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Mamiferos Habituales (Mexico)
Group formed in Monterrey with one CD rich of progressive sound in the style of jazz fusion.

Mandrágora (Argentina):
    Born in 1984 initially with Alejandro Puente in keyboards and Ernesto Pombo: drums and flute. Damian Tissot: Bass, Guitars and Vocals joined them in late 1987 and so the group worked as a trio. During this time Ernesto develop his  new task of vocalist, sharing himself between the voice and the drums (during the instrumental sequences) as well as visual language and theatrical exhibitions.
     Alejandro left the band in 1990 and  Mandrágora became a quintet with  Gabriel Pensado in keybords, Alex Chaneton in guitar and Ignacio Trazar on drums. Their visual show became richer and more imaginative achieving national fame with their outstanding presentations, particularly in their
participation in a festival at the Parque Centenario in which they were acclaimed by more than 3000 young people.
    In 1992 they recorded, in an independent way, the material to be released in 1993 under the Tommy Gun Records label, with the name of "Pecado Tras Pecado" ("Sin After Sin"). The artistical production was at Rinaldo Rafanelli's charge. There were guest as Fernando Samalea (Charly García's musician) playing the concertina; and Alejandro Terán ("La Portuaria") & Fernando Diéguez on strings. From the single "La Mueca De Las Máquinas" ("The Grimace Of The Machines") they made a video clip which was recorded with:
Alex Chaneton: guitar
Gabriel Pensado: keyboards
Gustavo Martínez: drums
Ernesto Pombo: voice & flute
Damián Tissot: bass & backing vocals
    The magical-theatrical side of the group has evolved into a complex multimedia show, in which the costumes, the performances, the masks, theater, ballet and magic blend together to deliver a halo of mystery that Mandrágora knows how to plot.
Pecado tras pecado (Sin after sin)
Multimedia Show: Regreso de un largo sueno (return from a long dream)

Marco Gomez (Mexico):
As with most of the best mexican groups, Marco creates his own independent label and releases a self produced album. Marco is a multi-instumentalist influenced by King Crimson, Mike Oldfield, Jean Michel Jarre and Vangelis. He creates a nice atmosphere with classical structures layered upon latin sounds and flamenco style guitars.

