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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 01/01/2015

Iván Melgar Morey (Iván_Melgar_M)
Scott Tuffnell (AtomicCrimsonRush)
Anton Fritz (SouthSideoftheSky)
H.T. Riekels (bhikkhu)

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 | 3341 ratings
CLOSE TO THE EDGE
Yes
4.63 | 3077 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.61 | 2661 ratings
FOXTROT
Genesis
4.43 | 2578 ratings
FRAGILE
Yes
4.42 | 2309 ratings
NURSERY CRYME
Genesis
4.41 | 1281 ratings
HYBRIS
Änglagård
4.38 | 1905 ratings
MIRAGE
Camel
4.38 | 1645 ratings
MOONMADNESS
Camel
4.36 | 2241 ratings
RELAYER
Yes
4.38 | 953 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.29 | 2070 ratings
THE YES ALBUM
Yes
4.29 | 2168 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.27 | 1888 ratings
A TRICK OF THE TAIL
Genesis
4.28 | 1675 ratings
THE SNOW GOOSE
Camel
4.34 | 645 ratings
DEPOIS DO FIM
Bacamarte
4.31 | 851 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.24 | 1486 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.27 | 788 ratings
VILJANS ÖGA
Änglagård
4.25 | 743 ratings
HAMBURGER CONCERTO
Focus
4.17 | 1710 ratings
TRESPASS
Genesis

Symphonic Prog overlooked and obscure gems albums new


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

ENTANGLED
Leitmotiv
GUET-APENS
Ange
LA MARCHE DES HOMMES
Morse Code
TALES FROM AN ISLAND - IMPRESSIONS FROM RAPA NUI
Blank Manuskript

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Latest Symphonic Prog Music Reviews


 Ruínas Circulares by ALPHA III album cover Studio Album, 1987
3.05 | 3 ratings

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Ruínas Circulares
Alpha III Symphonic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars During the summer of 1987 Amir Cantusio Jr. recorded the fourth album of Alpha III, it was the second time he performed a work entirely by himself, playing bass, drums, piano and keyboards.Titled ''Ruinas circulares'', this one was inspired by the tale ''The circular ruins'', originally written by Argentinian writer and poet Jorge Luis Borges in his ''Ficciones'' book.This was also the last work released by Cantusio under the Faunus label.

After the dreadful ''Agartha'' Cantusio couldn't do else than provide better and more convincing musicianship, having already an experience as a solo multi-instrumentalist.''Ruinas circulares'' is a largely instrumental album, still retaining many of the symphonic values of the previous Alpha III releases, not helped however by the below average, almost basement-like production.The music sounds decent enough with strong RICK WAKEMAN and TANGERINE DREAM influences, passing from Classical piano interludes to cosmic/Electronic acoustics and featuring a highly symphonic flavor inbetween.I doubt Cantusio played all the drums on the album, because these sound mostly like drum beats than natural performances, except from a few of pieces, but his keyboard executions are quite interesting, lots of organ and piano are delivered next to his standard synthesizer vibes.The varied atmospheres are the most acclaimed aspects on this album with melancholic themes followed by cinematic soundscapes and from Classical auras ending up to virtuosic keyboard pyrotechnics.Tracks are rather short, completing apparently a long, concept suite.Strange thing, I hear some hard guitars on ''Holocausto final'', although not credited in this album, while the 11-min. closer ''Danca para a eternidade'' shows Cantusio moving further into cosmic electronics, this is a slow-tempo synth-drenched suite, supported by light drumming, with depressive and spacious soundscapes and a heavy TANGERINE DREAM source of inspiration.

Decent Electro/Sympho Rock from the darkest 80's days.I admire Cantusio as a composer, although productionwise his works sound like B-movies fighting the budget of Oscar-winning films.Rock Symphony has reissued the album with a different tracklist plus a couple of bonus tracks.Recommended.

