Nazgul

3 stars Ha Ha! Ian dress like an elf (or a fairy or what???) emerges from the sea wawes with a long sword!!!!!

"The Broadsword And The Beast" is a special record for me because it is the first album by Jethro Tull that I have heard, many years ago. It is certainly an album of his time, characterized by an electronic sound dominated by the keyboards of Peter Vettese, and stylistically very different from other works of the band: indeed Ian Anderson has often changed the style of the band, sometimes to satisfy their own musical taste and other times based on the trends and fashions of the moment. The electronic turning point (which began with the previous album "A") is nothing more than yet another change in the style of a band in perpetual transformation.

There are great songs in this work, even if you do not reach the heights of quality of other masterpieces of the band. Beastie is a pleasant pop-rock of great impact, as well as the most delicate Pussy Willow. Clasp is a strange mixture of folk and electronics: the result could have been a disaster and instead, all in all, the song is strangely pleasant.

Fallen On Hard Times, Broadsword and Slow Marching Band are probably the most successful songs of the album, where it emerges the typical folk soul of Anderson. I really love the beautiful harmonies of Slow Marching Band, it's really a good song.

Flying Colours and Seal Driver are definitely a step lower, and in particular "Flying Colours", despite some beautiful harmonies, is full of excess of obvious self- indulgence. Watching Me Watching You is purely electronic, covered with a carpet of synthy sounds, and is not my taste. In my opinion the weakest song of the album.

Cheerio is the closer, a short but pleasant song.

It is difficult to recommend to anyone buying this album, as even the fans of Jethro Tull might not like. Anyway I do not mind because ultimately it is full of good songs and good ideas, and this in itself is an indisputable merit. Three solid stars for me.

Finally, look at the amazing cover! Another good reason to get this album. Cheerio!

Final rating: 6/10.

Best song: Slow Marching Band

 E18 Album by DETEKTIVBYRÅN album cover Studio Album, 2008
3.00 | 1 ratings

BUY
E18 Album
Detektivbyrån Prog Folk

Review by Guldbamsen
Forum & Site Admin Group Site and Forum Admin

— First review of this album —
3 stars The old twirl done anew

If you've ever visited the alluring lands of Sweden, and here I'm not simply talking about the big cities of Malmö and Stockholm, but the mighty and far reaching territories surrounding them, then you probably know the yellowish brown colours of the roads and fields. A particular trade of the countryside not unlike the shading of the red African sands that too has that endemic feel to it. Out there you find people who live like they did hundreds of years ago - off the fat of the land and always according to the ways of old.

That is a big part of what you find on this debut from the Swedish band Detektivbyrån, which quite aptly translates into the detective bureau (what?!?).... The band is firmly rooted in the traditions of old - namely the Nordic folk music, though handed over to the listener as something altogether new. Sweden is of course not at all a stranger to beefing up it's natural heritage - be that the one found in the sonic universe or the one encountered in fine dining cuisines as witnessed during recent years.

Back in the late 60s early 70s there was a strong 'movement' of scattered Swedish bands who all tried implementing the old Nordic folk twist into the cutting edge musics of psych rock, jazz and what we nowadays call prog (I'll bet you my most prized llama that prog was a complete unknown to the 1970s youth of Sweden). You could hear this trade shine through in the repertoires of Kebnekaise, Archimedes Badkar, Älgarnas Trädgård and to a lesser extent in the panoramic hands of Björn J:Son Lindh. Back then though the expression often turned into a strange, albeit wonderful cockentrice of sound - often entertaining saucy gooey psychedelics, whirling fusion wings and that oh so earthy business of folk music that makes old people twirl and dance. To my own corrupted ears the final product often mimics the adventurous feel of the one found in Germany, which is why I've often spoken of the secret Swedish Krautrock scene, slightly tongue-in-cheek though...

On E18 there is none of the aspects found in the earlier groups trying to fiddle about with the Nordic culture. On here it feels modern and crystal clean. Raw plinkering piano humming child-like melodies often echoed through the always naive and frail touch of the glockenspiel.