Mascarada (Spain):
Mascarada officially appears January 3, 1988, as a result of the joining of three musicians: Juan Mares (keyboards, drums and guitars), Daniel Mares (vocals, percussion and guitars) and Pedro Cordoba (bass, vocals and guitars). Daniel and  Juan were members of "Llewellyn" and later of "Galadriel" (not the current group Galadriel), while Pedro had ample experience as a session musician and former player with several Rock and Pop bands. 
After a search period and some changes, the band becomes stable in June 1988 with the following musicians: Pedro Cordoba (Bass, guitars and vocals), Daniel Mares (vocals, guitars, percussions), Juan Mares (Keyboards, flute, percussions, guitars, vocals), Carlos Mostoles (Guitars) and Carmelo Sancho (Drums, percussions) and had their official presentation in September 1988. However, by January 1989, there are several problems within the members of the band; First Carmelo Sancho and then Pedro Cordoba left. The search for new substitutes was prolonged until February 1990 with the band being : Francisco Javier "Fran" Garcia (Drums, percussions), Vicente Guillen (Bass), Daniel Mares ( Vocals, guitars, percussions), Juan Mares (Keyboards, flute, percussions, vocals) and Carlos Mostoles (guitars).  Fran and Vicente came from a short-lived Spanish progressive group called "Andromeda" between 1985 and 1987. With this new formation, they release their first official material: "Restos del amanecer" (Dawn's leftovers) distributed by mail and accepted very well by the critic and public in general. In the early 1991 while they are about to record their first album, again musical differences lead to another rupture of the group.: Personal problems within the members lead to Carlos Mostoles leaving Mascarada in January. Later on,  Fran and Vicente left the group since they wanted a more commercial flavor in Mascarada's music in order to attain "a hypothetical commercial success", while Daniel and Juan did not want to surrender and they wanted to continue to make music with no restrictions and external interventions. Thus after careful consideration, Daniel and Juan, made the decision to continue working under the name Mascarada since they were 90% of the creative work and because they believed in what Mascarada had to offer. At the same time, they decided not to include more musicians, in part because of the prior bad experiences but also because they wanted to prove themselves capable of doing all the work. So in the summer of 1991 a new Mascarada was born where Daniel takes over the bass, guitars, percussions and vocals while Juan takes charge of the keyboards, wind instruments, percussions and backing vocals. Most of the rhythms are made through sequencers and/or played directly through the keyboard (thanks to a percussive module). They had three objectives in mind: 1-Create music as if they were a 5-6 member band, but with the flexibility and freedom that now they had. 2- They tried to go back to the place that progressive rock had in the mid 70's and from there find new ways to express themselves.  3- Explore the musical and technical possibilities they had. In October 1991 they open their own recording studio and by 1992 they release (on tape) their first work:  "The Tower (and other strange places)". "The Tower..." was a production learning experience, but in spite of this it received good reviews by the critics and an excellent acceptance by the public. In 1995 they release their second cassette, "The World Jones Made", again with excellent reviews. By this time the production was carefully done and the sound was cleaner than in "The Tower...". Finally in 1997 their third tape is released: "Urban Names" described as one of the best Spanish progressive works. The response was so good that they received offers from several labels to edit their work and finally the Italian label Mellow Records signs them and will be releasing their CD. In the mean time they are already working on a new project named "Jade" which probably will be the most ambitious work ever done by a progressive group in Spain. Besides this, both Daniel and Juan had other activities besides music. Daniel is a sci-fi writer who has obtained several awards in international contests and currently edited a book called "Seis" (Six, spiral collection sci-fi) and the second is on its way. Juan is dedicated to graphic design in his own company (Hyeron Graphic Studio). All the graphic design of their soon to be released CD is his creation.
Restos del amanecer (Dawn's leftovers)
The Tower (and other strange places)
The World Jones Made
Urban Names
Mascarada homepage

Medina Azahara (Spain):
Cordobés group for the late 70’s formed by: Manuel Martínez (vocals), Miguel Galán (guitars), José Antonio Molina (drums), Manuel S. Molina (bass) and Pablo Rabadán (keyboards). Medina Azahara had an instant success since the relase of their first recording: Medina Azahara with their hit “Paseando por la Mezquita” where the fusion of andaluz melodic lines and progressive rock becomes evident. The album sold  200.000 copies and the song became a hymn. In 1980, their second album, La esquina del viento, strengthen their place in Spanish progressive music and gives them the opportunity to participate in a huge concert in Badalona (Barcelona) along with Alameda and Mezquita. Their third album: Andalucía, released in 1982, did not receive as much acceptance as the prior two, perhaps because the progressive movement started to extinguish, however they remain active. Until 1986, they continue with tours and live presentations and release their new album: Caravana española, without keybordist Pablo Rabadán (that left the group earlier) and with two new musicians: Antonio Fernández on keyboards and Randy López (ex- Mezquita’s bassist). Again the album goes unnoticed.  After four years of struggling, the group suffers new changes: From the original group only Manuel Martínez and Randy López remained, Miguel Galán was replaced by Francisco Ventura (guitars) and Antonio Molina by Manuel Reyes (drums) while Pablo Rabadán re-joins the group on keyboards. With this new formation they are signed by a small record company that releases their 5º LP in 1989: ... En Al-Hakim. This infuses new life into the group particularly when José Miguel Fernández (bass) joines them. This album clearly marks a new era in the group evidenced in their first recorded live album at “El Egaleo de Leganés” el 30 de Junio de 1990. A new way of making music is apparent: the slow songs, and the flamenco influence and guitar riffs are abandoned, instead the group presents a more classic rock, more progressive and with definite arabic influence that they liked so much. The album went platinum with more than 200.000 copies sold. Two songs make it to number one: The cover “Todo tiene su fin” from Los Módulos and “Necesito Respirar”, which becomes their hymn in concerts. They stared a tour, which included US and Japan where their success leads them to release a only Japan edition of: Leyendas de Andalucía, a compilation disc.  About that time the group has a nickname amongst their fans: The “Hurricane” Medina.
In 1992, their new album: Sin tiempo, is released with more of a rock style and a year later their album: Donde está la luz. Again, both receiving great acceptance. They begin a new series of concerts with José Miguel Fernández (bajista) y Alfonso Ortega (teclista) and by 1995 they release a new album: Arabe becoming a great success. By the end of 1996 they release a live album dedicated to their fans: A toda esa gente, which is a compilation of all live songs during their Spain tour and the inclusion of a new song: “Very Well Fandango y Ojos Negros”.  Also, on December 1996 Medina Azahara released a mini CD with rock style Christmas carols 

