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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 | 3183 ratings
CLOSE TO THE EDGE
Yes
4.63 | 2926 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.61 | 2532 ratings
FOXTROT
Genesis
4.42 | 2439 ratings
FRAGILE
Yes
4.42 | 2191 ratings
NURSERY CRYME
Genesis
4.41 | 1210 ratings
HYBRIS
Änglagård
4.38 | 1804 ratings
MIRAGE
Camel
4.38 | 1553 ratings
MOONMADNESS
Camel
4.36 | 2125 ratings
RELAYER
Yes
4.39 | 910 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.28 | 2057 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.28 | 1961 ratings
THE YES ALBUM
Yes
4.27 | 1786 ratings
A TRICK OF THE TAIL
Genesis
4.27 | 1576 ratings
THE SNOW GOOSE
Camel
4.31 | 782 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.33 | 602 ratings
DEPOIS DO FIM
Bacamarte
4.23 | 1384 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.26 | 741 ratings
VILJANS ÖGA
Änglagård
4.25 | 701 ratings
HAMBURGER CONCERTO
Focus
4.17 | 1637 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

BRIDGE ACROSS FOREVER LIMITED EDITION
Transatlantic
SÈVE QUI PEUT
Ange
BOOK OF HOURS
Willowglass
ENTANGLED
Leitmotiv

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Latest Symphonic Prog Music Reviews


 Elegy by NICE, THE album cover Studio Album, 1971
2.90 | 59 ratings

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Elegy
The Nice Symphonic Prog

Review by tarkus1980
Prog Reviewer

2 stars I honestly don't know how much the band members had to do with compiling this post-breakup hodge-podge, but this has all the markings of an attempt to cash in on the contemporary success of Emerson, Lake and Palmer. From that perspective, it actually kinda worked, peaking at #5 on the UK album charts, but I find it a maddeningly mediocre (and almost outright bad) album in its own right. It's another half-live, half-studio affair, though unlike Nice it sets the live material as bookends and puts the studio material in the middle, and both portions are essentially vehicles for semi-engaging Emerson noodling with little of note from the other members. Now, I like Emerson noodling as much or more than most people would, but he can only carry things so far, and this doesn't come close to representing him at his engaging peak.

The studio tracks are awful at worst and pointless at best. Once again the band decides to take on a Dylan cover, this time choosing my beloved "My Back Pages," and while I appreciate the band's efforts to embellish it during the instrumental breaks, I find that I just can't get beyond the singing. Dylan's vocals in the original might irritate some, but he conveyed a perfect balance of humility and majestic power in them. Jumping forward a few years, the version that The Byrds did on Younger Than Yesterday preserved the emotional heft of the original vocal part while adding some nice harmonies and making it a bit more tuneful. This version, though, is a vocal massacre, and whether the tendency to fall out of key repeatedly was intentional doesn't really matter to me. Among the list of artists whose work I generally respect, this is one of the worst Dylan covers I can think of (oddly, another contender for this title is a "My Back Pages" that The Ramones did on Acid Eaters).

The other studio track is the band's interpretation of the 3rd movement of Tchaikovsky's 6th symphony, done in live form on Five Bridges, and it's as dull and pointless as before. As I've said before, the movement is amazing and majestic and rousing and everything a scherzo should be, but it doesn't seem like the band (read: Emerson) really knew what to do with it. There's a distressing sense of auto-pilot here that wasn't really present on the band's "Karelia Suite" interpretation, and certainly wouldn't be present on Pictures at an Exhibition.

The live tracks are a little better on the whole, but not enough so to save the album. In "Hang on to a Dream," the vocal parts improve from "awful" to "anonymous," thanks to the elimination of the generic female chorus and Jackson's very quiet and timid delivery, so that helps some, though not a lot. Emerson leads the band through a lot of different styles over the course of 12 minutes, and it's fun to hear Emerson fully turned loose, but the mid- section could have just as easily been transplanted into any other song. Personally, for this sort of Emerson playing, I'd much rather listen to his piano improvisations in the Welcome Back live album a few years later. And finally, there's a 10-minute rendition of "America," which is a lot of fun for about 6 minutes, then gets a little too organ-stabby-feedback-y for a while, but ultimately is still a blast on the whole. If there's a reason to buy this album, it's definitely "America." That's not really a great endorsement for the album, though; the original studio version is ultimately superior.

