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SYMPHONIC PROG

A Progressive Rock Sub-genre


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Symphonic Prog definition

Symphonic is without doubt the sub-genre that includes the most bands in Progressive Rock because for many people it's almost synonymous classic Prog, something easy to understand being that most of the classic and/or  pioneer bands released music that could be included in this sub-genre, except JETHRO TULL and PINK FLOYD (who still blended some symphonic elements), even KING CRIMSON who very soon expanded their horizons to more experimental music, made their debut with a Symphonic album, "In the Court of the Crimson King" which is a cornerstone in the development of the genre.

The main characteristics of Symphonic are the ones that defined all Progressive Rock: (There's nothing 100% new under the sun) which among others are:
  • Mixture of elements from different genres.
  • Complex time signatures.
  • Lush keyboards.
  • Explorative and intelligent lyrics, in some cases close to fantasy literature, Sci Fi and even political issues.
  • Non commercial approach
  • Longer format of songs

In this specific case the main characteristic is the influence of Classical music (understood as Orchestral works created from the late Gothic to Modern Classical) using normally more complex structure than other related sub-genres like Neo Progressive (That's why sometimes the borderline that divides Symphonic from Neo is so unclear being that is based mostly in a degree of complexity rather than in an evident structural difference)..It is easy to find long keyboard solos reminiscent of Johan Sebastian Bach or melodic works that could have been written by Handel.

As in any other genre, different Symphonic bands had different approaches to Classical music, for example YES and GENESIS are mainly influenced by the Baroque and Classical periods, while EMERSON LAKE & PALMER has a predilection for post Romantic and modern authors like Mussorgsky, Rimsky Korsakov, Bartok or Ginastera, being that their sound is less melodic and more aggressive.

The peak of the genre starts in 1969 and lasts until the mid/late 70's  (more precisely until the release of A Trick of the Tail), when the genre begins to  blend more mainstream influences that took to the birth of Neo Progressive (a new approach for a new decade).


It is important to remember that even though the creative peak of Symphonic Progressive ended before the 80's, we can find a second birth in the 90's coming from the Scandinavian countries (specially Sweden with ANGLAGARD or PAR LINDH PROJECT) and even bands that still in the 21st Century recreate music from this period like SPOCK'S BEARD or ECHOLYN.

Before ending this short description I feel necessary to say (In order to be strictly accurate) that the term Symphonic is not 100% exact, because these bands very rarely played symphonies and was probably used because the music that influenced the genre was performed by Symphony Orchestras, but it is so widely accepted by the Progressive Rock community that would be absurd and futile for anybody to attempt a change after so much time.

Iván Melgar Morey, Peru 2006



Symphonic Team

Current Team as at 06/02/16

Iván Melgar Morey (Iván_Melgar_M)
Anton Fritz (SouthSideoftheSky)
RdtProg (Louis)

Symphonic Prog Top Albums


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

4.65 | 3881 ratings
CLOSE TO THE EDGE
Yes
4.63 | 3598 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.60 | 3110 ratings
FOXTROT
Genesis
4.44 | 3038 ratings
FRAGILE
Yes
4.42 | 2711 ratings
NURSERY CRYME
Genesis
4.39 | 2263 ratings
MIRAGE
Camel
4.39 | 1480 ratings
HYBRIS
Änglagård
4.37 | 1937 ratings
MOONMADNESS
Camel
4.36 | 2620 ratings
RELAYER
Yes
4.35 | 1104 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.29 | 2544 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.29 | 2457 ratings
THE YES ALBUM
Yes
4.28 | 1963 ratings
THE SNOW GOOSE
Camel
4.27 | 2204 ratings
A TRICK OF THE TAIL
Genesis
4.31 | 995 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.32 | 749 ratings
DEPOIS DO FIM
Bacamarte
4.24 | 1786 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.25 | 915 ratings
VILJANS ÖGA
Änglagård
4.25 | 869 ratings
HAMBURGER CONCERTO
Focus
4.22 | 927 ratings
LEFTOVERTURE
Kansas