Menayeri (Puerto Rico):
    Group integrated by Edwin Torres: Vocals, Edgardo Alvarez: Guitars, Rambert Bastell: Bass, Enrique Ocasio: Drumms and Keyboard Programming.  The group begins in mid 1992 in Ponce, Puerto Rico when  Edgardo and Enrique decided to change their musical style influenced by  groups such as Yes, King Crimson, Genesis, Marillion, The Beatles ('67-70) and Rush.  Together with keyboardist Manuel Irizarry  they wrote their first songs with lyrics in english: Reality Land and Walking Man.  This first assocaition gets together as a band with the incorporation of Melvin Rosario (Bass) and Jose Negron (Vocals) begining a period of live performances with original compositions as well as songs from Yes, Asia, ELP, UK and Marillion. Between 94-95 htey performed in Bars,  Uniiversities and radio while writing the first version of Chronos. By 1996 they decided to fully perform their own songs and to change the lyrics to spanish; their topics explore the different experiences that people face on daily living opening new horizons. The new band is integrated by Alberto Padilla: Bass and Edwin Torres: Vocals and they continue with their presentations and concentrate in preparing new material; by  1997 their first demo is recorded including 5 songs. By the summer of that year Edgardo Alvarez quits and is replaced by Michael Bonet. In March of 98 tthey take a brake. Regrouping in 99 they start recording what would be Menayeri's first CD.  Michael left the band, Edgardo returns and Ramber Bastell joins as the new bass player, finally finishing their first CD released in  February 2000: Tiempo fugitivo. 
Tiempo Fugitivo (Fugitive Time)

Mezquita (Spain):
    Beautiful symphonic progressive based on flamenco  guitars, magnificent keyboard arrangements and delicate vocals.
Recuerdos De Mi Tierra (Reminiscence of my land)

MIA (Argentina):
    Super group from mid 70's formed by: Nono Belvis: Bass, Lito Vitale: Keyboards and drums, Juan del Barrio: Keyboards and Viboretta, Liliana Vitale: Drums, flutes and vocals, Leticia Caramelli, Daniel Curto, ,Marcelo Esteras, Elbio Gostoli, Angel Itelman, Edith Kucher, Carlos Melero, Alberto Munoz,  Maria Pita, Emilio Rivoira, Maria Rodriguez de la Torre, Luis Samolski, Esther Soto, Perla Tarello and Rubens Vitale.
    Their music is a complex symphonic rock with definite Argentinean/latin folk influence with multiple corals and vocals beautifully contrasting with the keyboards and a great guitar sound upon a strong rhythmic section.
Magicos Juegos del Tiempo (Magical games of time)
Conciertos (Concerts)
    Lito left the group and pursued a solo career producing the album En Solitario (In Solitude)

Musica D'Repuesto (Cuba):
    Group formed by Lino Garcia: Bass, vocals and computers, Pedro Pablo Pedroso: Violin, computers and Orlando Bernal (ex member of Sebastian el Toro and Perfume de Mujer): Guitars. Their music is complex, sometimes spatial in the style of Tangerine Dream or Eno, while other times is more jazz fusion with beautiful improvisations that resemble Return to forever. Vocals are a big minus.
Suite No. 1
Blues del pequeno burocrata ( Small burocrat's Blues)

