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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.

IvŠn Melgar Morey, Peru 2006



Symphonic Team

Current Team as at 9/12/2022

Louis (rdtprog)
Anton Fritz (SouthSideoftheSky)
Ken (progaardvark)

Symphonic Prog Top Albums


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

4.68 | 4981 ratings
CLOSE TO THE EDGE
Yes
4.65 | 4590 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.61 | 3990 ratings
FOXTROT
Genesis
4.46 | 3976 ratings
FRAGILE
Yes
4.42 | 3526 ratings
NURSERY CRYME
Genesis
4.41 | 3005 ratings
MIRAGE
Camel
4.39 | 2565 ratings
MOONMADNESS
Camel
4.38 | 3420 ratings
RELAYER
Yes
4.35 | 1839 ratings
HYBRIS
ńnglagŚrd
4.31 | 3252 ratings
THE YES ALBUM
Yes
4.31 | 3302 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.30 | 2562 ratings
THE SNOW GOOSE
Camel
4.32 | 1387 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.28 | 2900 ratings
A TRICK OF THE TAIL
Genesis
4.35 | 844 ratings
FROM SILENCE TO SOMEWHERE
Wobbler
4.24 | 2325 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.28 | 924 ratings
DEPOIS DO FIM
Bacamarte
4.26 | 1165 ratings
VILJANS ÷GA
ńnglagŚrd
4.25 | 1123 ratings
HAMBURGER CONCERTO
Focus
4.26 | 858 ratings
ASHES ARE BURNING
Renaissance

Symphonic Prog overlooked and obscure gems albums new


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

SAECULA SAECULORUM
Saecula Saeculorum
HIJOS DEL AGOBIO
Triana
NOCHE ABIERTA
Cai
POLLEN
Pollen

Latest Symphonic Prog Music Reviews


 Mirror to the Sky by YES album cover Studio Album, 2023
3.45 | 169 ratings

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Mirror to the Sky
Yes Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars I am sure I am not the only one who groaned when I realised there was a new Yes album being released. There is no doubt that 'The Quest' was fairly dire and unworthy of the name 'Yes', with its only saving grace being it was slightly better than 'Heaven & Earth' (not hard), and now we have another line-up of the band with the death of Alan White. This means that only Steve Howe is left of the group we all know and love so much, with Jon Davison (vocals), Geoff Downes (keyboards), Billy Sherwood (bass, vocals), and new boy Jay Schellen (drums). Interestingly, this means that everyone apart from Davison has also been a member of Asia. Even during the Seventies, Yes were not as consistently great as we all like to remember (although progheads on PA have 'Close to the Edge' listed as the greatest progressive album of all times), with 1977's 'Going For The One' the last truly stunning album from the band (in my opinion), with just two of the ones since then being truly indispensable, namely 'Drama' (I know this was Yeggles but I love it) and 2011's 'Fly From Here'. Only Steve and Geoff are here from that last release, and interestingly also from 'Drama', and the band have been through some turbulent times over the years.

Consequently, I am not sure what I expected from the latest release, but the bar was set incredibly low, and I was sure they would not be able to reach even that so when they surpassed it I must admit to being quite surprised. Bringing Sherwood into the band to replace Squire was always going to be the way to go given his style, and he has certainly upped the clunkiness to ensure he fits in perfectly. I was at Davison's first ever gig with Yes, here in Auckland, and it may have taken him quite some time, but he is now singing with some authority and sounds as if he now belongs there as opposed to just warming a seat until someone else returns again. Downes also appears to have looked back to previous albums and is no longer attempting to drive the band in a direction which was not right for them, while Steve Howe also seems more settled.

Does this make 'Mirror to the Sky' an essential Yes release? No, but it is certainly the best since Davison became involved and given the lack of White and Squire that is possibly not expected. I found I could listen to this all the way to the end without cringing, and there are some high points here and there, which is certainly a step in the right direction. I have been playing this more than I expected, and while I will always mourn the lack of Wakeman and Anderson due to what they bring to the group, this is a nice middle of the road release which for the most part I found I enjoyed, not something I thought I would ever say again about a new Yes album.