Even when the accordion steps in a offers up a good ol boogie, you still feel a sense of modernity shrouding it. Now whether that appears in the form of some twitchy ska rhythms, punkish naiveness, pompous symphonic player-piano stints or the purposely warped synths, you never genuinely feel transported back to a time where horses were the fastest means of transportation.

Consisting of 11 instrumental cuts E18 takes it's audience through the transparency of it's own past and delivers a different view on how the music of yore nowadays can be viewed and listened to, when cleverly woven together by the zeal and geist of young musicians with their hands deeply stuck down the trousers of their natural heritage.

So what are these cats playing to conjure up this mish mash of old n new you might be asking yourself? Well we get glockenspiel, drums, accordion, zither, electronics, music box, scissors, traktofon, secret soundbox, shoes, black box, bass, piano, Rhodes piano and pump organ. Now any band listing shoes as an instrument deserves a big fat smooch in my honest opinion. How's that for innovation eh?

Nah what all of these instruments should tell you is that the music appears highly intricate and finely stitched together through what must've been a painstakingly long time of yet another new layer to the tune - yet another take in the studio. Most of the time this album feels like a myriad of small tinkering bits flying round in all kinds of folk laden melodies, although never quite adapting a clear cut vision of where to go. That is part of it's charm but similarly also why the album can get a little tedious towards the end.

If you're looking for a modern progressive folk music with clear ties to the past yet with a fingerprint and bonkers snarl of it's own, then you could do a lot worse than contacting this talented detective bureau. I'm almost certain they'll find the butler at some point, the eternal perpetrator. 3.5 stars.

