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SYMPHONIC PROG

A Progressive Rock Sub-genre


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Symphonic Prog definition

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

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

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

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

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


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

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

Iván Melgar Morey, Peru 2006



Symphonic Team

Current Team as at 06/02/16

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

Symphonic Prog Top Albums


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

4.65 | 3788 ratings
CLOSE TO THE EDGE
Yes
4.63 | 3513 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.60 | 3045 ratings
FOXTROT
Genesis
4.44 | 2961 ratings
FRAGILE
Yes
4.41 | 2652 ratings
NURSERY CRYME
Genesis
4.39 | 2193 ratings
MIRAGE
Camel
4.38 | 1882 ratings
MOONMADNESS
Camel
4.39 | 1451 ratings
HYBRIS
Änglagård
4.36 | 2556 ratings
RELAYER
Yes
4.36 | 1073 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.29 | 2479 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.29 | 2391 ratings
THE YES ALBUM
Yes
4.28 | 1912 ratings
THE SNOW GOOSE
Camel
4.27 | 2149 ratings
A TRICK OF THE TAIL
Genesis
4.30 | 972 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.33 | 728 ratings
DEPOIS DO FIM
Bacamarte
4.24 | 1730 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.25 | 899 ratings
VILJANS ÖGA
Änglagård
4.25 | 841 ratings
HAMBURGER CONCERTO
Focus
4.22 | 874 ratings
LEFTOVERTURE
Kansas

Symphonic Prog overlooked and obscure gems albums new


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

ENTANGLED
Leitmotiv
HIJOS DEL AGOBIO
Triana
L'ARBRE-CIMETIÈRE
Maldoror
SÈVE QUI PEUT
Ange

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Latest Symphonic Prog Music Reviews


 Tales From Topographic Oceans by YES album cover Studio Album, 1973
3.89 | 2064 ratings

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Tales From Topographic Oceans
Yes Symphonic Prog

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

5 stars My 100th review! What better way to celebrate than one of the most controversial pieces in the prog canon? "It was the best of times, it was the worst of times..."

"Tales" really is an infamous release, whether due to the absolute berating it got from the press or because of the internal tensions in the band which reached mythological proportions. But let's be real here, the press never liked prog to begin with; "Tales" wasn't unique in its scorn. And King Crimson's . History aside, let's get to the music. How does "Tales" actually stack up from a musical standpoint?

Many describe this album as being "less focused" or "looser" than earlier Yes releases, and I agree to a certain degree, but I think that that description is a little misconstrued. It's not like the whole album is spacey, psychedelic jams or a jazz free improvisation. This is still structured, well-constructed symphonic music like the material Yes had recorded in the Bruford era. Really, aside from a less flamboyant performance from Rick Wakeman, this album is a lot more similar to other Yes music than most make it out to be. It's still technical, ever-so-spiritual and driven by Jon Anderson's divine vocals. On top of maintaining the elements that made past Yes music so successful, though, I feel that it actually brings the whole Yes aesthetic up a notch. Where "Fragile" and "Close To The Edge" filled our heads with images of far-off worlds, "Tales From Topographic Oceans" is cinematic, a whole feature-length motion picture weaved seamlessly over four sides of vinyl.

"The Revealing Science of God" begins with a single voice, which gradually builds into an entire chorus of nonabrasive chaos before a brilliantly minimalistic three note keyboard motif brings a sudden release. This tension and release is the first of many that will grace the album, and really sets the tone for what to expect over the next 80 minutes. After a generally heavy, spiritual, first movement with "Revealing", a second release happens with the beginning of "The Remembering". This second movement carries a lighter, airier mood. Like a sunny afternoon out on the water, the lively sections driven by Steve Howe's acoustic guitar are some of the absolute most joyous sections of music ever put to record. The happiness that Jon Anderson expresses in his voice alone makes the album worth owning.