 Past The Evening Sun by RING VAN M÷BIUS album cover Studio Album, 2018
3.61 | 61 ratings

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Past The Evening Sun
Ring Van MŲbius Symphonic Prog

Review by A Crimson Mellotron
Prog Reviewer

3 stars Ring Van MŲbius is one of the many new Norwegian retro-prog bands, a category that has been becoming more prevalent in many prog rock rankings and end-of-the-year-lists. Much like other similar acts (like Wobbler or Arabs in Aspic), RVM showcase a strong affinity for 70s classic prog, more specifically Pawn Hearts-era VdGG or early ELP. And they do like to wear their influences on their sleeves!

'Past the Evening Sun' is the band's first proper studio album, released in 2018, featuring the core three members playing respectively keys, drums, and bass guitar, with a guest player on the saxophone, a key instrument in this album. And much like the two classic 70s bands mentioned above, RVM do not use any guitars, which is cool! The record opens up with the nearly 22-minute multi-part epic 'Past the Evening Sun', a rampant exploration of the band members' Van der Graaf Generator lucid dreams, incorporating some hypnotic psych-prog patterns, with a tasty and memorable main riff that could have easily served as the main album theme. Unfortunately, this main riff is only used here. Next up is the shorter track 'End of Greatness', a more mellow and less explosive piece that once again strongly reminisces something like 'After the Flood' or 'Take a Pebble'. Finally, there is the 12-minute composition of 'Chasing the Horizon', a psychedelic trip that tries to recapture the spark of the main album piece, the title track, but turns out to be much more forgettable.

The album is good but it's nothing like the records serving as its blueprint. The vocals I would not highlight as particularly strong, while the keyboard works and the sax parts are especially tasty, most often in track one. The band follows the example of many other contemporary artists of trying to entirely imitate some classic retro bands, but the end results are rarely too exciting because many of these bands get lost in the exercise, and hardly manage to present their own musical personality. Unlike acts like The Flower Kings or Spock's Beard, to give examples of bands that have a distinct personality despite the music they play. A fine album, well played and nicely composed, but nothing too special by today's standards.

 NMB: An Evening of Innocence & Danger - Live in Hamburg by MORSE, NEAL album cover Live, 2023
4.06 | 12 ratings

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NMB: An Evening of Innocence & Danger - Live in Hamburg
Neal Morse Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Recorded in Hamburg on their 2022 tour to promote the 'Innocence & Danger' album which was released the previous year, we again find Neal Morse Neal Morse (vocals, keyboards, guitar) in the company of Eric Gillette (guitar, vocals), Bill Hubauer (keyboards, vocals), Randy George (bass, bass pedals, vocals), and Mike Portnoy (drums, vocals). Of course, this being a live album we expect it to be fairly lengthy, and we are not disappointed as this is a triple CD set with a running time of nearly 2 Ĺ hours. The gig itself was divided in two, so we get eight shorter songs (seven of which are from the latest album ) followed by the two epics from 'Innocence & Danger' before it concludes with the "The Great Similitude Medley" which features highlights from the band's previous two records 'The Great Adventure' and 'The Similitude of a Dream'.

This means that anyone into Morse is going to find plenty on here to enjoy. I was lucky enough to see the original line- up of Spock's Beard a few times, before first seeing Neal on his amazing 'Testimony' tour, which of course also featured Randy and Mike, his long-time sparring partners. That he is one of the most important songwriters and performers to have come into the prog scene in the last 30 years is never in doubt, and the album is all one would expect. I have no idea how many live albums I have featuring Neal (the technical terms is "lots") and he always seems perfectly at home no matter who he is performing with. However, there are some times when it is appears he is almost performing to his own formula, and while there are plenty of fans there who love what he did to "Bridge Over Troubled Water" I must confess to not being in the same boat, as there was something magical about the original which has been lost here. However, that can almost be forgiven when we get into the last three numbers, which have a running time of 22 minutes, 34 and 30 respectively. It is when he allows himself to fully expand and go full prog that he really comes to life as he creates music which is dynamic, full of contrast and power, and it is these where the listener can truly be lost inside.

That this is a great album is never in doubt, but due to the material it is never totally indispensable, albeit thoroughly enjoyable at all times. It is nice to listen to, but there are other live albums of his which are superior.