Symphonic Prog overlooked and obscure gems albums new


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

HIJOS DEL AGOBIO
Triana
POLLEN
Pollen
ET APRÈS
Memoriance
TALES FROM AN ISLAND - IMPRESSIONS FROM RAPA NUI
Blank Manuskript

Latest Symphonic Prog Music Reviews


 Invention of Knowledge by ANDERSON/STOLT album cover Studio Album, 2016
3.69 | 176 ratings

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Invention of Knowledge
Anderson/Stolt Symphonic Prog

Review by BunBun

3 stars When I read that Jon Anderson and Roine Stolt would collaborate, I thought 'Why hasn't this happened sooner?' Well, after returning to this album several times over a period of half a year, I can safely say that I'm thoroughly disappointed with the outcome. Now, this is not a bad album but it is neither great. The problem is the lack of diversity within the album. Each song blends seamlessly into the next and it's hard to know that you are on track four when it still sounds like track one.

The vocals are always out front, and Anderson's vocals are still good considering his age, but I was hoping Stolt would at least contribute one vocal track to the album. It would have adding some needed change. Then there is a distinct lack of instrumental sections. Where is the energy? There is one short jazzy instrumental section at the end of 'Everybody Heals,' yet after about ten listens over the past half year, I was hoping for more than two memorable minutes from the album.

And that sums up the experience for a me. A nice, mellow, uplifting album but utterly forgettable. 2.5 stars from me because two stars seems a bit too low so I'll just round it up to three.

 Vida (Sons do Quotidiano) by CID, JOSÉ album cover Singles/EPs/Fan Club/Promo, 1977
4.29 | 20 ratings

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Vida (Sons do Quotidiano)
José Cid Symphonic Prog

Review by VianaProghead

4 stars Review Nº 102

"Vida (Sons Do Quotidiano)" is the only solo progressive EP of José Cid and was released in 1977. The line up is José Cid, José Moz Carrapa, Zé Nabo and Guilherme Scarpa Inês.

"Vida (Sons Do Quotidiano)" became to be Cid's first journey into progressive rock world as a solo artist. Quarteto 1111, the original band of Cid, broke up and then he decided go solo and continued on, in the progressive rock direction. However, before he released his so acclaimed sci-fi album "10.000 Anos Depois Entre Vénus E Marte", first he released an EP in 1977 called "Vida (Sons do Quotidiano)", which is also loaded with lots of Mellotron, Mini Moog, and string synthesizers. So, we can say that somehow "Vida (Sons Do Quotidiano)" was a prelude, a kind of a test, precisely in the year before, for what would appear in the following year, his only solo progressive rock album.

At the risk of being wrong, since it's a personal interpretation, I really think that "Vida (Sons Do Quotidiano)" has a very personal and political attitude of the composer. This became to be a special EP for Cid and, I would even dare to say, very important for the new attitude that the country needed to take after 25 April 1974, the day of our revolution, the day that brought to us the hope we needed so desperately. "Vida (Sons Do Quotidiano)" is widely considered as a prequel to the masterpiece, "10.000 Anos Depois Entre Vénus E Marte" and one of the greatest music hits of Cid's career.

However, "Vida (Sons Do Quotidiano)" has nothing to do with the concept of "10.000 Anos Depois Entre Vénus E Marte". This time we don't have a sci-fi story but an earthly story, a story of everyday life so common to many of us. "Vida (Sons Do Quotidiano)" is a conceptual EP with more than 12 minutes, following the path of life from birth to death. The lyrics are once more in Portuguese, a trademark of almost all the Portuguese progressive rock bands in the 70's. It starts with the doctor who performs the birth of a child and ends with the automobile accident that interrupts the life of the adult, with clarity and common lyrical mastery in all progressive discography of Cid. However, the most magical and even more political moment on the EP is reserved for the little phrase of the girl with the reference to "love, freedom and peace among men", a very usual motto used in Portugal after the April revolution, adding to this EP, the same political subject of the album of Quarteto 1111, "Onde, Quando, Porquê, Cantamos Pessoas Vivas".