On the album's second disc, "The Ancient" provides a stark contrast, however. The first half of the song is Yes at its most avant-garde, the second half Yes at its most sentimental. While the dissonant and rhythmically-bustling first half is not the most pleasant section of music, it does serve its purpose. After a generally soft first disc, it definitely helps to keep the album from getting too stagnant. It also provides yet another great release when Steve Howe comes back with his acoustic for the gentler "Leaves of Green" section. Another moment of unspeakable beauty, this part of the album contains some of Jon Anderson's most emotive vocals of his entire career. It also gives the perfect lead-up for the album's jubilant finale, "Ritual". As with the acoustic sections of "The Remembering", this final movement also contains some of the most joyous sections of music recorded and brings the album to a close with a furious guitar solo. Wow, what a movie!

Between the album's many climaxes, of course, there are sections that many are quick to judge as "padding". I don't think that this is accurate at all, because what many see as "lazy filler" really serves a vital purpose. When listening to an album so long, it's actually very nice to have little minute-long sections where you can feel free to zone out without missing a major transition, solo or climax. By the time some more interesting music begins to develop, it will seem all the more powerful after having rested up. So while some see "padding" as a weakness, it is in fact an essential part of the album, making the beautiful moments more beautiful, the joyous moments more joyous, the vibrant moments more vibrant. Like in life, the only way to really appreciate positive feelings is to experience the entire spectrum of emotions, even if it means brief moments of anger, disappointment, sadness, or even apathy. Otherwise, things begin to get too homogenous and nothing feels happy anymore.

In all, "Tales From Topographic Oceans" is an album that lives and breathes, and, like life itself, contains such breathtaking beauty that it really is naive to dismiss its entirety for any imperfections that lie within. As it stands, I wouldn't change this album even if I could. It's a masterpiece just the way it is.

 Invisible Touch - Live At Wembley (DVD) by GENESIS album cover DVD/Video, 2004
3.21 | 91 ratings

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Invisible Touch - Live At Wembley (DVD)
Genesis Symphonic Prog

Review by uduwudu

3 stars IMVHO Genesis are playing symphonic prog rock in the '80s and doing so very well. The music and sound is updated and very crisp. Beautiful touches during the songs show the fluency of the playing. Here, Daryl Sturmer plays bass (I think he covers the Hackett guitar parts while Rutherford does his own) e.g. Los Endos which I have to say makes me want to hear more of the '76 - '78 era. The bright '80s numbers have hardness and clarity.

Of course the mystical sounds of ATOTT, WOW and ATTWT are displaced alienating fans of those and earlier eras. This is the trouble with "progressive"; the term at least implies change and fans are often not keen on that! But I think it's a tribute to Genesis that not only do they change with the times they do so very successfully and bring their music to larger audience of all of whom deserve it. I would have liked a Duke's Travels to emphasize the musical talent here. However, there are many fine instrumental performances, Drum Duet, Abacab (terrific), Domino and Home By The Sea spring to mind and the punch and power is very present.

Phil the actor hams things up with a Blues Brothers tribute intro of the band. Might have been best left to a solo gig as after Los Endos I kind of really wanted more of that era and suits Genesis more than a medley of tunes best done in a pub or one of Phil's own gigs - soul numbers are fine but I think Genesis fans might have preferred say, One For The Vine. Oddly no sign of Follow You Follow Me which would have fit very well.

It's an incomplete concert which is a shame so a full 5 stars cannot be given. Well produced and impeccably and enthusiastically performed. It's dramatically staged and filmed well and during a massive outdoor concert, well during 4 actually.

If it were complete and had a 2 CD set included then 4 stars minimum. I think it's excellent but not perfect. So 3 1/2 i.e. 3...

A fine DVD and well recommended.

 Les Chants de L'Éternité by ÉTERNITÉ album cover Studio Album, 1977
4.00 | 2 ratings

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Les Chants de L'Éternité
Éternité Symphonic Prog

