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HEAVY PROG

A Progressive Rock Sub-genre


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Heavy Prog definition

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

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

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

- written bt Atavachron (David)

Current team members:
as at 26/10/2019

Louis (rdtprog)
Thanos (aapatsos)

Heavy Prog Top Albums


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

4.39 | 2795 ratings
MOVING PICTURES
Rush
4.37 | 2364 ratings
HEMISPHERES
Rush
4.32 | 2197 ratings
A FAREWELL TO KINGS
Rush
4.28 | 2026 ratings
PERMANENT WAVES
Rush
4.25 | 2514 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.25 | 2480 ratings
IN ABSENTIA
Porcupine Tree
4.19 | 1207 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.17 | 1130 ratings
THE MOUNTAIN
Haken
4.18 | 786 ratings
SALISBURY
Uriah Heep
4.12 | 2058 ratings
2112
Rush
4.11 | 1982 ratings
DEADWING
Porcupine Tree
4.12 | 1058 ratings
VISIONS
Haken
4.12 | 694 ratings
LOOK AT YOURSELF
Uriah Heep
4.12 | 655 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.08 | 1313 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.07 | 905 ratings
FRANCES THE MUTE
Mars Volta, The
4.07 | 760 ratings
DEMONS AND WIZARDS
Uriah Heep
4.05 | 1032 ratings
AQUARIUS
Haken
4.03 | 1478 ratings
LIGHTBULB SUN
Porcupine Tree
4.06 | 427 ratings
FROM WITHIN
Anekdoten

Heavy Prog overlooked and obscure gems albums new


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

MMOIRES INCUBUSSIENNES
ExCubus
A COMPLEX NATURE
Yang
HIGH TIDE
High Tide
ZUNDAPP
Zundapp

Latest Heavy Prog Music Reviews


 May Blitz by MAY BLITZ album cover Studio Album, 1970
3.79 | 69 ratings

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May Blitz
May Blitz Heavy Prog

Review by Psychedelic Paul

5 stars MAY BLITZ were a hurricane-force English/Canadian power trio. They recorded two albums of storming Psychedelic Rock in the early 1970's. Their first album "May Blitz" (1970), released on the renowned Vertigo label, features arguably one of the worst album covers in rock history, but you can't judge an album by its cover, so let's hope the cover is no reflection of the music contained within. The second May Blitz album, the aptly-titled "2nd of May" (1971), would be their final studio album as the trio disbanded shortly afterwards in late 1971 due to lack of commercial success and two of the band members returned to their native Canada. A retrospective Live album was released in 2012, featuring a concert recording from Essen, Germany in 1970. And so, without further ado, it's time to load up the arsenal and unleash the musical blitzkrieg of fire and fury that is May Blitz.

"Smoking the Day Away" opens the album in a swirling 8-minute-long purple haze of wispy psychedelic smoke. It's a heady and intoxicating flower-power acid trip that takes you right back to those wild and crazy, hazy lazy days of summer in San Francisco in 1967, without ever having to leave the comfort of your front room. These three guys in May Blitz have probably never been anywhere near San Francisco either, but you'd never guess that from this acid-drenched psychedelic trip. They sound like they were born to be wild within sight of the magnificent Golden Gate Bridge. They're probably in their rocking chairs by now though - if they're still around - bearing in mind this album was recorded back in a distant bygone age, half a century ago. You can almost picture yourself riding on the back of Peter Fonda's Easy Rider motorcycle whilst listening to this music, even if the sad reality is that you're more suited to riding 'round in the back of Henry Fonda's family station wagon. I don't Know about you, but I'm in the mood for some heavy Blues-Rock, and that's exactly what you get with the second song, "I Don't Know", a mean and mighty blues number, bringing to mind classic Cream, only this band sound even more raw and earthy than the Rock God power trio of Clapton, Bruce & Baker, if that's at all possible. This bluesy music is probably more similar in style to the other well-known heavy British blues trio, The Edgar Broughton Band. Our third song "Dreaming" opens as a laid-back acid-tinged excursion into a dreamy Twilight Zone world of transcendental meditation, where the hazy-voiced singer sounds like he's stoned out of his mind. Don't get too laid-back though, because the music soon goes off the rails completely - a bit like this album review - and takes us on a harum scarum wild phantasmagoric nightmare ride along the highway to hell and back, followed by a return to calmer restorative climes for the mellow flower-power peace and love conclusion. This is wonderfully heady stuff and the glorious highlight of the album so far. After "Dreaming", it's time now to wake up and smell the coffee and get ready for Side Two.

We may need to delve into the lyrics of the mysteriously-titled "Squeet" to find out what it's all about, so here goes:- "Squeet, All over a wall, Dying to have a ball, It's been too long, I feel, I feel it coming on, Squeet, all over the wall." ..... No, it still makes no sense whatsoever, but who says hazy, acid-influenced Psychedelic Rock has to make any sense anyway!? One thing's for sure, it's a real storming humdinger of a song, despite the crazy lyrics being like a riddle wrapped inside an enigma. This great song represents a perfect example of early 1970's psychedelic stoner rock long before Stoner Rock with a capital "S" had even been invented. After the wonderfully dreamy (and occasionally nightmarish) excursion of "Dreaming" on Side One, along comes "Tomorrow May Come", another hazy lazy fantasy ride aboard the brightly-painted magic bus. You can really chill out and relax to this moody and mellow music, so just close your eyes and be transported back in time to the late-1960's hippy- trail along the magnificent Golden Gate highway of dreams - and you don't even need a bus ticket to travel there. FIRE IN THE HOLE! Take cover, because it's time now for the fiery sonic outburst of "Fire Queen", a fast and furious blazing trail of Psychedelic Rock which explodes into life like a grenade and then bombs along relentlessly at full steam ahead for four solid minutes. Sensational! What we need now after that supersonic assault on the eardrums is a return to calmer seas, and that's precisely what we get with "Virgin Waters". Prepare to sail away and let the calming music wash over you in a blissful sea of dreams for this wonderful trip back in time to the psychedelic sixties. It's groovy, baby!

May Blitz have delivered a storming blitzkrieg of heavy Psychedelic Rock with this superb debut album. It's not ALL heavy and thunderous Rock though, as the album's sprinkled with a nice liberal helping of laid-back trippy tunes too. All in all, there's enough variety on offer here to keep everyone entertained, even if you're not a flower-power child of the sixties.