 Magician's Theater by KARFAGEN album cover Studio Album, 2014
3.71 | 89 ratings

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Magician's Theater
Karfagen Symphonic Prog

Review by DrömmarenAdrian

3 stars The reason why I chose to listen to and review this album was I really liked the previous album "Aleatorica" from 2013 and also that I was so amazed that this was a Ukrainian band. I actually visited Ukraine with my brothers this summer(Lviv and Kyiv). Unfortunately "Magician's Theater" doesn't manage to be as beautiful as "Aleatorica". The only thing that is better with 2014's album is the colourful cover which is appealing with all of its childish loveliness. It is a quite long album Antony Kalugin(keyboard, vocals, percussion,arrangement)and his partners have done. It lasts almost an hour and has nine normal length tracks and one long.

The last record was unique and special in my ears but these songs shine out just mainstream prog. I find it too heavy. The drums are beating and a lot of symphonic attempts are shown here and there. I though find it hard to feel the continuity within the tracks and the album. Over all, I find it rather pleasant to hear but not interesting and it definitely not gives my anything new. The shortest songs are also the best. "Turret"(8/10) is a lovely piece with medieval feeling and "Figment of the imagination 2"(6/10) are sweet too. A lot of songs are nice and works well but the "epic"(relating to its length""Magician's spell" are not coherent. It feels fragmented and a lot of ideas has been put together to perhaps create a long and impressive track. I wouldn't call it impressive though even if the instrumentalists are talanted(6/10).

My song to song rating ends at 2.85 which becomes three stars so it is fine music it is a big oppurtunity you like. I though am quite disappointed beacause I liked "Aleatorica" so much.

 Home By The Sea by GENESIS album cover Singles/EPs/Fan Club/Promo, 1983
4.69 | 7 ratings

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Home By The Sea
Genesis Symphonic Prog

Review by aglasshouse

5 stars Genesis' 'Home By the Sea' is probably the most outstanding track on their 1983 self titled (aka Shapes if you prefer). Most of the tracks that fill the album ranged from decent to good, but this track was the best. Many reviewers of the album (if they give it a fair shake that is) state that this is also the most "progressive" of the numbers. The band must have liked it too, seeing as they gave it a whole part two instrumental which lasted two minutes longer than the first part. I myself have already stated both in my review of it and obviously this one too that I love this song.

The song follows a basic yet strange plot. A thief attempting to steal from the home, stated in the title, before getting trapped and taken prisoner in the home by the sea forever more. There's many coinciding themes of darkness, creeping, as well as the overall attitude of a common thief sneaking through a house. Barreling riffs and clever songwriting make this an amazing song, who's second part brings in a more silly, synth-y approach which doesn't hold much water in the wake of the first part. Undoubtedly, however, this track is worth it, and deserves more praise than it gets.

 Fly From Here by YES album cover Studio Album, 2011
3.41 | 824 ratings

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Fly From Here
Yes Symphonic Prog

Review by TCat
Prog Reviewer

2 stars Okay, so I am admittedly a huge fan of Yes and I even gave "Drama" 5 stars which I still and always will believe it deserves. So, with the return of Trevor Rabin and Geoff Downs (both from the "Drama" lineup) and the long standing band members Steve Howe, Alan White and Chris Squire, I thought we had something that would really work here. But wait, who is this Benoit David? Why isn't Trevor singing lead this time around? Oh well, it's bound to be another great album like "Drama" right? Even without Jon Anderson? It all worked before!

Not this time. This sounds like Yes cover band. Oh wait a minute, it almost is! The lead singer here sounds like a poor man's version of Jon Anderson, he sounds like a cheap imitator. Even with the amazing musicians who are Yes regulars sound like they are forcing everything. Everything about this album screams out Imitation Yes.