Review by Progfan97402

4 stars Éternité was a project featuring Claude Péloquin, apparently a noted poet, and Michel LeFrançois. I already knew Michel LeFrançois from his collaboration with Claude Léveillée on his 1976 album Black Sun (it was recorded in 1976, but not released until 1978, but I can tell it was a 1976 recording as it does sound a bit behind the times for '78). While Léveillée wasn't exactly a prog figure, that album was definitely prog, and I was very certain it was LeFrançois that was most responsible for giving that album its prog character. Péloquin had also collaborated with Jean Sauvageau in 1972, and that album is pretty out there. Éternité is a bit more like the Claude Léveillée album I mentioned, but with vocals, so if you're a fan of symphonic prog, but put off by the album Péloquin did with Sauvageau, this album is much more up your alley. The album starts with "Même Si", basically some spoken dialog with spacy synth backdrops. "Apocalyptus" has a bit of a King Crimson feel to it, with dissonant synth and phased Mellotron. "L'extrême" is a nit more traditional prog, with some nice female vocals from Estelle Ste-Croix (she appears to be a fixture on the Quebecois music scene). 'Matin Magique" is an acoustic folky number, sounding more like it belongs in 1969 or '70 than '77. "Concert" has some really nice passages, although Billy Ledster's vocals seemed a bit too close to Broadway musical territory for my liking, but luckily the prog arrangements save this from being a totally cheesy disaster, although those vocals are undeniably cheesy. "Magnétique" is a rather nice piano-dominated piece with some nice Mellotron choirs creeping in, while "Il Vente la Vie" is a bit more pop, but still with Michel LeFrançois' nice keyboard playing.

On a side note: I thought the name Billy Ledster was a bit familiar. He was in Lighthouse, and also Man Made, who released a self-entitled album in 1973, an album I happen to be familiar with as I own a copy (side one is great, side two, not so great).

This album grew on me, although there are a couple of questionable moments, like Billy Ledster's vocals on one cut, and it does seem a bit too short (but I guess better than being too long and outstaying your welcome, like too many prog releases of the 1990s where 70 minutes were crammed on one CD without enough good material for that much time. This was never reissued, it was only released in Canada (on Polydor) and France (on CBS) (the French pressing featuring the same cover, but different typefont, in fact it's the French pressing you see here on Prog Archives), so you have to settle for the original LP, which luckily aren't overly expensive, but a bit hard to find outside of Quebec (but then not so difficult when you can get a copy online through places like Discogs). Really nice prog album worth getting.

 Resistence is Useless  by KALABAN album cover Studio Album, 1993
3.56 | 21 ratings

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Resistence is Useless
Kalaban Symphonic Prog

Review by Kingsnake

2 stars This is something different then your run-of-the-mill neoprog. Kalaban focusses more on the King Crimson/Yes style of progrock, rather than Genesis or Pink Floyd.

But this album falls really short. I know it's creative, adventurous and more original then what most bands since 1980, but I really prefer Saga or It Bites. The songs are a big chaos, and it seems nobody listens to each other. They are in eachothers way all the time. Reakky annoying, to hear all the instruments constantly fighting for attention.

Also the drummer is all over the place. He's not tight and should have played with clicktrack. It's frustratingly untight and he chances tempo all the time. The keyboard-leads are really ncie though (sometimes remind me of Mark Kelly). The guitarsound is also horrible.

The production is really amateurish and sounds like a demo rather than an official album. I'm glad that bands like The Flower Kings eventually emerged, so that I can just forget about Kalaban. It's no suprise this band never made it big.

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.33 | 728 ratings

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Depois Do Fim
Bacamarte Symphonic Prog

Review by crimson_smoog

5 stars Introduction: Once upon a time - Brazil in the middle of a dictatorship (1964-1985). Progressive Rock's instruments like Moog and Melloton were really difficult to get. Protectionism was one of the marks of the government (until today, sadly). But Brazil, with his strong musical side and effort, began absorbing counterculture elements that built the Tropicalismo and, soon after, the Brazilian Prog Rock. And there was Bacamarte.

About: Album (General) - Depois do Fim - Produced in 1977 and released in 1983, this album had many problems such as the low concern from record labels to launch an album from a niche genre like progressive rock but, by some luck, things went right and the brazilian "Close to Edge" was born. In my first listen, my ears were not believing what i was hearing. I said: "It's from Brazil? My own country?". Top notch prog rock.

Songs: UFO - Intrumental song. The guitar in the beginning sounds exactly like the album is opening. The dialogue between the Mario Neto's electric guitar with his hammer-ons and Sergio Villarim's Moog is spectacular. The flute gives some Brazilian flavor reminding of some Brazilian regional music. And the song fades out with the Moog.

