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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 02/17/2014

Ivan_Melgar_M (Iván Melgar More
Scott Tuffnell (AtomicCrimsonRush)
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 | 2996 ratings
CLOSE TO THE EDGE
Yes
4.62 | 2772 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.61 | 2386 ratings
FOXTROT
Genesis
4.42 | 2277 ratings
FRAGILE
Yes
4.42 | 2058 ratings
NURSERY CRYME
Genesis
4.42 | 1127 ratings
HYBRIS
Änglagård
4.39 | 1693 ratings
MIRAGE
Camel
4.38 | 1453 ratings
MOONMADNESS
Camel
4.36 | 1989 ratings
RELAYER
Yes
4.39 | 859 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.28 | 1940 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.28 | 1833 ratings
THE YES ALBUM
Yes
4.27 | 1671 ratings
A TRICK OF THE TAIL
Genesis
4.27 | 1471 ratings
THE SNOW GOOSE
Camel
4.33 | 562 ratings
DEPOIS DO FIM
Bacamarte
4.30 | 725 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.23 | 1310 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.25 | 654 ratings
HAMBURGER CONCERTO
Focus
4.24 | 665 ratings
VILJANS ÖGA
Änglagård
4.27 | 502 ratings
TO SHATTER ALL ACCORD
Discipline

Symphonic Prog overlooked and obscure gems albums new


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

TALES FROM AN ISLAND - IMPRESSIONS FROM RAPA NUI
Blank Manuskript
NOCHE ABIERTA
Cai
HIJOS DEL AGOBIO
Triana
POLLEN
Pollen

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Latest Symphonic Prog Music Reviews


 Segni Premonitori  by DORACOR album cover Studio Album, 1998
2.95 | 19 ratings

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Segni Premonitori
Doracor Symphonic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars The sophomore effort of Doracor came instantly after the release of ''The long pathway''.But this time Corrado Sardella invited a couple of guests to help him out.Emanuele Toti Pinto lends his voice in three tracks and Massimo Farina plays guitar in one cut, all other instruments are performed by Sardella himself.''Segni premonitori'' appears to be a concept work around extraterrestrials, taking inspiration from the tracks' titles, and it was released in 1998, of course on Mellow Records, a label that supported Doracor for many years.

The music is mainly instrumental, keyboard-dominated Neo/Symphonic Prog with E.L.P. and ARENA vibes.Extremely bombastic with flashy solos, impressive pyrotechnics and decent melodies.Drum programming sounds again quite mediocre, but the compositions are rich, energetic and grandiose, full of nice twists, symphonic arrangements and Classical interludes.While most of the album runs over a powerful atmosphere, there are plenty of dreamy breaks around to calm things down and offer a more romantic atmosphere.The guitars are again a supporting instrument, but they are also the reason the album knocks on heavier terrotories quite often.All tracks are long, interesting and tightly arranged, if not only some plastic-sounding orchestrations could be delivered in a more natural way.Otherwise ''Segni premonitori'' has plenty to offer to the starving fan of Symphonic Rock.It contains a fair dose of virtuosity, there are surprising chant-like themes to be found and the changes between ethereal tunes and monster symphonic lines are more than welcome.Vocals give Doracor's style a new perspective and they should be present more frequently, even so this new entry in the music of Sardella makes this album even more interesting and accomplished.

Great follow-up to ''The long pathway''.Bombastic Symphonic Rock with both dramatic and dreamy atmospheres, built around Sardella's amazing keyboard flights.Strongly recommended...3.5 stars.

 Guildenstern by GUILDENSTERN album cover Studio Album, 2011
3.00 | 1 ratings

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Guildenstern
Guildenstern Symphonic Prog

Review by Matti
Collaborator Neo-Prog Team

— First review of this album —
3 stars Garden of Delights label made a nice discovery 2-3 years ago. This German band was active for a couple of years in the late seventies but they never released anything. Two central musicians were keyboard player Bernd Scholl, who has since 1983 released numerous solo albums of Ambient / Electronic Music, and guitarist-bassist Michael Lippert, nowadays working as a music teacher in Odenwald. He also sung on two of the eight tracks that Guildenstern recorded in 1978 at rehearsal room in Rüsselsheim. These recordings are unfortunately quite low-fi, but the three live tracks from September 1979 are frustatingly even worse. My first impression was very positive nevertheless, but after further listening I'm not that impressed anymore, one reason definitely being the bad sound quality.