 The Making Of... Galleons Of Passion / Stage '76 by FINCH album cover Boxset/Compilation, 1999
4.37 | 25 ratings

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The Making Of... Galleons Of Passion / Stage '76
Finch Symphonic Prog

Review by sgtpepper

4 stars I have only the live part of the album as I already had the "Galleons of passion" studio version. The live concert is full of power, some improvisation and confirms the band's ability to replicate the focused studio efforts into a rawer stage outcome. Thankfully we can hear selections from the both first studio albums and the masterpiece "A passion condensed" in its entirety. There is a new piece called "Necronomicon" which is fine but does not match the released studio tracks. While the material is outstanding in general, playing is sometimes over the top and the sound is relatively mediocre. There I rate it with 4 stars.
 Galleons Of Passion by FINCH album cover Studio Album, 1977
3.45 | 98 ratings

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Galleons Of Passion
Finch Symphonic Prog

Review by sgtpepper

4 stars Finch not only changed two members of their line-up (keyboards and drums) prior to this release. They also decided to change their sound significantly, or let's say the way they played. The band has softened, mellowed, became more reflective. They are only two-three spots where they really unpack it and sometimes, the guitar is the only fierce instrument (hear the gorgeous solo in the first track).

Compositions are still strong albeit simpler and catchier. The album opens on a bland note but soon transfers into a romantic guitar-driven scenery that makes up for a bit of waiting. The second track is the only weak one on the album IMO. It has a more jam feeling, especially in the second part where the rhythm section takes the lead, it reminds me a bit of mid-70's Focus flirting with jazz ("Crackers"). Fortunately we are graced with two excellent romantic instrumentals. In particular, the first one "As one" is a prime example of well constructed reflective piece. Pity this track isn't longer. "With love as the motive" is the richest track, also the longest one. Perfect Moog/ARP symphonic lines, emotional guitar solo and a peaceful outro make it perhaps a strongest track on the album. "Reconciling" is a bit of return to the previous two albums although it doesn't exceed them in any way. It's interesting to hear the funky groove understated by the guitar too.

Overall, this album isn't at the level of "Beyond expression" and "Glory of the inner force" but it is a memorable good-bye by this one-of-a-kind band.

 Beyond Expression by FINCH album cover Studio Album, 1976
4.08 | 157 ratings

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Beyond Expression
Finch Symphonic Prog

Review by sgtpepper

5 stars The peak album by the fierce Dutch band. They softened minimally but brought better compositional skills. All three tracks on the album are memorable, have clear development and structure. In particular, the first 20-minute is a masterpiece of progressive rock with tons of notes, emotions and instrumental prowess. The guitar solo that starts after the 10-minute mark is one of my favourite guitar solos ever merging the best of progressive/blues influences.

The second piece is notable for including fast fusion tracks with all four players speeding at 100km/hour. The third track is the most symphonic track on this album with great synth layers and emotional guitar playing. The melancholy end of the track is the best ending possible to this album.

This masterpiece belongs to the best instrumental progressive rock works ever and is a proud testament of the mid 70's progressive rock peak that was both mature, well executed and emotional. A must have in any instrumental rock collection due to incredible piece of musicianship.

 Glory Of The Inner Force by FINCH album cover Studio Album, 1975
4.15 | 201 ratings

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Glory Of The Inner Force
Finch Symphonic Prog

Review by sgtpepper

5 stars What a debut album by Finch! If you were getting tired or bored of the post-1974 Focus output and their masterful "Hamburger Concerto" than you had an option to board a faster Dutch train, then it would be Finch.

Finch were a group of four instrumental virtuosos but the main attraction was the young guitar player Joop van Nimwegen seconded by a universal keyboard master Cleem Determeijer.

This record contains the rawest and most classically oriented Finch playing. Often, the speed of playing and dynamics are astonishing while not getting over the edge. The guitar sound is quite sharp and fits well into edgier rock. "Register magister" has a lot of interesting style trips in it be it symphonic rock or rock'n'roll, whereas "Paradoxical moods" is closer to the conventional first 70's rock sound with Hammond etc.. "Pisces" is the most symphonic number with great organ and guitar soloing that would be repeated on the next album. This one reminds me of Focus. "A bridge to Alice" does not stand as high as the previous 3 tracks but it has the typical Finch/Focus emotional end that these bands mastered brilliantly. The short "Colosus" tracks are short virtuoso pieces with trademark Shadow-inspired soloing. They are great to serve as band's introduction. This and the next one, more refined "Beyond expression" are among the peak of European instrumental prog rock of the 70's. 4.5 stars