Smog Alado - Mario Neto becomes Steve Howe and adds some Hard Rock, Jane Duboc sings and the Moog gives the feeling of something is beginning, and yes, it is. The lyrics say that is the "beginning of the end", if you analyze the lyrical content of the album you can realize some concept behind it. I think it's possible to assume that we are talking about a concept album. A story about the apocalypse ocurring.

Miragem - Instrumental song. And brazilian Howe takes the lead again. Good drums from Marco Verissimo. The song turns melancholic in some moment, maybe because of the beginning of the apocalypse? And people believe that they are seeing some mirage (song's title)?

Passaro de Luz - Short track. Obvious influence of classical music in Mario's playing. Jane Duboc with her great voice sings about hope after the apocalypse: "Rises in the sky a bird of light".

Cano - More like a transition song. Good Moog and accordion sounds.

Ultimo Entardecer - This must be the best song of the album. The electric guitar begins sad and Jane sings about the apocalypse happening: "Twilight surrounds the Earth, The fear hangs in the air". And one of the best moments in music happens, the Moog builds up tension like Tony Banks does in "The Cinema Show". And in the end It is asked to "life starts over in a new dawn".

Controversia - Shortest song. ELP-ish. Sergio Villarim becomes Keith Emerson with the Moog's strange sounds.

Depois do Fim - And it ends telling about "After the end", after the apocalypse. The passing of the Four Horsemen of the Apocalypse (Bible) that destroyed the soil but after Jane sings: "Remember of the kids that one day will be born", thinking about the future, even that the earth is practically ruined, "Message to the future, Past to the present". And the flute closes with gold key.

Wow. That's it. My second review. I hope that i'm helping people to understand more about this awesome album and brazilian music.

 Alive Again (as The Neal Morse Band) by MORSE, NEAL album cover DVD/Video, 2016
4.00 | 4 ratings

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Alive Again (as The Neal Morse Band)
Neal Morse Symphonic Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars The first thing that strikes you when you listen to this live release is how the stereo sound is loud and clear. The picture is also clear with vibrant colors. I was happy to have a live release from that tour because I have enjoyed the first output of The Neal Morse Band. The music has that Neal Morse symphonic grandiose style but being written in collaboration with the others musicians, there is still more than the symphonic approach. "The Call" is a dynamic opener with a break in the middle where Neal is singing with all the emotions we all know is capable too. The bass sound is huge, with some heavy guitars and keyboards lines. The first part of this song is rather inoffensive, but in the second half, it goes in the complex progressive style. And we won't talk about the impressive playing of Mike Portnoy on drums. "Leviathan" is a heavy and fast track from "Lifeline" of Neal solo career with a rather dark intro. "The Grand Experiment" is a good old rock song with some Styx vocal harmonies, repetitive but catchy. Next is a song from the Spock's Beard material, it's "Harm's Way" that show the typical change of moods of a Progressive Rock epic. Then comes a nice Keyboards/piano solo of Bill Hubauer remind me of Gentle Giant. After another song from Neal's solo stuff, it's time for an acoustic pause that is apparently different each night. In this, Neal is crying and if this song means something lyrically for him, it's not very challenging musically. Then the epic song of the last album "Alive Again" brings us some heavy instrumental parts that show the musicians exchanging instruments with some surprising results in an improvisation mode. We are greeted with a bass pedal solo from Randy Gorge with his hands! Bill Hubuauer delivers some beautiful vocals harmonies in this.The show ends with an emotional medley of Neal's solo songs.

I think this product is the closest a Neal Morse project has come to perfection if we take into consideration the sound/visuals and music. The editing and camera work is still very professional. The only criticism I could add is a subjective one, I would have replaced some songs from Neal's career for others and play the song "MacArthur Park" from the last album.

