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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 | 3093 ratings
CLOSE TO THE EDGE
Yes
4.62 | 2847 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.61 | 2464 ratings
FOXTROT
Genesis
4.42 | 2365 ratings
FRAGILE
Yes
4.42 | 2125 ratings
NURSERY CRYME
Genesis
4.41 | 1180 ratings
HYBRIS
Änglagård
4.37 | 1750 ratings
MIRAGE
Camel
4.38 | 1501 ratings
MOONMADNESS
Camel
4.36 | 2060 ratings
RELAYER
Yes
4.39 | 889 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.28 | 1901 ratings
THE YES ALBUM
Yes
4.28 | 2004 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.27 | 1727 ratings
A TRICK OF THE TAIL
Genesis
4.27 | 1527 ratings
THE SNOW GOOSE
Camel
4.30 | 757 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.33 | 589 ratings
DEPOIS DO FIM
Bacamarte
4.23 | 1347 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.25 | 713 ratings
VILJANS ÖGA
Änglagård
4.24 | 683 ratings
HAMBURGER CONCERTO
Focus
4.16 | 1596 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

SKRYVANIA
Skryvania
ENTANGLED
Leitmotiv
LA MARCHE DES HOMMES
Morse Code
WELCOME TO THE FREAKROOM
Shadow Circus

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Latest Symphonic Prog Music Reviews


 Heaven & Earth by YES album cover Studio Album, 2014
2.37 | 173 ratings

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Heaven & Earth
Yes Symphonic Prog

Review by Kjarks

5 stars I find very astonishing to read so many negative reviews about this new album. I refuse to fall in this kind of collective condemnation. So many notes between 1 and 2 stars, how can we explain this ? Maybe a lot of people thought Yes could produce, in 2014, a masterpiece of modern prog music ?

I did not. We had to be aware Yes will never create a new "Close to the edge" or a new "Awken", not even a new "Mind drive". We just had to expect an agreable record and that's what it is : a nice collection of very pretty melodies full of beautiful harmonies in the typical Yes' manner. Probably, "Heaven and earth" is the most melodic record Yes has ever made.

The writing is quite good, the musicianship is skilled, more especially the guitar (though Howe's "it was all we knew" is the only weak moment of the album), Davison's voice is very close to Anderson's (in spite of some clumsiness, more especially in "Subway walls"). The entire disk reflects a great musical sensitivity and a perfect homogeneity. Surely, this is also the softer record Yes has ever made.

Ah ! I think I understand now why so many reviewers are disappointed : there is no heavy riff. Yes did not make any contractual reference to heavy prog, that's it ! Indeed. I could not say the contrary. No saturated guitars, no inflamed keyboard solo, no acute shouting, no thundering drums ; just soft and beautiful melodies.

In the mid 1990's, when they were reborn ("Keys to the ascension"), these musicians would have transcend the wise "Light of the ages". But this time is over. "Believe again" and "The game" are very decent true Yes songs, "To ascend" flows serenely and we nearly recover the great past some short moments in the bass parts and the keys/guitar bridge of"Subway walls".

I would have given 4 stars to this record, their best one since the Keys to the ascension. But I will give it 5 stars to balance a little bit the impressive flood of severe criticisms. "Heaven and earth" is quite an appropriate title for this record. But "Hell and flood" could reflect the predominant evaluation it gets here ! Unhappily...

 Union by YES album cover Studio Album, 1991
2.48 | 722 ratings

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Union
Yes Symphonic Prog

Review by Conor Fynes
Prog Reviewer

2 stars 'Union' - Yes (37/100)

I can't rightly decide whether Union was a good idea in concept or not. The idea of teaming up the 'classic' Yes with the fashionably poppish '80s Yes is about as high concept as you can get in prog without spiralling into bombastic operatic narrative. While it probably sounded like a great way to merge the merits of both eras on paper, the album itself give the impression that it was a misguided decision at best. Rather than capitalize on the 'best of both worlds' as Union was no doubt supposed to, the strongest suits of Yes' prog and pop halves alike have been dulled to make room for one another. As is the case with every less-favoured Yes record, there are a few worthy gems, but it's not enough to compensate for Union's lack of focus and appalling inconsistency. If any one of the past four albums hadn't convinced someone that the glory days were indeed over for this band, Union should have been the final nail in the coffin.

