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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 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 | 2603 ratings
MOVING PICTURES
Rush
4.36 | 2204 ratings
HEMISPHERES
Rush
4.32 | 2042 ratings
A FAREWELL TO KINGS
Rush
4.29 | 1884 ratings
PERMANENT WAVES
Rush
4.25 | 2367 ratings
FEAR OF A BLANK PLANET
Porcupine Tree
4.24 | 2325 ratings
IN ABSENTIA
Porcupine Tree
4.19 | 1138 ratings
DE-LOUSED IN THE COMATORIUM
Mars Volta, The
4.15 | 1014 ratings
THE MOUNTAIN
Haken
4.16 | 714 ratings
SALISBURY
Uriah Heep
4.11 | 1935 ratings
2112
Rush
4.10 | 1868 ratings
DEADWING
Porcupine Tree
4.11 | 976 ratings
VISIONS
Haken
4.13 | 584 ratings
UNTIL ALL THE GHOSTS ARE GONE
Anekdoten
4.12 | 633 ratings
LOOK AT YOURSELF
Uriah Heep
4.09 | 964 ratings
AQUARIUS
Haken
4.06 | 1230 ratings
THE SKY MOVES SIDEWAYS
Porcupine Tree
4.05 | 841 ratings
FRANCES THE MUTE
Mars Volta, The
4.10 | 393 ratings
FROM WITHIN
Anekdoten
4.06 | 697 ratings
DEMONS AND WIZARDS
Uriah Heep
4.03 | 1383 ratings
LIGHTBULB SUN
Porcupine Tree

Heavy Prog overlooked and obscure gems albums new


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

A COMPLEX NATURE
Yang
VULTRESS
Cosmic Nomads
A.F.T.
Automatic Fine Tuning
ONCE WE WERE BORN ...
Divine Baze Orchestra, The

Latest Heavy Prog Music Reviews


 Safety In Numbers - 21st Century Redux by CRACK THE SKY album cover Studio Album, 2007
4.12 | 11 ratings

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Safety In Numbers - 21st Century Redux
Crack The Sky Heavy Prog

Review by Mellotron Storm
Prog Reviewer

3 stars Maybe I'm at a disadvantage here as this is the first time I've ever heard music by this band but I was left very much underwhelmed. The original "Safety In Numbers" was released some 30 years prior to this 2007 release but not with their original singer so he's back on vocals here as they removed his replacements singing plus they spruced it up I understand along the way. Three tracks here weren't on the original but were recorded during that time, just left off. I picked this up mainly because it seems most like this "redux" over the original. I maybe should have checked out their debut first but it having been named album of the year back then by Rolling Stone Magazine certainly doesn't make me run out and buy it.

The first two tracks had my attention and I was thinking I had something really good here. "Safety In Numbers" opens with strummed guitar before it turns fuller with clapping before settling back with vocals. A full sound on the chorus. A pretty good opener. "Lighten Up McGraw" is my favourite by far. I like the sound of the guitar in the intro as it starts and stops before kicking in. Nice. Vocals follow. I like the drums and bass as well. The best part is that instrumental section after 3 minutes as the guitar lights it up.

I'm not going to say much about the rest because I don't like to be insulting but "Nuclear Apathy" isn't bad at all but I found as the album played out I got less interested. The three tracks left off the original probably shouldn't have been added here although that's just my opinion. I am amused with "Jungle Man Lonely" though for some reason(haha). I was surprised how much the vocals and harmonies on "Flashlight(Of Love)" reminded me of SPOCK'S BEARD just not as good.

A low 3 stars as I'm just into commercial sounding music although there is one proggy track in my opinion. This just doesn't suit my poor tastes I guess.