 Sea Shanties by HIGH TIDE album cover Studio Album, 1969
3.86 | 221 ratings

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Sea Shanties
High Tide Heavy Prog

Review by Psychedelic Paul

4 stars HIGH TIDE were a very 'eavy, very 'umble Psychedelic Rock band from England. They released eight albums over the course of four decades, although it's their ironically-titled debut "Sea Shanties" (1969) that's by far their best-known album. The album represents one of the earliest progenitors of the Heavy Metal sound and High Tide are often compared with the American Acid Rock band Blue Cheer. High Tide followed up the powerhouse "Sea Shanties" album with a self-titled album in 1970 and then took a very long hiatus before making a comeback with a new line-up in the late-1980's with an incredible run of six back to back albums in a row:- "Interesting Times" (1986); "Precious Cargo" (1989); "The Flood" (1990); "Fierce Nature" (1990); "Ancient Gates" (1990); and "The Reason of Success" (1991). And so, without further ado, let's give "Sea Shanties" a listen before the tide comes in.

HERE IS A WEATHER WARNING:- There's a storming gale of VERY HEAVY Psychedelic Rock on the way which is expected to reach Force 10 on the Beaufort Scale. Occasional gusts of very high decibels are expected! The opening blitzkrieg of storming Hard Rock and Heavy Metal thunder is titled "Futilist's Lament", and it would indeed be futile to lament the loss of sleep throughout this window-rattling sonic blast. This thunderous assault on the eardrums won't just keep you awake, it'll probably wake up the neighbours too and have them angrily banging on your door. There's no peace for the wicked (or the good) either with the next song "Death Warmed Up" as the non-stop artillery barrage of sound continues. This storming "Sea Shanty" is an unrelenting 9-minute-long pressure wave that's LOUD enough to wake the dead, never mind the neighbours, and it's probably the only time you'll ever hear a violin played on a heavy Psychedelic Rock/Metal album. Yes, really! A violin! Although you've never heard a violin played quite like this before. This even goes beyond the incredible power of Darryl Way's manic violin-playing in Curved Air. Yes, it really IS that awesome! Is this stunning album Psychedelic Rock or is it Heavy Metal? Who knows? Maybe it's some amazing new hybrid such as Psychedelic Metal. Either way, it's a remarkable album of unbridled raw power and energy. Phew! There's a bit of a breather now but not for long with "Pushed, But Not Forgotten". The song opens deceptively gently, but there's another storming outburst of Heavy Metal thunder and lightning on the way. It's not quite the storming hurricane of the first two powerful numbers, because this third song contains some gentler melodic passages, and it sounds all the better for it too. After all, thunderbolt and lightning can be very very frightening (according to Queen). This song is more like a warm gentle breeze with occasional outbursts of Heavy Metal thunder raining down, so keep an umbrella handy.

The enigmatically-titled "Walking Down Their Outlook" doesn't make a whole lot of sense, but who says LSD-influenced wild and crazy Psychedelic Rock has to make any sense anyway!? One thing's for sure though, it's another burst of raw Psychedelic Metal mayhem, featuring an absolutely maniacal violin player running rampant throughout. Who would have believed a delicate violin could ever sound so incredibly LOUD! Not Stradivari or Vivaldi, that's for sure! There's no let-up in the incredible pace of this album, so be prepared for more fireworks with "Missing Out", another 9-minute-long, non-stop fusillade of Heavy Metal cannon fire. This sonic blast explodes into life like a psychedelic shell burst bathed in glowing iridescent rainbow colours. There's more musical madness and mayhem on the way with "Nowhere", and nowhere will you find any gentle romantic ballads on this album. It's another wild and frenzied psychedelic violin ride aboard the crazy train, which brings the album to a magnificent conclusion in a storming blaze of pounding and percussive glory.

High Tide's "Sea Shanties" rides high on a great tsunami wave of thunderous raw energy and power. "Sea Shanties" they are NOT! This is a rolling wave of storming Heavy Metal thunder from beginning to end. Batten down the hatches and hold on tight because it's going to be a wild and windy ride. There's an unstoppable High Tide on its way with a Force 10 gale blowing in on this supersonic blast from the past. Come hell or high water, you won't want to miss out on the storming ballroom blitz of High Tide!

 Exclamation Mark by PESKY GEE album cover Studio Album, 1969
2.90 | 14 ratings

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Exclamation Mark
Pesky Gee Heavy Prog

Review by Psychedelic Paul

4 stars PESKY GEE were a seven-piece Jazz-Rock band who first emerged from Leicester, England in the late 1960's. Their one and only self-titled 1969 album added an exclamation mark to the band-name. Pesky Gee didn't disappear from the music scene altogether after 1969 though, because they re-invented themselves as the scary Black Widow with their stunning and controversial debut "Sacrifice" in 1970, but that's another story for another album review.

We're off to foreign parts with the album opener "Another Country", which is apparently a cover version of a song by Demon Fuzz, another equally obscure English band. It's a stirring saxophonic Jazz-Rock refrain, very similar in style to some of the other British Jazz-infused rock bands of that era, such as Affinity, Audience, Mogul Thrash, Skin Alley, Tonton Macoute and many other obscure English bands of that ilk too numerous to mention. "Another Country" is a lively up-tempo opening number to set the optimistic mood, in what promises to be a solid Rock album of Jazzy tunes, some of which may be worthy of an exclamation mark! Who knows how Pesky Gee came up with the title of our next lively instrumental Jazzy number "Pigs Foots" (also known as "trotters"), but one presumes it's because it's groovy music you can *trot* along to and jump and jive along with. Anyway, you're unlikely to sit this one out because it's a real lively foot stomper, or a toe-tapper if you're reclining on the sofa and not in the mood to get up and dance. There are spooky goings-on for our third song "Season of the Witch", a moody and hauntingly-atmospheric, bedknobs and broomsticks witches brew that's just as scary as a hollowed-out candle-lit pumpkin on the night of Halloween. "Season of the Witch" represents an eight-minute-long eerie ghost train ride that's a "phantasmic" stunning highlight of the album. It's a nightmarish cover version of the well-known 1967 song by Julie Driscoll, Brian Auger & the Trinity and it was also covered in magnificent style by the U.S. band Vanilla Fudge, who recorded their own inimitable and unforgettable version of the song in 1968. The splendid female vocalist Kay Garrett deserves a mention here too on this spooky Halloween song because this is her bright shining moment of glory in the spotlight. It's a devil of a great song too, worthy of at least two exclamation marks!! It's time to take a trip back in time to the Heartbreak Hotel now for "A Place of Heartbreak". It's a storm and thunder, all-out stratospheric rocker barrelling along at lightning speed, featuring some simply sublime harmonising from the whole septet of singers in glorious unison. This is fantastic!!!