This release follows the same musical direction of his predecessor album with Quarteto 1111, "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas". The presence of the synthesizers and the mellotron extend the musical connection with all these instruments holders of a sound very often used by the large and best progressive rock bands of the 70's, such as King Crimson, Genesis, Yes, Pulsar, Le Orme and Van Der Graaf Generator, only to mention a few of them. As a conceptual album the music flows naturally and progressively all over the theme, despite the usual cut between the two sides of the record. The symphonic progressive component of the album is more pronounced in the final phase of the track after the car accident. However the entire track has a more symphonic sound than the early psychedelic aspects of the beginning musical career of Cid with Quarteto 1111. It follows the more symphonic path of the previous album of Quarteto 1111, "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas" and opens the door to his next album "10.000 Anos Depois Entre Vénus E Marte", an album strongly influenced by the symphonic progressive rock bands of the 70's.

Conclusion: Despite being perhaps a farfetched interpretation and even exaggerated of the EP, what is really important in my perspective, is that all progressive discography of Cid circulates around the values of life, liberty and feelings. We have racism and immigration one the first album of Quarteto 1111, we have freedom and peace on their second album, we have self-destruction of the human race on his solo album and we have the life of an ordinary person on this EP. So, it wouldn't be so surprising that Cid had intended to portray life in one of the most turbulent periods in Portugal, and add a more political component to a song that tries to cover the life of a human being in just over 12 minutes. By the other hand, the increase of the quality of his music, in terms of progressive rock music, is perfectly seen on this EP which would be even more evident on his following album "10.000 Anos Depois Entre Vénus E Marte". This work with only 12 minutes long of Cid is really an amazing piece of music. It's short, and we progressive rock fans for sure wanted that he could make much more. And as that didn't happen, what we really can do is enjoying this great short working that gets us out of our daily sounds in an incredible way. However, what can impress me most are the regularity and the increasing of the quality of his working in Quarteto 1111 and as a solo artist. That always impressed me very much. I always thought that Cid was born in the wrong time and place. If the circumstances were somehow different, maybe he could be one of the greatest names of the progressive rock music in the 70's. Maybe.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Dårskapens Monotoni by KAIPA DA CAPO album cover Studio Album, 2016
4.13 | 83 ratings

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Dårskapens Monotoni
Kaipa Da Capo Symphonic Prog

Review by Roane

4 stars May be it seemed necessary to Roine Stolt and his old friends of the first line up to make Kaipa revive, regarding the level of the current one ?!?! It doesn't matter, that new version proposes us a very good album, inspired by what was Kaipa at the beginning - vocals in Swedish give an original touch and are really not unpleasant in fact - and influenced by what Roine Stolt composes with the Flower kings as well. Nevertheless, all songs have their own personality and style, melodies are great and new, no copying other Roine's projects. And of course feeling in the guitars, rhythm and solo, is still present... A very nice performance: 4 stars
 Children Of Another God by MAGNUS, NICK album cover Studio Album, 2010
3.85 | 96 ratings

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Children Of Another God
Nick Magnus Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

3 stars Nick first started his musical career with The Enid, but it will be with Steve Hackett with whom he will always be most associated with. He toured as part of his band, and of course provided keyboards on albums such as 'Spectral Mornings', 'Highly Strung' and 'Defector'. In many ways, the opening title cut could have come from the last of these, and given that Nick of course is on keyboards, with John Hackett (flute) and Steve Hackett (guitar) very much in evidence perhaps that isn't too surprising. This isn't a Steve Hackett solo album, but it can be heard from just this one song how important Nick's contributions were to those seminal works, with very similar keyboard sounds being utilised to what we all know so very well. Vocals on that number is by Tony Patterson (probably best known for his time with ReGenesis), but another ex- 'Defector' luminary takes that role on "Doctor Prometheus", which to my ears is much more of an Alan Parsons Project romp, and is great fun with a bouncy singalong style.