 Escenes by GOTIC album cover Studio Album, 1978
4.07 | 91 ratings

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Escenes
Gotic Symphonic Prog

Review by Warthur
Prog Reviewer

4 stars Gotic were part of the wellspring of Spanish prog bands who emerged during the country's gradual transition to a modern democracy over the course of the 1970s, but unlike other Spanish bands of the era such as Triana they don't go out of their way to incorporate extensive amounts of traditional Spanish music into their style. Rather, it's an expert take on Camel's Snow Goose-era style, with perhaps more lively flute-playing from Jep Nuix than that album and without the wind quartet affectations. It's a fun piece which most prog fans will enjoy, and is one of those little gems that slipped out in the 1970s just after prog's peak passed and which got sadly overlooked.
 Relayer by YES album cover Studio Album, 1974
4.36 | 2556 ratings

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Relayer
Yes Symphonic Prog

Review by Scorpius

4 stars More like 4.5/5.

When I picked up this album at a local record store for $5, I wasnt expecting much, but I still gave it a fair shot. What followed was 40 minutes of pure Yes beauty. This was one of my best impulse purchases ever. Patrick Moraz' keyboarding rivals even Wakeman, and all the other members are in fine form. Dont be fooled by my 4 star rating, this is my favorite Yes album.

The album begins with "Gates of Delirium" - a 20 minute epic suite that rivals Close to the Edge and even outlasts it length-wise. One of the most "progressive" songs ever, as it changes pace, tempo, and even style all throughout the song. Probably my favorite Yes song, the last 5 minutes, called "Soon" has to be the most beautiful thing to ever pour out of my headphones. The highlight of the the album for sure.

The second track is "Sound Chaser" - An amazing follow-up to a great suite, this track features probably Steve Howes greatest solo. Not much else to say here, great vocals and great instrumentation. Very fast and almost maddening at times.

The third track is " To Be Over" - The complete opposite of Sound Chaser, this 10 minute track wraps up the album nicely. Very calming an serene, its another beautiful Yes moment, the second on this album alone, along with "Soon".

Track Rating:

"Gates of Delirium" - 5/5

"Sound Chaser" - 4.5/5

"To Be Over" - 4/5

 Mainhorse by MAINHORSE album cover Studio Album, 1971
3.69 | 61 ratings

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Mainhorse
Mainhorse Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars I had never heard of this one off album until a friend showed me a few days ago. It seems that its only claim to fame is the fact that Mainhorse was the vinyl debut of a young Patrick Moraz. And it shows: his organ laying is definitely the highlight of this CD. This Swiss band (actually, half Swiss, since two members were englishmen) played a kind of heavy prog quite common at the time, so it is little wonder why it made no impact at all at the musical scene of the period. Please, don´t get me wrong: the music here is quite good, with obvious influences of early Deep Purple, Traffic and Atomic Rooster. On the odd side we have a bass player who also plays cello on some parts.

Although the compositions have nothing too original it is interesting to see the band had real potential to grow, since that sometimes their arrangements are clever and outstanding, showing how far they could go if they stayed together e improved their sound. But, alas, this was not meant to be. So what was left is a good heavy prog album with a few hints of symphonic rock. All the musicians are good and the production is adequate for the time. Moraz does a fine job sounding a lot like Vincent Crane. There are no fillers to be found. The best track is the 10 minute Pale Sky, a real gem.

If you like those aforementioned bands, you can go no wrong with this one. Mainhorse was a fine band that never had the chance to live up to their promising start. But the album is well worth to have it.

Rating: 3.5 stars.

 Beyond Expression by FINCH album cover Studio Album, 1976
4.04 | 111 ratings

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Beyond Expression
Finch Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

4 stars I was quite surprised by this album. I remember listening to it some time ago and getting the feeling of just another instrumental jazz rock album by a band that was obviously influenced by Mahavishnu Orchestra. Upon listening to Beyond Expression recently I feel that I was unfair and did not pay very much attention to a very good prog band. Yes, the music here is more akin to jazz rock/ fusion than to symphonic prog, but still there are enough elements of the latter to make a big difference to the flurry of faceless fusion acts that seem to sprung from everywhere during the 70´s. There also some heavy explicit blues moments too. But, being dutch, the fine melodies are not absent either. And after repeated spins I found this album to be more pleasant, creative and original than I originally thought it was.