The music is instrumentally oriented symphonic prog, not exactly epic-natured but rather light and melancholic, and in a way romantic like e.g. Novalis. The label names Yes, Genesis, Camel and Eloy as comparisons - not necessarily false choices, but such that easily make you expect too much and feel disappointed. If you know continental, minor one-time bands of the time such as EPIDAURUS, PHYLTER, BANZAI or AUTUMN BREEZE, you know better what to expect. Keyboards dominate most compositions, sometimes with slight ELP-influences but most often with cheesy string synth carpets that were typical at the time. The songs on which Michael Lippert sings - pretty well, by the way - feature only Kai Crone on Solina strings and bass pedals besides Lippert. They are acoustically oriented, moody songs.

Even with an average track length of 4-5 minutes the compositions often run out of energy and ideas before reaching their end. When the group came together, Lippert had been working on a rock opera based on Tom Stoppard's play "Rosencrantz & Guildenstern Are Dead" (a satire on Shakespeare's Hamlet). In addition to the band name, that project naturally has some echoes in these recordings too. It's obvious (considering the titles) that several tracks originate from it, but sadly there's no conceptual feel left at all. This CD just feels like a bunch of low-fi studio recordings, many of them too close in nature to another one. An ironic detail is that the live tracks in the end seem to be more interesting as compositions, but they're not great enough to overcome the lousy recording quality.

Surely this is an interesting case (and it was great to see how fast the Symph team added this artist/album after the hint that I gave... before I had even listened to the CD, as I was so convinced by the information on Garden of Delights homepage). But I'm sad to say this is not a lost and newly found gem that one would so deeply wish it to be. With good production values this might be a 3½ star album, now it's only worth 2½.

 In Concert 1976 by GENESIS album cover DVD/Video, 1977
4.39 | 101 ratings

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In Concert 1976
Genesis Symphonic Prog

Review by Gatot
Special Collaborator Honorary Collaborator

4 stars Genesis with King Crimson flavor ...

The chief reason of watching this performance is the existence of Bill Bruford at drum stool. I love Bruford since I first listened to King Crimson's "Easy Money" In that track he played uniquely especially with his tight snare drum that sounds differently from any other drummer on planet earth and his nano-seconds advanced beat of his drumming style. That are basically how I categorize the drumming style of Bruford. And I am not wrong at all as throughout his career he kept playing like I describe. Look at his style in his solo album "One of a Kind" or his style with Yes "Close To The Edge" as well as "Fragile". That's basically his unique style and what he demonstrated during his tenure with King Crimson.

Watching Bruford plays Genesis tunes even though only during Tour and never had a studio album with Genesis is an interesting joy for me. I can see his unique style was successfully applied to Genesis during the tour. I really love the voice of "THAK" coming out from his snare drums throughout the Genesis tunes featured in this DVD. Even from the Opening that actually presents the stage erection process to the intro f I Know What I Like Bruford did his role wonderfully and it's becoming main attraction to me. Even though he played differently, the Genesis tracks becoming much more enjoyable compared to studio album.

The song moves seamlessly to the Fly on A Windshield until Broadway Melody of 1974 (without vocal line). He plays in duet with Phil Collins who also played drums excellently using another style. Phil is very good in its varied stick hits at snare and toms of his drumset while Bruford filled with powerful snare sound. The part two of Cinema Show is also wonderful with Bruford as drummer - but most importantly the drum duets with Phil is really great. This version of duo drums appeared also in Seconds Out album. I enjoy the dums solo part even though it's very short. The peak of this live performance lies at the ending track Los Endos. Every musician plays excellently throughout the song and it becomes a very attractive part of the show.

The only lacking is the abridge version of some tracks like Fly on a Windshield, The Cinema Show (Part two with , unfortunately, the appearance of comic film) and also last parts of Supper's Ready. This is not good at all as I expect full version of each song. Keep on proggin' ...!

Peace on earth and mercy mild - GW

 Beyond Expression by FINCH album cover Studio Album, 1976
4.13 | 87 ratings

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Beyond Expression
Finch Symphonic Prog

Review by Epignosis
Special Collaborator Eclectic Prog Team

3 stars The upbeat jazz rhythm and guitar tone are heavily reminiscent of Camel. In fact, if anyone liked Camel but thought they could've rocked out more, he would find satisfaction in Finch's second album. My greatest criticism is that the guitarist is too industrious, frequently erupting in a blitzkrieg of high-pitched notes.