It is an incredibly diverse album, with one of the highlights being "The Others", which is far more orchestral in feel, with some delicate acoustic guitar and some wonderful vocals from Linda John-Pierre. Quite simply, this is a beautiful song that sounds as if it has been taken from a stage musical, where it is the closing finale of the first act. Restrained passion and power never sounded quite so good. Nick provides vocals himself on "Identity Theft", and while this is in many ways the weakest song on the album his voice is pleasant and I am sure he could have undertaken more of this role if he had wished to. This is an album that is solid but not brilliant, but does contain some glorious moments. Well worth hearing if you get the opportunity

 Nova Solis by MORGAN album cover Studio Album, 1972
3.72 | 45 ratings

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Nova Solis
Morgan Symphonic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars An obscure British prog-rock band from the early Seventies, Morgan took their name from keyboard player Morgan Fisher (a future member of Mott the Hoople), so it should come as no surprise that his playing dominates much of the music! Performing in a mostly symphonic style with plenty of spacey flourishes and pop vocal melodies on their 1972 debut `Nova Solis', he was ably supported by Robert Sapsed's nicely fat and upfront bass, with Maurice Bacon's thrashing and busy charge of drums/percussion constantly powering behind the oceans of keyboards. Guitars are absent with the exception of short acoustic passages supplied by vocalist Tim Staffel, forever associated with his connection to the pre-Queen band Smile that featured guitarist Brian May and drummer Roger Taylor. Sadly he sometimes falls back on a painful falsetto, but other times his confidence and optimism perfectly carries the music forwards, and the band often deliver passages similar to those found on King Crimson, Greenslade and Argent albums from the same era.

The first side presents three short to medium length pieces, all of them crossing back and forth between grand symphonic themes, dazzling instrumental prowess and slick rock/pop melodies. Opener `Samarkand the Golden' is the punchiest and most tightly-written moment on the disc, full of grooving spasms powered by Maurice's snappy drumming, Robert's grumbling and deliciously aggressive bass, and no shortage of creaking King Crimson-flavoured infernal Mellotron, glistening electric piano and bubbling Moog tastiness from Morgan. Tim's voice moves between high-pitched croons and gutsier snarls, sometimes reminding of Greenslade/Samurai vocalist Dave Lawson as well. It serves him well on ballad `Alone', delivering a nice variety of weary treated lead vocals in the verses that turn warmly optimistic for the chorus, plus his ethereal background harmonies are haunting. Instrumentally it sits somewhere alongside the softer melancholic moments on the first few King Crimson albums, but an instrumental interlude in the middle is grand and dreamy in the classic Genesis manner.

The up-tempo and excited `War Games' reminds of both Argent and parts of Curved Air, letting rip with ravishing electric piano runs and dazzling harpsichord-like keys to provide a boppy infectiousness, but the overexcited lead vocal is a little on the grating side. The entire second side is then made up of a nine-part suite, loaded with a variety of ambitious ideas. It opens with a grand whirring lead theme that bookends the epic, moving through everything from slightly obnoxious jazzy poppy vocal pieces, droning ambience, aimless spacey noodling ala `Moonchild' off the Crimson debut, more inviting acoustic guitar balladry and loopy runaway instrumentals that again call to mind Greenslade, and it's certainly an eclectic set of fragmented ideas.

`Nova Solis' proves to be a real grower of a prog-rock work, with just a few little issues perhaps holding it back from achieving true greatness. Although the vocals are hardly a deal-breaker, it must be said that the disc really takes off every time the singing stops, allowing the instrumental playing to soar to greater heights. The extended side-long suite on the second side also doesn't flow together particularly well, but admittedly all the individual little ideas and segments sound plenty tasty on their own merits even if they're never developed properly into something more cohesive. But the album is likely to be a keyboard lovers paradise, is full of positive energy, melodic tunes and excited playing from all the performers, and it makes Morgan and `Nova Solis' a very worthwhile addition for those prog-rock collectors looking for lesser known but still plenty rewarding extras to add to their library.

Three and a half stars.

(Dedicated to Mike Hewetson, the biggest `Nova Solis' fan I know!)