 Diablo by MAXWELL'S DEMON album cover Studio Album, 2009
3.67 | 18 ratings

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Diablo
Maxwell's Demon Heavy Prog

Review by TenYearsAfter

3 stars This is an interesting musical project from the USA featuring keyboard player Graig Beebe and guitarist John Galbraith as the beating heart of the band. In 2001 Maxwell's Demon released their debut album entitled Prometheus, then we had to wait eight years for the successor named Diablo (2010). This second album features Graig and John, along a rhythm-section and as guest musicians a classical guitarplayer and a string quartet. On the band their website I read about the impressive vintage gear, from the Hammond organ with Leslie speaker, Minimoog - , Prophet V - and Oberheim synthesizers to a Rickenbacker bass, Gibson ' and Fender guitars and Moog Taurus bass pedals, wow, mouthwatering!

Now about the music, that sounds as a blend of many styles, with a lot of variation and an adventurous mind. The one moment it's 24-carat symphonic rock like Swedish Anglagard (compelling with Hammond, Moog and Mellotron a fat Moog Taurus bass pedal sound and some classical guitar) or fiery and propulsive like Red-era King Crimson (growling bass and soaring Mellotron choirs). The other moment the sound is more experimental like Larks' Tongues In Aspic- era King Crimson featuring captivating interplay between violins and percussion, avant-garde overtones and chamber music with a genuine string quartet (duelling with the Mellotron choirs and violins, not average prog, to say the least). The hints to legendary Classic Prog bands are obvious, but Maxwell's Demon have succeeded to blend these elements with strong own musical ideas, embellished with an awesome vintage keyboard sound.

My rating: 3,5 star.

 Lore by ELDER album cover Studio Album, 2015
4.38 | 22 ratings

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Lore
Elder Heavy Prog

Review by javajeff

4 stars This is insanely good stuff. I bought the albums on Bandcamp, and have been listening to them together in one sitting. They are absolutely addicting. There is a high level of instrumentation, maybe 80/20 to the vocals, but I never feel bored in any way. Their sound is a grungy, psychedelic, spacey, perpetual jam that just ropes you in. They provide much of the same enjoyment of bands like King Crimson, Motorpsycho, or even Hawkwind, where the instrumentation can keep you entertained while you relax, work, exercise, or wash dishes. Nick's vocals remind me of a Jane's Addiction type of sound with a higher pitch tone, and they fit the music well. Elder Lore is probably the best place to start, but you cannot go wrong with any of them. I look forward to their next release. Head over to Bandcamp and see if they do not rope you in too.
 Gravy Train by GRAVY TRAIN album cover Studio Album, 1970
3.42 | 63 ratings

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Gravy Train
Gravy Train Heavy Prog

Review by steamhammeralltheway

4 stars MAKE THAT 4.5 STARS, I only recently found out about Gravy Train but have been quite impressed. This debut is a masterpiece. From the opening strains, it is a cavalcade of catchy riffs, blues and rich instrumentation. 'The New One' features ample flute and several sections: never a dull moment. The moodier 'Dedication to Sid' dishes up of course the trademark flute but also fuzz guitar, tribal drums and a pensive vocal. The only detracting factor is vocal overdubs in an annoying extreme falsetto. The flute and guitar interplay and get both psychedelic and soulful on this track. Then the song takes off on a spacy journey where the drum assumes a heartbeat style and guitar feedbacks, later building to crescendo with the expressive flute.

'Coast Road' is a bonafide blues track, but far more engaging than most blues numbers because it's anchored by flute and fuzz guitar -- not your typical blues instruments for sure, and ones to add much texture and depth to this tried and true musical form. Later on the song becomes more cookie cutter and rambly with the addition of harmonica and lack of any new motifs to move it beyond the blues formula. And the band insists on droning on over six minutes for no clear reason. A soaring and fluid sax does furnish some additional focus. The amateurish sounding vocal enters briefly late in the song and very well could have been omitted altogether for better effect.

