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HEAVY PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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 as of 12/24/14

Louis (rdtprog)
Thanos (aapatsos)
Frank (infocat)

Heavy Prog Top Albums


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

4.40 | 2472 ratings
MOVING PICTURES
Rush
4.37 | 2091 ratings
HEMISPHERES
Rush
4.32 | 1944 ratings
A FAREWELL TO KINGS
Rush
4.29 | 1802 ratings
PERMANENT WAVES
Rush
4.24 | 2228 ratings
IN ABSENTIA
Porcupine Tree
4.24 | 2264 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.20 | 1099 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.16 | 959 ratings
THE MOUNTAIN
Haken
4.17 | 683 ratings
SALISBURY
Uriah Heep
4.17 | 541 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.11 | 1847 ratings
2112
Rush
4.10 | 1799 ratings
DEADWING
Porcupine Tree
4.09 | 931 ratings
VISIONS
Haken
4.11 | 599 ratings
LOOK AT YOURSELF
Uriah Heep
4.08 | 928 ratings
AQUARIUS
Haken
4.06 | 1176 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.07 | 666 ratings
DEMONS AND WIZARDS
Uriah Heep
4.06 | 814 ratings
FRANCES THE MUTE
Mars Volta, The
4.03 | 1333 ratings
LIGHTBULB SUN
Porcupine Tree
4.10 | 370 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

SNEAK ME IN
Lucifer's Friend
ONCE WE WERE BORN ...
Divine Baze Orchestra, The
A.F.T.
Automatic Fine Tuning
HIGH TIDE
High Tide

Latest Heavy Prog Music Reviews


 Individual Unique by MEDEA album cover Studio Album, 2002
3.30 | 8 ratings

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Individual Unique
Medea Heavy Prog

Review by b_olariu
Prog Reviewer

3 stars Medea is a dutch progressive metal band formed around the excellent guitarist Henry Meeuws. They released so far two albums, Individual unique and Room XVII in 2006. The music is very much close to another famous band from land of tulips Ayreon, but with their own twist and with a lot of great ideas. The debut is released in 2003 named Individual unique and has an very intresting concept - is about a young ambitious artist in 18th Century from Florence- Italy who is visited by the spirit of Michelangelo. Lots of cast of characters, female/male singers, musicians and all perform and give life to the story. Musicaly speaking is prog metal well performed with some bombastic parts , a rock opera I might say very much what Ayreon done in the past. The pieces are long enough to show us that the instrumental passages are well developed, some very nice guitar/keyboards moves, the opening Overture 1564 is excellent setting the mood for the rest to come, 'Day' & 'Night' the lenghtier track from here , clocking around 10 min is another top piece, Henry Meeuws handle the guitar pretty well and aswell the keyboards. All in all more then decent album in prog metal field, maybe not as great as their second offer Room XVII, but I like what I've heread on both albums, is a pitty that they've stoped only on 2 albums so far, promissing band for sure. 3.5 stars without hesitation.

 Jellyfish by ANXTRON album cover Studio Album, 2017
3.00 | 3 ratings

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Jellyfish
Anxtron Heavy Prog

Review by Chalcobalt

3 stars This Brazilian outfit plays a quite varied mix of progressive rock and metal without getting too eccentric. 'Armadillo Inc' is the one track that caughts most of my attention with its laid-back fusion style and quaint bass and drums. Other songs such as 'Toca do Lagarto' and 'Pororoca' are built around raw guitar riffs, whereas the metal guitar is ever present, as is the keyboard background.

As a whole the album is a solid and genuine craft showcasing great musicianship despite containing quite few eye brow-raising moments. In the long run, most of the tracks unfortunately does not lift upon repeated listening but rather feels increasingly worn out, which I attribute to the vast presence of monotonous use of melodies.

