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SYMPHONIC PROG

A Progressive Rock Sub-genre


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Symphonic Prog definition

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

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

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

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

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


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

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

Iván Melgar Morey, Peru 2006



Symphonic Team

Current Team as at 01/01/2015

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

Symphonic Prog Top Albums


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

4.65 | 3720 ratings
CLOSE TO THE EDGE
Yes
4.63 | 3442 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.60 | 2982 ratings
FOXTROT
Genesis
4.44 | 2904 ratings
FRAGILE
Yes
4.42 | 2595 ratings
NURSERY CRYME
Genesis
4.39 | 2145 ratings
MIRAGE
Camel
4.38 | 1851 ratings
MOONMADNESS
Camel
4.39 | 1422 ratings
HYBRIS
Änglagård
4.36 | 2504 ratings
RELAYER
Yes
4.36 | 1052 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.29 | 2338 ratings
THE YES ALBUM
Yes
4.29 | 2426 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.29 | 1880 ratings
THE SNOW GOOSE
Camel
4.27 | 2101 ratings
A TRICK OF THE TAIL
Genesis
4.30 | 953 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.33 | 708 ratings
DEPOIS DO FIM
Bacamarte
4.24 | 1690 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.26 | 873 ratings
VILJANS ÖGA
Änglagård
4.25 | 828 ratings
HAMBURGER CONCERTO
Focus
4.22 | 856 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

LA MARCHE DES HOMMES
Morse Code
GUET-APENS
Ange
BRIDGE ACROSS FOREVER - THE LIMITED EDITION
Transatlantic
SAECULA SAECULORUM
Saecula Saeculorum

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Latest Symphonic Prog Music Reviews


 Septentrión by ANIMA MUNDI album cover Studio Album, 2002
3.46 | 48 ratings

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Septentrión
Anima Mundi Symphonic Prog

Review by poito

3 stars This is one of the few prog bands in Cuba, where composers have to turn need into a virtue. Th taste for music is rather narrow, as in most central/south American countries, it is not a particular feature of Cuba. The founder members Roberto Diaz and Virginia Peraza, guitar and keys, had a hard time to find musicians with interest and skills out of ethnic/regional mainstream. Somehow, they found a bagpipe player that made an essential contribution to the music, to the point of making the album to appear as a Celtic album. The music is not Celtic, anyway, but is difficult to read underneath bagpipes. This instrument is a winner take all and it really gets to bore after a while. I think they adapted the music to what they had at hands. The creativity of Roberto/Virginia will be appreciated in subsequent albums, where bagpipes are at a minimum. The music has a fast bit and soft cheerful melodies, with some nice keys and guitar riffs hard to find under bagpipes. It all reminds quite to Spaniard bagpiper Carlos Nuñez. The singing also reminds to Spaniards folk-rock bands. This album may be of interest for lovers of ethnic rock fusion. Some enjoyable tracks are Horizontes, Peregrino del Tiempo, and Tierra Invisible.
 The Way by ANIMA MUNDI album cover Studio Album, 2010
4.05 | 204 ratings

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The Way
Anima Mundi Symphonic Prog

Review by poito

4 stars After listening to the former albums of the band, this was quite a surprise. The former JAGANNATH was music made in a rush, lots of fast bits glued together without a moment of rest; stressing indeed. This album has entirely different mood. It is made of four long compositions that have been carefully planned, including a 26 min long suite. Each still has tons of musical elements, but much better assembled. Here, there are musical bridges that prepare one for the next wave, instead of the former impatient jumps. The percussion, not being extraordinary, has improved notably; at least it accompanies the music, but there is still plenty of room for creativity there. The musical values are excellent, still with many ticks from Yes and derivatives, but with enough contribution from their own. The fast pace and high-spirited mood is still a trademark of the band. That is good for a change; there is too much competition in the dark side of symphonic prog. My favorite is Flying to the Sun, it is the more compact and simple, and includes a beautiful and refreshing passage combining church organ and bass. The few excerpts with voices can still be skipped; singing is not Roberto's strength, and this music does not require any. The overall bombastic mood may overwhelm a bit, it enters better in low doses; globally, it is an enjoyable symphonic piece.
 Jagannath Orbit by ANIMA MUNDI album cover Studio Album, 2008
3.79 | 97 ratings

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Jagannath Orbit
Anima Mundi Symphonic Prog