Much like the album, I too find myself torn between sides. Part of me would like to see Union in a positive light. After all, given time and patience, I was even able to find some things to love about the unpopular Big Generator, and there are just enough hints of the 'old' Yes here to have piqued my interest. On the other hand, even compared to the band's 80s material, Union feels sloppy. Whether they're attempting to bring out the proggy side of their sound or opting for lighter fluid pop anthems, the music sounds like it was out of a compromise. Regardless what idealistic notions paved the way for Yes to pull this 'all together now' gimmick, every defining problem on Union is a cause of the decision to merge rosters. Looking at the performance credits on the album is enough to give anyone a headache; Trevor Rabin, Alan White and Tony Kaye (for example) are responsible for tracks 4, 6, 7 and 9, and their earlier counterparts are responsible for the rest. Instead of a real union, the band is just as segregated as ever; the only difference is that they're stuck on the same disc together. Yes' have proved a clichéd expression true- it turns out there is such a thing as too many cooks in a kitchen.

Although moments like the introductions to "Lift Me Up" and "Miracle of Life" showcase the instrumental fireworks of the proggy Yes, it's ultimately clear that the poppy constructs of their 80s material paved the sound here. Even the two aforementioned tracks revert to a fairly recognizable AOR format once they get the technical flash out of their systems. While I'm a defender of 90125 and even Big Generator, with Union the songwriting has taken a general turn for the worse. "I Would Have Waited Forever" is a fun song that would have fit well on Big Generator. "Shock to the System" is easily the best song on Union, featuring strong melodic hooks and an interesting groove. "Masquerade" is a solid classical guitar piece from Howe, and "Angkor Wat" (curiously left off of the original pressing) is an exotic ambient track that sounds like it could have been pulled out of Jon Anderson's solo career. Also, even though it's not even a minute long, the interlude "Evensong" (by guest bassist Tony Levin) is a pint-sized gem. Of course, it's little more than wallpaper ambiance, but it's still one of the best surprises the album has going for it.

The bad songs on Union are a lot easier to spot than the good ones, and there are plenty more of them too. While the classic roster at least offered "Shock to the System", the Rabin side of this musical debate doesn't have a single musical success here. When I was reviewing Big Generator, I remember condemning it for having the worst song yet of Yes' career with "Almost Like Love". Union offers several songs that make "Almost Like Love" look favourable by comparison. "Saving My Heart" is seriously one of the worst songs I've heard in ages; saccharine cheese and a god-awful chorus have a way of turning a song sour. "Dangerous" is not quite as bad, but it's pretty close, sounding like a less-fun, shallower version of the Ghostbusters theme, and as much as many Yes fans have been quick to sing the praises of "Lift Me Up" and "Miracle of Life" for their proggy intros, the songs themselves resort to the same mind-numbing AOR crap the rest of the Rabin material here is plagued with. I was a fan of Trevor Rabin's refreshing approach on 90125, but by this point, it's clear he was just as creatively exhausted as the rest of them.

Rather than work together, it truly feels like the two Yes's are trying to duke it out on Union. Like two warring nations continuing to fight after they've both been nuked, or two swordsmen duelling long after limbs have been hacked off, neither side is anywhere near their best, but it's nonetheless clear that they aren't compatible. Were it not for "Shock to the System" and a handful of others, I might consider Union a downright horrible album. Maybe there was a way a so-called union could have worked between the two eras, but this album sure as hell is nowhere near it. To date, Union still counts as one of the most disappointing albums Yes have ever done, and I don't suspect anyone's mind is going to change anytime soon.

 Yesshows by YES album cover Live, 1980
3.63 | 341 ratings

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Yesshows
Yes Symphonic Prog

Review by 10string

5 stars THIS is a masterpiece 9/10 (because of the not too top notch production)

I'm sure thet it has been said before but ,this is how it went... Chris Squire did a "rough mix" of a live album and a couple of months later found out that Atlantic had released it! Now, mind you, the mix is NOT bad , but it doesn't have the usual Eddie Offord "sheen" (which was later corrected in the "Classic Yes" little 7 inch where Eddie mixed the remains of the LP)

Bought this when it came out TWICE, once in a USA pressing, and then a Japanese pressing, through the mail from a shop that was called "The Essentals" (which some of you may remember)-guess which one I STILL have and sounds like Heaven????