I should note that the version I acquired, the 1990 CD release, has a bunch of bonus tracks, but these are just the studio renditions of a bunch of stuff from the first couple of albums. "Dawn," "Diamond-Hard Blue Apples of the Moon," "Daddy Where Did I Come From?" and the like. Were the people reissuing this were counting on the first albums going out of print, so that this album would be the only way to get those tracks? In any case, don't let these entice you into thinking you're getting live or alternate renditions of these tracks if you've already heard Emerlist Davjack and Ars Longa.

 Live at Montreux 2003 by YES album cover Live, 2007
3.82 | 125 ratings

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Live at Montreux 2003
Yes Symphonic Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'Live at Montreux 2003' - Yes (70/100)

Live albums have fallen out of favour in the past generation, and I think it's for the reason that a recording of a live performance is accepted as never being able to capture the scope and spontaneity as if it were happening in real time. Just as importantly, most bands fail to add something fresh to the music in a live album; as a result, it ends up sounding like their studio work with the added strain of weaker mixing and hazy crowd ambiance.

I do wonder whether Yes really needed another live album. Nonetheless, it's something of a checkpoint for longstanding rock bands to record a performance at the legendary Montreux jazz festival. While Yes made a habit of looking outlandish in their classic live shows, Montreux was known for its stripped down, no-frills stage set. While Live at Montreux 2003 offers little visual indication as to whether Yes toned down their image accordingly, the album largely unfolds almost exactly as you would imagine for a Yes live album. Therein lies the problem of it; whereas Symphonic Live at least had the orchestral angle to differentiate it from albums past, Live at Montreux 2003 has come too late to the party to offer much worthy of excitement or surprise. It's a two hour-plus (!) performance of most of their best- loved songs. A lot of the set mirrors Yessongs and Yesshows too much to feel fresh at this point, but in this case, the music- as well as a hardy performance from Yes themselves- hold their own.

Although Live at Montreux is probably most notable for its twenty minute rendition of the immortal "Awaken", the spotlight is often fixed on their Fragile material. Barring a few of its solo pieces, Fragile is scattered throughout the set. Even the rare Jon Anderson song "Show Me" (written during the Fragile sessions) is included. "Heart of the Sunrise" and "Roundabout" are given straight-laced treatments here, not unlike the manner they were approached on Yessongs. Although Yes had been using "The Fish" as a way to sneak a bit of "Tempus Fugit" into their set since the '80s (Jon Anderson wouldn't sing anything from Drama), the only other live album of theirs that shows this gem is 9012 Live. Suffice to say, you're far better off hearing it here.

After "And You and I" (which benefits from some surprising harmonica during "The Preacher and the Teacher") the floor is given to Steve Howe, who delivers a gorgeous acoustic renditions of "To Be Over" and "The Clap". While "The Clap" stays true to form (it's a bloody classic of fingerpicking in any case), "To Be Over" is one of the coolest parts of this album; it shows Yes reinventing their music in a new and inviting way. Most of the other songs in Live at Montreux's favour are largely so because they weren't included on live albums past. "Awaken" is the real gem here (sounding as strong live as it does in the studio), and "In The Presence Of" off the latter-era masterpiece Magnification stands as being one of the best epics they've ever done.

There are surprises and fresh encounters on Live at Montreux; the setlist and performances are great, and the re-appearance of Rick Wakeman makes it special for Yes. Did we need another live album with "Siberian Khatru", "And You And I", "Heart of the Sunrise", "Long Distance Runaround", "Roundabout" or "I've Seen All Good People" on it? Probably not. As it stands, Live at Montreux is a fine live album, but I can't see any reason to recommend it over Yessongs. If you've already heard Yessongs however, and want more of the same, Live at Montreux stands as the second best among their live releases.

 Symphonic Live by YES album cover Live, 2009
4.21 | 215 ratings

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Symphonic Live
Yes Symphonic Prog

Review by Conor Fynes
Prog Reviewer

3 stars 'Symphonic Live' - Yes (60/100)

Whatever doubts I may have had about post-90125 Yes were dispelled with 2001's Magnification. Sure, most of the 90s had been wasted on bad pop and lazy songwriting, but Magnification (and to a lesser extent, The Ladder) proved to me that Yes could still churn out a lovely album, given the proper inspiration. Although Symphonic Live was released on CD in 2009, this live performance was recorded during the Magnification tour. A more comprehensive portrayal of their Amsterdam date at the Heineken Music Hall can be found on the Symphonic Live DVD package. Suffice to say, even for the sake of a live album, hearing the band's classic material played alongside a full- blooded orchestra would be many a progger's dream come true. It's that heavy expectation that makes Symphonic Live somewhat disappointing. I loved what Larry Groupé had done with the immersive orchestrations on Magnification, but the symphonic arrangements here feel like background ambiance in comparison. Add to that a fairly muddled mix to an otherwise inspired performance from Yes, and you have yourself a fairly live album. By all accounts it's not a bad or even misguided attempt, but it should have been so much better.