Naranja Mecanica (Cuba):
    Group formed by Manuel Clua: Flute, Jorge Luis Barrios: Drums, Alejandro del Valle: Piano and vocals, Igor Urquiza: Guitars and  Ernesto Garcia: Bass and vocals. Their music is an excellent example of the finest progressive Cuban rock. Their style is in the best of the Italian symphonic rock and orchestrations that resemble Came but with an original and distinctive sound.
  Naranja Mecánica was one of the most alternative groups within the Cuban Rock scene. Started in 1991 as a trio in La Havana with Ernesto García (Bass, vocals, programming), Igor Urquiza (guitars, programming) and Manuel Clúa (Flute). They started working with MIDI sequencing in different electro-acoustic festivals in La Havana, while at the same time they worked as actors and musicians at the Teatro Estudio of Cuba, under the direction of Raquel and Vicente Revuelta.
    In 1992 they had a tour around Spain and participated in four Theater festivals with the play  Concierto Barroco (Baroque Concert), based on  Alejo Carpentier's novel. With this play they receive excellent critiques for their musical work. It is until 1993 that they become a quintet with the addition of Alejandro del Valle (piano, keyboards and vocals) and Jorge Luis Barrios "El Piro" (drums and percussions). That is when the reality of Naranja Mecanica really starts within the context of Cuban progressive rock... a quintet of self studied musicians willing to face a different and complex music, resulting in a rich symphonic rock from the 70's with a Cuban vision. They worked with european harmonies, the difficult contemporary rhythm of orchestral music,  7/8, 5/4, 5/8, and the afrocuban 6/8 rhythms.
     Their rhythmic work and constant change of patterns and rhythms is superb, particularly with the beautiful combination of distortion and the renascentist sound of the flute. the polyrhythmic sound of the bass and percussions.
 Naranja Mecánica is an apology to a conscious and rational musical arrangements and composition. Their lyrics are scarce, short and dark; they try to communicate philosophical ideas within the context of the music.
     Naranja Mecánica disappear in 1995 after a magnificent concert at the Casa de las Américas, La Havana.
       There is only one compilation of cuban progressive music which includes their work: "Variaciones en la cuerda"
 Naranja Mecanica Homepage

Nazca (Mexico):
Band formed by Decibel's multi instrumentalist Alejandro Sanchez with only one release: Estacion de Sombra (Station's shadow)

Necronautas (Mexico)
Group characterized with "Space Sound"  style mixed with influences by Crimson,Il Balleto and Le Orme. They released one tape with the participation of Marco and Hector Gil (ambos ex-Codice). Most recently they shared stage with Anekdoten during a prog concert. 

Neuronium (Spain):
     Spanish synthesizer band created by Michel Huygen(of Belgian origin) who began his musical career by the early seventies as a member of severalbands of psychedelic rock. In 1976, he founded the band Neuronium together with Carlos Guirao and Albert Giménez as a synthesizer trio pretty much in the Tangerine Dream School but more up-beat and with nice acoustic guitars and folk/flamenco influence. Giménez left the band after recording Vuelo Químico in 1978 and Guirao also left after Chromium Echoes in 1982. Since then, Huygen is the only member of Neuronium who creates and composes all the music and sometimes is accompanied by various musicians. Some of his albums are signed as Neuronium and others as "Michel Huygen" 
NEURONIUM:                             MICHEL HUYGEN:
 Quasar 2C361                                           ABSENCE OF REALITY
 Vuelo Quimico                                      CAPTURING HOLOGRAMS
 Digital Dream                                       BARCELONA 1992
 Chromium Echoes                                ELIXIR
 Invisible Views                                      INTIMO
 Heritage                                                  EN BUSCA DEL MISTERIO
 Alma                                                         INFINITO
 Supranatural                                       MUSICA PARA LA BUENA MESA
 From Madrid to Heaven                       ASTRALIA (with Jiménez del Oso)
 Numerica                                                 SONAR
  In London (with Vangelis)
  A separate affair (with Vangelis)