Anyway...the mix is a bit rough but it works real well to give you an insight to how they REALLY sounded onstage, WHY?, cause there are NO OVERDUBS!!!! (Jon's voice breaking up in GFTO is proof of this...)

Great versions of ALL the songs ("Time and a word" still catches me off guard) AND we get to hear Pat playing a SMOKIN' version of GoD!!! Also does a SPLENDID Job on Ritual, (which I edited as on the CD from my Japanese pressing! to make it into one song)

You can actually hear when Chris "mixes in between songs" because of the crowds. Sometimes the keys are lower on th emix , but he had the good sense to avoid what most players who mix their group's LPs syndrome -having his instrument louder than everyone else- I find this way more accessible than Yessongs...which sounds like crap.

 The Gates of Omega  by MOONGARDEN album cover Studio Album, 2001
3.15 | 42 ratings

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The Gates of Omega
Moongarden Symphonic Prog

Review by mbzr48

4 stars How can mere mortals make such beautiful music! If you've heard Moongarden's previous two albums and liked what you've heard, then do yourself a favor and have a listen to "The Gates of Omega". I admit I was skeptical when I found out that Riccardo Tonco (who sounds just like David Sylvian and has a beautiful voice) was no longer on vocals. Yet I was pleasantly surprised by their new vocalist Luca Palleschi, who does a superb job. To be honest, the lyrics are very sparse, leaving plenty of room for sounds that are out of this world. This music is simply magical: dreamy, atmospheric yet so tight it rips you apart at every turn. The musical phrases and movements are hypnotic and the production impeccable: even through a pair of mere headphones you can actually feel the bass through your body (never thought this possible!) This is Italian prog at its best. For me a 4 stars
 Heaven & Earth by YES album cover Studio Album, 2014
2.37 | 173 ratings

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Heaven & Earth
Yes Symphonic Prog

Review by tbstars1

2 stars I will clearly have to marry AtomicCrimsonRush as soon as I have cleared the legal obstacles. My opinion matches his/hers exactly. "Believe again", "Light of the Ages" and "Subway walls" face to the left; the rest face resolutely to the right. To the left lies something akin to prog and distant memories of a band called Yes; to the right lie Tales of Unadulterated Garbage. Three out of eight is better than none out of eight but not nearly as good as eight out of eight. Time to re-shuffle this pack - yes or no? My bags are packed. I await the call from ACR.
 Ode to Echo by GLASS HAMMER album cover Studio Album, 2014
3.50 | 89 ratings

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Ode to Echo
Glass Hammer Symphonic Prog

Review by tbstars1

2 stars Mmm...the consensus appears to be that this marks yet another step forward for Glass Hammer, with a freshness and new-found accessibility that altogether forms a winning combination. I just don't see this at all, I'm afraid. After the splendid heights attained by "If" and "Perilous" (with "Cor Cordium" not far beneath them), this is a real let-down. After persevering over many listens, I conclude that there is not a single track that stands comparison with any of the true gems that have been delivered by the band in its many guises over its 20 years' existence. Here we have just a succession of discordant, instantly- forgettable tunes, with nothing very "tuneful" at all, as I see it , and with no particular melody or discernible sense of structure - just an aimless succession of tracks travelling under the generic "prog" label, where "prog" is measured solely by the yardsticks of musical cleverness and intricacy. We've been down this route before, and we don't need to repeat history. I don't doubt that what follows is near-sacriligious for the wider prog community to read, but anyone who saw Gentle Giant in their prime, as I did, will know that, whilst they were absolutely mesmerising in their versatility and artistry - and this, of course, could only be wildly appreciated and applauded - their concerts were extremely difficult to "enjoy" because the sheer complexity of the music was so distracting thta it became overwhelming.

The time is ripe for Glass Hammer to re-examine the way ahead. They have proved over many years that they can do so much better than this. This is, IMO, by far their poorest offering to date, worse even than either "Lex Rex" or "Culture of Ascent", which is really saying something.