Side Two opens with another stunning album highlight, "Where is My Mind", another great cover version of a Vanilla Fudge song. The song title sounds like a bad LSD trip, but the music is a tremendously rousing excursion which takes the listener on a soaring magic carpet ride back in time to the psychedelic sixties. In an album that's choc-a-bloc full to the rafters with great cover versions, the next "Poptastic!" classic is "Piece of My Heart", a fabulous cover of the well-known Janis Joplin and Dusty Springfield number. There's another lively Jazzy instrumental on the way with "Dharma for One", a sensational saxophonic blast from the past with the Hammond organist and pounding percussionist going hell for leather in an all-out sonic assault on the eardrums. It's Jazz, given a heavy infusion of Rock, in similar fashion to those other British Jazz-Rock greats, the Graham Bond Organisation and Ginger Baker's Air Force. There's no peace for the wicked, so they say, and there's no way you'll sleep through the next stormy breeze, "Peace of Mind". It's another sonic outburst of no-nonsense Jazz-Rock with attitude! EVERYONE will be familiar with the rip-roaring Easy Rider song to close the album, because it's one of the most famous Hard Rock songs of all time - Steppenwolf's "Born To Be Wild!" ..... so if you're in the mood for some "Smoke and lightning, Heavy metal thunder, then "Get your motor runnin', Head out on the highway", and if you're "Lookin' for adventure, Take whatever comes your way!"

This relentless non-stop artillery barrage of great cover versions of well-known songs is a real blast from the past worthy of four exclamation marks!!!! - or four stars ****

 Signals by RUSH album cover Studio Album, 1982
3.94 | 1310 ratings

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Signals
Rush Heavy Prog

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Over the course of the last few albums before "Signals", Rush had been making changes slowly, mostly unnoticed by it's audience, which by now had grown quite large. In my opinion, "Signals" signaled the biggest step in their new direction, and suddenly people were taking notice. The biggest change here was to the importance of synthesizers in the music which were utilized more now in this album than ever before. Unfortunately, the synths were being added while Lifeson's guitar was being used less. It would have been better not to have one thing at the expense of another, but, it was also the beginning of the 80's, and that was where the mainstream of rock was heading. Since The Police had seen a lot of success with more atmospheric guitars and a reggae sound, Rush also adopted that sound, but added in the layers of synths on top of that.

So, in the case of Signals, it worked to a certain extent. The band worked off of their successes with their previous hits "Tom Sawyer" and "Limelight", and fashioned their new songs off of that sound, but also toning down their heaviness by making the guitar more of a supporting instrument rather than a leading one. Sure Lifeson still got some solos in there, but nothing like before.

Rush still hit the mark with their fans with great songs like "Subdivisions", "The Analog Kid" and "New World Man" and this showed in the sales of their singles. It wasn't yet a complete wash out, but it was getting closer to that. The more streamlined and hook-less sound of "Chemistry" proved that, and the fact that the album ended on a weaker track ("Countdown") left many fans downhearted. "Chemistry" and "Digital Man" were the obvious links to the sound of The Police, and by the time Side One was over, I remember the first time I listened to it, I realized the sound had changed and that there was not going to be anything as awesome as "La Villa Strangiata" or "Xanadu" on this album. The sound was getting more like a wall of sound where no single instrument seemed to stand out, plus, no hooks in the music. On top of that, the mixing had no dynamic in it. It was just flat.

As time went on, I was able to appreciate the album a bit more, and even though it never reached the heights of previous albums, it was a failure either. I couldn't say that for later albums as enthusiastically, no matter how many listens or how much time I gave them. To me, there wouldn't be a great album until the release of "Presto", but then, I know I am pretty much outside the norm for that one.

I find that I like the first two tracks on both sides of the album better than the last two. And I like them enough to be able to boost this album above an average score. But I dislike the last two tracks on both sides enough not give it a perfect score, in fact, they are more like average fare. "The Weapon" at least holds some level of progressive sound, being more complex than the average rock song especially in the early 80s. The guitar atmospherics are quite tasteful here, and at the time, were something you didn't hear very often, or at least, not done as well. "New World Man" has always been a favorite Rush track of mine mostly because of its infectious bass and changing tempos.

I admire the fact that they utilized the violin in "Losing It" but I find the track devoid of any emotion other than that. I always have a hard time even remembering the song even right after I hear it. It just never sticks with me, and has too much of an 80s sound to it other than the violin, which is even still underutilized, drowned by the synth layers. "Countdown" to me is just an utter failure, and always has been the biggest disappointment out of all of Rush's output. It almost caused me to throw my newly purchased copy (again back in the day) out of the window of my car.

I had hopes back in the day, that Rush would find their feet again and return to the sound that I loved them for. Much to my dismay, they would only digress on their next album and it would be awhile before they won back my respect. But they did, and I took the time to go back and review the albums that I had ignored. It took quite a few years though. No doubt that this was a risky move that they made, but I think they hoped that their popularity would eventually increase as they tried to adjust their sound to the 80s sound. It just didn't work for them, especially with their level of creativity in both music and in lyrics. However, before anyone gets upset, I will say I have come to respect the band again, and have even brought myself to become more familiar with their later output, and much to my delight, have found some excellent albums in the process. In the meantime, this one at least now manages to rank as a 4 star, though I wouldn't have even been able to do that when it first came out.

 Signify by PORCUPINE TREE album cover Studio Album, 1996
3.83 | 1185 ratings

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Signify
Porcupine Tree Heavy Prog

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Porcupine Tree's fourth official full length album, "Signify" released in 1996, proved to be a game-changer for the band. First of all, it was the first full album in which the entire band performed throughout. Previous to this, Steven Wilson was pretty much in charge of everything with occasional help from different people. Their previous album "The Sky Moves Sideways" did present the full band, however, parts of it were still all Wilson. Now, at last, the quartet of Wilson, Richard Barbieri, Colin Edwin and Chris Maitland were together as a full band for the entire album.

The second thing that made this album different from the previous ones, is that the project was moving away from the psychedelic stylings that were dominating their music and shifting more towards a traditional rock sound with a lot of progressive sensibilities thrown in. The psychedelic aspect wouldn't go away completely yet, but the tracks were getting shorter on the average, and more standard. However, the tone for the music was moving into darker places, and hints of the heavier sound of a later phase of the band were already beginning to appear in the music.