'Enterprise' along with 'Think of Life' are the album's most memorable songs. Laughter and snippets of conversation near the beginning of "Enterprise" lay down a playful mood. This counterbalances the forceful and intense main theme on flute and drums. This very tight jam well contrasts to the introspective, thumping vocal theme. Though some will undoubtedly find the lyric forced, to me it's so hyperbolic as to be sublime, a case of the cheesier the better. Not easily dismissed is the perfect proggy flute accents. And I want to praise the vocals a little more: the delivery is superior to anything on the album. A later much darker vocal bridge illustrates singer Norman Barrett's versatility. A lengthy very intense flute solo interwoven with the darker vocal takes things to new heights.

'Think of Life' begins with similar vocal silliness to 'Enterprise.' This one is a pounder, very enjoyable if the lyric only wouldn't get insipid in spots. But 'Think of Life' levitates towards the stratosphere in the middle and never lets up until it's completely out of sight.

The final track, 'Earl of Pocket Nook' very skillfully walks a line between lightheartness and wistful melancholy. The vocal aids this unusual mood. Again the flute and fuzz guitar are the perfect implements to relay this adventure in sound. This track oozes '60s hippiedom. The vibe is just a touch retro. Soloing makes the most use of Hughes' bluesy saxes than any of the prior tracks. 'Earl of Pocket Nook' is the longest number on the album, and time is used wisely. Things start getting weird past the six minute mark with the sax on a never-ending but much variegated solo. Ethnic drums and flute punctuate an instrumental escapade, bringing to mind Nik Turner's sage words that music is the real drug. Who would need to be chemically enhanced under the influence of something as mind-expanding as this album!? The Gravy Train debut is truly a far out trip.

 Mundo Bosque by ALBATROS album cover Studio Album, 2014
3.41 | 20 ratings

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Mundo Bosque
Albatros Heavy Prog

Review by TenYearsAfter

3 stars In an almost euphoric mood I wrote about Ursus their previous effort: "Especially the final composition on Ursus gives me goose bumps, due to a mindblowing duel between the vocoder and Arabian sounding synthesizer. To me it sounds like "Peter Frampton Goes Psych Andaluz"! So how about the sound on Albatros their third release named Hombre Bosque, in 2014 released on the Chilean progrock label Mylodon?

After a few listening sessions my conclusion is that Albatros sounds like .... Albatros. Although I notice elements of known bands (especially early Pink Floyd), in my opinion again Albatros have succeeded to develop an own sound, a few examples.

Hijos De Los Hombres : propulsive rhythm with inventive work on guitar and keyboards.

Caminante De Luz : mid-tempo with fiery guitar and floods of Hammond organ.

And the strongly build up and dynamic final composition Cómo Estás Cuando Estás Bien : alternating with warm vocals, howling slide guitar and a varied keyboard sound.

The captivating instrumental track Tardis delivers an omnipresent Fender Rhodes electric piano sound, along sensitive electric guitar.

In contrary, the following Ende sounds song-oriented, a bit polished but with wonderful, very sensitive electric guitarwork.

My conclusion. The great thing about Albatros is that they present an original and adventurous sound, like so many Spanish prog bands, from Triana to Kotebel. In comparison to the two previous albums a bit less adventurous and experimental, in my view. But listening to Albatros remains an exciting musical experience, also on this new album. Check out if you are up to discover interesting, genuine new progressive rock!

My rating: 3,5 star.

 R 40 (DVD Box Set) by RUSH album cover DVD/Video, 2014
5.00 | 1 ratings

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R 40 (DVD Box Set)
Rush Heavy Prog

Review by TenYearsAfter

— First review of this album —
5 stars 'Concert halls!'

In 2014 I read about this huge box set and conclude that I already own 9 of the 10 discs, only not the R 40 Bonus Disc featuring 'over 2 hours of previously unreleased live footage'. Suddenly I hear the Anthem Sirens singing 'Dear Rush fan, this is incredible footage, buy it, you may not miss this, buy it, show us your are a true Rush fan, buy it!' I can't not resist these seducing and demanding words by the Anthem Sirens, I need to buy it, right now! And so I turn into another victim of Anthem record company their 'wallet plundering' R 40 release. But how about that R 40 Bonus Disc?