 Heaven & Earth by YES album cover Studio Album, 2014
2.37 | 173 ratings

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Heaven & Earth
Yes Symphonic Prog

Review by Guillermo
Prog Reviewer

3 stars No. This album is not like "Relayer", "Close to the Edge", "Going for the One".... No. It is not entirely Progressive Rock in musical style. Does it mean it is a bad album? No.

No. There is not Jon Anderson singing and composing the songs. No. There is not Rick Wakeman playing the keyboards. Does it sound like YES? Yes. This line-up still sounds like YES. And more than in their "Fly From Here" album which in my opinion sounded more influenced by THE BUGGLES (Geoff Downes and Trevor Horn).

The most characteristic sound from the "old" YES in this album comes from Steve Howe`s guitar playing, in my opinion. Geoff Downes` keyboards playing and arrangements sound a bit more in the background in comparison to his role in ASIA and more particularly in comparison to the "Fly from Here" album, on which he was one of the main songwriters with producer Trevor Horn. Maybe he has a more prominent role in his song called "Subway Walls", a song which he co-wrote with Jon Davison. Alan White also plays good drums, but the drum parts are not very complicated. Chris Squire plays bass but in a more relaxed way, but his backing vocals still are very good and very characteristic from him for the general sound of YES. The recording and mixing of this album is good, and the production in general sounds more "simple" and "light" than in their previous album.

Jon Davison sings very well, and he is the main songwriter in this album. He sounds more closer to Jon Anderson in the sound of his vocals than Horn or Benoit David, but he still retains his own style. He does a very good job in this album as YES`s lead singer

In general, this album is really "very relaxed" in musical moods, maybe too much for some fans, and maybe it lacks some of the "old" "power" and "heaviness". Maybe the most Progressive song is "Subway Walls", with some changes in rhythms and good solos by Downes and Howe. But maybe the general "sweet musical atmospheres" are the main troubles for some fans to really like this album as an album from YES. I really expected worst things from this album. But I like this album, not a lot, but it is good anyway.

The cover design by Roger Dean is very good.

 Symphonic Live by YES album cover Live, 2009
4.26 | 208 ratings

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Symphonic Live
Yes Symphonic Prog

Review by Epignosis
Special Collaborator Eclectic Prog Team

5 stars After the remarkable Magnification, which featured a full orchestra, it only made sense to record a concert in the same vein, and it's fascinating to hear many Yes classics accompanied by such an ensemble. While I agree that "The Firebird Suite" is Yes' official entrance theme, I appreciated their use of the stunning introduction to "Give Love Each Day" to begin the concert.

Symphonic Live boasts three epic masterworks. Opening with "Close to the Edge," the band performs this at a pace that doesn't quite suit the energy the piece deserves, although I find Steve Howe's cleaner tone more enjoyable than his tone on the original. "The Gates of Delirium," from that peaceful beginning to that peaceful ending and all the cacophony in between, is always wonderful and welcome. Clocking in at nearly a half an hour, "Ritual" features extended bass soloing and a nod to "The Ancient."

Three traditional Yes songs are rendered better here than on any other live album I have heard. "Long Distance Runaround" is light and dashing, with Alan White brightening the song considerably. "Starship Trooper" is full-bodied and ethereal. Finally, "And You and I," with that phenomenal orchestral backing, transports the listener to another world.

Two songs, however, just don't belong in the set list. Of all the stellar material on Magnification, the band opts to include "Don't Go," which is the second weakest piece from that album (that adjective, of course, belonging to "Soft as a Dove"). I would have preferred to have heard the uplifting and progressive masterpiece "We Agree" instead. And as much as I enjoy "Owner of a Lonely Heart," the song seems inappropriate among everything else on the album. "Hearts" (from the same album, 90125) would have been a stirring penultimate song. Still, the inclusion of these two songs is hardly anything to fuss over.

This is one of Yes' greatest live offerings.

 The Lost Broadcasts by YES album cover DVD/Video, 2009
3.82 | 40 ratings

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The Lost Broadcasts
Yes Symphonic Prog

Review by Epignosis
Special Collaborator Eclectic Prog Team

3 stars The Lost Broadcasts offers a historical look at early Yes. All but one of the performances are for the German program The Beat Club, the exception being "Time and a Word." It's a treat to be able to hear Yes' Ritchie Havens cover in its unadulterated form, with no orchestra swirling about the rock. Alas, Peter Banks' guitar is buried in the mix. Jon Anderson shows that, even in 1969, his between-song banter was rather cheesy and sometimes embarrassing.