"A Passion Condensed" I found the initial synthesizer a bit rough, though the lead guitar is satisfying and the rhythm section is in overdrive for much of the piece. The softer side of Finch emerges midway through, perhaps to offer the listener a respite from the rapid jazzy rock that filled the first eight minutes. The scathing guitar work is too busy, flying about like a hummingbird on uppers over a chord progression identical to "Breathe" by Pink Floyd.

"Scars on the Ego" The second and shortest piece offers the keyboardist an opportunity to shine through various sonic textures, and thankfully, the guitarist shows his more placid capabilities. Though the electric guitar solo is still riddled with activity, it serves well as a crescendo tapering off into the halcyon haze.

"Beyond the Bizarre" Gentle and melodic, this is perhaps the most solid of the three compositions, because even when it becomes heavier, it is not perforated with rapid-fire guitar. Indeed, the lead player infuses the piece with appropriate bends and phrases that accentuate the rhythmic shifts. The smooth, happy-go-lucky keyboard runs are reminiscent of "Cinema Show" by Genesis.

 Loneliness by DAWN album cover Studio Album, 2007
3.72 | 20 ratings

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Loneliness
Dawn Symphonic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Dawn came in life in Montreux, Switzerland through the friendship of schoolmates Julien Vuataz (bass) and Rene Degoumois (vocals, guitars).The official formation of the band is detected sometime around 2005 with the addition of Nicolas Gerber on keyboards.Two demos later and with Patrick Dufresne behind the drum kit Dawn felt ready to tape their ideas and writing process on a CD.Thus, ''Loneliness'' saw the light in 2007.

Dawn attempted to do what hunderds of bands tried a decade behind: Capture the essence of Classic groups of the 70's and add a touch of personality to come up with a symphonic-oriented Prog Rock album.The result is pretty nice and close to the likes of TRANSATLANTIC and MAGIC PIE, although their sound has a bit of a Nordic feeling akin to ANGLAGARD and WOBBLER at moments through plenty of melancholic touches, the emotional singing lines and a more pronounced KING CRIMSON-like atmosphere in the guitar parts, which are not that complex but contain often a slightly jazzy vibe.The music of Dawn is built on beautiful keyboard themes, a raw rhythm section and a diverse guitarist and passes through symphonic textures with huge Mellotron waves, discreet electric piano and atmospheric acoustic piano images.The atmosphere is doomy with downtempo parts and rare take-offs regarding the rhythm, but the music remains fairly interesting until the end with lots of breaks, dramatic soundscapes and unexpected twists with virtuosic solos among the tight orchestrations.There are also plenty of synth flashes throughout but not in a Neo Prog way, here the sound remains strongly symphonic close to COLLAGE's more melodic and bombastic material.Very nice stuff, which is quite often powered by dual keyboard techniques and smooth, slightly psychedelic outakes.

Mission completed for Dawn.A nice Symphonic Rock effort with dark themes yet still some more emotional segments with atmospheric, instrumental executions.Strongly recommended...3.5 stars.

 Large Afternoon by GREENSLADE album cover Studio Album, 2000
2.29 | 23 ratings

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Large Afternoon
Greenslade Symphonic Prog

Review by Gatot
Special Collaborator Honorary Collaborator

2 stars Those who like the band in the seventies would definitely regret with this reunion studio album in 2000. In 2000, Greenslade and Reeves, after considering a full-blown reunion of the original line-up, teamed up with vocalist/keyboardist John Young, and recorded a new Greenslade studio album: Large Afternoon. But unfortunately this album lacks its fundamentals in composing good music where the melody must be crafted carefully and then all the instruments must then be combined together to build good arrangement of the music. The gentlemen here were not sure about what kind of music identity they wanted to pursue. You would not find any unique music like Time and Tide or Bedside Manners are Extra that were excellent during their seventies golden period. This new album is really boring and it's not worth listening at all. It comprises only keyboard work and vocal that do not flow with good melody nor good composition. It's not recommended at all to anyone to own this piece of album. This might be worth for hard core fans who want to complete their collection.

Peace on earth and mercy mild - GW

 Private Parts & Pieces XI: City of Dreams by PHILLIPS, ANTHONY album cover Studio Album, 2012
2.82 | 10 ratings

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Private Parts & Pieces XI: City of Dreams
Anthony Phillips Symphonic Prog

Review by Raccoon

4 stars If synthesizers are involved, proggers like to steer clear (with some exceptions). Synthesizers usually bring a poppier, giddy approach to their style, instead of truly taking advantage of the vast variety of sounds it's capable of.