 40th Anniversary Reunion Concert (High Voltage Festival 2010) by EMERSON LAKE & PALMER album cover DVD/Video, 2011
3.90 | 46 ratings

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40th Anniversary Reunion Concert (High Voltage Festival 2010)
Emerson Lake & Palmer Symphonic Prog

Review by berkaal

3 stars First thing: I love ELP. But this concert is soooo sad. I never saw time take its toll on musicians like with ELP. Emerson is clearly in trouble with his right hand, and keyboard parts are obviously....let's say not precise. Carl Palmer is overweight, he struggles to play but makes so many mistakes....too many....Greg Lake is over-over weight, not at ease on the stage and he doesn't remember some of his bass parts, anyway his singing is quite good, better than what I heard in other concerts. To see them like this has been a pain....Well, three stars for their music, that will live on forever.
 3 by FOCUS album cover Studio Album, 1973
3.78 | 414 ratings

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3
Focus Symphonic Prog

Review by Warthur
Prog Reviewer

4 stars Most people are introduced to Focus through the Hocus Pocus single, which thanks to its yodelling makes people think of them as, if not an outright novelty group, at least a somewhat comedic lot. The more serious side of Focus, however, gets perhaps its best workout on Focus 3, a double album of instrumental prog with jazzy inflections. Album closer House of the King, borrowed from the debut album to avoid side 4 becoming weirdly short, nicely illustrates how far the band have come from their early days; the piece sounds like an unabashed attempt to riff on the style of early Jethro Tull, whilst the rest of the double album showcases a much more original sound.
 The Most Beautiful Day by EXODUS album cover Studio Album, 1980
4.01 | 75 ratings

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The Most Beautiful Day
Exodus Symphonic Prog

Review by Warthur
Prog Reviewer

4 stars Whilst in the Anglo-American prog scene the heyday of the original wave of prog was long since over, the rise of neo- prog hadn't come yet, and major groups were beginning to reconfigure their sound away from prog, over in Poland Exodus were riding high. This debut album of theirs features a brace of tracks refined by extensive live performances over the preceding years, with a sound somewhere on the misty fairytale borderland between mid-period Genesis and classic Yes, the latter influence being especially evident in Paweł Birula's vocals and Władysław Komendarek's keyboard playing. The album is just as charmingly pretty as the title suggests, and the compositions are carefully refined, with flab and filler nowhere to be seen.
 10.000 Anos Depois Entre Vénus E Marte by CID, JOSÉ album cover Studio Album, 1978
4.25 | 168 ratings

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10.000 Anos Depois Entre Vénus E Marte
José Cid Symphonic Prog

Review by VianaProghead

5 stars Review Nº 101

"10.000 Anos Depois Entre Vénus E Marte" is the only solo progressive rock album of José Cid, as a solo artist, and it was released in 1978. Beyond it, he made another progressive rock experience, "Vida (Sons Do Quotidiano)", an EP released one year before, in 1977. The line up on the album is José Cid, Mike Sergeant, Zé Nabo and Ramon Galarza.

If you're American or if you were born in other part of the world, the name José Cid might not mean much to you. But if you're from Portugal, you know him as one of the biggest names of the Portuguese pop music. But there was a short time, in the 70's, where he was exploring the progressive rock music, relying heavily on the mellotron and synthesizers. He co-founded Quarteto 1111, the real first band to take a new approach to the rock music in Portugal, with a modern line up and instrumentation. As a solo artist, his own solo LP, "10.000 Anos Depois Entre Vénus E Marte", was perhaps Cid at his finest moment during his progressive rock phase, a phase in his musical career. He didn't pursue it any further, since progressive rock by this time had pretty much reached a dead end just about in everywhere, and since there wasn't much competition in Portugal for this kind of music. Tantra was one of the other few progressive acts from Portugal, in those times. So, it's simple to wonder why this is considered, by many, the finest progressive rock act from Portugal. Regardless everything, Cid was basically the daddy of the Portuguese modern pop music and of the Portuguese progressive rock, since he was there from the start playing covers of the 50's American rock and roll music.

"10.000 Anos Depois Entre Vénus E Marte" is a conceptual album based in a very simple sci-fi story by Cid. The story is set about 10.000 years after the mankind's self-destruction in Planet Earth, where a man and a woman are travelling in space to returning to Earth to repopulate it. The lyrics are very simple and contemplate the past mistakes and future hopes of all mankind and the hope to correct it in the future. In addition to the auditory component, the artwork of the album is accompanied by beautiful illustrations that tell us the stories set in each track of the album.