Data cached

Prog Folk bands/artists list

Bands/Artists Country
0.720 ALEACION Mexico
3 DAFT MONKEYS United Kingdom
A PRESENÇA DAS FORMIGAS Portugal
AALTO Finland
RABIH ABOU-KHALIL Lebanon
ACCOLADE United Kingdom
ADARO Germany
AFFORESTED United Kingdom
AFION Croatia
AGAPE Canada
AGINCOURT United Kingdom
AIGUES VIVES Germany
AKTUALA Italy
NICU ALIFANTIS Romania
ALMÔNDEGAS Brazil
AMANITA Italy
AMAROK Spain
AMAZING BLONDEL United Kingdom
AMBER United Kingdom
AN DRO Germany
ANACRUSA Argentina
IAN ANDERSON United Kingdom
THE ANGELS OF LIGHT United States
ANNAMY Sweden
APARECIDOS Multi-National
AQUAPLAN Finland
AQUARIUM Russia
DAN AR BRAZ France
MARCO ANTONIO ARAUJO Brazil
DAN ARBORISE United Kingdom
ARIA PALEA Italy
ARMY OF BRIARS United Kingdom
ARTSRUNI Armenia
ASGARD France
ASHADA Japan
ASHTAR Brazil
ASI SOMOS Puerto Rico
ATMAN Poland
AUCAN Argentina
AVALANCHE Netherlands
AVE SANGRIA Brazil
AZAHAR Spain
BABADAG Poland
BABY WHALE Multi-National
BAMBIR / THE BAMBIR Armenia
BANDA DO CASACO Portugal
A BARCA DO SOL Brazil
BARR Sweden
TOMAS BATISTA Argentina
BAYON Germany
BEAT CIRCUS United States
BEDEDEUM Italy
BERNARD BENOIT France
BLACKMORE'S NIGHT United Kingdom
BLOPS Chile
BLUEHORSES United Kingdom
BOULE DE SON Canada
BRAN (BRÂN) United Kingdom
BREAD LOVE AND DREAMS United Kingdom
BRECHE Canada
PAUL BRETT United Kingdom
BRÖSELMASCHINE Germany
BUCIUM Romania
TIM BUCKLEY United States
VASHTI BUNYAN United Kingdom
C.O.B. United Kingdom
CAEDMON United Kingdom
CALIBAN United States
CÁLIX Brazil
CAMELIAS GARDEN Italy
CAN AM DES PUIG Multi-National
CANDIDATE United Kingdom
CANO Canada
CANZONIERE DEL LAZIO Italy
MARCELLO CAPRA Italy
CARMEN United Kingdom
CARNASCIALIA Italy
CAROL OF HARVEST Germany
GIAN CASTELLO Italy
PHILIPPE CAUVIN France
CHAC MOOL Mexico
CHALIBAUDE France
CHERCHE-LUNE France
CHIMERA Netherlands
CHRYSALIDE France
CIRCULUS United Kingdom
CLOGS Multi-National
COMUS United Kingdom
CONGREGACION Chile
CONGRESO Chile
CONNIVENCE Canada
CONTRALUZ Argentina
CONVENTUM Canada
CORDE OBLIQUE Italy
DAVE COUSINS United Kingdom
CREMATORIUM Russia
CRYSTAL PHOENIX Italy
CRYSTAL THOUGHTS Greece
CURRENT 93 United Kingdom
DAEMONIA NYMPHE Greece
DANCER United Kingdom
DARNAKES Greece
DAWNWIND United Kingdom
DEAD CAN DANCE Australia
DECAMERON United Kingdom
THE DECEMBERISTS United States
DEMI-HEURE Canada
DETEKTIVBYRÅN Sweden
DIEGO DE MORON Spain
DODSON AND FOGG United Kingdom
DR. STRANGELY STRANGE Ireland
DULCIMER United Kingdom
DUN AENGHUS Multi-National
DUNWICH Italy
JUDY DYBLE United Kingdom
EDEN Germany
ELANE Germany
ELFONIA Mexico
EMERAUDE France
EMTIDI Germany
ENBOR Spain
ENGEL (MIGUEL ANGEL DE LA LLAVE JIMENEZ) Spain
L' ENGOULEVENT Canada
ROBERT ERDESZ Hungary
ERGO SUM Chile
ERROBI Spain
ESPERS United States
ETERNIDAD Argentina
LA FAMIGLIA DEGLI ORTEGA Italy
FARAWAY FOLK United Kingdom
FARPOINT United States
FAUN Germany
FAUN FABLES United States
FAUNS Germany
FAVERAVOLA Italy
FEATHERS United States
FERN KNIGHT United States
FIABA Italy
FIORI-SÉGUIN Canada
FLAIRCK Netherlands
FLIBBERTIGIBBET South Africa
FLOR DE LOTO Peru
I FOLLI DI DIO Italy
FOLQUE Norway
FORENINGEN TIL LIVETS BESKYTTELSE Denmark
FOREST United Kingdom
FORSETI Germany
FRACTAL (CHILE) Chile
FRAGUA Spain
FRED United States
FRESH MAGGOTS United Kingdom
FUCHSIA United Kingdom
FUREKÅBEN Denmark
GAIA CONSORT United States