By the time Wilson's project was getting ready for the 2nd full length album, he had already had some experience in his other projects ("No-man" and "Bass Communion", not to mention the EPs and demo tapes he produced), and he had pretty much perfected his psychedelic rock sound when "Lightbulb Sun" was released, and then the excellent "The Sky Moves Sideways". Now, with "Signify" defining a change in the overall sound and with playing with other musicians, there was obviously some acclimatizing that had to be done in order to get back the that perfect sound again. Even though "Signify" ended up netting itself into a decent album, it wouldn't quite make it up to the standard of excellence set by its immediate predecessors.

The album starts off with "Bornlivedie", which wouldn't really surprise many listeners as it mostly consists of atmopsherics and spoken word recordings to introduce the title track coming up next. "Signify" is a definite heavy rocker, instrumental, and there to make a sudden statement. The riff immediately catches your attention and it seems the band is there to kick some butt. However, I'm not sure what possessed them to follow that up with a more average sounding track "The Sleep of No Dreaming", which even after many, many listenings, it still has a hard time cementing itself into my memory. It's a good enough track, but doesn't really have a needed hook to follow up the rousing "Signify". After that, another short, atmospheric, intermediary track "Pagan" slips by without much notice.

Never fear, though. This is followed with the excellent one-two punch of "Waiting" Phase One and Phase Two. The first phase carries the main theme and song while the second phase works off of the band's previous strengths of improvised sound with psychedelic leanings. It also introduces the band's signature harmonization sound which fans would begin to take for granted as their sound became more familiar. Both phases are very strong and restores your faith in the band for its strong cohesive playing and songwriting skills. The album then continues with the effective "Sever" which has strong, intense verses and mellower and harmonic choruses. Field recordings are peppered throughout the track to add to the intensity when needed, yet the flow from intense to mellow is smooth and very professional sounding.

It's also obvious that there are a lot less instrumentals on this album than on previous albums. "Idiot Prayer" is only the 2nd instrumental up to this point, at least in a full song. Following in the same formula as some of their longer instrumental tracks, this one begins soft and atmospheric, soft percussive noises, warm swashes of flute, and atmospheric guitar. This builds slowly in intensity, and then really starts to roll when the drums and bass kick in, backed by synth foundations and building guitar, and looped and processed spoken words. This builds against the ramblings of what seems to be a preacher with an unholy crescendo, then backs off to an atmospheric middle section that borrows from the lovely sounds of "The Sky Moves Sideways" with the Gilmour-like guitar effects. The loud section returns again abruptly and finishes the track off.

"Every Home is Wired" goes for a more acoustic sound with Wilson's vocals on the verses and then layered vocals on the choruses with some great sonic effects. The melody is very nice and intriguing, plus the harmonics are once again spot on. The real psychedelic, meandering sound comes back with the track "Intermediate Jesus", but the track just kind of flows along without developing into anything. It's nice, but not up to par to previous material. Again, there is some rambling spoken words from what sounds like a preacher. "Light Mass Prayers" continues in this vein using more synthesizers this time, staying with a dark ambience as they fade in and out. This track is an obvious Barbieri-style track which follows the same style as his solo efforts.

The last track on the CD is "Dark Matter". This track brings back the new direction of the band with dark vocals and harmonics. Wilson was still sort of finding his feet with lyrics, and the weakness shows in this track, however, the strong instrumentals in the track make up for this and overall, it ends up giving the album a powerful ending. The vinyl edition also contained one more track "The Sound of No-one Listening". This track was actually used on the CD edition of the "Waiting" single that was released previous to the album. It is an instrumental, albeit one of the stronger ones from the sessions for this album.

Later editions of this album came with a 2nd disc that were outtakes and demo versions from the sessions. The 2nd disc was mostly material taken from the cassette "Insignificance" with a different track listing and a few other track changes. Many think that the 2nd disc is the same as the EP, but it's not quite the same as the EP had the tracks "Door to the River" and "Insignificance" where the disc that came with the reissue had the track "Dark Origins" which is actually the demo version of "Dark Matter"

One of the strengths with Porcupine Tree's sounds is their use of dynamics. Sure, they are not the loudest band out there, however, their use of a mix of mellower passages make the intense sections even more powerful than some progressive metal bands that haven't learned how to use dynamic effectively yet and only strive to make things as loud as possible, thus making their music less powerful. Thank goodness PT found a better way to make powerful music, dark and dynamic, sometimes brooding and other times intense and heavy. This album starts to show off that strength along with beautiful harmonies that were unique to the band also. But it hasn't quite perfected them yet and there are weak points in the album that tend to bring its overall score down. It would be a while, but each album would eventually bring the band back to its high standard of excellence.

 Indian Summer by INDIAN SUMMER album cover Studio Album, 1971
3.73 | 109 ratings

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Indian Summer
Indian Summer Heavy Prog

Review by Psychedelic Paul

5 stars INDIAN SUMMER were a traditional four-piece English band from Coventry in the West Midlands. The band had their brief moment in the late summer sunshine when they released their one and only self-titled album in 1971, shortly before splitting up the following year, presumably at the onset of autumn. The album featured an impressive arsenal of eight fusillades of heavy powerhouse prog of between five and seven minutes duration. It's time now to bask in the afterglow of Indian Summer nearly fifty years on and give this stunning one-off album a listen.

It appears that Indian Summer are a band of confirmed atheists from the title of our first song "God is the Dog", but don't let that distract you from the great music on offer here, because this is a tremendously powerful opening number. God almighty! The Prog Gods would be graciously appeased with this demonic outburst of keyboard-driven prog. The incredible singer deserves a mention too, with soaring vocals that ascend right up into the heavens and beyond, in the true spirit of David Byron of Uriah Heep. Heavens above! This euphoric stratospheric epic is terrific! We're drifting gently back down to earth now for "Emotions of Men", although don't be fooled by the brief placid intro, because the deceptive calm is about to be shaken and stirred again by another pounding percussive wave of earth-shattering keyboard prog, designed to fire up the "Emotions of Men" with power and passion. These four relentless guys are ploughing on ahead with thunderous power and dogged determination and they're not stopping for anyone or anything, so set the phasers to stun now for "Glimpse", because this is yet another stunning organ blast from the past. This glorious "Glimpse" back in time to 1971 reminds us of just how many great long-lost album treasures are out there just waiting to be re-discovered again in the futuristic age of the Internet. Beam me up Scotty! It's time for a change of pace now for "Half Change Again". It's a two-part song, beginning as a gently-lapping wave of melodic prog, but the clue as to what lays in store is in the song title, because it's all "Half Change Again" for a dynamic explosion of supersonic keyboard wizardry to close out Side One in stunning stupendous style.