 Time and a Word by YES album cover Studio Album, 1970
3.35 | 1626 ratings

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Time and a Word
Yes Symphonic Prog

Review by Hector Enrique

3 stars With "Time And A Word" and maintaining the same line-up as on their debut album, Yes added to their incipient but novel musical proposal, orchestral arrangements and an important presence of keyboards, whose varied and innovative range of sonorities acquired a greater prominence, distancing themselves from the classic rock sound of the time, which had the almighty electric guitar and its thousands of distorted volts as the fundamental reference for many bands.

Tracks like "No Opportunity Needed, No Experience Needed", a cover of the iconic Woodstock symbol Richie Havens, the relaxed "Sweet Dreams", the elaborate and celestial "The Prophet", or the atmospheric and watery "Astral Traveller", feature Tony Kaye's keyboards in an important exploratory role, supported by Chris Squire's aggressive bass, Bill Bruford's persevering jazz-oriented percussion and Tony Cox's orchestration.

On the other hand, Jon Anderson supports another of the band's future pillars, the melodies charged with deep poetic content, as with the crystalline "Clear Days", but above all with one of Yes' most accomplished acoustic pieces, the beautiful "Time And A Word". A gem, and one of the few surviving pieces from Yes' formative period, included with some frequency by the band during their tours in the following years.

After the release of "Time And A Word" and due to disagreements about the musical direction they should follow, the band fires guitarist Peter Banks and begins the search for his replacement, someone who is more aligned with the projects Squire and Anderson had planned for the creation of their own musical universe.

3/3.5 Stars

 At the Mercy of ManannŠn by M-OPUS album cover Studio Album, 2023
3.68 | 16 ratings

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At the Mercy of ManannŠn
M-Opus Symphonic Prog

Review by TheEliteExtremophile

3 stars M-Opus tackles the concept of "retro-prog" in a rather unique way. Each of their previous two albums have been "set" in a year in progressive rock's history, to pretty decent results. Their new album, At the Mercy of ManannŠn, is setting itself up to fill some big shoes, as this one is using the year 1972 as its framing device. The span of 1971-1973 was (to me, at least) the absolute apex of the genre. Big names like Yes, Genesis, ELP, Gentle Giant, and Jethro Tull were all putting out their best work. (King Crimson peaked a bit later, in the mid '70s.) 1972 alone saw the release of all-time classics such as Thick as a Brick, Close to the Edge, Pawn Hearts, and Per un amico. (And the debut of seminal Irish prog(-ish)-rockers Horslips, if we want to narrow the lens to M-Opus's homeland.)

ManannŠn is an Irish sea deity, and the ruler and guardian of the Otherwold, the Celtic conception of where their gods lived. I'm not particularly well-versed in Celtic mythology, but that alone sounds like it should be able to at least match the lofty concepts of many classic prog albums.

"Setting Off" is an appropriately-titled intro to this record. Lush synths and clean guitar underpin warm, gentle vocals and whistling. Moreso than any classic prog act, this piece has a lot in common with Berlin-era Bowie, but it's enjoyable.

The first proper song is "Riverflow", and this absolutely sounds like it was ripped straight out of 1972. Tight organ and guitar lines work together well, and Mellotron adds a lovely richness to everything. The vocalist reminds me more of Neal Morse than would be ideal, but his voice suits the music well enough. In its second half, this song's guitar tones belie when it was recorded, but that's not necessarily a bad thing. That modern-sounding distortion, however brief, adds a nice bit of contrast.

A watery bassline emerges to kick off "Whirlpool", and the guitar line is fittingly askew and panicked. The band portrays tension and anxiety expertly through the instrumentation. The guitars and drums again present brief flashes of modern styles and tones, but these serve to make this piece more unique.

"To the Other Side", the album's longest song, has a gentle opening. Acoustic guitars and light synths set an idyllic scene. Mellotron eventually comes to add a slight undercurrent of tension as the track picks up steam. I'm especially fond of the hand percussion here, though I'm less fond of the guitar line that sounds like it's taken directly from "Close to the Edge". For as much as this band roots itself in a specific year, they're good at not sounding derivative.