Okay, so we do at least have a 24 minute multi song suite, so that looks interesting, right? Don't be fooled. It is a song that was already demoed to be a song by The Buggles (Trevor Horn and Geoff Downes new wave band) and it was rejected from any original track listings on any of their albums. So how in the hell did they think it would be worthy of a Yes album? Do you know what it sounds like? It sounds like a Buggles song.

I can't help but be disappointed here. This album just lacks emotion and heart felt dynamics. It sounds like a bunch of amateurs trying to copy a progressive rock formula. The only thing going for it is the sound is well produced, but that is all wasted by having to listen to a plastic sounding imitation. No originality here either. Everything just sounds like a poor rip off.

I don't like being so negative, but I hold some very high standards for a band I have loved throughout the years, a band as hugely influential as Yes. This album is a shame for me, it makes me hesitate to admit my love for Yes. But, Yes afficianados will understand, I'm sure. Yes is still one of the best, just not in this incarnation. This isn't Yes, it's only a bad imitation. I wish they would have released this under The Buggles moniker. At least then everyone would have expected the results, not that it would have made them any better.

Where is the band that I loved so much? This gets 2 stars only because the production is great, the rest of it is awful.

 In Action/In Synthesizer Sound by PINK MICE, THE album cover Boxset/Compilation, 2004
3.13 | 6 ratings

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In Action/In Synthesizer Sound
The Pink Mice Symphonic Prog

Review by presdoug

4 stars After reading the bio on this band, I was intrigued beyond belief; finally an early 70s recorded German band that was in the vein of early Triumvirat, my favourite band of all time. And upon listening to the music on their two studio albums from 1971 and 1972, respectively, the music of The Pink Mice has been a delight and pleasure, to say the least.

I can appreciate classical music in a very big way, and the group go to great lengths to transcribe and play sections of it from some composers I truly admire-Mozart, Beethoven, Bach, Grieg, Haydn, to name a few. Nothing is more "Classical Rock" than The Pink Mice. Both albums stand up as strong efforts, without either one being a "weak sister" of the other. While they don't broaden out their music in long suites the way Triumvirat used to, they don't really need to, as their direct transcriptions of pivotal sections of important classical music pieces get "to the point" in an effective, and attractive way. What an improvement this group is over the Lucifer's Friend sound that preceded it.

The Pink Mice were a class act, and are undeserving of the pitifully low ratings they have garnered in these quarters. They are excellent musicians and obviously knew how to strike a chord, figuratively and literally, with the classics. I feel that I am getting the best of both worlds when I hear their music, a devotion to important sections of classical pieces in a rock format. I am in wonderment that I never heard the band until just very recently, considering how close to great home turf they are for me, musically. I can't help but admire these guys. 4.5 stars, really.

 Riding On A Tear by ZOMBY WOOF album cover Studio Album, 1977
3.79 | 35 ratings

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Riding On A Tear
Zomby Woof Symphonic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Zomby Woof came officially to life around 1973 in Reutlingen from the ashes of a no-named early-70's band, featuring guitarists Heinrich Winter and Udo Kreuss, bassist Frank Keinath and drummer Thomas Moritz.When Keinath left the band, Kreuss moved to bass and Ulrich Herter had joined as a second guitarist, while Matthias Zumbroich and Matthias Seelmann-Eggebert joined Zomby Woof on keyboards and organ respectively.After a long period with several lives Moritz and Seelmann-Eggebert quit in 1976 and ex-Puppenhaus' drummer Bea Maier joined the band.The following year they released their debut ''Riding on a tear'' on Jupiter Records, captured in a former cinema in Dachauer Strasse in Munich.