 Machine Years by TONEV, KALIN album cover Studio Album, 2017
4.00 | 3 ratings

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Machine Years
Kalin Tonev Heavy Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars I'm sure it's okay to notice, that Bulgaria is not really the center of prog when it comes to Eastern Europe. There are many more genre bands coming from Hungary, Czech Republic respectively Slovakia ... and of course Poland most notably. So much the more it's a pleasure for me to introduce KALIN TONEV again, certainly an important figure in his country concerning this genre. So for example he drives an acclaimed radio prog rock show, which is part of the Bulgarian National Radio programme. And he had appearances in more than 20 bands in the meanwhile while being underway in many different styles.

Kalin is already known to me due to the fact that he has been the mastermind of the band TravelHouse some years ago. They released one album under this moniker in 2008, called 'Mindmapping', which is mirroring a quite diverse stylistical journey. Now 'Machine Years' sounds ... different, yeah, unique. A powerful statement most likely, and heavily keyboard-laden. Although supported by three guitarists on nearly all the 13 tracks, this album can be seen as a solo effort with reason, as he is responsible for the song writing as well as production and substitutes the regular bass and percussions. I'm quite sure, that the drum programming as such emerged into a great challenge, caused time. The implementation is tricky overall, not easy to recognize that an acoustic drum set won't play a role here.

The album is an instrumental one, opens with a speech sample anyhow. I would say immediately pointing to its main philosophical theme, as Kalin is obviously dealing with the relationship of humans and machines in general. Both Human Not Machine parts are heavy in execution, featuring a bombast feel, somewhat representative for the album's flow, surely a centerpiece. Furthermore, just emphasizing Beings or Dust for example, you can't deny a strong symphonic essence too. And then again This Empty Space and Late Again are drifting into a more spacey and even downbeat/lounge orientation.

Released in January 2017 KALIN TONEV offers an enjoyable album with 'Machine Years'. I can hear glimpses of Atomic Rooster, ELP, Rick Wakeman ... one or two may detect other influences of course. Initially this sounded a bit single-tracked to me, in the meanwhile though I'm effectively convinced. And this is not least the merit of the collaborating guitarists too, which means Nenko Milev first and foremost. It's worth it to take your time in order to bring this songs into effect really.

 Fantasy Absent Reason by OVRFWRD album cover Studio Album, 2015
3.77 | 19 ratings

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Fantasy Absent Reason
Ovrfwrd Heavy Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

There aren't many bands who go out on a limb and finance a vinyl release of their second album, so all power to Ovrfwrd for making this available either digitally or as a real honest to goodness record. The album kicks off with the sixteen-minute-long title cut, which allows the band to show all the tricks they have available. They are very much their own band, but some of their most important influences are on display on this song, with Discipline and King Crimson well to the fore. They move from bombastic and discordant to gentle and reflective without a pause for breath, from prog metal to piano-led gentleness, going wherever they feel the music is taking them. Rikki concentrates on cymbals when the time is right, hardly touching the rest of the kit, while swirling keyboards can provide accompaniment to the melody leads of electric guitar and piano.

That this is the highlight of the album is never in doubt, but the rest of the songs also stand well up to muster, with "Brother Jack McDuff" having a late-Sixties feel with plenty of Hammond organ sounds on clear display. The joy of both these albums is that the guys clearly know what they want to achieve and have a diverse approach to getting there. I know that they are currently working on their third album, which I am eagerly awaiting, as both of their albums to date are well worth investigating and I know that the next one will surely build on what they have been doing to date.

 Beyond the Visible Light by OVRFWRD album cover Studio Album, 2014
3.71 | 12 ratings

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Beyond the Visible Light
Ovrfwrd Heavy Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars I was recently contacted by keyboard player Chris Malmgren, who wanted to know if I would be interested in hearing the instrumental progressive rock band he was part of, which is how I came across Ovrfwrd. Formed in 2012, as well as Chris the band is comprised of drummer Rikki Davenport, guitarist Mark Ilaug and, bassist Kyle Lund. Five songs, with a total length of forty-eight minutes, this is a light-hearted and interesting debut. When a band is fully instrumental then of course there is no room to hide behind a singer, and what impresses me about this 2014 release is the sheer variety of styles and sounds that they are bringing to bear. They aren't a fusion act, but there are some elements of jazz here and there, and although the guitar can be gently picked, there are also times when the only thing to do is to shred. When this is undertaken on 'Stones of Temperance' I found it interesting that drummer Rikki is the only one keeping up with Mark, blasting around the kit, while Kyle kept everything grounded and Chris was playing piano.