Though, from what I've heard, the DVD release is apparently infinitely more impressive than this, the symphonic element feels understated to a fault. The string harmonies and bombast is audible if you listen hard enough, but it's almost always drowned out by the band's performance. It's obvious the band should remain the central attraction in a symphonic experiment like this, but adding an orchestra would have only been a worthwhile investment if it added something substantial to the music. The orchestral intros are a nice showcase for the symphony, but the arrangements to the classic material add no new dimensions. Even an epic like "Close to the Edge" (which is as close to classical composition as rock music gets) doesn't seem to take advantage of the vast potential here. What's more problematic is that many of the songs have been slowed down accordingly, supposedly to make room for the symphonic sweeps and flourishes. As far as the CD component to Symphonic Live is concerned, it wasn't worth it. Still, this is Yes we're talking about, and they have some of their best material here. The performances aren't as lively or essential as Yessongs, but you can't go wrong with the prog-heavy setlist they chose for it. In spite of the lazier tempo, "Close to the Edge" remains an absolute titan of a track. Sessioneer Tom Brislin fills Wakeman's shoes snugly, to the point where I could have sworn it was Rick playing those parts himself. While the pace and tone of Yes' performance is more leisurely than I would have preferred, Jon Anderson's voice is bright and shows little sign of aging here.

If you remove the superfluous orchestrations, you're left with a perfectly capable Yes album, with most of the tracks I might have liked to hear on one of their live albums. Even so, an album entitled Symphonic Live begs to be judged primarily on the merit of its orchestral contributions; in this sense, the album is a disappointment. Beyond the muddied mix (which could be forgiven- Yessongs suffered from the same thing) the orchestration suggests a sense of bombast, but lacks the determination to infuse itself into the composition. The symphony is a pompous backdrop to an otherwise strong performance from the band. It's reasonably good, but it's nothing that Yessongs and Keys to Ascension didn't offer years before.

 Magnification by YES album cover Studio Album, 2001
3.76 | 804 ratings

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Magnification
Yes Symphonic Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'Magnification' - Yes (79/100)

In so many ways, Magnification rides on the precedent set by The Ladder. As was the case on The Ladder, the strong epic tracks may not be quite enough to excuse the inconsistent pop songwriting, but Yes truly sell their 17th album on account of the passion they've put into arranging and executing it. Even without the full orchestral treatment, I think Magnification could have held its own against anything the band had released in over twenty years.

Whereas so much of Yes' post-Drama material is cumulatively shat upon by their fans and critics, the short period beginning with their Keys to Ascension duology and ending with Magnification escaped the brunt of the storm. After how bad things got with Open Your Eyes (a next-to-worthless AOR album if ever I've heard one!) Yes seemed to get the message, and decided to turn their sound around for the better. The fresh studio material on both Keys to Ascension 1 + 2 was well-intentioned and proggy, but lacked soul and inspiration. In spite of a few weak tracks, The Ladder aptly demonstrated that Yes were still capable of releasing great prog in their fourth decade of existence. Magnification, then, is the next logical evolution in this short Yes renaissance. Not having employed a full-bodied orchestra since 1970 with Time and a Word, the fact alone that Yes were bringing symphonic prog full circle was pretty audacious, particularly for a band who, earlier on Union, didn't sound like they had a clue where they wanted to go.

Most of Yes' orchestral experiments have felt superficial to me- Time and a Word only used the symphony in spurts, and the Symphonic Live orchestral renditions of classic material rarely did more than shadow the guitar and bass lines. In any case, Larry Groupë orchestral arrangements here proved to be a wonderful surprise. Although the focus remains almost always on the band themselves, these songs were clearly written with enough 'fill in the blanks' room for Groupë to make the orchestral contribution relevant. These songs could have existed well enough on their own, but the symphonic arrangements make them come alive.

