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SYMPHONIC PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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 09/07/17

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

Symphonic Prog Top Albums


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

4.66 | 4062 ratings
CLOSE TO THE EDGE
Yes
4.63 | 3787 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.60 | 3294 ratings
FOXTROT
Genesis
4.44 | 3206 ratings
FRAGILE
Yes
4.42 | 2869 ratings
NURSERY CRYME
Genesis
4.40 | 2394 ratings
MIRAGE
Camel
4.38 | 2054 ratings
MOONMADNESS
Camel
4.36 | 2768 ratings
RELAYER
Yes
4.38 | 1567 ratings
HYBRIS
Änglagård
4.35 | 1180 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.29 | 2703 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.29 | 2597 ratings
THE YES ALBUM
Yes
4.29 | 2081 ratings
THE SNOW GOOSE
Camel
4.27 | 2340 ratings
A TRICK OF THE TAIL
Genesis
4.31 | 1059 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.53 | 271 ratings
FROM SILENCE TO SOMEWHERE
Wobbler
4.24 | 1890 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.31 | 790 ratings
DEPOIS DO FIM
Bacamarte
4.25 | 979 ratings
VILJANS ÖGA
Änglagård
4.25 | 934 ratings
HAMBURGER CONCERTO
Focus

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
WELCOME TO THE FREAKROOM
Shadow Circus
TALES FROM AN ISLAND - IMPRESSIONS FROM RAPA NUI
Blank Manuskript
L'ARBRE-CIMETIÈRE
Maldoror

Latest Symphonic Prog Music Reviews


 Tales From Topographic Oceans by YES album cover Studio Album, 1973
3.90 | 2211 ratings

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Tales From Topographic Oceans
Yes Symphonic Prog

Review by Prog Sothoth
Collaborator Prog Metal Team

4 stars I was a Yes fan at an early age, cherishing my Fragile, The Yes Album and Close to the Edge LPs. I was even down with 90215. It was time to add Tales from Topographic Oceans to my collection, but as it turned out, it was a tougher nut to crack concerning my youthful self. In fact, the only reason I'm writing this review is because now that I'm much older, I'm getting it. I'm busting that nut.

I had little trouble getting into the first epic. "The Revealing Science of God" had a cool atmospheric opening, adding layers of tension, and it wasn't long until Jon started dropping that prose. Hell, it inspired my 13-year-old self to emulate his style.

"Dawn of the propane buttercup rising from the sea on the wings of the truth; it contorts with PERSISTEEENCE!"

Granted, I was no Jon Anderson, and I never will be, but I tried man. I even showed friends the garbage I wrote, and they would look at me like I had seven heads. I was trying to be deep and mysterious without really saying squat about anything. But Jon cared about the message. On paper it could look like a whole lot of wishy-washy bunk, but the words themselves, the flow, and the music, as a whole package, removed my clothes and sent me frolicking naked through sun-showers by the river. These weren't just songs, but sonic journeys!

This was a bit of a different journey than "Close to the Edge", in which I was roaming around the inner gatefold sleeve for the most part. The pace is fairly languid for a fair spell, but it does get funky and spices up the tempo at times. The vocal melodies are rich, and of course, the instrumentation is no joke. Yeah, there's a few spots, heavy on the mellotron, that felt like slow-going (I was able to find my pants by then), but in the end, that just made that crazed synth solo over that fast groovin' tempo all that more of a major rush. I was discovering "freedom" and "reasons" and stuff while gettin' down to that madness.

"The Remembering" followed, initiating with a gorgeous, relaxed psychedelic guitar melody. This was quaint jive, and I was peacefully walking through the pasture, my hands brushing against the 'flowers of hope' and the 'tall grass of understanding'. Thing is, it turned out there's a lot of walking before things start really moving. There are some clunky sections too, particularly when the band is "walking around the story". It's a silly lilt of a melody about being in the city and whatever, and by then I wanted this whole languid trip to shift badly. The jauntier, folksy second half that segues into an actual rock riff saves the day, but it took some listens before I realized that, especially since the first half used to put me to sleep. And that's how I became such a fan of this song back in my youth; I loved dozing off to this epic. Eventually, I found myself staying awake for longer periods each night I played this thing with the lights out, getting quite familiar with the early parts of the piece in the process. Before I knew it, I was enjoying the entire song, even the clunky bits, to the last fade.

Once mastering "The Remembering", I really just wanted to sit on my bed with the lyrics, featuring those cool little pictures in the inner gatefold, and play the whole shebang. But my youthful self was just not ready for "The Awakening". I tried so hard to get into it, to let it carry me away to ancient civilizations where Egyptians built Mayan pyramid temples to Goddess Athena, but it wasn't working. The first two-thirds of that song sounded like a bunch of noxious slag at the time, too much jazzy fusion. It didn't help that Steve Howe's guitar tone sounded like a perpetually meowing cat, complemented by Chris Squire's bass in which effects rendered it somewhere between a bullfrog and a duck quacking in slow motion. Jon wasn't around much to bring on the consonance, so my young melody-loving tendencies would shut me down and I'd give up before the beautiful folk music swirled in. It was months until I realized that the song did eventually get all sweet and filled with the hearts of the truth of love and guidance through seasons of wonder. I barely even played "The Ritual" back then since I really wanted to focus on the album as one whole experience, and couldn't pull it off. When I did skip to that final beast on rare occasions, again I was treated with stretches of leisurely pacing after a pretty cool but long intro, with Jon's repetition of "nous sommes du soufflé" echoing in my head.