They interweave melodies so that there is always balance, and even when the music is delicate and almost fragile, there is a strength that holds it all together. They know when the time is right to rock it out, or bring it all back in, when they need to use piano or keyboards, when to riff or gently play leads. The result is an album that is immensely listenable to, and enjoyable on the very first playing

 The Citadel by HEIR TO MADNESS album cover Studio Album, 2008
3.05 | 2 ratings

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The Citadel
Heir to Madness Heavy Prog

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "The Citadel" is the debut full-length studio album by US progressive rock/metal act Heir to Madness. The album was released in September 2008 and is available for a "Name Your Price" option on the bands official site. Heir to Madness is a one-man project consisting of Jason Wiscarson who handles all instruments/programming and sings all vocals.

Stylistically the music on "The Citadel" is an alternative type of progressive rock/metal and especially an act like A Perfect Circle comes to mind. Heir to Madness uses some of the same dynamics with subdued melancholic vocals and louder more epic sounding sections. The playing is decent and its obvious that Jason Wiscarson is a pretty skilled musician. His singing could be improved upon though. He hits the notes alright and even add some nice harmony vocals too, but he often sounds a bit shy and I miss a bit more bite and conviction in the delivery. His vocals are often placed a bit low in the mix which doesnt help either.

And regarding the sound production its actually relatively well sounding considering that this is a one-man project, and that the album was probably recorded on a home computer, but its not a fully professional production. That is especially heard in the way the clean guitars are produced. They sound a bit like the guitar is just plugged directly into the amp and then recorded. Its not a huge issue, but it does provide the album with a slightly amaturish touch.

The material are relatively adventurous and well written, although the vocal lines could have been more memorable. In fact "The Citadel" is not an album that sticks much after it is over, but its pretty enjoyable while it plays, so its not like my attention wanders or anything like that, but a few more hooks and more focus on memorability would have made "The Citadel" a stronger release.

The album is overall both a good and a bad example of one-man recordings done on home computers. On the positive side Jason Wiscarson has been allowed to let his creativity flow fee without outside influences, and that has made for an adventurous and compositionally quite intriguing release. On the negative side of things, it also means that the sound production is slightly amaturish (in the good end of amaturish though), and that the tracks havent been listened to by a professional producer, who would probably have cut some of the fat, and who would have brought more focus on the strong elements in the music. As it is a 3 star (60%) rating is warranted.

 Machine Years by TONEV, KALIN album cover Studio Album, 2017
4.00 | 3 ratings

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Machine Years
Kalin Tonev Heavy Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars Kalin Tonev is not a newcomer to the music industry being in many bands. He was the leader of Travelhouse who did a very good album of fusion prog with electronic soundscapes, metal, and jazz. "Machines Years" is his new project of instrumental prog with guitarist Nenko Milev on most of the tracks. Kalin is handling the keyboards and the drums programming. The songs have many hooks and solid melodies dominated by some synths and vintage keyboards. The sound of his synths are sometimes spacey and sometimes more heavy in the Derek Sherinian and Jason Rubenstein styles. The song "Dust" is one of two quiet songs with some beautiful ambient atmosphere and fine guitar playing. "Mad Dance" bring the ELP type of sounds before getting in a heavier mode. If prog is not popular in Bulgaria, you can count to Kalin Tonev to help gives to this genre more recognition, because this is some high-quality music to check out.
 Beyond the Visible Light by OVRFWRD album cover Studio Album, 2014
3.71 | 12 ratings

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Beyond the Visible Light
Ovrfwrd Heavy Prog

Review by Walkscore

3 stars VERY Good Debut.