Using a symphony (even as background accompaniment) in rock music is always ambitious, but it doesn't often work. Even if the orchestra holds the potential for intensity and bombast that rock musicians often strive for, people have become too desensitized by the fanfare of action film soundtracks to make it so exciting when the symphony is made to sound as energetic as their rock counterparts. The Michael Kamen-conducted orchestral rendition of Metallica's S&M is an example of the hokey bombast Yes cleverly avoided here. There are times when Groupë's orchestral arrangement gets bold alongside the guitars, but the beauty of the arrangement lies in the fact the symphony transcends a merely supportive role. Although the rest of the song isn't particularly well written, the two minute orchestral to "Give Love Each Day" is as beautiful and tender as anything on the album. The fact that so much of the spotlight is given to the orchestra makes the symphonic experiment so much more than the ego trip it usually is for bands.

Although the symphony adds an expected sense of grandeur to the proceedings, Magnification may very well be the most laid-back album Yes have ever released (I'm not going to give Heaven and Earth the credit of mention here). The passion from The Ladder is here, but there's nothing here as wacky and caffeinated as "Homeworld" here. There is a confidence and sense of purpose on Magnification I don't think Yes had experienced since even before Tormato in 1978. While the soft epics ("Dreamtime", and "In the Presence Of" especially) still comprise the best the album has to offer, the quality of the regular songs has considerably increased over The Ladder. Despite its mid- tempo pacing and orchestral overlay, "Spirit of Survival" is one of the hardest rocking tunes Yes had done in ages. The title track has a pleasantly 'classic Yes' feel to it, and the beautifully pastoral moments on "We Agree" more than compensate for the cheesier AOR influences. "Soft as a Dove" is short, but it's a gorgeous showcase for Jon Anderson's voice, who sounds just as he did thirty years prior.

Sadly, not everything shines so brightly on Magnification. Other songs are less successful; "Don't Go" sounds like a pop tune you might hear on "Big Generator"- it's catchy and cheerful enough, but ultimately feels out of place on the album. While I've already mentioned how much I love the first two minutes of "Give Love Each Day", the rest of the song is dampened by a chorus that is far too do-goody to be saved by the confidence Yes performing it with. Also, while the rose-tinted lyrical imagery doesn't really detract from the album, given the fact that Jon Anderson was once writing lyrics about massive battles, Hindu vedic shastras and the exodus of alien peoples via mythic Moorglade, I might have hoped a Yes album this good would have been given some more fascinating narrative material.

Whatever Magnification's faults may be, they're far outclassed by the major strides Yes achieved here. It's a brief period of inspiration and clear-sightedness you wouldn't expect to see from a band that had been going for so long, much less a band that had spent the better part of the decade prior writing wallpaper rock. In some cruel twist of fate, the album on which Yes finally 'got it back' would be their last, at least until the Benoit David-fronted Drama-wannabe Fly From Here a decade later. Oh well. The important thing is that the post-Tormato era released at least one great Yes record. At the time, I think that was more than any of us were rightfully expecting.

 Building the Bridge / Live In America by TRANSATLANTIC album cover DVD/Video, 2006
3.84 | 45 ratings

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Building the Bridge / Live In America
Transatlantic Symphonic Prog

Review by nandprogger

4 stars It's so hard speak of this DVD, but there is two things which are opposite here. First, is which there are a good playlist to hear, inclusive one track which is not in others recordings, the fantastic covers of the bands of components and the track "mystery train" which I know have to record in video in other DVD; this recordings are the high point of this DVD. But the quality of this video recording is so bad, perhaps for the year of record, the cameras are in a bad position and fixing in some places, I remember of some DVD's of MAGMA ( the place it's so tight), don't can see the fans, and the cameras presenting delays. My score is 3.8: for the choice of tracks
 Symphinity by WINDCHASE album cover Studio Album, 1977
3.03 | 56 ratings

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Symphinity
Windchase Symphonic Prog

Review by siLLy puPPy
Prog Reviewer

3 stars Although technically WINDCHASE is a one shot band that released their one album SYMPHINITY in 1977, it is in fact really the 3rd album for Australia's first symphonic prog band Sebastian Hardie with a slight lineup change. That band had been around since 1967 and only managed to put out a couple albums and had many a lineup change. It was Mario Millo (guitar, mandolin, vocals) and Toivo Pilt (keyboards) who decided to record this album by adopting the name from the second album for the band name of this one. SYMPHINITY took the Camel and Genesis pastoral style of symphonic prog and added a more jazz-fusion oriented sound to the mix. The results are a little hit and miss but when it hits it hits quite well.