GALADRIEL Australia
GALAHAD Germany
GALLERY United Kingdom
GARMARNA Sweden
GAROLOU Canada
THE GENTLE SOUL United States
THE GHOST United Kingdom
GJALLARHORN Finland
GLAZ France
GORGO Ukraine
GRAAL France
LARKIN GRIMM United States
GROVJOBB Sweden
GROWING DREAM Canada
GRYPHON United Kingdom
GUALBERTO Spain
GURNEMANZ Germany
GWERZ France
HAIZEA Spain
ROY HARPER United Kingdom
HAWK South Africa
HAZARI Yugoslavia
L' HERBA D'HAMELÍ Spain
HEXVESSEL Finland
HOELDERLIN Germany
HORIZONTE Argentina
HORSLIPS Ireland
IBIO Spain
ILOUS & DECUYPER France
BRIAN IMIG United States
IN THE LABYRINTH Sweden
THE INCREDIBLE STRING BAND United Kingdom
INDACO Italy
IONA United Kingdom
IRAKLIS Greece
ITHACA United Kingdom
ITOIZ Spain
ITZIAR Spain
IZUKAITZ Spain
JACK O' THE CLOCK United States
LOS JAIVAS Chile
JAN DUKES DE GREY United Kingdom
BERT JANSCH United Kingdom
JESTER United Kingdom
THE JESTERDAYS Greece
JETHRO TULL United Kingdom
NIGEL MAZLYN JONES United Kingdom
JOX France
JUSTINE Multi-National
KAAMOS Finland
KADWALADYR France
KARNATAKA United Kingdom
CHRIS KARRER Germany
KATALENA Slovenia
KEBNEKAISE Sweden
KERRS PINK Norway
KLADIVO KONJ IN VODA Slovenia
KOLINDA Hungary
ATTILA KOLLAR Hungary
KONTRABURGER Poland
KORMORÁN Hungary
KOSMOS Finland
BRUCE LAMONT United States
JÉROME LANGLOIS Canada
LAURELIE Belgium
LEAFBLADE United Kingdom
PERRY LEOPOLD United States
BENITO LERTXUNDI Spain
LI TROUBAIRES DE COUMBOSCURO Italy
LISA O PIU Sweden
LISKER Spain
LONG LIVE DEATH United States
LOT LORIEN Bulgaria
LOUDEST WHISPER Ireland
CLARE LOUISE France
LUMSK Norway
MADDEN AND HARRIS Australia
MAGDALENA Spain
MAGMA Argentina
MAJA DE RADO & PORODICNA MANUFAKTURA CRNOG HLEBA Yugoslavia
MALICORNE France
BRIAN MALONE United States
MARLBORO MAN Hungary
JUAN MARTIN Spain
JOHN MARTYN United Kingdom
MARY JANE United Kingdom
MASHMAKHAN Canada
LE MATCH Canada
SHELAGH MCDONALD United Kingdom
ME AND MY KITES Sweden
MELIMELUM Argentina
MELLOW CANDLE Ireland
THE MERLIN BIRD Australia
MESSENGER United Kingdom
MIDLAKE United States
MIDWINTER United Kingdom
MIRANDA SEX GARDEN United Kingdom
DRAGO MLINAREC Yugoslavia
MOĞOLLAR Turkey
COLIN MOLD United Kingdom
MONSEIGNEUR Switzerland
MONTREAL Canada
MORMOS United States
THE MORRIGAN United Kingdom
MOSTLY AUTUMN United Kingdom
MOTIS France
MOURNING PHASE United Kingdom
MOVING HEARTS Ireland
MR. BROWN Sweden
MR. TOAD Israel
MUNDI DOMINI Canada
MUSHROOM Ireland
NANCY ELIZABETH United Kingdom
NIRGAL VALLIS Mexico
THE NOCTURNES United States
NOMADS OF HOPE Sweden
MICHEL NORMANDEAU Canada
NORTH SEA RADIO ORCHESTRA United Kingdom
THE NOVA PROJECT United States
NUEVO MEXICO Mexico
NUIT CALINE A LA VILLA MON REVE Belgium
NYA LJUDBOLAGET Sweden
GAVIN O'LOGHLEN & COTTERS BEQUEST Australia
O.W.L. United States
OBERON United Kingdom
OCTOBER PROJECT United States
OLOFERNE Italy
OMNI Spain
OPEN EYE BAND Finland
ORFANADO Italy
ORYZHEIN Canada
OUGENWEIDE Germany
P. G. SIX United States
PAN-RA Germany
PARADOX Poland
EMMANUELLE PARRENIN France
PARZIVAL Germany
PASTORAL Argentina
PATANGA Germany
JEAN LUC PAYSSAN France
PEARLS BEFORE SWINE / TOM RAPP United States
THE PENTANGLE United Kingdom
PERERIN United Kingdom
LINDA PERHACS United States
PESNIARY (PESNYARY) Belarus
PHOENIX Romania
PIERROT LUNAIRE Italy
PIIRPAUKE Finland
PLANKTON WAT United States
POSITIVE WAVE Finland