"Survival" is my favorite song from the Peter Banks-era Yes, one I wish would have been performed live with Yes' more modern sound. It sounds like Chris Squire flubs the introduction a bit, after which Tony Kaye offers an unexpected organ solo. It was interesting to see how the band would "fade" into the quiet guitar that introduces the first verse; I was impressed to hear them throttle back into a quiet mist to allow Banks to emerge with his halcyon strumming. Kaye treats us to more soulful psychedelic playing. However, the vocals all around are pitchy, and Anderson actually misses a beat during the second refrain. I found myself paying more attention to Squire's groovy jamming than I did to the vocals anyway. Watching Bill Bruford is amusing, as his expressions alternate abruptly between opiate and tonic.

When "Time and a Word" arrives, so does the color, but the "live" element departs momentarily. The viewer may note immediately that no one- not even Anderson- is playing the acoustic guitar clearly heard, and later, a spectral orchestra materializes. That's because this is merely the band pantomiming to the studio version of the song.

"Yours is No Disgrace" is visually upsetting, with pink and yellow seizure-inducing flashes cut with a rotating head evoking the cover art of The Yes Album, worse even than the "psychedelic" interjections that make Keys to Ascension almost unwatchable. Speaking of strange visuals, what is that furry thing that crawled on Kaye's face? The sound is raw, and the synthesizer in front of Anderson doesn't help matters. The final "lost broadcasts" consist of three takes of "I've Seen All Good People," with "Your Move" out of the picture. The third is the finest, as the band is visible the entire time.

 Heaven & Earth by YES album cover Studio Album, 2014
2.37 | 173 ratings

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Heaven & Earth
Yes Symphonic Prog

Review by Detlef Albrecht

2 stars Heaven and Hell for Yes fans Previous comments have outlined the weaknesses of this album: Lack of dynamics and energy. Weak song writing (Was this really the best material available after all those years? If yes, why not engage brilliant songwriters such as Neal Morse for help? Yes has always been a great arrangement band, they practically re-invented "America"!!) Weak lyrics that sound like they are trying to emulate Jon Anderson's lyrical ambitions. On "Fly from here" they did stay away from that and did much better. Feeling that they are going through the motions, attempts to repeat past glories without new ideas. Why did they have to rush the production? If record sales don't matter anymore and they can only make money by touring, they might as well not have put out this record and done more concerts. The best I can say is that "Heaven & Earth" sounds surprisingly like a weak Jon Anderson Solo Album. 1.5 stars
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Symphonic Prog bands/artists list