Review by poito

3 stars There is a slow passage in the middle of the first track We Are The Light that makes me think these guys could make their music more enjoyable. I came to them out of curiosity; a Cuban prog band appeared to be a good adventure for my ears this weekend. Their music is full of influences, all Anglo-Saxon by the way, (a missed opportunity) but wears an excessively energetic dress that blurs somewhat the compositional effort. It sounds as if they are in a hurry. I guess the Caribbean soul cannot be slowed down. This first 17 min long track contains lots of different musical motifs bound without any intermission for rest, all fast-paced. That was a mistake in my opinion. And it is the general trend all throughout. There is little time to relax and enjoy. The music is varied and high-spirited but there is something wrong with it, I think the problem is an excessive use of pre-arranged instrumental bits and clichés, without a strong musical idea behind to unite them all. It's as if they compose with arrangements. The percussion section is Pop-dull, the drums add nothing, that's a bad sin for Cuban music. Voices can also be improved. If only there were some new musical propositions? Only the title track has some bits of new land to explore, heavily watered with Yessistic motifs though. The two last tracks, a long instrumental Rhythm of the Spheres and a sung Sanctuary are the best, much more equilibrated and crafted in a way that you can listen to them several times without stress.
 Alpha Centauri by ALPHA CENTAURY album cover Studio Album, 1976
2.83 | 12 ratings

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Alpha Centauri
Alpha Centaury Symphonic Prog

Review by maryes

2 stars When I hear the first track " La montre" of this only album from the French band ALPHA CENTAURY (whitout know the line up), I thought - Oh ! The music is very similar to another great French band : In the case MEMORIANCE and his fantastic first album "Et aprés......" the record mix made me believe which I was hearing "twin lead guitars" as in MEMORIANCE... and ... I confess my mistake and worst my deception to hear the other 5 tracks ... these others don't have anything with "et aprés..." in fact the music that follows the beautiful first track sounds to me like a "jam" session , with the exception of last track "Sans nom" which are in a general way a good track, but, the final passage shows a suddenly interruption. Due this considerations my rate is only 2 stars !
 Marsbéli Krónikák (The Martian Chronicles) by SOLARIS album cover Studio Album, 1984
4.26 | 264 ratings

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Marsbéli Krónikák (The Martian Chronicles)
Solaris Symphonic Prog

Review by ProgShine
Collaborator Errors & Omissions Team

4 stars Solaris' Marsbéli krónikák is a breath of fresh air for Prog in the 80's, together with Bacamarte's Depois do fim, Marco Antônio Araújo's whole discography and Abissi Infiniti's Tunnel.

Solaris is pretty much Camel, if Camel didn't change so much in the 80's and decided to record albums like The Single Factor and Stationary Traveller. The only difference really are the heavier guitars.

All in all the whole album is really solid, great flute parts, heavy guitars that Rock, keyboards that are not all that dated (for the 80's that is) and very good drumming. The production is tight, tries to go forward but doesn't bury all the sound in the terrible production of mid 80's.

My only pick with the album is that it is all instrumental. If that's not a problem for you go for it and be happy cause the album gives you that, as for me i's a bit hard to enjoy all instrumental Prog.

Anyway, great first album of this HUngarian band.

 Calling All Stations by GENESIS album cover Studio Album, 1997
2.51 | 821 ratings

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Calling All Stations
Genesis Symphonic Prog

Review by ProgShine
Collaborator Errors & Omissions Team

2 stars Nowadays everybody that follows music know about Genesis. The British band that in their heydays was the precursor and one of the best Pprogressive Rock bands out there.

Genesis fans are also very divided, or either you like the 70s or you like the 80s, very few in the middle. They were one of the rare cases of a band that went a completely different way from their initial phase and became huge, a succesful monster.

In 1991 thei released the last studio album with Phil Collins and 6 years later they decided to start again. New vocalist Ray Wilson was hired to fill the singing role while, as usual, Mike Rutherford and Tony Banks provided the songs.

Now, granted, Calling All Stations is not a very bad record but it's not a very good record either. The problem with the album is that it's very average in everything. In therms of sound it's not all that different from the previous studio, We Can't Dance (that is very mediocre). Ray Wilson is not a bad singer but the problem is that he's either trying to sound sound like Phil Collins when Genesis is playing a 80's sounding track or he sounds like Peter Gabriel when the tracks ask for the 70's Genesis.