This album caught my eye because of the really cool album cover and the title of the album is a clever agglutination of 'Symphonic Infinity.' Unfortunately like their previous band Sebastian Hardie they seem to continue their knack for being able to cleverly cut and paste various influences together into creative ways without adding much in the way of any originality. After so much time one would think that an idiosyncrasy of sound would find its way into the whole scheme of things but WINDCHASE happily goes down previously treaded grounds keeping things somewhat predictable but never dull and always well played. I have to admit this was a bit of a grower. It hardly blows you away upon first listen. The obvious Camel meets Caravan approach with some Brand X type of jazz-fusion in play is all nice and good but if you're expecting Earth-shattering performances here then you'll be sadly disappointed.

However if you like an interesting form of prog lite that has some beautiful melodies that induce fluttering mellotron action and nice drawn out jams, then you might enjoy this indeed. Although the drawn out lead track 'Forward We Ride...' seems a little long for its own good, other tracks like 'Gypsy' and the excellent 'Lamb's Fry' fair well. I find this album very worthy indeed of my attention but wish it was a bit more consistent in its delivery and it lacks that extra oompf that makes an album truly special. 3.5 rounded down

 Heaven & Earth by YES album cover Studio Album, 2014
2.51 | 265 ratings

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Heaven & Earth
Yes Symphonic Prog

Review by Mutante

4 stars I really can't understand the fuzz around this record. Is it a kind of Asch conformity thing or am I getting mellow as I get old? By the time of the release of Open Your Eyes (1997) I heard Steve Howe say that they were trying to unite the best of the 70s and the 80s Yes. Well, Heaven and Earth did it. First I appreciate the fact of the band moving on to something else and not simply repeating old formulas. Jon Davison proved to be a helpful and talented hand in the writing department. I don't dislike any of the songs. According do Davison, they were paying more attention to the harmony side of it and I can see where he is coming from. To Ascend is one of the best Yes tracks in many years. Subway Walls, the opening track and The Game are all very fine, so is Light of the Ages. In a World of Our Own has a Beatlesque feel to it, and Step Beyond and It Was All We Knew have a childish (not in a pejorative way) cadence. The arrangements are fine, the drums is good (not pedestrian as I read here) and, as mentioned before, the harmony is strong, emotional (what music should really about) and there is no lack of good guitar licks.

It only isn't rated as five stars in respect of the magnificence of Close to the Edge.

 Agartha by ALPHA III album cover Studio Album, 1987
1.00 | 1 ratings

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Agartha
Alpha III Symphonic Prog

Review by apps79
Special Collaborator Neo Prog Team

— First review of this album —
1 stars Cantusio's numerous productions continue during the second half of the 80's, this time his third Alpha III creation was the album ''Agartha'', apparently inspired by the legend of the eponymous city resided in the earth's core.The vinyl was again released via the man's Faunus Records and propably it was the first time Amyr decided to record the album on his own forces.

Obviously this meant to be a mistake, because ''Agartha'' relies heavily on synths and the teamwork of the previous albums is to be missed, but gone with it is also the sound of natural instruments.Cantusio's new effort is exculsively based on his keyboards and the use of a drum machine, but the result is not only far from the decent sound of the past works, but tends to be extremely abstract, powered by an awful production and the disturbing sound of programmed beats.Stylewise there is also an evident switch towards Electronic Music with the E.L.P. influences being reduced and the focus here is on odd electronic experiments and loose soundscapes, which sound totally directionless.There is some sort of Eastern Asian/Indian influence covering the whole album, which is the only obvious source of inspiration and direction, because as a whole the material struggles to find a location between Electronic Music, synth experiments and keyboard-based Prog Rock.There are still these propelling cuts with the groovy lines and the interesting synth waves of Cantusio, usually delivered through double keyboard equipments, but now it's the unacceptable recording quality, which comes to ruin any decent execution.The few TANGERINE DREAM-like and serious Electronic pieces are quite enganging, the man had not lost his talent on keyboard majesty, but the overall result is below par.