Musically, this is very much a spacey album that reminds a little of Pink Floyd and Eloy, especially their album Ocean, except the fact that Cid had the sense to sing in his native tongue, the Portuguese. This whole album is a vintage keyboard lover's dream come true. The gatefold features Mr. Cid standing next to his assortment of keyboards, which includes a piano, two Mellotrons, a Hohner clavinet, a Mini Moog, and several keyboards that I couldn't recognize all.

About the tracks, the first two songs "O Último Dia Na Terra" and "O Caos" are nothing short than two incredible pieces. The mellotron choir sound has got to be heard to be believed. I just love the spacey sci-fi sound that sounds so to the 70's. And if you're a mellotron fan, like me, you can't argue with an album in which one of the songs bears the title of "Mellotron O Planeta Fantástico", another great number. I especially like the use of bass guitar and the Moog synthesizers. And of course, the mellotron is ever present all over the album. The title track is another nice ballad. "A Partir Do Zero" is another good one, I especially love the use of the synthesizers on that one. The album ends with "Memos" which is mainly the main piano theme found on one of the earlier songs on the album, "Fuga Para O Espaço".

Unfortunately, this masterpiece was very little known, in those times, even in Portugal. I think it only sold about 500 LP's, when it was released, which was really a pity. So, unfortunately, it just was born to the world many years later by the hand of an American music producer, I think. However I'm very happy and proud of knowing that it has been much acclaimed all over the world. Eventually, it has been included on a list of the 100 best albums of progressive rock music of all time, organized by U.S. Magazine Billboard, achieving the rare status of a cult album, which is really amazing.

Conclusion: Undoubtedly, we are in presence of a classic album from the 70's. It's very clear the strong influence in this working of some of the greatest names of the progressive rock bands of the 70's such as Genesis, King Crimson, Pink Floyd and Eloy. But unfortunately the album was a flop. Orfeu, the Portuguese record label, didn't have faith on the album, not to mention the gatefold with a full color booklet (with nice sci-fi artwork and lyrics) would be more expensive to make Cid agreed not to receive royalties. It quickly went out of print and became a major collector's item. I'm really convinced that Orfeu made a big mistake, as many people in Portugal think, too. This is a clear example how a record label can destroy, perhaps, a great musical career of an artist, in the progressive rock scene. I can't forget that of all the albums that Cid has recorded, through the years, this is particularly the album he's most proud, giving the impression that he'd rather have had a career in the progressive rock. But as he couldn't, he had to stick to the mainstream pop. Anyway, progressive rock was never a huge thing in Portugal. So, this is an excellent and perfect example of it. However, I just want to say one more thing: Thank you Mr. Cid for having contributed to our pride of being Portuguese.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Ampersand, Volume 2 by IZZ album cover Studio Album, 2016
3.76 | 12 ratings

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Ampersand, Volume 2
Izz Symphonic Prog

Review by senor_velasco

4 stars Equal parts catchy musicianship, rich vocal harmonies, and a refreshing diversity of style, Ampersand Volume 2 is more than a sequel to Volume 1 and other previous IZZ releases. Here's a band that has always clearly taken cues from classic prog acts such as Yes and ELP, yet has forged its own sound and identity.

Particularly on display in this album is the rhythm section, with the bass taking front and center in many songs.

If you can fault earlier IZZ efforts, you might point to a bit of aimless meandering in their longer pieces. This is not the case with Volume 2. The music is pointed and more spare, cutting out the extraneous sections. It also doesn't generally feel as "thick." Overall this makes for a somewhat shorter album, but one in which the music never bogs down under its own weight.