Moving into this song's second half, a plodding, lightly-distorted organ line and more haunting Mellotron shift the mood suddenly, but not jarringly. The song ends on a passage that puts the bass forward, and I like that a lot, even though the vocal melody feels a bit forced.

A relatively heavy guitar-and-organ line fades in for "Na BruŪdaŪ", and it turns into a surprisingly catchy groove. I also like that this song is sung in the Irish language. (I have an interest in language revitalization, so it's refreshing to hear Irish in a context like this.) This composition reminds me a lot of prog-adjacent hard rock acts like Uriah Heep or Ian Gillan-era Deep Purple. A few minutes in, the mood turns from rocking to brooding, with an array of keyboards building an otherworldly atmosphere. The rhythm gets weird in the song's second half, and I like the surprising twists this composition takes. This is probably my favorite cut on the album for its internal diversity and ambition.

"Valley of Elah" immediately reminds me of ELP's "In the Beginning," with its acoustic guitar and hand percussion. The vocal performance is also vaguely familiar, but I can't quite put my finger on it. Steely Dan, maybe? The big "Sha-la-la" chorus is on the cheesy and overblown side of things, but it's not bad. The brief guitar solo is great, at least, channeling a lot of David Gilmour's early work. The closing minute does a great job of building and resolving the built-up tension.

"Scaling Novas" is a slower piece that puts acoustic guitar and vocals in the spotlight. Much like the preceding cut, things really pick up in the last minute (even moreso here), and I like that rather sudden contrast in intensity.

At the Mercy of ManannŠn ends with "Carnivale". It's a dark, somewhat wonky instrumental. The band plays around with meter and rhythm a lot, and competing musical ideas are layered skillfully atop one another. This is one of the album's more modern-sounding moments, but it's also among my favorites.

M-Opus's new album certainly does a good job at channeling 1972. Much of the album does sound like it could be some long-lost release from that year, but other parts are more spiritually 1972. This willingness to innovate, rather than slavishly adhering to 50-year-old sounds, is a great strength for this band. At the Mercy of ManannŠn isn't anything groundbreaking?by the band's own aims, it can't be?but it's a pretty solid release.

Review originally posted here: theeliteextremophile.com/2023/09/11/album-review-m-opus-at-the-mercy-of-manannan/

 Works Vol. 1 by EMERSON LAKE & PALMER album cover Studio Album, 1977
2.95 | 877 ratings

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Works Vol. 1
Emerson Lake & Palmer Symphonic Prog

Review by shantiq

4 stars I have recently obtained 2 8-track albums of Works Vol 1 and 2.I think I have to say that number one is far superior to number two which is a collection of basically offcuts and bits and pieces which were never really designed for a specific album also the second part of Works is really a lot of ragtime music which clearly Keith Emerson enjoyed. Not a huge fan of ragtime myself I don't really rated it that much; but Works Vol. one is really something the long piece which starts the album written by Emerson the classical number which we read elsewhere Leonard Bernstein thought was mildly childish or words to that effect I personally find really excellent in a sort of classical but not quite classical vein.

I then realised that he Keith Emerson often wrote pieces of that sort which are really classical but not classical and not modern classical they are really pieces of rock music deeply infused with classical culture and music and yet not of it. Never was really a fan of Emerson, Lake & Palmer in the 1970s I had an LP of Trilogy and was aware of the music on Pictures From an Exhibition but really I was a lukewarm fan I knew who they were I knew what the music was like but I never paid that much attention.

Fast forward to 2022/3 and I have decided to really look into them . What I find there really amazes me; musically they are really really excellent the interweaving of the three very different elements in the group really works exactly what the word chemistry means you have the slightly out of control keyboard man Keith playing some pretty crazy stuff more often than not fast like a quicksilver snake . And then you have Carl whose drumming basically sounds like furniture being thrown down the stairs repeatedly at different angles in different directions; never subtle always present like a marble spine. Then we have Gregg Mr Lake who to me and I really have listened to a lot of singers over the years has one of the most emotional emotive voices ever, his work in King Crimson already moved me and so many others time and time again and once he joined the other two his elegant voice and sometimes interesting lyrics combined with the other two really created something special.