Zomby Woof played a refined Symphonic/Art Rock with lots of melodious passages, somewhat moving away from the typical spacious Teutonic sounds of the era or the Baroque approach of Novalis and Triumvirat and sounding a bit like CAMEL flavored by the interim, slow-tempo proportions of GROBSCHNITT, based on light Hammond organ parts, elaborate guitar moments, plenty of synth lines and managing to creating a laid-back, epic sound with complex arrangements and well-connected thematic variations.The material is quite often vocal-oriented, but even the shortest track contains a bunch of breaks and stylistic switches, they even recall GENTLE GIANT at the funky/psychedelic effort of ''Requiem (Part I)'' or the long ''Dora's drive''.Keyboard work is awesome, characterized by Mellotron, clavinet and electric piano injections and endless organ and acoustic piano interludes, I am bit surprised they had two guitarists, because the material is mostly keyboard-oriented with quirky grooves and moves and some blistering, grandiose orchestrations.The music is mostly dense with lots of interplays and influences even knocking the doors of Fusion.This certain approach has its exception on ''Mary walking through the woods'', this one sounds a lot like NOVALIS with Classical references on piano and symphonic keyboards all the way along with the dramatic, atmospheric singing of Ulrich Herter.

The allbum sold pretty well, around 5000 copies reached the hands of buyers, followed by a rare nowadays single.In 1979 Maier and Winter left to form Alarm, replaced by drummer Achim Czech and lead singer Harald Horvath.David Hanselmann also joined Zomby Wood prior to the recording of the second album ''No hero'' at the Galgenberg Studio in Schwabbach.This work eventually never saw the light, sounding more poppy and accesible.The band split up in 1980.

German quirky and polished Sympho Rock in the vein of Ramses and Shaa Khan.Melodic compositions with non-stop keyboard showering and occasional entries into complex exercises.Warmly recommended...3.5 stars.

 Babylon by BABYLON album cover Studio Album, 1978
3.90 | 81 ratings

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Babylon
Babylon Symphonic Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars One of the few examples of progressive rock emerging out of the Tampa Bay area of Florida which would become more famous for the explosion of death metal bands in the following decade. BABYLON formed in 1976 and played together only three years and released this eponymous album in 1978 and like many prog bands of the late 70s saw diminishing returns in this type of music being drowned out by angry punkers and disco balls in roller skating rinks and called it a day. They left behind this one album that sounds something like a lost Genesis album from the days between "Nursery Crime" and "Foxtrot." Doroccas does his best Gabriel impression and the rest of the band pay tribute to the most aggressive aspects of early Genesis while maintaining the pastoral "Trespass" type sound as well.

Although the liner notes claim Van Der Graaf Generator, Gentle Giant, King Crimson and others as sources for inspiration and to be fair there are other influences to a lesser degree, it is really something of an early neo-prog album to my ears being almost exclusively dedicated to Genesis worship, but what a pleasant stroll down the musical memories of yesteryear this one is. All four tracks are lengthy clocking in at over 7 minutes and the delivery is some of the most seriously delicious prog frenzies as textured keyboards layer moods and time signatures bombastically feed the serious demoralized prog lover of the days when their favorite bands were incrementally fleeing financial hegira and commingling with the pop world.

It is so true that this is hardly the most original music in the world but it is just beautifully played from beginning to end and if you count this as proto-neo-prog, albeit fairly complex then it fits right in with what Pallas, Twelfth Night, IQ and Marillion would pick up a few years down the road. Personally i find Genesis very hit and miss and actually prefer the bands they inspired in many cases over their very own output and this beautiful BABYLON album scratches the itch for theatrical pompousness that Genesis was famous for but smooth it over with slightly more suave vocals and more complex and virtuosic musical accompaniment.

This is the album Genesis might have made if they had stuck to their earlier formula but as we all know they were always eager to invent a new sound and then move on to other musical arenas leaving ideas and musical worlds that needed further development. BABYLON took full advantage of this era of musical ideas and ran away with them and like many prog bands of the day who saw no future in it condenses an entire musical career into one album. A very satisfying album that i really love to spin lately although it's not quite inventive enough to earn more than four stars. My copy has the newer album cover which replaced the grey human with a grey alien and its blackened oval eyes.