I probably should have reviewed OVRFWRD's two albums in chronological order, but I have been so enthralled with Utopia Planitia that I reviewed their second album first. But this is also a very good album. I think the 5-star system here on PA is missing one category, in between "excellent" and "good". What to do when an album is better than "good but not essential", but not quite at the same level of "excellence" as, say, Moving Pictures ? Perhaps we need a "very good" category? Ovrfwd's debut album, for me, is clearly in this realm, and better than a lot of classic albums. The style is very similar to their second album (Fantasy Absent Reason, or FAR), and I do not agree with some reviewers who claim the second album was a huge step up from this first one. Both albums are, in fact, quite similar in a lot of ways (except that there is no flute on this one, which featured on Utopia Planitia), and the quality is generally high. Beyond Visible Light has five extended tracks, often with multiple sections to them, just like FAR, with a number of great guitar and keys solos. And, similar to my review of FAR, there are enough sections where the chord progressions are not overlaid with solos that I feel another instrument (say, perhaps a flute? - sorry, can't help it) would have helped fill out the sound. The album starts with a great song ("Can We Keep the Elephant"). The main theme starts the tune for the first two minutes, dies down for an extended interlude, and then comes back. The song packs a great punch. "Stones of Temperance", the second track, is my favourite on this album, and my second-favourite of OVRFWRD's songs (after Utopia Planitia). Starting with an excellent interplay between piano and e-guitar built around a slightly-modified minor scale (hints of that tri-tone again!) the song builds from very quiet to what Frank Zappa liked to call "an orgasmic frenzy", only to quiet down in the middle and change to another excellent chord progression which once again leads to a great build-up and awesome guitar solo. If this whole album were as good as this, it would be 5 stars.

The last three tracks on the album all have a kind of AB structure (or ABC), such that the second-half of the song is quite different than the first half. In each case, I much prefer the second halves. The third and longest track on the album, "Raviji", is in this style. One can clearly hear the influence of Rush here (hints of "Xanadu", "Free Will", etc), particularly in the first five minutes (more tri-tone). This first part of this song is not my favourite part of the album, but the piece gets really good about 6 minutes in, starting with new a piano-only chord progression into, then some acoustic guitar lines, and then a fantastic electric guitar solo which jams out long enough to get into some feedback-laced soloing over a rising chord progression bringing the piece right up to a brief jazz-fusion-y ending. The fourth track, "Man with No Shoes" moves among a number of different styles in its first half, some of which involve some crunchy metal and some which are more jazz fusion (again avec lots of tri-tone, and some nice drumming!). Then, at the almost-5 min mark, it becomes very quiet thus beginning a guitar solo which ushers in the conclusion with some new themes. The last tune ("Darkest Star") starts as a fairly simple falling chord progression that repeats over a straight beat, for about 4 mins. Like their second album, I don't think vocals are necessary on most of this music, but these four minutes could have used something accompanying (flute maybe?). But the song gets good at the 4:10 mark when a great guitar solo starts, changing completely the feel of the song. As in "Raviji", the guitar solo ends in feedback, at which point a great new section of the tune begins - one of the highlights of the album, albeit too short. The song ends with an abrupt cut (like the Beatles' "Shes So Heavy"), which abruptly changes the mood and wakes you up, like an alarm clock in reverse. But I was loving all the noise!

All together, a very good album. Lots of very musical sections, but sometimes feeling patched together - the transitions are not always smooth. The noisy ending to "Darkest Star" and the great guitar solo on "Raviji" makes me wish there were even more extended guitar solos and that the band free- improvised a bit more. On balance, I give this album 7.6 out of 10 on my 10-point scale - just a hair shy of what I gave their second album. Indeed, the quality is pretty consistent across both albums, and "Stones of Temperence" is really excellent - recommended! I would like to thank Chris Malmgren for sending me these albums. I have really enjoyed listening to them. Chris - if OVRFWRD ever gigs in Toronto, let me know. I would love to see the band!