There is much talk online of which album by ELP is the best. I read most of the ones I could. And the amusing thing here is that they do not agree what they do agree on is that at the number one place there is always one of three albums: The first album the eponymous one, Trilogy, Brain Salad Surgery. I think only once or twice it is not one of these which is number one. I personally would be unable to say which one is the best. Out of the 1970s albums to me they are all masterpieces in some way. First of all they are unique none of the other bands from that time let us say Yes or King Crimson or Van Der Graaf Generator or Genesis have a sound that is anywhere near them it is completely and utterly unique. So if ever asked a question what is the best album my answer will be: all of the 1970s albums every single one of them.

But yes Works Vol. 1 for me is definitely close to the very top.

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Symphonic Prog bands/artists list

Bands/Artists Country
21. PERON Turkey
35 TAPES Norway
5BRIDGES Netherlands
7 OCEAN Belarus
AAMUNKOITE Finland
ABBHAMA Indonesia
ABSTRACTION LAYER Brazil
ACCENT Romania
ACHE Denmark
ACUITY United States
AD ASTRA United States
ADVENTURE Norway
AETHER Brazil
AFTER CRYING Hungary
AFTER THE FIRE United Kingdom
AGENTS OF MERCY Sweden
AGNUS Argentina
AGNUS GRAAL Brazil
AIRLORD New Zealand
AJALON United States
AKACIA United States
ALAMEDA Spain
ALASKA United States
ALBATROSS United States
ALL TRAPS ON EARTH Sweden
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
AMUZEUM United States
ANABIS Germany
ANCIENT VISION United States
ANDERSON - BRUFORD - WAKEMAN - HOWE United Kingdom
ANDERSON / STOLT Multi-National
ANGE France
ANGIPATCH France
ńNGLAGŇRD Sweden
ANIMA Argentina
ANIMA DOMINUM Brazil
ANIMA MORTE Sweden
ANIMA MUNDI Cuba
ANOXIE France
ANTARES Germany
ANYONE'S DAUGHTER Germany
APH…LANDRA France
APHRODITE'S CHILD Greece
APOCALYPSE Brazil
APOCALYPSE United States
AQUAPLANAGE United Kingdom
ARABESQUE United States
ARACHNOID France
ARC France
ARCABUZ Spain
ARION Brazil
ARS NOVA (JAP) Japan
ARS PRO VITA Brazil
ART IN AMERICA United States
ARTEFACTRON Mexico
ARTNAT Portugal
ASA DE LUZ Brazil
XAVIER ASALI Mexico
ASIA MINOR France
ASTRň United States
ASTURC”N 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
BANANA Argentina
BANZAI Belgium
BAROCK Norway
ZELJKO BEBEK & PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
ROBERT B…RIAU Canada
ED BERNARD Canada
BLACK SEPTEMBER United States
BLŇKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
LARS BOUTRUP'S MUSIC FOR KEYBOARDS Denmark
BOX OF SHAMANS United States
BRESK Norway
BILL BRESSLER United States
BRIMSTONE United States
BURNING CANDLE Germany
BUSKER Canada
CAF…ŌNE France
CAI Spain
CAIRO United States
CAJA DE PANDORA Mexico
CAL Spain
CAMEL United Kingdom
LOS CANARIOS Spain
CANNABIS INDIA Germany
CARAVELA ESCARLATE Brazil
ALEX CARPANI BAND Italy
CAST Mexico
CATHEDRAL United States
CELLAR NOISE Italy
CHAKRA United States
CHALCEDONY United Kingdom
CHAOS CODE United States
THE CHRONICLES OF FATHER ROBIN Norway
CHRONOS MUNDI Brazil
JOS… CID Portugal
CINEMA Japan
CIRCLE Germany
THE CIRCLE PROJECT Spain
CIRKUS Canada
CITIZEN CAIN United Kingdom
CLEARLIGHT France
THE CLIVEDEN SET United States
CODA Netherlands
C”DICE Mexico
COLLEGIUM MUSICUM Slovakia
COT” EN P»L Spain
COUSINS AND CONRAD United Kingdom
COVENANT United States
CRACK Spain
CRAFT United Kingdom
CRESSIDA United Kingdom
CRONICO Mexico
CROOKED MOUTH United Kingdom
DANIEL CROSS United States
CRUCIBLE United States
CRUCIS Argentina
CZYSZY Poland
DAWN Switzerland
DEJA-VU Japan
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