First a very brief look at the other concert DVD's in this box.

Rush In Rio ' 2003 : This is a moving match between skills and emotions, Rush playing for a rain soaked, dancing, yelling and singing Brasilian crowd, an extra dimension, perfectly registered, especially YYZ, goose bumps!

R 30 ' 2005 : Recorded in Germany, a magical return to Europe after many years, especially the R30 Overture, awesome music and great animations.

Snakes & Arrows ' 2008 : Rush presented their highly acclaimed new album and a lot of work from the 1977 and 1984 era, supported by splendid animations and a breathtaking lightshow.

Time Machine ' 2011 : The Moving Pictures 30th Anniversary tour, after the break Rush performed the entire Moving Pictures album, again embellished with awesome visuals, this is progrock history!

Clockwork Angels - 2013 : Featuring the Clockwork Angels String Ensemble, great shots from the warm and enthusiastic interaction between the ensemble members and the Rush musicians.

Finally, the R 40 Bonus Disc. The first 8 tracks on the R 40 Bonus Disc are from a 1974 recording at a secondary school near their hometown Toronto, in colour, good bootleg quality, and very interesting. It's the era of their eponymous debut album, with their first drummer John Rutsey. He is an archetypical rock drummer and does a good job, and also the conversation with the crowd. Looking at this very early Rush I am impressed, the band sounds powerful (with obvious hints from Led Zeppelin, The Who, The Yardbirds and Cream), tight, professional, self confident and they play with passion and pleasure. Geddy Lee his bass work is strong and he sings powerful, with that distinctive high- pitched (at moments screamy) voice. Alex Lifeson is a joy to watch, his outstanding guitar play is in the vein of Jimmy Page, but also bluesrock like Rory Gallagher (in the unknown I've Been Runnin', even the use of a bottleneck) and Black Sabbath (Working Man, long and exciting improvisation by the band). Rush their powerful melodic rock is appreciated by the young audience, watch their delighted faces!

Then 5 songs recorded during the 2112 USA tour in 1976, the footage is in black and white but the quality is very good. Now Neil Peart is the drummer, with a huge drumkit. Geddy has switched from a Fender to the distinctive Rickenbacker (like his hero Chris Squire). It's only two years later but Rush has turned into a very tight unit, they play more dynamic, the interplay is amazing and every member has matured. Rush survived from bad times (close to a demise around 1975), the new album 2112 sounds fresh, dynamic and powerful, as Rush during this concert. Especially the classic epic 2112 is jawdropping, what a creative powerhouse! This is very nice footage, Rush is on their way to become a top rock band, and this is their awesome bridge from progressive hardrock to heavy progressive. You see this development during the entire composition (7 parts). And Alex Lifeson is delivering more and more of his trademark guitar soli: fiery, biting, blistering, with spectacular use of the wah-wah (in Anthem and especially 2112, he really shines). Also worth to watch is Neil Peart in his early days with Rush, his contribution to Rush is already huge, in several ways (drums, compositions, lyrics). And how dynamic and inventive is his work on the drums, often with his head downwards, full concentration.

Next the year 1988 with the live track named Lock And Key (from the Hold Your Fire album). Rush is now a 'High-Tec 'Heavy Prog-Orchestra', just look at their equipment in this live footage, breathtaking. And what an incredible contrast with the 1974 footage, now Geddy Lee is surrounded by keyboards and Neil Peart with assorted percussion! Rush plays a wonderful version of Lock And Key, the lightshow is amazing.

And then an open air concert from 1997 (Test For Echo era) in their hometown Toronto, this registration contains 8 compositions. Rush their sound is obviously more song oriented and more guitar based, like in Limbo and Virtuality. My highlights are Leave That Thing Alone (exciting interplay and lots of catchy and swinging shifting moods) and 2112, a strong version(not the best), halfway a surprising and long guitar improvisation, very tasteful and great rhythm guitar work. The crowd loves it and Rush play inspired. Although the sound quality is not optimal and at some moments Geddy lacks a bit power in his voice. But it's very special footage, for the first time in many years Rush performed the entire version of 2112, and it remains a captivating classic epic!