Nirgal Vallis (Mexico):
Formed by Jose Luis Fernandez Ledezma Q: Keyboards, synthesizers, jaranas, kalimbas and guitars, Ramon Nakash: Violins and Mandolines, Alejandro Schmidt: Acoustic and electric guitars, Rafael Gonzalez: Percussions, Claudia Martinez de Alba: Vocals and Julio Sandoval Bass and guitars. Nirgal vallis appears as a musical experiment of three high school friends (Jose, Ramon y Alejandro) and two professional musicians  (Rafael y Claudia).
    There was a project to edit and release a sampler, which included musical pieces from all groups involved in the progressive scene in Mexico. As usual , the project fails and only Arturo Meza and Nirgal vallis have the courage to finish it and released an album with  En Principio (To begin with, Arturo Meza) on one side and  Y murio la tarde ( And the evening died, Nirgal Vallis) on the other.  Julio joins the group for the reissue of the album in which new songs are included instead of Arturo's material. The name was taken from a Martian riverbed
Y Murio La Tarde  ( And the evening died)

Nobilis Factum (Mexico):
    Formed in 1980 by Enrique Balderas Rodriguez: Keyboards and voice, Jesus Padilla Lechuga: Guitars, keyboards and voice, Guillermo Nava Cerda: Bass, guitars, keyboards and voice and Miguel Caldera Moreno: Keyboards, percussions and voice.
    As with most groups, vocals are a big minus, the music is very melodic and mixes folk/ethnic flavors with distinctive keyboard based sounds.
Nobilis Factum

Numen (Spain)
Spain's progressive rock revelation formed in 1992 by Víctor Arques: Vocals and bass, Manuel Mas: Keyboards, Antonio Valiente: Guitars and Gaspar Martínez: Drums. Later on Cesar Alcaraz: Vocals joins them, completing the actual group. Immediately they start working on material for their first album: Samsara. Their music is essentially melodic with masterful execution of the instruments. They have a complex style based on classical music beautifully blended with electronic instruments and a solid foundation of acoustic instruments, thus creating a unique sound. Occasionally there are passages with arabic influence. Vocals are executed in english with an almost imperceptible accent and sometimes reminds of Marillion. Lyrics are a reflection of the conceptual and esoteric idea of the album: Samsara (Reincarnation). This album is a must in any prog fan collection.
Numen Homepage

Ñu (Spain):
    Quintet from the late 70's which combines the violin, flute and keyboards. Their sound although progressive in nature is more in the realm of  Hard Rock with blues influences but with a peculiar sound thanks to the magic effect of flutes and violins.
Cuentos de Ayer y de Hoy  (Stories from yesterday and today)
A Golpe de Latigo (Whip's hits)
Fuego (Fire)
El Mensajero del Mago (The magician's message)
Dos Anos de Destierro  (Two years of exile)
Imperio de Paletos (Paleto's Empire)
La Danza de las Mil Tierras (1000 land's dance)

Omnia (Argentina)
Argentinian band borned in 1996 at Capital Federal, Buenos Aires,  Argentina. THe members are: Federico Fernández (drums), Pablo Sangineto (keyboards), Alejandro
  Scarpato (guitars),Nicolás Nuñez (vocals) and  most recently Pablo Nieto (bajo) joined them.
Ultimo Generador de Equilibrio

Omnia homepage

Onza (Spain):
    More of a jazz fusion/folk  than a progressive band with a unique sound thanks to their sophisticated and well structured music with a strong acoustic side. In 1994, the band dismembered due to differences in interests and goals. Jose Maria Colon (the drummer) wanted to pursue a more commercial venue, Anton Ramirez (Bass player), just got tired of the hobby. So, Jaime was left alone, but always full with the symphonic spirit he created other progressive/symphonic groups with musicians that appear on his path. They recorded some material and gave multiple concerts, but did not release any material. 
By 1997, Jaime felt the need to reinvindicate Onza; even when J. Maria was the one taking the role of “lider”, it was Jaime who wrote the music and created the concept. Currently Onza is: David Navarro (drumms), Alfonso Ramírez (bass) and Jaime (guitars). For the moment they do not have a keyboardist because they have given them too many problems. Regarding the vocals, most of their material is instrumental and the few works that require a singer (around 15%) has been done by them selves with success.
The new musicians are young people ( no more than 22 yrs), they have excellent technique and know their instruments very well. Alfonso is especially symphonic, he has listen to this genre since his childhood and that is the only style he likes to work with. David has a different background; he was a Heavy/Hard rock drummer. He had a band that shared a place with Onza and he started to attend Onza’s rehearsals and started learning the language, amalgams and complex rhythms and he grew to be a superb drummer. He is the least symphonic but has a great sensibility but lots of power when it is needed.
Even though they hate comparisons, they comment “our style is much in the King Crimson style, plenty of freedom while composing, but our concept or style is not to have a style. ..”.  Risky,  but fun and constructive. They have natural influences from Andaluz Rock, Flamenco and that kind of things without forgetting the rhythms such as Bulerias in their work.