 Fantasy Absent Reason by OVRFWRD album cover Studio Album, 2015
3.77 | 19 ratings

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Fantasy Absent Reason
Ovrfwrd Heavy Prog

Review by Walkscore

3 stars Very close to 4 Stars!

The most recent album from OVRFWRD contains a lot of really excellent musical sections. The music is all-instrumental, with the band bio stating this is because the singer never showed up for the recording sessions, so the band just continued without a singer (!) I listen to a lot of post-rock and jazz too, and have never thought a singer was necessary. Saying this, when listening to both the first album (Beyond Visible Light) and this one, there are times when I felt the arrangement could have used something additional. While a lot of post-rock (and Krautrock, etc) is intentionally sparse, the music played by Ovrfwrd is more like YYZ or La Villa Strangiato, with a lot of structure and directionality, and there are a number of places where there are repeated chord progressions without soloing, so it seems to me there could be something else there. Not singing though, as I really like this music without any words. Then, eureka! - I got to the song "Utopia Planitia" on this album, and heard the flute that plays over top of the beginning and ending of the piece. Amazing tune! The flute adds just enough additional (improvised) counterpoint to the keys and guitars to fill out the sound and wake up the brain. At a number of times in the other tunes, the piano fulfils this function, and there are some great guitar solos there too. But for the sparser sections in the other pieces, I keep coming back to Utopia Planitia and wonder what those tunes would have been like with the flute. Utopia Planitia is so good, I have added it to my casual rotation, even after listening to the rest of this album a bunch of times. Even without the flute, I think this is the band's best song, but the flute elevates even higher. Very musical, with a great arrangement that does not interrupt the flow (unlike some of the other tunes) and keeps the listener tuned in right to the close.

Saying this, I also like the other tunes. My second-favourite is the closer, "Creature Comforts". Starting out with a really nice interplay between electric piano and jazzy guitar, then a repeated guitar hook brings in the main chord progression and melody. Great song! I only wish it were longer (its only 4 min - would have been a great 12-min epic). The other shorter tune, "Brother Jack McDuff" also works very efficiently, and I wouldn't have changed anything on this one. The remaining two tunes are the ones I think could most have used the flute or something similar. Dust Nova starts out soft and jazzy, with really nice piano and echo-y jazz guitar solo, it slowly builds to power-chord tune with both and guitars at times playing rapid 16th note patterns, but it still seems over-sparse. A flute playing over top would have nailed it ('nailed' in a good way of course!), especially during the build up and then afterwards right at the end as the song settles down. Finally, the long 16+ min title track that opens the album contains a lot of musical sections, although it seems to me overly fragmented. At times a great section dies right down to silence only to rise again with a completely different theme. There are some great organ and guitar solos in places, but those sections where the guitar or piano is playing power chords accompanied by repeated 16th-note patterns by the other instrument could have used some accompaniment. In particular, the main build-up between minute 10 and minute 14 in this piece would have really benefited from a flute or some other accompaniment (or even just a long improvised keys or guitar solo). Many of the chord progressions throughout this tune are built around the tri-tone (augmented 4th), which is still less common, but it generally works well here. I appreciate the non-standard chord progressions on these tunes - while most of the music is not super complex, a number of sections are quite musical and use non-standard chord progressions.

On the whole, this a very enjoyable album. There is not a bad track in the set, even if I think some of the pieces could have been even better. I give it 7.7 out of 10 on my 10-point scale, which is at the top end of the 3-star range. Very close to 4 stars!

 Settimo Grado di Separazione by YGGDRAZIL album cover Studio Album, 2005
3.00 | 3 ratings

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Settimo Grado di Separazione
Yggdrazil Heavy Prog

Review by Modrigue
Prog Reviewer

4 stars Heavy gothico-zheulo-prog metal?