 Föld és ég by AFTER CRYING album cover Studio Album, 1994
3.76 | 85 ratings

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Föld és ég
After Crying Symphonic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Heading to the middle of the 90's After Crying were about to face an upset in their career, as leading figure and composer of the band Csaba Vedres would participate in his last work with them.The album ''Fold es eg'' would see the band return on the familiar houses of Periferic Records and After Crying would perform for the first time without any guests, entirely based on the talents of the regular 6-piece line-up.This work was released in 1994.

There are many indications that this would be a totally different work compared to the academic sound of the previous releases.Firstly, the absence of guest participants meant that the band was not having any access to additional string or wind instruments.Second comes Csaba Vedres' apparent decision to leave the band after this work, so he wanted to put up a keyboard show to remember.The result was the more conventional but no less intricate effort by the group so far, showcasing a move from the Chamber/R.I.O.- and more KING CRIMSON-flavored style of the past and the sinking into a keyboard-drenched sound with some serious E.L.P. influences, even introducing strongly the use of synthesizers next to the standard work on piano and Hammond organ.So quite a significant part of the album is consumed in powerful organ workouts and Classical piano interludes with good bass and drums support, much in the vein of Keith Emerson & co., the enviroment is mainly instrumental, sometimes flavored by mellow acoustic themes or sweet polyphonic choirs to calm things down.On the other hand the band did not abandon the symphonic/acoustic orchestrations, as the latter tracks of the album contain a good bunch of cinematic, orchestral themes in absence of Vedres, with great trumpet and flute parts.These pieces also offer often a more balanced sound in the Symphonic Rock realm, eventually the guitar sound is more pronounced and the collaboration between the members seems more tight and genuine with constant executions on guitars, keyboards, trumpet and flute.

An unexpecting turn by After Crying on this work, which sounds heavily inspired by E.L.P., seemingly losing much of its originality.But the second part is full of the delicate, ethereal and complex sounds of the band, split between Chamber Music and Symphonic/Classical Rock.Yet another strongly recommended work by the Hungarians...3.5 stars.

 Like It Is: Yes at the Bristol Hippodrome by YES album cover Live, 2014
2.84 | 18 ratings

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Like It Is: Yes at the Bristol Hippodrome
Yes Symphonic Prog

Review by Neu!mann
Prog Reviewer

2 stars Forgive me for ignoring the two CDs in this three-disc set and going straight to the DVD. Both formats document the same May 2014 performance song for song, the redundancy in presentation matched by a likewise unessential performance. And that's a sad thing to write, especially about one of the bands that made this web site possible. What happened / To this song / We once knew so well..?

Pop the video disc into its player, and the menu opens with a montage of ticket stubs, stage photos, and other concert memorabilia from the band's mid-'70s peak, underneath the familiar symphonic walk-on of Stravinsky's "Firebird Suite". The visual medley, together with the evocative touchstone of Roger Dean's cover illustration, are sentimental reminders of a Yes nowhere to be found elsewhere in the package.

Forty years later the band with the same name has been reduced to little more than a tired nostalgia act, something Progressive Rock was never meant to be. A freshly-minted studio album with new vocalist Jon Davison ("Heaven and Earth", 2014) was already in the can, albeit not yet released when this show was recorded. But the setlist for the gig was strictly regressive, exhuming the classic albums "Going for the One" and "The Yes Album" in their entirety, every note played verbatim but at a more age-appropriate tempo.

It's hard to maintain your Progressive credentials with such a complacent agenda. Were it not for the (relative) fresh blood in the 44-year old Davison, the show might have been an ideal afternoon's diversion for the shut-ins at the local Bristol geriatric hospital. The new singer actually presents a not-unpleasing facsimile of expatriate Yes-founder Jon Anderson, lacking only his role model's infectious New Age charisma and enthusiasm. But the combined age of the remaining quintet, if placed end-to-end, would stretch all the way back to the American War of Independence, and their energy level here was equally fusty.