Next I Still Love You Man, the funny closing film from the Time Machine tour in 2011.

Finally the 2013 Rock And Roll Hall Of Fame Induction, first the verbal part, my highlight is a hilarious act by Lifeson . Then the musical part. First an awesome live version of the 2112 Overture by Rush diehards Grohl and Hawkins (Foo Fighters) and Raskulinecz (producer), in the end joined by the Alex, Geddy and Neil. This is a perfect demonstration of the strong relationship between the fans and the band. In the conclusion of the musical part Rush deliver excellent versions of Tom Sawyer and The Spirit Of Radio, both tracks epitomize the highly acclaimed Rush sound, an unique blend of outstanding skills, ideas, power and lyrics.

My conclusion about the R 40 Bonus Disc. You can literally watch the stunning development (between 1974 and 2013) of the band (from a promising local rock band to a 'biggie'), the musicians, the music, the lightshow, the animations, the strong connection with their audience, really awesome.

My conclusion about this 10 DVD box set: a Big Plus are the 56 page booklet (wonderful and funny colour and black- and-white photos, often very creative shots and super quality) and the Bonus Disc. And if you do not own most of the live DVD's, this is the best progrock you can get from the last five decades (my personal rating: six stars). But if you own, like me, al those previously released live DVD's, this is an expensive purchase, with lots of doublures. But I don't regret to be seduced by the Anthem Sirens!

In case PA keep on mentioning zero social comments, this review has 2 social comments.

 Let Silence Fall by DEAFENING OPERA album cover Studio Album, 2018
3.20 | 12 ratings

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Let Silence Fall
Deafening Opera Heavy Prog

Review by Steve Conrad

3 stars The Band:

Adrian Daleore (vocals) Moritz Kunkel (guitar) Thomas Moser (guitar) G'rald Marie (keys) Christian Eckstein (bass) Konrad Gonschorek (drums)

DEAFENING OPERA was formed in 2006 in Munich, Germany, and have released three full-length albums, and an EP that formed the basis of their second album 'Blueprint'.

Let Silence Fall was released March 2018.

The Album:

My initial thought when I started listening was 'Wow'!

There's a lot to like on this album. It's billed as a concept album- for me one of the things that have ultimately reduced my over-all rating.

If it's a concept album, it has different requirements than simply a collection of songs. It needs to hang together with common threads and themes.

Perhaps I'm obtuse, but for me, the concept is terrifically obscure- I'll take a shot at interpretation, but for sure, I'm doing a lot of guessing.

A Lot to Like:

There are the kinds of contrasts, melodic passages, musicianship, composition, ensemble playing, and grandness that I value in progressive rock.

The band, who's core has endured and thrived for a dozen years, has surely gotten to know each other's styles and strengths.

I was impressed as well by the packaging- the digipak that housed the CD that guitarist and composer Moritz Kunkel provided me- the lyrics sheet (makes reviewing much simpler), and the art work as a whole.

I could hear the progressive metal roots of DEAFENING OPERA in the crunchy chords and riffs that predominate, yet the evolution into more complete stature as progressive rock was also evident.

A song might start wistfully and tenderly- and here vocalist Adrean Daleore shines- and then move into a near- orchestral grandeur'and back again. I like music that makes me think AND feel, and much of this does.

The Concept: The track 'Down the River' seemed to set the themes. The river itself was a recurring image, and by the end of the tale, had changed from waters of life to the stillness and stolidity of sand and rock and desert.

The protagonist- a young warrior who is coming of age, implores his father for wisdom and guidance. He begs for father's blessing, and points out two scenarios that appear to cause him anxiety.

He asks his father to define him, and to help him set free the destiny he believes he holds within.