PRINCIPAL EDWARDS MAGIC THEATRE United Kingdom
PROVIDENCE United States
PRUDENCE Norway
PTARMIGAN Canada
THE PUDDLE JUMPERS United States
QUICKSAND United Kingdom
QUINTETO ARMORIAL Brazil
RABBIT RABBIT (CARLA KIHLSTEDT & MATTHIAS BOSSI) United States
RADA & TERNOVNIK (THE BLACKTHORN) Russia
RAGNARÖK Sweden
RAMASES United Kingdom
RASPUTINA United States
REBEKKA Germany
RED JASPER United Kingdom
REIFROCK Germany
REVERIE Italy
RIPAILLE France
RITMIA Italy
ROGER RODIER Canada
KARI RUESLATTEN Norway
RUJA Estonia
S VREMENA NA VREME Yugoslavia
SAD MINSTREL Italy
SAGA DE RAGNAR LODBROCK France
SAINT JUST Italy
SAKRE Spain
THE SALLYANGIE United Kingdom
SCAPA FLOW Finland
SCARLET THREAD Finland
SECRET GREEN United Kingdom
SEDMINA Yugoslavia
GILLES SERVAT France
SHANNON France
SHAVE THE MONKEY United Kingdom
SHIDE & ACORN United Kingdom
SHINE DION Norway
SILMARIL United States
SINDELFINGEN United Kingdom
SINTESIS Cuba
JIMI SLEVIN Ireland
SMELL OF INCENSE Norway
SOFT HEARTED SCIENTISTS United Kingdom
SORNE United States
SPARIFANKAL Germany
SPIRES THAT IN THE SUNSET RISE United States
SPIROGYRA United Kingdom
SPRIGUNS (OF TOLGUS) United Kingdom
STACKRIDGE United Kingdom
VLATKO STEFANOVSKI Macedonia
ALAN STIVELL France
STONE ANGEL United Kingdom
STÓRSVEIT NIX NOLTES Iceland
STRANGE DAYS United Kingdom
STRAWBS United Kingdom
PEKKA STRENG Finland
STRING CHEESE United States
STRING DRIVEN THING United Kingdom
SUBURBANO Spain
SUBWAY Multi-National
SÜNDENFALL II Germany
SUPAY Peru
SUR PACIFICO Chile
SUSSITA Israel
SYNANTHESIA United Kingdom
TALAMASCA United States
TALITHA QUMI Romania
TAMALONE Netherlands
TAMARUGO Chile
TANGERINE France
TARENTULE France
LOU MAXWELL TAYLOR United States
TEA AND SYMPHONY United Kingdom
TEMPEST United States
TENHI Finland
TERRA MYSTICA Slovenia
BOB THEIL United Kingdom
THE THIRD ESTATE United States
THISTLETOWN United Kingdom
THORK France
THURSAFLOKKURINN Iceland
TIR NA NOG Ireland
TIRILL Norway
TORNAOD France
TRADER HORNE United Kingdom
TREES United Kingdom
THE TREES COMMUNITY United States
TREMBLING BELLS United Kingdom
TRI YANN France
TRIO DAG Yugoslavia
TROCARN Switzerland
TROISIÈME RIVE France
TROISSOEUR Belgium
TUATHA DE DANANN Brazil
TUDOR LODGE United Kingdom
TUIMA Finland
TUNEFISH Germany
TURQUOISE Poland
TUSMØRKE Norway
TYRANNOSAURUS REX (NOT T. REX) United Kingdom
U I BLUE United States
UDRAYA France
UNCLE DIRTYTOES United States
UNGAVA Canada
UNITED BIBLE STUDIES Ireland
STEVE UNRUH United States
UQBAR Argentina
US AND THEM Sweden
VEGA Spain
VIIMA Finland
VOICE OF THE SEVEN WOODS United Kingdom
JUNE WALLACK Canada
WATER INTO WINE BAND United Kingdom
WATERTOUCH Sweden
THE WAY WE LIVE United Kingdom
LEAH WAYBRIGHT United States
WERWOLF Germany
ROBIN WILLIAMSON United Kingdom
WITTHUSER AND WESTRUPP Germany
WOVEN HAND United States
WURTEMBERG France
WYRDGENES United Kingdom
GABRIEL YACOUB France
YAVANNA Germany
YGGDRASIL Germany
YOKE SHIRE United States
YOU AND I Hungary
ZAGUAN Spain
ZARTONG Armenia
ZAUBER Italy
ZEIT Italy
ZLYE KUKLY Israel
ZRNI Czech Republic
ZYWIOLAK Poland

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | GeoIP Services by MaxMind | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — the ultimate jazz music virtual community | MetalMusicArchives.com — the ultimate metal music virtual community


Server processing time: 0.20 seconds