Here, Anthony Phillips creates a whole universe of sound. Surrounding you in a flurry of calming and relaxing touches, tones, and keys. The wave of crystalline keyboards, a wall of sound if I've ever heard one. Luckily, this one's multitracked. You can tell time and patience was put into this little beauty. Now, I shouldn't call it 'little' since it's 31 songs, but it has a 'fragile' sound. No, not that Yes album, but a precious and peaceful representation. The title of the album explains the overall feel.

The only tracks I can't get into are the various City of Dreams songs, I-IV and Mystery Train. They're each a little over a minute (or less) so that's a small complaint, they all just sound too similar for my taste. Sure, there's an addition of some new texture or sound, but the lack of a new piece doesn't impress me. I love the variety, and each song is a completely different. A different sense of 'peaceful'. Ambient music has a risk of becoming boring, but this isn't the case. With each song so short, there's plenty of new ideas to present. It isn't Eno-ambient, there's multiple textures going at once. (No offense to Eno, I love his music, but for a different reason. I have to be in the mood. With this, I can listen to it and become entranced that easily.)

Some stand-outs (though they really ALL are remarkable) is: King of the Mountains, Astral Bath, Air & Grace, Sunset Pools, The Deep, Night Train (one of the more lively pieces on here), Sea of Tranquility (introducing the harp makes this possibly the most beautiful song on the album), Realms of Gold (which is a little haunting, though beautiful, which shows that a 'realm of gold' could bring both elegance and danger. Also has a distant, quiet choir in the backdrop), Days of Yore (sounds like an out-of-tune acoustic guitar, a nice change of pace), Act of Faith (reminding me of Soiree, a luscious piano piece. Highly inspirational, and sadly, very short too), Grand Master (sounds like Anthony brought an organ into the ocean and started playing!), Anthem for Doomed Youth (the choir's front- and-center here), and The Homecoming, a great meditative closer to this meditative album.

Since nearly EVERY song is a highlight, I highly recommend that you listen to the previews on Amazon. Since I'm impatient, Amazon's mp3 price-tag of $8.99 was fair, so I grabbed it the first day it was released on here. The mp3 album title is listed as Private Parts & Pieces XI, NOT City of Dreams strangely enough. Those 57 minutes fly by, and it's always a rewarding experience when you turn it on again.

It's not as revolutionary for Ant Phillips as Seventh Heaven was, but it's still brilliant in its own sense. Please, just give it a listen. I used to love Mike Oldfield and his style, until I discovered Anthony Phillips' captivating discography.

 Eve by KARDA ESTRA album cover Studio Album, 2001
4.01 | 21 ratings

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Eve
Karda Estra Symphonic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Entering the millenium Richard Wileman and Karda Estra would built a long collaboration with the Cyclops label.Moreover in their next album a strengthened string section would be displayed with the addition of Helen Dearnley on violin.''Eve'' would be released in 2001, being a concept work, drawing inspiration from Villiers de L'Isle Adam's novel ''The future Eve'', written in 1886.

Karda Estra's sound would remain laid-back and extremely cinematic like Soundtrack Music, but this time it is definitely more focused, well-composed and bursting some sheer beauty, based on Classical instruments.''Eve'' is characterized by its intense atmospheres, ethereal soundscapes and calm flow, which is based on grandiose piano lines, string arrangements and wind instruments with little contribution from other instruments.Quite often these atmospheric pieces are showered with marvelous wordless female chants and the presence of smooth acoustic guitars.It kind of reminds me of THE ENID during their most Classical nature in abscence of rock instrumentation.Towards the end Wilemann appears to upgrade its style with the display of a church organ and percussions, but nonetheless the music is still led by the grandiose, orchestral arrangements and the acoustic breaks.Extremely atmospheric material, which can be listened on specific occasions.I still insist that this would be even better with the discreet use of electric instruments at moments.Even so, most of the tracks contain an inner power of their own, based on Wilemann's talent to create dreamy, cinematic textures.

For the first time I think that Karda Estra are following the right way.Not really suitable for die-hard Rock fans, but a serious listening for all lovers of cinematic music.Recommended.

 Camel by CAMEL album cover Studio Album, 1973
3.95 | 853 ratings

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Camel
Camel Symphonic Prog

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

3 stars Camel's debut album arrived in 1973. At this time, classic prog rock was at the height of it's popularity. I was in high school. And Yes, ELP, King Crimson and Genesis were the favorites of the music aware factions (yes - my school was enlightened). A friend introduced me to this album, and, I can admit now, I was not impressed. The lightness of the sound was not what my teenage sensibilities was looking for.