Songwriter wise the album is not very bad but we don't have any tracks that will stand out, it's just a mixed bag not very carefully thrown together. And that combined with the fact that everything sounds like or Peter Gabriel or Phil Collins makes it a bad record. Calling All Stations shouldn't have been released as a Genesis album it should have been released with another name on the cover. Same lineup but a different name could have given them more time to develope the whole project. Releasing it as a Genesis record has a shot in its own feet. So much so that not even the duo Rutherford/Banks mention this era. Differently from Ray Wilson that pretty much survive on Genesis music since then.

After all we have the worst possible thing for a record in Calling All Stations, which is: you're not very good and you're not very bad, you're just average. And average is the worst thing for any record ever released.

 Genesis 1970 -75 by GENESIS album cover Boxset/Compilation, 2008
4.50 | 174 ratings

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Genesis 1970 -75
Genesis Symphonic Prog

Review by CassandraLeo

2 stars I have to agree with the negative reviews here: the subpar sound quality ruins what should be the definitive retrospective of one of the definitive prog bands. The music here has become yet another victim of the loudness war, a trend in which modern records are mastered at increasingly loud volumes in a mistaken belief that doing this raises record sales. Unfortunately, since the peak of loudness that was attainable in a digital recording without sacrificing audio quality was already reached long ago, the only way to raise the loudness further is to break out the dynamic range compression, which has been raised to ridiculous levels in recent years. This trend now sucks much of the dynamic range out of the recording, which, as any Genesis fan worth their salt knows, is a large part of what made their music so appealing in the first place. It's like playing Beethoven's Fifth Symphony with every note at equal volume: it misses the point of the original music. The loudness war frequently results in audible "pumping", where the artefacts of compression result in unnatural-sounding, rapid volume changes, or digital clipping, a phenomenon in which the troughs and peaks of waveforms are flattened and the sound comes out sounding muffled and distorted. It also frequently results in listener fatigue - the music a listener loves actually becomes tiresome to listen to.

I'll admit that this isn't the least dynamic recording to be released on a major label in recent years (it's not a Death Magnetic-level disaster, at least), but it's a major step down from any of the previously available sets, even the heavily EQ'd Atlantic "Definitive Edition Remasters" from 1994. The albums also often seem to have been remixed, which may be regarded by some listeners as an improvement since they reveal new details that were buried in previous mixes, but it may also be a huge distraction. Personally, I had no problem with the production on even the band's early albums, and trying to make them sound more like the drum sound of "In the Air Tonight" and "Mama", which seems to have been what the engineers here intended, does not strike me as an improvement - that sound worked wonderfully for those songs (which, unlike some Gabriel-era fanatics, I quite like), but it is not what was intended for this music, and remixing them this way is roughly comparable to hiring Ernest Hemingway to rewrite Shakespeare: Hemingway's writing may be wonderful for what it is, but Shakespeare's original works stand on their own and there is no need to rewrite them in a more "modern" style.

I'm giving this collection two stars because the packaging is nicely assembled, and the bonus material and 5.1 mixes will be of interest to hardcore fans (though the best of the bonus material already appeared on the Archive 1967-75 set). I also can't give any collection that contains Trespass, Nursery Cryme, Foxtrot, Selling England by the Pound, and The Lamb Lies Down on Broadway (arguably the finest five-album streak ever managed by any progressive rock band) one star. However, don't have any delusions: of the many ways available to hear this material, the CDs on this box set (as well as the concurrent standalone CD reissues) are the worst of them. My first recommendation is to track down original Charisma vinyl pressings (or good rips thereof), followed by the original Virgin/Charisma CDs. And even the heavily EQ'd "Definitive Edition Remasters" are vastly preferable to the versions available here.

In short, there is little point to this compilation apart from the 5.1 mixes (which will not be accessible to many listeners, myself included) and the bonus material (which is not momentous enough to justify purchasing six additional poorly mastered CDs). Most listeners who are interested in this collection will already have better-sounding versions of most of it, and those who do not are advised to track down those versions first and pick this set up only if they truly need to have everything.