Huge dissapointment.First comes the low production level, then comes the misleading musical ideas.Stick with Cantusio's early efforts and pass this one by, because ''Agartha'' is an extremely uneven album, which lacks inspiration and direction.

 A Mão Livre by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover Studio Album, 2003
2.65 | 12 ratings

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A Mão Livre
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by apps79
Special Collaborator Neo Prog Team

2 stars With ''Quasimodo'' succeeding good sales worldwide, Quaterna Requiem would perform at the Rio Art Rock Festival in 1997, opening for Par Lindh Project, and two years later they would launch their first live album ''Livre'', captured at the Scalla in Rio de Janeiro.Ex-member Kleber Vogel also performs here as a guest musician.However, a couple of years later, it was announced that Vogel had reunited forces with the band.This gave the chance to Elisa Wiermann to collaborate with Vogel in a different project, supported by the whole Quaterna Requiem team.Inspired by a solo painting exhibition by Claudio Dantas, the album ''A mao livre'' was released in 2003 on the band's Quaterna label under the names of Wiermann and Vogel.

Taking the background of these recordings into consideration, this would be perfect fit for a painting exhibition, but quite far from what Quaterna Requiem had released so far.With Wiermann and Vogel being the main contributors, this one sounds mostly like a Folk/New Age record with tighter links to the atmospheric instrumentals of compatriots SAGRADO CORACAO DA TERRA than the refined Symphonic Rock of Quaterna Requiem.The music is a mix of soft Classical, New Age, Renaissance-period and Folk inspirations, dominated by the heavy use of acoustic piano and the omnipresent violin drives of Vogel, showered by occasional keyboard themes, bass lines and a few string parts.Very relaxing music with a mellow mood, all instrumental, serving the scope of its release.Absolutely no dynamics or grandiose parts, the two musicians focused on creating ethereal soundscapes and move far from the more complex deliveries of their main act.Last track ''Fugato'' offers though the familiar style of the group with full display of drums and guitars and even some organ in the process, this follows the Symphonic Rock lines established by the Brazilian veterans, featuring nice interplays and dreamy solos with a strong Classical background.

Consider this as an off-shoot release of Quaterna Requiem.Mainly background, mellow musicianship with piano and violin in evidence, not progressive, but quite atmospheric and suitable for a romantic dinner.For die-hard fans of the band...2.5 stars.

 Opus 4: Elevations by TAURUS album cover Studio Album, 2014
3.21 | 5 ratings

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Opus 4: Elevations
Taurus Symphonic Prog

Review by DrömmarenAdrian

3 stars I continue my journey through modern prog rock and go to Chile and Claudio Momberg who call his musical self "Taurus". His appearance is similar to the Swedish (now) former finance minister Anders Borg(by the way) but I guess Momberg is more talanted. Since 2010 there has been four Taurus records and this year came "Opus 4: Elevations" with a cover that is not so special must I say.

The record lasts for almost fiftytwo minutes and the musicians that work together on the album are Claudio Momberg, Claudio Momberg and Cladio Momberg who are playing all instruments. The number of reviewers has been few yet. Especially Chilean prog fans should be better to check out this because this is talanted and symphonic music that I know could be appreciated in this world. The album consists of ten tracks but I guess that it all should be seen as a whole, called "Elevations".

Well "Elevations" are well done and appropriate prog rock of a symphonic style. Here exist what most symphonic rock fans want such as joyful keyboards and themes that come and go and together make a well working concept. The album is instrumental but not boring. I don't find it so interesting either though but that is my personal opinion. Some tracks of "Elevations" are better than others and those compositions do I recommend for you impatiant fans of heavenly music: "Ceraunius" is one of these and "Zephyria" is another. Listen to these two and perhaps the calmer "Phlegra" too and "Ortygia" of course. Listen also to the album as a whole when you are going by the underground home from work or school. Or put the record on in the evening when you'd like some symphonics in the dark. But I am afraid it won't impress you very much, It didn't with me.

So "Taurus" will get three stars from me, and that is good!