Now, it gets murkier.

It seemed like the protagonist found love. In 'Amber Light' there is certainly tenderness, but also restless insomnia, and (a vision?) his father blaming him for the sense of crisis in the world.

From then on, things get worse, spiraling into madness, terror, and finally, what seemed like death for the tragic couple.

It SEEMED like in twisted sexual play, the protagonist destroyed his wife, and then struggled to live with himself, and with her in his memory.

Oddly the timelessness of the opening tracks and lyrics gave way to modern-day images, like driving, gasoline, some current topics.

In 'Sweet Silence' we hear a modern TV announcer, for example, and some news headlines about The White House, war, and politics.

These seemed jarring, and ill-fitting.

The best tracks did have mythic timelessness and images. I was especially touched by such lines as this one, from 'Man and Machine': 'We walk in life backwards watching the past/ Blind to what lies yet ahead'.

Or these lyrics from the epic closing track, 'Plus Ultra': 'Growing old losing hold of you/ Far from grace now to face my shadow/ Rust to rust turn to dust again/ Twin echo as we're going down'.

What's Not to Like:

The confusing concept was one challenge.

Another was that while the vocalist shone on the tender and gentle passages, for me he did not handle the rough and raw sections as well. I was distracted at times, and found myself wondering what a gutsy, powerful vocalist would bring to those sections.

His efforts at the rougher segments seemed forced or growl-by-numbers, and not as authentic.

There were the seeds of some fine choral segments. Harmonies were established, and needed more development. This would be a strong potential growing area for the band.

Finally, the energy of the opening tracks seemed to wind down a bit, and the hour-and-change of this album began to seem long as a result.

My initial 'Wow!' changed to a bit of a let-down because of those factors.

My rating:

My initial response was to go 2.5 out of 5 tragic stars.

But after several more listening sessions, I think I was too severe.

Today, 3.5 out of 5 stars.

 Well Cut by JENGHIZ KHAN album cover Studio Album, 1971
3.13 | 17 ratings

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Well Cut
Jenghiz Khan Heavy Prog

Review by GruvanDahlman
Prog Reviewer

3 stars Out of the mists, buried deep under time and space comes the voice of the belgian band Jenghiz Khan. Obscure, yes it is. I have been aqcuainted with this band for many years but it is only recently I have come to the conclusion it deserves a review. Sadly there's only one review of the album and though I dare say that mine will not differ all that much from that one I still think it's just and proper to grace it with at least two.

Jenghiz Khan made one album and then disappeared. What you hear on the album is all there is, I suppose, and what is it the then? I hear a band that has spent a lot of time listening to Uriah Heeps first album and checked out other, similar bands, like Deep Purple. The vocalist tries hard to sound something like David Byron with the high pitched screaming and he manages to pull off quite a holler. There's a lot of the old Hammond organ, and that appeals to me greatly. The sound of the album is raw and dirty, primitive and earthy. The soundscape resembles "Very 'eavy, very 'umble" and "In rock" which gives it all a very rough sounding edge.

The quality of the songs range from "okay" to "great" and comes in equal amounts. The real winners are the opener "Pain", the heavy and moody "The moderate" and the sort of epic closer "Trip to paradise". The two songs "Campus A" and "Campus B" are nothing but two rock'n'roll numbers that leaves me indifferent. "The lighter", "Hard working man" and "Mad lover" are nice enough but not much to write home about. The opener and the closer are absolutely the best with shifting moods and tempos. Great stuff.

When pondering on what rating to give I became, at first, blinded by the three great tracks and losing sight of the target but after carefully thinking and calculating I came to the conclusion that it is impossible for me to give the album anything else than three stars. It's a nice album, well worth a listen, but it does not land in the category excellent as a whole. One wonders what might have been had they released another album.

Raw, heavy and at times really excellent.