Like the other releases from the Psych Up Melodies label, YGGDRAZIL's "Settimo Grado Di Separazione" ("Seventh Degree of Separation" in English) is a quite strange and hard to describe album. First and only opus to date by this obscure Italian band, taking their name from Northern mythology, the music displays a singular dark and esoteric ambiance, borrowing from various different styles. Almost constantly taken by surprise, the listener will travel through an unknown parallel dimension, moving from hard rock, heavy prog to progressive metal via gothic, cold- wave and zheul-esque wormholes. The mystical impression is reinforced the vocalist's chameleon unusual raw and high-pitched falsetto vocals. The compositions are rather homogeneous in terms of quality, contain many changes, as well as elaborated rhythm structures.

From the beginning, you know you're in for something special. Starting on a heavy prog tonality, "Conception of Time" turns into a powerful heavy progressive metal title, then to a 80's goth / cold wave lament, to finally conclude as a somehow rock ballad! Completely different, the dreary "Lizard" evokes an incantatory ritual chant with its Middle-Eastern accents, and abruptly introduces the nonsense fast-paced "Gig", entirely reversing the peaceful atmosphere. This indescribable track resembles Zheul with various digressions, however dissonant and not really united. My least favorite passage from the record. But even more surprising is what comes next. "Every Man" is a much more classic melancholic hard rock song, both pretty and strong, with a very usual structure. The last kind of track you would expect to find in such an eerie disc! By contradiction, that's why this album is unpredictable.

Opening with beautiful arpeggios, the soft gloomy "By my Time" slightly morphs into complex tortured prog metal. With its high-pitched vocals, this composition may remind a little FATES WARNING. Interesting and varied, although a bit messy at times. Back to calm with the hazy "Specular", a smooth ethereal cold wave title that suddenly unleashes raging numerous saturated soli. Longest song of the record, "Separazione" is a worthy powerful conclusion for such musical trip. Its dark progressive metal tone contrasts with the strange falsetto vocals and the mesmerizing passages, building a mystical atmosphere, summoning the ancient spirits of the sky... Great!

The 2012 Psych Up Melodies re-release includes four bonus tracks, consisting just in low quality demos, rather optional.

Despite a few moments hard to follow, "Settimo Grado Di Separazione" possesses a genuine particular ambiance. Difficult to categorize, YGGDRAZIL is constantly shifting from a genre to another, nearly fooling its audience musically, but not in terms of interest and inspiration. Don't expect walking on an establish path, prepare for an uncommon journey instead.

A very strange and original album, recommended if you like to venture into obscure, tortured heavy prog / prog metal territories, not without certain slices of both known and unknown...

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Heavy Prog bands/artists list

Bands/Artists Country
2112 Argentina
4X United Kingdom
99 NAMES OF GOD United States
A FORMAL HORSE United Kingdom
ABASH Italy
ABIGAIL'S GHOST United States
ADVENT HORIZON United States
AFTER THE FALL United States
AICAN Russia
ALBATROS Spain
ALGABAS Russia
ALGARAVIA Brazil
ALTERED STATE 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
ASTEROID Sweden
ATLANTIDE Italy
ATLAS CUBE Germany
ATLAS VOLT Sweden
ATOMIC ROOSTER United Kingdom
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
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
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 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
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
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
DEJA-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 FLIGHT Germany
EASTER ISLAND United States
EIGHTH WHALE United States
ELDER United States
ELF PROJECT United States
ELIAS HULK United Kingdom
ELONKORJUU Finland
ENCHANT United States
ENFANT Bolivia
ENMARTE Argentina
ENORMITY United States
EPHRAT Israel
EPITAPH Mexico
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
FLOTANTE Chile
FORGOTTEN SUNS Portugal
FRAME Germany
FREEDOM'S CHILDREN South Africa
FRIJID PINK United States
FUMIGUN Chile
FUNGUS Italy
FUSION ORCHESTRA United Kingdom
FUSION ORCHESTRA 2 United Kingdom
FUZZY DUCK United Kingdom
GTE Norway
GATE 6 Netherlands
GENEROUS MEN Sweden
GHOST IN MIRRORS United Kingdom
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