Reino Rocoso (Rocky Kingdom)

Oskorri (Spain)
    Acoustic group with beautiful lyrics and a mixture of folk influences and Spanish music.
O Katalina

Ovni (El Salvador)
 There are no recorded material from the group, which is a pity because they are excellent. Their sound is close to ELP, with native folk influences.

Oxomaxoma (Mexico)
Electronic/Avangard group formed by Arturo Romo (Alquimia) and colaborations by different musicians involved in the Mexican experimental scene. They have released two works.

Pablo "El Enterrador" (Argentina):
    Probably the most beautiful and sophisticated group from Argentina. They combine a refined classical influence with definite progressive sound and folk with superb vocals and lyrics. Their first recording "Pablo El Enterrador" appear in 1983 becoming an immediate success. After a long absence, in  1995-1997 they start working in new material that was included in their second album "2" considered by many the best work of the group. The current members are Jose Maria Blanc: Guitar, Jorge Antun: Keyboards, Omar Lopez: Keyboards and Marcelo Sali: Drums
Pablo "El Enterrador"  (Pablo the Undertaker)

 Pau Riba (Spain):
    No information.
Dioptria 1
Dioptria 2
Electroccid Accid Alquimistic Xoc
Jo, La Dona y el Gripau
Amarga Crisis (Sour crisis)

 Perfume de Mujer (Cuba):
    Group formed by Orlando Bernal: Electric Guitars and computers and Abel Omar Perez: Vocals, acoustic guitars, keyboards and pianos . Terrible vocals but their music is strong and dynamic with jazzistic improvisations in the style of Passport or Dale Jacob and The Cobras.
Chimenea (Fire place)

 Praxis (Mexico):
    Simultaneous project of Ricardo Moreno (Iconoclasta) with Hector Hernandez that only lasted one great album: La Eternidad De Lo Efimero (Quimeric's Eternity)

Radio Silence (Mexico):
Mexican group formed by a group of friends that met at the UNAM, started playing in different bars and local arenas. Their sound reminds us of Pink Floyd or IQ, but it clearly has its original sound much in the Gothic/Progressive style.
They are: Luis Nasser (bass and keyboards), Andres Aullet (vocals)
Laughter in the Dark

Rael (Argentina):
    Superb progressive group in the style of the best years of Genesis formed by Mario Perkins: Guitars, drums and keyboards, Horacio Pozzo: Piano, organ, keyboards, bass and xylophone, Daniel Rawst: Drums, Ignacio Rodriguez: Vocals and percussions and Marcos Ribas: Bass, guitars, drums programming and keyboards.   Their sound is definitely Genesis but their music has strong lyrics and is filled with keyboards and many latin/folk influences that gives them a unique sound.
Mascaras Urbanas (Urban Masks)

Reactor (Mexico)
New project of Ivan Tamez (Mamiferos Habituales) with a combination of Metal-Jazz fusion with definite progressive soundscharacterized by complex rhythms and harmonies). They are in the process of publishing their first album.

RicardoMartinez (Mexico)
Dedicated to experimental music, currently in charge of the workshop: Electroacustic music at the School of music at the UANL. He has one progressive album: "Viaje a las Pleyades", with a strong e;lectronic sound. After he left the Rock scene he has dedicated entirely to research and teaching electronic music, creating multiple compositions that have not been discovered (or  have been ignored) by the specialized record labels. 

Rivendel (Spain):
    Neo progressive group with predominant drum sequences and as with most Spanish speaking groups deficient vocals.