Bands/Artists Country
21. PERON Turkey
5BRIDGES Netherlands
7 OCEAN Belarus
ABBHAMA Indonesia
ABSTRACTION LAYER Brazil
ACCENT Romania
ACHE Denmark
ACUITY United States
ADVENTURE Norway
AETHER Brazil
AFTER CRYING Hungary
AFTER THE FIRE United Kingdom
AGNUS Argentina
AGNUS GRAAL Brazil
AIRLORD New Zealand
AJALON United States
AKACIA United States
ALAMEDA Spain
ALASKA United States
ALBATROSS United States
ALMS Spain
ALPHA CENTAURY France
ALPHA III Brazil
ALTER ECHO Sweden
SERGIO ALVAREZ Argentina
AMAGRAMA Argentina
AMENOPHIS Germany
AMOS KEY Germany
ANABIS Germany
ANCIENT VISION United States
ANDERSON BRUFORD WAKEMAN HOWE United Kingdom
ANGE France
ANGIPATCH France
ÄNGLAGÅRD Sweden
ANIMA Argentina
ANIMA DOMINUM Brazil
ANIMA MORTE Sweden
ANIMA MUNDI Cuba
ANOXIE France
ANTARES Germany
ANYONE'S DAUGHTER Germany
APHÉLANDRA France
APHRODITE'S CHILD Greece
APOCALYPSE Brazil
AQUAPLANAGE United Kingdom
ARABESQUE United States
ARACHNOID France
ARION Brazil
ARS NOVA (JAP) Japan
ART IN AMERICA United States
ASA DE LUZ Brazil
ASIA MINOR Turkey
ASTRË United States
ASTURCON Spain
ATILA Spain
ATLANTIS PHILHARMONIC United States
ATLAS Sweden
ATMOSPHERA Israel
ATOLL France
AUTUMN United Kingdom
AUTUMN BREEZE Sweden
AVIVA (AVIVA OMNIBUS) Russia
AXCRAFT United States
AZABACHE Spain
BABYLON United States
BACAMARTE Brazil
BANANA Argentina
BANZAI Belgium
ZELJKO BEBEK AND PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
ROBERT BERIAU Canada
BLACK SEPTEMBER United States
BLAKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
BRIMSTONE United States
BUSKER Canada
CAFEINE France
CAI Spain
CAIRO United States
CAJA DE PANDORA Mexico
CAL Spain
CAMEL United Kingdom
LOS CANARIOS Spain
CANNABIS INDIA Germany
ALEX CARPANI BAND Italy
CAST Mexico
CATHEDRAL United States
CHAKRA United States
CHALCEDONY United Kingdom
CHAOS CODE United States
CHRONOS MUNDI Brazil
JOSÉ CID Portugal
CINEMA Japan
CIRCLE Germany
CITIZEN CAIN United Kingdom
CLAY GREEN'S POLYSORBATE MASQUERADE BAND United States
CLEARLIGHT France
CODA Netherlands
CODICE Mexico
COLLEGIUM MUSICUM Slovakia
COTO EN PEL Spain
COUSINS & CONRAD United Kingdom
COVENANT United States
CRACK Spain
CRAFT United Kingdom
CRESSIDA United Kingdom
CRONICO Mexico
CROOKED MOUTH United Kingdom
CRUCIBLE United States
CRUCIS Argentina
DAWN Switzerland
DEJA-VU Japan
DELUGE GRANDER United States
DIALOGUE (DAWN DIALOGUE) Russia
DIAPASAO Brazil
DISCIPLINE United States
DOGMA Brazil
DORACOR Italy
DR. COENOBITE Netherlands
DRAGONFLY Switzerland
DRAMA France
DRUCKFARBEN Canada
DRUID United Kingdom
EARTH AND FIRE Netherlands
EARTHRISE United States
ECCENTRIC ORBIT United States
ECHOLYN United States
ECLAT / ECLAT DE VERS France
ECLIPSE Brazil
EDEN Canada
EGGROLL Israel
EIK Iceland
ELOHIM France
ELOITERON Switzerland
EMERSON LAKE & PALMER United Kingdom
REDJY EMOND Canada
ENGLAND United Kingdom
THE ENID United Kingdom
EPIDAURUS Germany
EPIGNOSIS United States
EPISODE United States
EQUILIBRIO VITAL Venezuela
ESPIRITU Argentina
ESTRUCTURA Venezuela
ETCETERA Denmark
ETHOS United States
EVERFRIEND United States
EX-VAGUS France
EXODE France
EXODUS Poland
EZRA WINSTON Italy
FAITHFUL BREATH Germany
FALLING EDGE Canada
FANTASY United Kingdom
FICCION Venezuela
FINCH Netherlands
FIREBALLET United States
FIRST+AID United Kingdom
FLAGSHIP Sweden
FLAME DREAM Switzerland
FLAMING BESS Germany
THE FLOWER KINGS Sweden
FLÜGHT Mexico
FLYTE Belgium
FOCUS Netherlands
FOREVER TWELVE United States
THE FOUNDATION Sweden
FRÁGIL Peru
FRIGHT PIG United States
FROMAGE Japan
FRUUPP Ireland
FUSONIC Netherlands
GALIE Mexico
GENESIS United Kingdom
GENS DE LA LUNE France
THE GIFT United Kingdom
GLASS United States
GLASS HAMMER United States
GOTIC Spain
GOVEA Mexico
GRACIOUS United Kingdom
GRANADA Spain
GRAND STAND Sweden
GRANDBELL Brazil
GREENSLADE United Kingdom
GROBSCHNITT Germany
SHAUN GUERIN United States
GUILDENSTERN Germany
HALLOWEEN France
HANDS United States
BO HANSSON Sweden
HARLEQUIN MASS United States
HARMONIUM Canada
HECENIA France
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
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