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Symphonic Prog bands/artists list

Bands/Artists Country
21. PERON Turkey
5BRIDGES Netherlands
7 OCEAN Belarus
ABBHAMA Indonesia
ABSTRACTION LAYER Brazil
ACCENT Romania
ACHE Denmark
ACUITY United States
ADVENTURE Norway
AETHER Brazil
AFTER CRYING Hungary
AFTER THE FIRE United Kingdom
AGNUS Argentina
AGNUS GRAAL Brazil
AIRLORD New Zealand
AJALON United States
AKACIA United States
ALAMEDA Spain
ALASKA United States
ALBATROSS United States
ALMS Spain
ALPHA CENTAURY France
ALPHA III Brazil
ALTER ECHO Sweden
LEON ALVARADO United States
SERGIO ALVAREZ Argentina
AMAGRAMA Argentina
AMENOPHIS Germany
AMOS KEY Germany
ANABIS Germany
ANCIENT VISION United States
ANDERSON BRUFORD WAKEMAN HOWE United Kingdom
ANDERSON/STOLT Multi-National
ANGE France
ANGIPATCH France
ÄNGLAGÅRD Sweden
ANIMA Argentina
ANIMA DOMINUM Brazil
ANIMA MORTE Sweden
ANIMA MUNDI Cuba
ANOXIE France
ANTARES Germany
ANYONE'S DAUGHTER Germany
APHÉLANDRA France
APHRODITE'S CHILD Greece
APOCALYPSE Brazil
AQUAPLANAGE United Kingdom
ARABESQUE United States
ARACHNOID France
ARCABUZ Spain
ARION Brazil
ARS NOVA (JAP) Japan
ART IN AMERICA United States
ASA DE LUZ Brazil
ASIA MINOR Turkey
ASTRË United States
ASTURCON Spain
ATILA Spain
ATLANTIS PHILHARMONIC United States
ATLAS Sweden
ATMOSPHERA Israel
ATOLL France
AUTUMN United Kingdom
AUTUMN BREEZE Sweden
AVIVA (AVIVA OMNIBUS) Russia
AXCRAFT United States
AZABACHE Spain
BABYLON United States
BACAMARTE Brazil
BANAAU Italy
BANANA Argentina
BANZAI Belgium
ZELJKO BEBEK AND PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
ROBERT BERIAU Canada
ED BERNARD Canada
BLACK SEPTEMBER United States
BLAKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
BOX OF SHAMANS United States
BRIMSTONE United States
BURNING CANDLE Germany
BUSKER Canada
CAFEINE France
CAI Spain
CAIRO United States
CAJA DE PANDORA Mexico
CAL Spain
CAMEL United Kingdom
LOS CANARIOS Spain
CANNABIS INDIA Germany
ALEX CARPANI BAND Italy
CAST Mexico
CATHEDRAL United States
CHAKRA United States
CHALCEDONY United Kingdom
CHAOS CODE United States
CHRONOS MUNDI Brazil
JOSÉ CID Portugal
CINEMA Japan
CIRCLE Germany
CITIZEN CAIN United Kingdom
CLAY GREEN'S POLYSORBATE MASQUERADE BAND United States
CLEARLIGHT France
CODA Netherlands
CODICE Mexico
COLLEGIUM MUSICUM Slovakia
COTO EN PEL Spain
COUSINS & CONRAD United Kingdom
COVENANT United States
CRACK Spain
CRAFT United Kingdom
CRESSIDA United Kingdom
CRONICO Mexico
CROOKED MOUTH United Kingdom
CRUCIBLE United States
CRUCIS Argentina
DAWN Switzerland
DEJA-VU Japan
DELUGE GRANDER United States
DIALOGUE (DAWN DIALOGUE) Russia
DIAPASAO Brazil
DISCIPLINE United States
DOGMA Brazil
DORACOR Italy
DOUG WOODS & COLIN POWELL United Kingdom
DR. COENOBITE Netherlands
DRAGONFLY Switzerland
DRAMA France
DRUCKFARBEN Canada
DRUID United Kingdom
EARTH AND FIRE Netherlands
EARTHRISE United States
ECCENTRIC ORBIT United States
ECHOLYN United States
ECLAT / ECLAT DE VERS France
ECLIPSE Brazil
EDEN Canada
EGGROLL Israel
EIK Iceland
ELLESMERE Italy
ELOHIM France
ELOITERON Switzerland
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