 Rise of the Waterfowl by FARMHOUSE ODYSSEY album cover Studio Album, 2016
3.90 | 41 ratings

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Rise of the Waterfowl
Farmhouse Odyssey Symphonic Prog

Review by BrufordFreak
Collaborator Jazz-Rock/Fusion/Canterbury Team

4 stars A bunch of friends (Alex Espe on vocals and keyboards, Thatcher Holvick-Norton on drums, Aaron Laughlin on guitar and vocals, Alex Pepe on guitar, and Ian Taylor on bass) living in Nature's playground, Arcata, California, got together to create music in 2012 and the rest is, as they say, history. Farmhouse Odyssey is a quintet of musicians creating a jazzy symphonic prog rock in a style that is not far from the psychedelic rock that came from the West Coast in the late 1960s and early 1970s--though at times I hear very strong influences of 1980s GUNS'N'ROSES (vocals, chord progressions). I find the classically influenced rolling piano lines the most interesting parts of this album.

to propel us forward. There is a kind of 3RDEGREE and THE MERCURY TREE feel to this until the 4:35 mark when a funky drum'n'bass takes over giving us a PARLIAMENTian synth solo. Interesting. I'm not sure it works, but it is definitely interesting. (8/10)

2. "Slumberless Sun" (4:29) opens with a very delicate vocal accompanied by jazz guitar chords before the full band kicks in--bringing us a little SANTANA/THE MARS VOLTA-like dual guitar section. Returning to the softer vocal section we are treated to several harmonizing vocal tracks to go along with the main lead. The next instrumental section is drenched with keyboards and even a Mellotron sound. Another vocal section changes things up (a chorus?) melodically. Good song that never really climbs to greatness. (8/10)

3. "Brain Song" (6:09) opens in a kind of 70s jazz wash before cutting down to a nice little syncopated groove coming from the rhythm section--and joined by organ and lead guitars. THE TEA CLUB-like vocal harmonies throughout with plenty of jazzy jazz, bass, keyboard, guitar and drum runs and riffs but never really congealing into anything of substance. (8/10)

4. "Calligraphy" (7:28) opens with some bluesy jazz guitar chords, arpeggi and chord progressions before the band joins in to establish another intricate instrumental jazz weave over which an ADRIAN BELEW/THE TEA CLUB-like vocal establishes itself. At the two minute mark the rhythm style switches to a kind of Carribean-Afro-pop sound. At 3:00 it switches again, this time into something again completely different, into a more piano-based jazz-rock form-- KANSAS, ELP and LYNYRD SKYNYRD all come to mind--though the vocal becomes all AXL ROSE. A return to the Afro- pop beat and sound yields a pleasant vocal and nice slowly flanged electric guitar solo. Almost a winner. (8/10)

5. "Space Revealed" (8:30) opens with syncopated piano, bass and drum play over which piano treble hand and lead guitar perform some PAT METHENY/LYLE MAYS-like duplicated melody lines. Then, at 1:37 an older sounding jazz rhythm is established by the piano before buzz guitar and the rest of the band's instrumentalists join in with an oddly timed pulse-and release accompaniment joins in. By the fourth minute the music has leveled into a very familiar straightforward 1970s electronic jazz fusion sound--with Fender Rhodes being the central character to the music. A really nice drum-led section ends the sixth minute and carries forward into a crazed section which then culminates into the tightest whole-band play (thanks drums!) over which an awesome jazz fusion guitar lead solos. LARRY CORYELL is reborn! Awesome to the end! (9/10)

7. "Speedbump Catalyst: Upon The Wheel, Blessing In Disguise, Energetic Tides, The Road Alone" (15:56) starts out very beautifully--very European classical pastoral, but then evolves into something much more American. I find that this song is most interesting for its piano and drums work as well as for its GUNS'N'ROSES vocals and chord structures. (8/10)

8. "Safe Passage" (1:09) is a pretty little piano-based piece. (8/10)

9. "From The Night Sky" (4:12) opens with some electric piano and some jazzy rhythm play with an interesting and pleasant MIDLAKE-like folk vocal and sound. (9/10)

Much of this interestingly composed music is performed with an incongruous muted jazziness. Nice music results but nothing great--nothing that I'm going to go humming along for days or nothing that I'm going to go shouting out about. This is an innocuous music that impresses a little but cries out for . . . something more. What exactly are they trying to be (and become)? Pleasant music from very competent musicians. I think they are still struggling to find a sound within which they can all gel. We'll see. I'd like to see these wonderfully talented young men get out of their heads and jam from their hearts. But that's just me. What do I know?!

 The Oblivion Particle by SPOCK'S BEARD album cover Studio Album, 2015
3.89 | 247 ratings

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The Oblivion Particle
Spock's Beard Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

4 stars A better way to fly!