Holy Moly! There's no let-up in the incredible pace and vigour of this album, so get ready for a dynamic keyboard burst of "Black Sunshine", another wild and heavy powerhouse performance reaching into the realms of the mighty Crimson Kings. There are definite similarities to be heard here with "21st Century Schizoid Man" from King Crimson's sensational first album. Both songs are instilled with that same raw energy and power. We're off to the movies now for "From The Film Of The Same Name", a stirring Jazz-Rock instrumental, which does indeed sound like it might have featured in an action-packed early 1970's crime caper movie. There's time for some quiet reflection now with "Secret Reflects", a hauntingly atmospheric number with a stately marching rhythm. There's a slow and steady build-up in this majestic processional epic, which explodes into a sparkling crescendo of sound and energy for the spectacular grand finale - a song which also features some marvellously over- the-top Byron-esque vocals. In a classic case of saving the best song till last, the final song "Another Tree Will Grow" is another incredible powerhouse display of stunning virtuosity from four multi-talented musicians at the top of their game, featuring a wild and frenzied guitar and keyboard jamboree, not to mention the unstoppable Duracel drummer who probably needed to lie down in a darkened room after his breathless performance here. This simply sensational album highlight shines like a glowing beacon on a hill.

Bask in the glory of an Indian Summer with this dynamic outburst of Heavy Prog from 1971. There's enough latent energy stored in this brilliant album to light up a small town.

 The Sky Moves Sideways by PORCUPINE TREE album cover Studio Album, 1995
4.08 | 1313 ratings

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The Sky Moves Sideways
Porcupine Tree Heavy Prog

Review by alainPP

5 stars one of THE major albums of PORCUPINE TREE! A concept album well narrated and dissected on previous posts, an album so where I'll just tell you some anecdotes to listen to him. 1: during the first listening, amazement (remember ingesting the time of course) to finally have conventional prog with soaring tablecloths, to also have hushed atmospheres that followed each other perfectly, to the point of making them finally a two-title 30-minute each. 2: on a night when the children were small, the pleasure of listening to this album on headphones and discovering sounds not yet recognized in theaters; strange, twirling, spatial sounds that gave the desire to listen again at the end of the album, and to prevent in fact to rest as everyone should do after a day of toil. 3: the pleasure of mixing these two sensations and seeking to create one's own audio room, in order to transcribe as faithfully as possible the sounds heard on the headphones in a suitable room; the beginning of purchases to have at home the sound PORCUPINE TREE.
 I Am Anonymous by HEADSPACE album cover Studio Album, 2012
3.86 | 258 ratings

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I Am Anonymous
Headspace Heavy Prog

Review by alainPP

4 stars HEADSPACE or how to listen by chance to an album of good metal prog, with the divine voice of Damien WILSON, with sounds pulling on QUEENSRYCHE, OPETH and DREAM THEATER for a very pleasant flight of 2012. Fairly quiet tracks at the start, adrenaline rushes as they go along, compositions that are longer and almost violent, all for a joyful feeling of this group full of musicians already very famous elsewhere. Perhaps one of the bands where Damien WILSON can let his voice best express his messages (here on messages of anti-war rather than peace!) and where he magnifies the musical notes of his cronies. An album that he must have listened to at the beginning of the decade to realize the fusion of the obvious progressive genres, which was slow to manifest itself.
 Different Stages - Live by RUSH album cover Live, 1998
4.34 | 387 ratings

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Different Stages - Live
Rush Heavy Prog

Review by fuxi
Prog Reviewer

5 stars Even though I first started listening to prog in 1975 and immediately got hooked on Yes, Genesis and the Canterbury Scene, I never met anyone who was into Rush and didn't start listening to the Canadians until we were well into the new millennium. I guess I thought Rush were a rather dubious heavy metal band. When I went to university in the late 1970s, the air around me was full of Blondie, Elvis Costello, Bruce Springsteen and the Police, and none of the music papers I read had a good word to say about Rush. It was only after I discovered Prog Archives and noticed that Rush kept popping up in 'best of' lists that I decided to give them a chance. First I played some of their classic albums from 1977 to 1981, and when I quite seemed to enjoy those, I watched the documentary BEYOND THE LIGHTED STAGE. The more I found out about the band, the more they fascinated me. That three musicians from relatively anonymous neighbourhoods in Ontario had the guts to set 'Kubla Khan' to music and did it convincingly (I'd even say unforgettably)... I found it breathtaking. In fact, I thought the band so likable I started buying one live DVD after another. (I also appreciated that Rush could send themselves up mercilessly. How many box office heroes have done the same, tour after tour?)

Now the big question that confronted me was which live album I should get. EXIT STAGE LEFT sounded a little sterile, so after consulting a range of reviews I finally settled for DIFFERENT STAGES LIVE. This turned out to be my single best purchase of 2019. Not only does it contain almost all the classic Rush I've come to love (in riveting live performances), it also features a large number of catchy but more conventional rock songs (mainly dating from the 1980s and 1990s) that I greatly enjoy, such as 'Bravado', 'Animate', 'Analog Kid' and 'Roll the Bones'. I'm convinced that if the tunes in question had been recorded by perhaps more universally popular acts like David Bowie or U2, Bowie/Bono fans would have fallen for them without exception. So don't tell me that when Rush went into their more 'commercial' phase they lost inspiration. (The only album of theirs I find painfully overrated is their final studio album, CLOCKWORK ANGELS, which simply does nothing for me.)

It's really strange how a man's life goes... At the age of fifty-nine I seem to like nothing better than Rameau and Berlioz; at the same time nothing cheers me up more than half an hour of Rush - two things I never expected when I was in my teens and twenties. So, in conclusion, let me say this. All three parts of DIFFERENT STAGES LIVE are highly enjoyable. Even the grandiose (and, let's face it, rather silly) '2112' is included in full. (I defy you not to start headbanging to this.) My only regret is that no space was found for 'La Villa Strangiato'. I wouldn't mind if the final few encores on Disc 3 had been dropped for that.