Four decades later my tastes have refined, and I am able to appreciate some of the artists I rejected in those days. And now I am revisiting this band that barely appeared on my radar back then.

In this debut, Camel sounded more like the prog of the late sixties, solo-heavy pieces with psychedelic subtexts, and a nod to the early fusion projects. To me, it could be described as a mixture of transitional Pink Floyd (pre-Meddle), a bit of Procol Harum, with some of the style of fusion of the Canterbury bands.

And now, while the album may not be as progressive as their peers, or even their own subsequent albums, I find this to be a joy to listen to. Primarily Peter Bardens' keyboards, primarily organ, electric piano and mono-chromatic synth, retro even in 1973, along with Andy Ward's tight drumming, drive the music along.

While I still would not rate this with the great albums of the seventies, it should not be overlooked.

 Spartacus by TRIUMVIRAT album cover Studio Album, 1975
3.76 | 229 ratings

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Spartacus
Triumvirat Symphonic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars The export department of Harvest decided to send the second Triumvirat album over to the offices of Capital in the USA, which issued the album in the States, and this opened the door for the Germans to visit the other side of the Atlantic, performing in about 40 gigs as the supporting act to Fleetwood Mac.Third work of the band was a concept one around Spartacus, the Thracian gladiator, who led the slaves' revolution against the Roman Republic in ancient years.Recorded at EMI's Electrola Studio in Cologne, the album's issue did not met any delays.It was released both on Harvest and Capitol in Germany and the US/Canada market at the same time in 1975.

This time Triumvirat have chosen a more conservative style in terms of pieces' length, as most of the tracks are short and dense.Just in terms of length of course, because the music remains highly virtuosic, symphonic and atmospheric with Triumvirat's ability to change climates in evidence.From romantic Classical-based interludes to powerful organ pyrotechnics to extreme synth acrobatics, the Germans display again their comfort on creating complex music with plenty of dramatic as well as pleasant tunes.The album is mainly led by Fritz'es impressive executions on piano, Moog synthesizer and Hammond organ in a very rich enviroment, which blends the romantic mood of NOVALIS with the massive workouts of E.L.P. and LE ORME, while the trio appears to deliver smooth and emotional moments, based on Koelle's very nice voice.Beautiful symphonic textures with some great melodious soundscapes are the driving force of this release, which sounds less flexible than ''Illusions on a double Dimple'' with the short tracks' length being the main reason for the fact.Even so the level of musicianship is up there, facing the best moments of E.L.P., full of bombastic, dual keyboard waves and more laid-back and harmonic lines.

Yet another consistent and tight album by Triumvirat with a great concept supporting the music.Strongly recommended to all fans of keyboard-driven Progressive Rock...3.5 stars.

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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 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
ELOHIM France
ELOITERON Switzerland
EMERSON LAKE & PALMER United Kingdom
REDJY EMOND Canada
ENGLAND United Kingdom
THE ENID United Kingdom
EPIDAURUS Germany
EPIGNOSIS United States
EPISODE United States
EQUILIBRIO VITAL Venezuela
ESPIRITU Argentina
ESTRUCTURA Venezuela
ETCETERA Denmark
ETHOS United States
EVERFRIEND United States
EX-VAGUS France
EXODE France
EXODUS Poland
EZRA WINSTON Italy
FAITHFUL BREATH Germany
FALLING EDGE Canada
FANTASY United Kingdom
FICCION Venezuela
FINCH Netherlands
FIREBALLET United States
FIRST+AID United Kingdom
FLAGSHIP Sweden
FLAME DREAM Switzerland
FLAMING BESS Germany
THE FLOWER KINGS Sweden
FLÜGHT Mexico
FLYTE Belgium
FOCUS Netherlands
FOREVER TWELVE United States
THE FOUNDATION Sweden
FRÁGIL Peru
FRIGHT PIG United States
FROMAGE Japan
FRUUPP Ireland
FUSONIC Netherlands
GALIE Mexico
GENESIS United Kingdom
GENS DE LA LUNE France
THE GIFT United Kingdom
GLASS United States
GLASS HAMMER United States
GOTIC Spain
GOVEA Mexico
GRACIOUS United Kingdom
GRANADA Spain
GRAND STAND Sweden
GRANDBELL Brazil
GREENSLADE United Kingdom
GROBSCHNITT Germany
SHAUN GUERIN United States
GUILDENSTERN Germany
HALLOWEEN France
HANDS United States
BO HANSSON Sweden
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