 The Storm by STORM, THE album cover Studio Album, 1974
3.65 | 16 ratings

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The Storm
The Storm Heavy Prog

Review by TenYearsAfter

3 stars This is a Spanish five piece band that was founded in the early Seventies when three young guys met at school in Seville, the cradle of flamenco. But their music had nothing in common with Prog Andaluz (like Smash, Triana and Medina Azahara): they started to play covers from The Beatles, Jimi Hendrix, Cream and Guess Who. But soon after a fourth member on organ had joined and the band had changed their name from Los Tormentos into The Storm (in fact the English translation). In that time everybody was impressed by the progressive hardrock of Led Zeppelin and especially Deep Purple. The band too and decided to change their musical direction into a heavy rock sound, with omnipresent Hammond organ workby their new member. The Storm joined gigs with known Spanish rock bands Smash and Maquina! and gradually became pretty popular among the hardrock aficionados. In 1974 now five piece formation The Storm released their eponymous debut album, the single I've To Tell You Mama/It's Allright even reached the top in the Spanish charts! And The Storm impressed Freddy Mercury when they were support-act for Queen during one concert, the sky looked very bright. But unfortunately due to different reasons (like work overload, miliairy service and a changing musical taste in Spain) things didn't work out as planned and foreseen. In 1979 their second album entitled El Dia De La Tormenta was released but with a new bass player, and a hardly recognizable sound. So the history of The Storm was a heavy but short one you can cynically conclude.

On their debut album The Storm delivers mainly rock songs with simple (in general) English lyrics, heavy guitarwork and cascades of Hammond organ (great solos in Woman Mine and It's All Right), often Atomic Rooster (John DuCann line-up) comes to my mind because of the swirling Hammond organ, fiery electric guitar and exciting heavy climates. At some moments The Storm surprises the listener with interesting musical ideas. Like in the long and progressive Crazy Machine (biting wah-wah guitar and jazzy interlude with outstanding Hammond work), I Don't Know (break with swinging rhythm guitar and lush Hammond) and Experiencia Sin Organo (Black Sabbath meets Led Zeppelin with heavy guitar runs).

If you like Hammond drenched progressive hard rock like Atomic Rooster, Uriah Heep and Deep Purple, this band is worth to check out.

My rating: 3,5 star.

Other interesting (and often overlooked) Seventies Spanish prog albums: Franklin - Lice Cycle / Canarios - Ciclos / Las Grecas - Gypsy Rock / Atila - Intencion / Abedul - Nosotros / Azabache - Dias De Luna.

 Transcendental Circus by ORPHEUS NINE album cover Studio Album, 2017
4.14 | 36 ratings

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Transcendental Circus
Orpheus Nine Heavy Prog

Review by MoreTorres

5 stars Much modern prog is a stale remnant of bygone eras. Orpheus Nine is not. Their opening statement to the world, Transcendental Circus, is a triumph.

Right from the off you'll be mystified by Jason Kresge's keyboard playing. But all of the musicians are extremely talented, and the songwriting is absolutely solid, with melody and taste favored over pointless noodling.

Good luck locating a bad song on this 75-minute CD. Highlights are Fetish, The Fall of the House of Keys, and the momentous masterpiece: the certifiably insane 6-part Transcendental Circus 'suite'. What can I say about this incredible title track? Genius. Madness. Beauty. Surprise. Schizophrenia. Perfection.

How can a band be this strong, this tight, this compelling, on their very first rodeo? It's almost unfair.

1. Of Zygotes and Grace Notes (8/10) 2. Eightfold Way (9/10) 3. Fetish (10/10) 4. Hand of Make-Believe (9/10) 5. No Illusions (7/10) 6. Age of Rhyme and Reason (8/10) 7-12. Transcendental Circus (*11/10*) 13. Reaper's Carousel (8/10) 14. Sandcastles (9/10) 15. The Fall of the House of Keys (10/10)

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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
ALDENFIELD United States
ALGABAS Russia
ALGARAVIA Brazil
ALTERED STATE United States
AMALGAM EFFECT 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
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
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