 Armageddon by ARMAGEDDON album cover Studio Album, 1975
3.39 | 87 ratings

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Armageddon
Armageddon Heavy Prog

Review by Psychedelic Paul

5 stars ARMAGEDDON were a four-piece British band featuring two former members of Renaissance. The band were led by singer and guitarist, Keith Relf, a former member of The Yardbirds who also featured on the first two Renaissance albums: "Renaissance" (1969) and "Illusion" (1971). Tragically, he was electrocuted by his guitar in 1976 at the age of 33, just before he was due to have recorded the first album with Illusion. Armageddon also featured his Renaissance bandmate Louis Cennamo on bass guitar, Martin Pugh (from Steamhammer) on lead guitar and Bobby Caldwell (of Captain Beyond) on drums. It's time now to do battle between the forces of good and evil and check out Armageddon's one and only 1975 album before the final Day of Judgement.

TAKE COVER!! There's a storming 8-minute "Blizzard" of pounding percussive, window-rattling Hard Rock on the way. This powerful sonic blast of apocalyptic music thunders along at an incredible pace. It's all thunderbolt and lightning, very very frightening. These guys are on FIRE! You can do the fandango and skip the light fantastic to this thunderous non- stop "Blizzard" of Rock. This is like the 1970's equivalent of Speed Metal before Speed Metal had even been invented. Armageddon are a Revelation. This music is supersonic, soaring like the Concorde up into the stratosphere at twice the speed of sound! Wow!! We need a breather after that thunderous blast from the past, and what better way than with the 8-minute- long "Silver Tightrope". It's an altogether gentler melodic song in an album that's a delicate balancing act between an all-out sonic assault on the eardrums and some pleasant melodic prog. "Silver Tightrope" features a lush melody swaying on a high-wire of gorgeous vocal harmonies and a lovely-sounding chorus of electric guitars, although in reality, it's one guitar with a chorus pedal. It's a truly beautiful song and a complete contrast to the storming opening "Blizzard". This superb album is already heading for the accolade of acclaimed five-star status after the first two sensational songs. We're taking off and going supersonic again for "Paths And Planes And Future Gains", another pile-driving powerhouse of dynamic energy and pounding percussive power. It's a thunderous atomic blast, featuring an awesome four and a half minutes of unrelenting sonic assault and battery. Play it LOUD!!

Side Two opens with the 8-minute-long "Last Stand Before", which turns out to have more of a funky syncopated groove than the two thunderous Stormbringer songs on Side One. It's still a really energetic toe-tapper though with a hypnotic hook-line and a dynamic driving rhythm, so there's no peace for the wicked (or the good). Whether you're on your feet or on your knees, you won't be able to resist tapping your feet to this catchy upbeat tune. And now, it's time for the musical tour de force and ultimate highlight of the album, "Basking in the White of the Midnight Sun", a four-piece suite with a running time of over eleven minutes. This almighty music has all the unstoppable power and dynamic energy of an icebreaker in the land of the midnight sun. This is a soaring supersonic return to the storm and thunder songs of Side One, only this time it's over eleven minutes of unremitting, high-voltage Rock & Roll energy that hits you straight between the eyes like a battering ram, so crank up the volume and stand well back.

Armageddon is not the end of the world as we know it in the final Day of Judgement. No, Armageddon is an atomic blast of high- energy Rock & Roll with enough dynamic power to light up a city. Armageddon have gone nuclear with this stunning one-off album.