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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
HARLEQUIN MASS United States
HARMONIUM Canada
HECENIA France
HELIOPOLIS United States
ANDERS HELMERSON Brazil
HIGH WHEEL Germany
TERUTSUGU HIRAYAMA Japan
HOGGWASH Ukraine
HOKUS POKUS Norway
LYLE HOLDAHL United States
HOLDING PATTERN United States
HOLY LAMB Latvia
HORIZONT Russia
HYACINTUS Argentina
I.C.U. Germany
III MILÊNIO Brazil
ILVCIA Spain
IN SPE Estonia
INDEX Brazil
INFINITY United States
THE INNER ROAD United Kingdom
INQUIRE Germany
JACK INTVELD United States
INVISIBLE Argentina
ISILDURS BANE Sweden
ISOPODA Belgium
IZZ United States
JELLY FICHE Canada
BJÖRN JOHANSSON Sweden
KAIPA Sweden
KAIZEN Brazil
KALABAN United States
KALO Japan
KANSAS United States
KARDA ESTRA United Kingdom
KARFAGEN Ukraine
KARMAKANIC Sweden
KHATSATURJAN Finland
KING EIDER Netherlands
KLOCKWERK ORANGE Austria
KOTEBEL Spain
KVAZAR Norway
KYRIE ELEISON Austria
LADY LAKE Netherlands
LANVALL Austria
LÁQUESIS Argentina
LAZA I IPE Yugoslavia
LEGACY United States
LEI SECA Brazil
LEITMOTIV Canada
LETHE Netherlands
FRANCIS LICKERISH United Kingdom
LIFE LINE PROJECT Netherlands
LIFT United States
PÄR LINDH AND BJÖRN JOHANSSON Sweden
PÄR LINDH PROJECT Sweden
LITTLE TRAGEDIES Russia
THE LOAD United States
LOCH NESS Brazil
LORD FLIMNAP Israel
DUNCAN MACKAY United Kingdom
MADAME CLAUS Argentina
MADISON DYKE Germany
MAGDALENA Japan
MAGIC PIE Norway
NICK MAGNUS United Kingdom
MAGRATHEA United Kingdom
MAHOUJIN Japan
MAINHORSE Switzerland
MALDOROR France
MANDALABAND United Kingdom
MANDRAKE Japan
MANGROVE Netherlands
MANTICORE Sweden
MANTRA Spain
LA MÁQUINA DE HACER PÁJAROS Argentina
MARCO Mexico
MARYGOLD Italy
MASQUE PREMIERE United States
MAZE OF TIME Sweden
MEDINA AZAHARA Spain
MELVIN'S NOSEHAIR Netherlands
MEMORIANCE France
JACQUES MENACHE Mexico
MERLIN Germany
METABOLISME France
MEZQUITA Spain
MIA Argentina
MIDAS Japan
MIKLAGÅRD Sweden
MIKROMIDAS Norway
MILKWEED Canada
MARIO MILLO Australia
DAVID MINASIAN United States
MIND SKY United States
MINOTAURUS Germany
MIRROR Netherlands
MIZUKAGAMI Japan
MONA LISA France
MONOLITH United States
MOON SAFARI Sweden
MOONGARDEN Italy
MORGAN United Kingdom
MORILD Norway
MORSE CODE Canada
NEAL MORSE United States
TIM MORSE United States
MOSAIK Sweden
MOTH VELLUM United States
MUGEN Japan
NAUTILUS Switzerland
IAN NEAL United Kingdom
NEGASPHERE Japan
NESSIE Belgium
NETHERWORLD United States
NEUSCHWANSTEIN Germany
NEVERNESS Spain
THE NEW GROVE PROJECT Sweden
NEXUS Argentina
THE NICE United Kingdom
NOSTRADAMUS Hungary
NOTTURNO CONCERTANTE Italy
NOVALIS Germany
NOVELA Japan
OAKSENHAM Armenia
OCEAN Germany
OCTOPUS (NOR) Norway
ODYSSICE Netherlands
OMNIA Argentina
ONIRIS France
OPUS Yugoslavia
ORION France
OUTER LIMITS Japan
PABLO Argentina
PAGEANT Japan
PALE ACUTE MOON Japan
PANTA RHEI Hungary
PARAGONE United States
PARTHENON Venezuela
PAZZO FANFANO DI MUSICA Japan
PELL MELL Germany
PENTACLE France
OTA PETRINA Czech Republic
PETRUS CASTRUS Portugal
ANTHONY PHILLIPS United Kingdom
PHYLTER Belgium
PI2 Spain