To be fair, the Bristol audience wasn't any livelier. You can see them whenever the cameras pan over the crowd, sitting stone-faced in passive attendance to the museum display on stage. There's a discouraging sense of obligation to the whole event, visible on either side of the footlights. Older fans can be very forgiving, but not even the strongest of rose-colored prescription lenses can restore the band's youthful vitality, or transform Geoff Downes into Rick Wakeman (the latter is sorely missed on the "Going for the One" songs).

The final insult to Yes aficionados can be glimpsed on the big overhead screen during the song "Yours Is No Disgrace": images of "The Yes Album" cover from 1971, cut to match the Bonanza-like rhythm of the opening theme but carefully framed to omit every band member except Steve Howe and Chris Squire. Was it an unhappy legal necessity, or an obvious historical whitewash?

At least the album's title is honest. "Like It Is"...which I suppose can be translated to mean "Take It Or Leave It". Given that choice, even the most devoted Proghead might be tempted to consider the second option. One guttering star, with a second white dwarf added in memory of bygone glories.

 Sum Of The Parts by GENESIS album cover DVD/Video, 2014
1.89 | 10 ratings

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Sum Of The Parts
Genesis Symphonic Prog

Review by HunterD

2 stars The prospect of getting Peter Gabriel, Phil Collins, Steve Hackett, Mike Rutherford, and Tony Banks together and reminisce about Genesis for a career-spanning documentary that looks at the history of the band, as well as the solo careers it spawned, is an exciting one. Unfortunately the concept was too ambitious for a ninety minute documentary, leaving many key Genesis albums, members, and moments neglected.

It's no secret that Steve Hackett's solo career is completely ignored here, but his contributions to Genesis are also treated with startling disrespect. There is one particularly crass scene in which Daryl Stuermer performs the guitar solo from "Firth of the Fifth," and Tony Banks remarks with a smirk about how "stiff" Hackett's playing was, and what an improvement Stuermer's playing was for that song. Other names in the Genesis story, such as Bill Bruford and Ray Wilson, are never brought up, but it only ever stops to unzip its trousers and piss on Hackett, the only member keeping the progressive days of Genesis alive in a live setting.

Really, "Sum of the Parts" feels entirely disinterested in Genesis prior to the band becoming a pop-trio. Important albums like "Selling England by the Pound" are breezed through, and "Wind & Wuthering" doesn't seem to warrant mentioning. There is hardly any new information available in this documentary that hasn't been covered more thoroughly elsewhere (the "Genesis Archive" documentary comes to mind). There are a few memorable moments, such as Gabriel taking the piss out of a fussy Banks in one amusing moment, and Collins is a lovable and self- deprecating interview, however such moments are fleeting, and the film's shortcomings are what linger afterward.

The mistake this documentary made was that it set out with a premise that appeals primarily to die-hard Genesis fans that enjoy the classic Gabriel five-piece line-up, not just the Patrick Batemans of the world who didn't get Genesis until the release of "Duke." It betrays that premise in its execution by ignoring and rushing the elements that it promised to deliver. "Sum of the Parts" is a wasted opportunity, and thus a disappointment for Genesis fans.

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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
SERGIO ALVAREZ Argentina
AMAGRAMA Argentina
AMENOPHIS Germany
AMOS KEY Germany
ANABIS Germany
ANCIENT VISION United States
ANDERSON BRUFORD WAKEMAN HOWE United Kingdom
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
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
BANANA Argentina
BANZAI Belgium
ZELJKO BEBEK AND PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
ROBERT BERIAU Canada
BLACK SEPTEMBER United States
BLAKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
BRIMSTONE United States
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
DR. COENOBITE Netherlands
DRAGONFLY Switzerland
DRAMA France
DRUCKFARBEN Canada
DRUID United Kingdom
EARTH & FIRE Netherlands
EARTHRISE United States
ECCENTRIC ORBIT United States
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