Data cached

Heavy Prog bands/artists list

Bands/Artists Country
2112 Argentina
41POINT9 United States
4X United Kingdom
99 NAMES OF GOD United States
ABASH Italy
ABIGAIL'S GHOST United States
ADVENT HORIZON United States
AFTER THE FALL United States
AICAN Russia
ALBATROS Spain
ALDENFIELD United States
ALGABAS Russia
ALGARAVIA Brazil
ALIZARIN United States
ALTERED STATE United States
ALTHEA Italy
AMALGAM EFFECT United States
AMERICAN DRAFT United States
AMUSIA Canada
ANABASI ROAD Italy
THE ANABASIS United States
ANDROMEDA Germany
ANEKDOTEN Sweden
ANKH Poland
ANOMUS Finland
ANTI-DEPRESSIVE DELIVERY Norway
ANXTRON Brazil
APOLLO Finland
ARABS IN ASPIC Norway
ARAXES Switzerland
ARC United Kingdom
ARCANE Australia
ARCANE ATLAS United States
THE ARISTOCRATS Multi-National
ARMAGEDDON United Kingdom
ARTYFICTION Poland
ASTEROID Sweden
ATLANTIDE Italy
ATLAS CUBE Germany
ATLAS VOLT Sweden
ATOMIC ROOSTER United Kingdom
ATRIS United States
AUSTRALIS Chile
AUTOMATIC FINE TUNING United Kingdom
BABE RUTH United Kingdom
BADGER United Kingdom
BAKER GURVITZ ARMY United Kingdom
BAKERY Australia
BALISET United States
BALLOON Netherlands
BARAKA Japan
DAVID BARRET TRIO Canada
BASS INVADERS United States
BATTLE CIRCUS New Zealand
ERIC BAULE Spain
BBI France
BI KYO RAN Japan
BIBLE BLACK Japan
A BIG GOODBYE United States
BIGELF United States
BIRTH CONTROL Germany
THE BITTERS United States
BL LOTUS Sweden
BLACK BONZO Sweden
BLACK MARKET SEROTONIN United Kingdom
BLACK WIDOW United Kingdom
BLOOD CEREMONY Canada
BODKIN United Kingdom
BOLT United States
BOOK OF HOURS Sweden
BREAKING ORBIT Australia
THE BROWN Japan
BULL ANGUS United States
BURNING SAVIOURS Sweden
CACTUS PEYOTES Brazil
CAMAFEO Argentina
CAPHARNAUM Canada
CAPTAIN BEYOND United States
CAPTAIN KICKARSE AND THE AWESOMES Australia
CAPTAIN OF THE SWEDISH TEAM Canada
CARDEILHAC Switzerland
CARGO Netherlands
CARGO CULT REVIVAL United States
CARPADIUM United States
CARPE NOTA United States
CASUAL SILENCE Netherlands
CELELALTE CUVINTE Romania
CELESTIAL OEUVRE United States
CHAIN United States
CHOLO VISCERAL Peru
CHRONOBUNNY Norway
STEVE CICHON United States
CIDEVANT Germany
CLEAR BLUE SKY United Kingdom
CLEVIS United States
CLIMAX Bolivia
COBWEB STRANGE United States
COLLAPSE France
COLT Poland
CONTRA United States
CONTRARIAN United States
COSMIC NOMADS Australia
A COSMIC TRAIL Germany
TYLER COTNER United States
COUNTRY LANE Switzerland
CRACK THE SKY United States
CRYPTIC VISION United States
CRYSTAL BREED Germany
MICKEY CURTIS AND SAMURAI Japan
THE CYBERIAM United States
CYNICISM MANAGEMENT Slovenia
CYTRUS Poland
D'ACCORD Norway
DAH Yugoslavia
DNAE Argentina
DAREDIABLO United States
DARK United Kingdom
DEAD END SPACE United States
DEAFENING OPERA Germany
THE DEATH COBRA Australia
DEEEXPUS United Kingdom
DEFORMICA Argentina
DJ-VU Norway
DELLA TERRA (AEGIS INTEGER) United States
DELTA RED Mexico
DELVOID Norway
DEMIANS France
DEVIL DOLL Multi-National
DIALETO Brazil
DIAPASYN United States
DIFICIL EQUILIBRIO Spain
DILEMMA Netherlands
DILLINGER Canada
THE DIVINE BAZE ORCHESTRA Sweden
DIVINE IN SIGHT United States
EL DOOM & THE BORN ELECTRIC Norway
DR. Z United Kingdom
DRAGON Belgium
DRUGI NAčIN Yugoslavia
DUST SCULPTURES United States
EARTH ELECTRIC Portugal
EARTH FLIGHT Germany
EASTER ISLAND United States
EAT GHOSTS / MINERVA Germany
EIGHTH WHALE United States
ELDER United States
ELF PROJECT United States
ELIAS HULK United Kingdom
DANIEL ELISEEV PROJECT (D.E.P.) Bulgaria
ELONKORJUU Finland
ENCHANT United States
ENFANT Bolivia
ENMARTE Argentina
ENORMITY United States
EPHRAT Israel
EPITAPH Mexico
EPIZOOTIC Sweden
ESCHERBACH United States
ESTIGMA Chile
ETT ROP P HJLP Sweden
EVERON Germany
EVERY OTHER FATE United States
EXCUBUS Canada
EXPLORERS CLUB United States
EXSIMIO Chile
FACING NEW YORK United States
THE FALL OF TROY United States
FANTASMAGORIA Japan
THE FAR SIDE Italy
FIELDS United Kingdom
FITNES Serbia
FIVE OF THE EYES United States
FLOTANTE Chile
FORGOTTEN SUNS Portugal
A FORMAL HORSE United Kingdom
FRAME Germany
FREEDOM'S CHILDREN South Africa
FRIJID PINK United States
FUMIGUN Chile
FUNGUS Italy
FUSION ORCHESTRA United Kingdom
FUSION ORCHESTRA 2 United Kingdom
FUTURE WAS PERFECT Bulgaria
FUZZY DUCK United Kingdom
GTE Norway
GATE 6 Netherlands
GENEROUS MEN Sweden
GHOST IN MIRRORS United Kingdom
GHOST MEDICINE United States
GHOST TOAST Hungary
GIANT STEP Indonesia
GLARESHIFT Italy
GLASSWORK Spain
GLISTENING LEOTARD Germany
GNOMONAUT United States
MOOSEHEART GODBLESS THEE United States
GODZILLA IN THE KITCHEN Germany
GOMORRHA Germany
GOODTHUNDER United States
GOSIA United Kingdom
GRAN TORINO Italy
GRAVY TRAIN United Kingdom
THE GREAT LABYRINTH PROJECT United States
GREYHAVEN United States
H.A.A.S. Colombia
HACKBERRY Netherlands
HADES Norway
HAIL THE SUN United States
HAKEN United Kingdom
HALLELUJAH United Kingdom
HAYSTACKS BALBOA United States
HAZE Germany
HEADSPACE United Kingdom
HEIR TO MADNESS United States
HERO Italy
HEROINE United States
HIGH TIDE United Kingdom
HILLWARD Canada
EL HOMBRE ASTRAL Spain
HST Norway
HUMAN LIFE INDEX United States
HUMUS FUGA Guatemala
I AM THREE PEOPLE Finland
I BOW CANDLES Multi-National
IDEE CONFUSE Italy
IMAGERY Brazil
IMAGIN'ARIA Italy
IMPULSO DE LOS SONIDOS INCONSCIENTES Argentina
IN OCEANS United Kingdom
IN THE PRESENCE OF WOLVES United States
INDIAN SUMMER United Kingdom
INDISCIPLINE Canada
INFRONT Russia
INTROVISIN Costa Rica
INVASIVE SPECIES United States
L' IRA DEL BACCANO Italy
IRISH COFFEE Belgium
IZ United States
JACK YELLO Germany
JACKAL Canada
JANE Germany
JARDIN DE PIEDRA Peru
JENGHIZ KHAN Belgium
JIMMY CHAMBERLIN COMPLEX United States
JOHN PAUL JONES United Kingdom
JONESY United Kingdom