PICTORIAL WAND Norway
PIG FARM ON THE MOON Venezuela
THE PINK MICE Germany
MICHAEL PINNELLA United States
POÇOS & NUVENS Brazil
POLLEN Canada
PRE United States
PRISMA Netherlands
PROGRESSION BY FAILURE France
PROJECT (ALSO KNOWN AS PPRY) Finland
PROTO-KAW United States
PULSAR France
PUPPET SHOW United States
PYTHAGORAS Netherlands
QUANTUM Brazil
QUATERNA REQUIEM (WIERMANN & VOGEL) Brazil
QUILL United States
R-U KAISER Chile
RAIN United Kingdom
RAINBOW THEATRE Australia
RAISON DE PLUS France
RAK Switzerland
REALM/ STEVE VAIL United States
RECORDANDO O VALE DAS MAÇÃS Brazil
REFUGEE United Kingdom
RELAYER United States
RENAISSANCE United Kingdom
RING OF MYTH United States
ROCKAPHONICA Argentina
ROCKET SCIENTISTS United States
RAIMUNDO RODULFO Venezuela
KURT RONGEY United States
ANTON ROOLAART United States
JAIME ROSAS Chile
ANDREW ROUSSAK Russia
ROUSSEAU Germany
RUMBLIN' ORCHESTRA Hungary
RUMPLE STILTZKEN COMUNE Switzerland
SAECULA SAECULORUM Brazil
SAENA Mexico
SAGRADO CORACAO DA TERRA Brazil
SALMON Netherlands
SANDROSE France
SCARAMOUCHE Germany
SCHICKE FUHRS & FROHLING Germany
SEBASTIAN HARDIE Australia
SECOND MOVEMENT Germany
SENSITIVE TO LIGHT France
SEVEN REIZH France
SHADES OF DAWN Germany
SHADOW CIRCUS United States
SHARKMOVE Indonesia
SHINGETSU Japan
SHYLOCK France
SILVER LINING France
SIMON SAYS Sweden
SINKADUS Sweden
SIRIUS Germany
SIXTY-NINE Germany
SKRYVANIA France
SOCIAL TENSION Japan
SOLARIS Hungary
SOULENGINE Italy
SPHINX Multi-National
SPIN XXI Brazil
SPOCK'S BEARD United States
CHRIS SQUIRE United Kingdom
STARCASTLE United States
STENCIL FOREST United States
STERN-COMBO MEISSEN (STERN MEISSEN) Germany
ROINE STOLT Sweden
SUBLIMINAL Argentina
SUPERNOVA Argentina
SURPRISE United States
SWEDISH FAMILY Sweden
SYNOPSIS France
T-TAURI Netherlands
TABULA RASA Finland
TABULA SMARAGDINA Hungary
TAI PHONG France
TANTRA Portugal
TARANTULA Spain
TARKUS Brazil
TAURUS Chile
TAURUS (NETHERLANDS) Netherlands
TEMPUS FUGIT Brazil
O TERÇO Brazil
TERPANDRE France
TERU'S SYMPHONIA Japan
TESIS ARSIS Brazil
THETA Japan
THIRTEEN OF EVERYTHING United States
TIBET Germany
ARMANDO TIRELLI Uruguay
TISARIS Brazil
TOCCATA Mexico
TOMPOX Hungary
TRACE Netherlands
TRANSATLANTIC Multi-National
TRAUMHAUS Germany
TREM DO FUTURO Brazil
TRESPASS Germany
TRESPASS Israel
TRIANA Spain
TRILOGY Germany
TRION Netherlands
TRITONUS Germany
TRIUMVIRAT Germany
UNDER LINDEN Argentina
UNIFAUN Sweden
URBAN TRAPEZE Spain
MARIÁN VARGA Slovakia
VERMILION SANDS Japan
VERSAILLES France
VERTICAL ALIGNMENT United States
VESANIA Brazil
VIA LUMINI Brazil
VIA OBSCURA Germany
THE VOYAGER France
RICK WAKEMAN United Kingdom
WALLENSTEIN Germany
WALLY United Kingdom
WANIYETULA Germany
WELCOME Switzerland
WHITE WILLOW Norway
WILLIAM GRAY Argentina
WILLOWGLASS United Kingdom
WINDCHASE Australia
WOBBLER Norway
X RELIGION Uzbekistan
XII ALFONSO France
XNA United States
YES United Kingdom
YESTERDAYS Romania
ZARAGON Denmark
ZEBULON Germany
ZEN ROCK AND ROLL United States
ZOMBY WOOF Germany
ZOUNDWORKS Netherlands
ZYCLOPE Spain

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