As one expects the musicianship of the band members is simply astonishing. Joop Van Nimwegen is a tremendous skillful and creative guitarist that leads the music in here. His style is close to fellow countryman Jan Akkermann, although obviously less classical influenced. His playing is very technical and precise. The remaining members are not far behind him, but just like Mahavishnu orchestra, this is clearly a guitar led band. What surprised me the most is the variety of styles they played, the mood swings and the melodic approach, something not very usual for the jazz rock acts in general. So I guess, they are indeed a symphonic prog band after all, only with a heavy leaning towards fusion.

Rating: 4 strong stars. Very fine Instrumental album by a terrific, underrated, band. Guess I´ll have to look for their other works. Holland rules!

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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
ANDERSON/STOLT Multi-National
ANGE France
ANGIPATCH France
ÄNGLAGÅRD Sweden
ANIMA Argentina
ANIMA DOMINUM Brazil
ANIMA MORTE Sweden
ANIMA MUNDI Cuba
ANOXIE France
ANTARES Germany
ANYONE'S DAUGHTER Germany
APHÉLANDRA France
APHRODITE'S CHILD Greece
APOCALYPSE Brazil
AQUAPLANAGE United Kingdom
ARABESQUE United States
ARACHNOID France
ARCABUZ Spain
ARION Brazil
ARS NOVA (JAP) Japan
ART IN AMERICA United States
ASA DE LUZ Brazil
ASIA MINOR Turkey
ASTRË United States
ASTURCON Spain
ATILA Spain
ATLANTIS PHILHARMONIC United States
ATLAS Sweden
ATMOSPHERA Israel
ATOLL France
AUTUMN United Kingdom
AUTUMN BREEZE Sweden
AVIVA (AVIVA OMNIBUS) Russia
AXCRAFT United States
AZABACHE Spain
BABYLON United States
BACAMARTE Brazil
BANAAU Italy
BANANA Argentina
BANZAI Belgium
ZELJKO BEBEK AND PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
ROBERT BERIAU Canada
ED BERNARD Canada
BLACK SEPTEMBER United States
BLAKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
BOX OF SHAMANS United States
BRIMSTONE United States
BURNING CANDLE Germany
BUSKER Canada
CAFEINE France
CAI Spain
CAIRO United States
CAJA DE PANDORA Mexico
CAL Spain
CAMEL United Kingdom
LOS CANARIOS Spain
CANNABIS INDIA Germany
ALEX CARPANI BAND Italy
CAST Mexico
CATHEDRAL United States
CHAKRA United States
CHALCEDONY United Kingdom
CHAOS CODE United States
CHRONOS MUNDI Brazil
JOSÉ CID Portugal
CINEMA Japan
CIRCLE Germany
CITIZEN CAIN United Kingdom
CLAY GREEN'S POLYSORBATE MASQUERADE BAND United States
CLEARLIGHT France
CODA Netherlands
CODICE Mexico
COLLEGIUM MUSICUM Slovakia
COTO EN PEL Spain
COUSINS & CONRAD United Kingdom
COVENANT United States
CRACK Spain
CRAFT United Kingdom
CRESSIDA United Kingdom
CRONICO Mexico
CROOKED MOUTH United Kingdom
CRUCIBLE United States
CRUCIS Argentina
DAWN Switzerland
DEJA-VU Japan
DELUGE GRANDER United States
DIALOGUE (DAWN DIALOGUE) Russia
DIAPASAO Brazil
DISCIPLINE United States
DOGMA Brazil
DORACOR Italy
DOUG WOODS & COLIN POWELL United Kingdom
DR. COENOBITE Netherlands
DRAGONFLY Switzerland
DRAMA France
DRUCKFARBEN Canada
DRUID United Kingdom
EARTH AND FIRE Netherlands
EARTHRISE United States
ECCENTRIC ORBIT United States
ECHOLYN United States
ECLAT / ECLAT DE VERS France
ECLIPSE Brazil
EDEN Canada
EGGROLL Israel
EIK Iceland
ELLESMERE Italy
ELOHIM France
ELOITERON Switzerland
EMERSON LAKE & PALMER United Kingdom
REDJY EMOND Canada
ENGLAND United Kingdom
THE ENID United Kingdom
EPIDAURUS Germany
EPIGNOSIS United States
EPISODE United States
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