JUGLANS REGIA Italy
JUNIPHER GREENE Norway
JUNK FARM Germany
KALEIDOREAL Sweden
KARMAMOI Italy
KARNIVOOL Australia
KES Turkey
KETTLESPIDER Australia
KIN PING MEH Germany
KINDLER United States
THE KINDRED Canada
KINGFISHER SKY Netherlands
KOPECKY United States
KOURTYL France
LAGITAGIDA Japan
LANDBERK Sweden
LANDSCAPE Netherlands
LAST LAUGH Sweden
LAUNDRY United States
LUCAS LEE United States
LEECH Estonia
LEGEND United States
LEST France
LEVIN - MINNEMANN - RUDESS United States
LIQUID SCARLET Sweden
LIQUID WOLF Finland
LONE STAR United Kingdom
A LONELY CROWD Australia
LORD ONLY United States
LOST APPARITIONS United States
LOST NATION United States
LOVE FAGERSTEDT Sweden
LUCIFER'S FRIEND Germany
LUGNORO Sweden
MAD ARTWORK Sweden
MADRIGAL Germany
MAGELLAN United States
MAGNA VICE Finland
MALOMBRA Italy
THE MARS VOLTA United States
FELIX MARTIN United States
MASTER EXPERIENCE Italy
MAXWELL'S DEMON United States
MAY BLITZ United Kingdom
MEDEA Netherlands
MELODRAMUS United States
THE MERCURY TREE United States
METANOMIA Argentina
MICAH United States
MIGHTY ZAZUUM Croatia
MILESTONE Russia
MOCAH Argentina
MDULO 1000 Brazil
HEDVIG MOLLESTAD TRIO Norway
MONTRESOR Australia
MONUMENT / ZIOR United Kingdom
MOON LETTERS United States
MORTE MACABRE Sweden
MOTHER TURTLE Greece
MOTHERJANE India
MUMPBEAK United Kingdom
MURPHY BLEND Germany
NAIKAKU Japan
NAKED France
THE NATIONAL ORCHESTRA OF THE UNITED KINGDOM OF GOATS Italy
NEBULOSA Sweden
NECROMANDUS United Kingdom
NEM-Q Netherlands
NEPOčIN Yugoslavia
NEVRLLJF Sweden
NEW SUN United States
NIGHT SUN Germany
NIGHTRIDER France
NIMB Mexico
NINGEN-ISU Japan
NO BRAIN CELL Greece
NO LIFE ORCHESTRA Norway
NO MORE PAIN United States
NOMADIC HORIZON United States
NON NEWTONIAN MAN Italy
NORTHWIND United States
NOT OTHERWISE SPECIFIED United States
NOUGHT United Kingdom
NOW IN COLOR Australia
OCEAN France
OCEANA COMPANY Netherlands
ODD PALACE Denmark
ODIN United Kingdom
OF THE I Switzerland
OKO Yugoslavia
OKTOPUS United Kingdom
OLLOCS United States
ONSGEN ENSEMBLE Finland
OPRAM France
OPUS 3 Chile
OPUSCULUS Canada
ORATRISM France
ORIGENS Brazil
ORION DUST France
ORPHAN BLOOM United States
ORPHEO Netherlands
ORPHEUS NINE United States
OSADA VIDA Poland
OVRFWRD United States
P.A.W.N. Germany
PENDULUM Indonesia
PERMIAN INCIDENT Norway
PERSEPHONE'S DREAM United States
PESKY GEE United Kingdom
PHANTOM'S OPERA United States
PHI Austria
PHOENIX DOWN United States
PINKROOM Poland
PINN DROPP Poland
PINNACLE United States
PIRATE Australia
PLAYGROUNDED Greece
PLESIOSAURIO Argentina
POINTS NORTH United States
POLICROMIA Argentina
POP MASINA Yugoslavia
PORCUPINE TREE United Kingdom
PORT MAHADIA United States
PORTMAN Croatia
POSEIDOTICA Argentina
PREHISTORIC ANIMALS Sweden
PRO MUSICA Romania
PROGRESIV TM Romania
PSIGLO Uruguay
PSYCHOCEAN Italy
EL PUENTE DE ALVARADO Mexico
PUGH'S PLACE Netherlands
PULP CULTURE United States
PULSONICA Argentina
QUATERMASS United Kingdom
RAG I RYGGEN Sweden
RAINER TANKRED PAPPON Brazil
RAM United States
REACHING REVERY United States
RED STAR REVOLT United States
RENAISSANCE OF FOOLS Sweden
ALBERTO RIGONI Italy
ROLE OF THE OBSERVER United States
ROOM United Kingdom
ROSALIA Japan
JASON RUBENSTEIN United States
RUPHUS Norway
RUSH Canada
S&L Italy
S.O.T.E. (SONGS OF THE EXILE) Netherlands
SAELIG OYA France
SAILOR FREE Italy
SANDCASTLE Italy
SARCASME France
SARTORIUS Mexico
SCARLET HOLLOW United States
SECTION 3B Multi-National
SENECA United States
SHAA KHAN Germany
SHADOW MERCHANT United States
SHOW-YEN Japan
SIENA ROOT Sweden
SKELETONBREATH United States
SKORE Hungary
SKY ARCHITECT Netherlands
SL THEORY Greece
SLP Canada
SOLAR ARCHITECT Canada
SOLARHALL Finland
SOLUTION SCIENCE SYSTEMS United States
SONIQ CIRCUS Sweden
SORRY NO FERRARI United States
SOUND & SHAPE United States
THE SOUND OF ANIMALS FIGHTING United States
SPECTRUM Chile
SPETTRI Italy
SPOKE OF SHADOWS United States
SQUAT CLUB Australia
ST. ELMO'S FIRE United States
ST. QUENTIN Germany
STANDARTE Italy
STEEL MILL United Kingdom
STILL LIFE United Kingdom
STOLAS United States
STORM AT SUNRISE United States
THE STORM Spain
STRATEGY United States
SUBSPACE RADIO Finland
SUGARLOAF United States
SULPHAT' KETAMINE France
SVANFRIDUR Iceland
SWEET HOLE Spain
SYLVIUM Netherlands
T2 United Kingdom
TAKE ME FAR AWAY Russia
TDW Netherlands
TEA Switzerland
TEMPEST United Kingdom
TESKA INDUSTRIJA Yugoslavia
THAYKHAY Spain
THEMATIC United States
THEORY OF AFFECT Russia
THERHYTHMISODD Sweden
THDOL France
THREE SEASONS Sweden
THULE Norway
TILES United States
TIME COLLAPSE Greece
TIME TRAVELLER Finland
TINKICKER Denmark
THE TIRITH United Kingdom
KALIN TONEV Bulgaria
TRANSIENCE Australia
TRAUMPFAD Germany
TRILI Puerto Rico
TWENTY SIXTY SIX AND THEN Germany
TWO CHILEKINGS Philippines
TYBURN TALL Germany
UNBROKEN SPIRIT United Kingdom
THE UNDERGROUND SET Italy
URANIAN Argentina
URIAH HEEP United Kingdom
VALHALLA United States
VALINOR'S TREE Sweden
VARGTON PROJEKT Sweden
VLOOO France
VEMM Italy
VINUM SABBATUM Finland
VIRUS Germany
VIVALMA Brazil
VOLVOX Argentina
VON FRICKLE United States
VOS VOISINS Canada
VOTCHI Czech Republic
VULKAN Sweden
VULTRESS United States
WALRUS United Kingdom
WARHORSE United Kingdom
WARPICKS Norway
WARPIG Canada
WATERLOO Belgium
WEEND' France
ANDY WEST United States
WHERE ARE YOU LIAM? Russia
WHITE WITCH United States
WICKED MINDS Italy
THE WINDMILL Norway
WITCHWOOD Italy
WRITING ON THE WALL United Kingdom
XANADU Poland
YANG France
YEARSTONES Norway
YGGDRAZIL Italy
YSMA Germany
YURT Ireland
YYNOT United States
Z.O.A Japan
ZARATHUSTRA Germany
ZION Italy
MICHAEL ZUCKER United States
ZUNDAPP Italy
ZYDRA Chile

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