I have never been much of a Spock's Beard fan, but having learned that Ted Leonard from Enchant and Thought Chamber is now the lead vocalist of the band I decided to give their two most recent albums a chance. The latest to date is The Oblivion Particle from last year which is a very positive surprise for me!

The band sounds more inspired and vibrant here than on anything I have heard from them before. Bass, drums, guitars, keyboards, and vocals are all absolutely top notch throughout and so is the production, but the most important thing is the quality of the material which is were I have often found Spock's Beard to be lacking in the past. I was surprised to see that so much of the material is written by outside writers with five of the nine tracks being credited to producer John Boegehold and another one to a Stan Ausmus. Two tracks are penned by Leonard and one is a collaboration between Alan Morse and Ryo Okumoto. While there are no weak tracks at all, my favourites are the final four (A Better Way To Fly, The Center Line, To Be Free Again, and Disappear) and the opener (Tides Of Time).

This album is a bit darker and heavier than the previous Brief Nocturnes And Dreamless Sleep, and it is also instrumentally more diverse with many lovely acoustic instruments like autoharp, banjolele, electric sitar, and mandolin appearing to great effect, and also on the closing track David Ragsdale from Kansas guests on violin. There is also lots of tasteful classical piano on many occasions throughout the album. The Center Line goes full Keith Emerson in the beginning and end.

The influences include many of the usual suspects like Genesis and Kansas, but this time around they are better digested and balanced and it is not the case here like on some earlier Spock's Beard albums that one section sounds like a rip-off of, for example, Gentle Giant and the next section of another classic band, etc. Tides Of Time sounds like a cross between Genesis and Deep Purple with Ted Leonard singing in a Peter Gabriel/Phil Collins style and a nice acoustic guitar break leading into hard rocking end section.

The Oblivion Particle is quite possibly Spock's Beard's best album! Highly recommended even to those, like myself, who never fell for earlier Spock's Beard.

 The Molotov Ribbentrop Pact by AUTUMN BREEZE album cover Studio Album, 2015
4.67 | 2 ratings

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The Molotov Ribbentrop Pact
Autumn Breeze Symphonic Prog

Review by Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist

5 stars They took the risk and succeeded

A couple months ago received a message of Jan Warnqvist telling he would send me a copy of AUTUMNS BREEZE latest album "The MR Pact", honestly expected another pristine Symphonic album as they have done all along their career, but the name he sent, didn't prepared me for the surprise that was about to receive.

After months of problems with the Peruvian post office, received the album and the title was shocking...The Molotov Ribbentrop Pact, well it caught my interest being that I've been always interested in this obscure chapter of Soviet and German history, but when I read the titles noticed it is a conceptual album about the whole Second World War.

Honestly thought this guys were crazy, that they had bitten more than they could chew...Gladly I was wrong and noticed that in order to achieve success they have radically modified their musical approach, leaving Symphonic as just one more of the genres they cross to reach their goal, adding Heavy Rock, Avant, Post Rock, Folk, and many more styles that I can hardly describe but surely can enjoy.

I will avoid a song by song review being that as a conceptual album it must be listened from start to end (better in one session), but there are some high points that must mention.

The opener "Watchguard In Auswitch" works as a chaotic introduction to the war with Hitler speeches mixed with a collage of musical bits, and even when the song advances and turns into some sort of ultra-elaborate Symphonic, they dare to take risk with dissonant and even out of key choirs to express confusion and fear. Simply impressive.

"Vodka In The Moscow Night" in contrast is a beautiful rock track with a killer rhythm section and a nice guitar work by Mikael Syväjärvi who plays in the border of Prog Metal, while the band enters into a beautiful pandemonium of sounds and styles.

Now, if I have to choose one song, would go with "Paulina Semszjuchina (Molotovs song III)", a beautiful and softer track that blends marvelous Russian Folk music with a heartbreaking keyboard performance by Jan Warmqvist.

But as I said before, the tracks are not important individually, but f chapters of a story, what really impressed me is the whole album as a unity, being that the guys from Autumn Breeze have managed to create one of the best conceptual albums of the decade.

So if after a long career this guys dare to abandon the confort of "status quo" and change their sound so radically to create a great musical piece, I dare to rate them with 5 solid stars.

Highly recommended.

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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
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
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
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