But now I've changed. Years of listening experience, delving into stuff ranging from The Soft Machine's Third to some of the most abrasive tech-death insanity out there, I decided to give this album, and particularly "The Ancient", another go-round, and it clicked instantly. That barrage of cat meows and stoned quacks aren't all that pretty, but there's plenty of melodies there, and it's not too complex. There's an adventure buried in that song that just needs a little extra archeological digging to uncover. And I can dig it, ya dig?

"The Ritual". How could I not have remembered much of this? Playing this album for the first time in decades, this was the one that sounded like I was hearing it for the first time. I'm not even sure I made it to that first climactic moment halfway through this 'movement' back in the day. I'm talking about the repetition of "That's all!" Utterly glorious, majestic, and carrying me beyond the barricades of deception and across the spiral pancake to the mystical Shrine of Eternal Contemplation. The instrumental workout that follows is such a gas, and drummer Alan White really puts on a showcase. Then it gets all mellow yet again, but with a slow- build tenseness creeping up to the final release. The denouement fades off in such a way that actually works as a forbearer to "The Revealing Science of God". It's like the circle of life (and love, hope and understanding). It's kind of an epiphany; I'm a fan of all four songs now! Granted, there are still some moments that could've used shaving, and as a whole, it lacks some of that total rock attitude gracing their prior three albums, especially concerning opening tracks. I can appreciate what the intentions were for this album, but some throat-grabbing from the get-go would've made this more inviting. I suppose getting cannon-balled head-first into the "pastures of wonder" doesn't bring about the desired message like a slowly opening golden gate would, but that's just how I roll.

This is good stuff, potentially silly, but I don't want to hear any of these critics vomiting forth the same tired rants about soulless proficiency and whatever. Jon certainly sounds like he means every word he says; I can feel the pure conviction. Whether his range can go toe-to-toe with a seagull doesn't matter. He sees the love in the hearts of the people in the city by the river even now; his lyrics for that Roine Stolt collaboration prove he's not done searching for the Truth. So is all of this just the philosophical ramblings of Yogi Bear, ancient bards and spiritual advisers put to prog rock excess? Maybe, but I can enjoy the full ride now, so call me "enlightened".

 En Directo by TRIANA album cover Live, 1981
3.92 | 3 ratings

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En Directo
Triana Symphonic Prog

Review by TenYearsAfter

4 stars 'FIRST REVIEW OF THIS ALBUM'

Here is a live registration (around 50 minutes) of a concert during the Un Mal Sueno tour by Triana, in 1981. This legendary Spanish band is known for speerheading the prolific Rock Andaluz movement in the Seventies. It started in the late Sixties but was fueled by Triana in de mid-Seventies, many young Spanish music fans took the band in their hearts, due to the poetical lyrics about dreaming of freedom (during the Franco dictatorship in those years), especially in the passionate composition Abre La Puerta. Triana made three pivotal albums between 1975 and 1979 but when this live album was recorded the exciting Rock Andaluz had turned into a polished blend of pop and melodic rock with some flamenco elements, more Pop Andaluz than Rock Andaluz' However, this live album is interesting because half of the setlist contains songs from their highly acclaimed first album El Patio (1975). The other tracks songs are from Un Encuentro (1980) and Un Mal Sueno (1981). The concert was recorded in Madrid, the city where Triana was founded and the line-up featured all three original members, with the addition of a bass player and a guitarist.

1. Recuerdos De Una Noche (extended to 15 minutes) : First the sound of the Hammond organ and flamenco guitar (the distinctive rasgueado technique), accompanied by Jesus his melancholical vocals, this is top notch Rock Andaluz. Then an exciting synthesizer solo and halfway a fine electric guitar solo And finally a psychedelic sounding synthesizer solo and again flamenco guitar, passionate vocals and intense Hammond work, a great start.

2. Tu Frialdad : A ballad with strong, a bit wailing vocals, flamenco rhythm guitar and sensitive electric guitar runs with soaring Hammond, simply beautiful ' Blues Andaluz?

3. Una Vez : Varied and tasteful melodic rock but featuring the distinctive Triana sound (vocals, flamenco guitar) with nice work on piano and electric guitar (howling solo).

4. En El Lago : Another great rendition of an El Patio composition: Hammond, flamenco rasgueado guitar, Jesus his distinctive vocals, halfway another sensational synthesizer solo, culminating in a bombastic, very compelling conclusion, what an outstanding blend of Hammond, howling electric guitar and propuslive flamenco rhythm guitar, unsurpassed Rock Andaluz!

5. Corre : A catchy beat, swinging piano and a bit poppy vocals (not with his usual emotional flamenco overtones), fiery electric guitarwork, this is pleasant melodic rock, no more or less.

6. Abre La Puerta (extended to 12 minutes): One of their best songs featuring the distinctive blend of Hammond (lots of awesome soli), flamenco rasgueado guitar and Jesus his emotional vocals. Halfway strong interplay between senstitive electric guitar and powerful Hammond, supported by flamenco guitar (rhythm and solo), goosebumps, again top notch Rock Andaluz! The final part includes a short drum solo and then again a bombastic eruption with howling guitar and Hammond floods, the crowd loved it!

This is a good impression of the legendary Rock Andaluz formation Triana with great renditions of their early work, very well appreciated by an excited crowd. But it is also obvious that 1981 Triana is more Poprock Andaluz than Rock Andaluz, listening to the 1980 and 1981 tracks. Triana disbanded after the tragical death of Jesus De La Rosa in 1983 but their heritage is incredible, just listen to Rock Andaluz bands of the last two decades, from Taifa and Arabiga to Sin Rencor, Mendigo and Calle Silvio, to name a few.

My rating: 5 stars for their early work and 3 stars for the rest, so still an excellent addition if you are up to the exiting world of Rock Andaluz.

 Topographic Drama: Live Across America by YES album cover Live, 2017
3.79 | 19 ratings

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Topographic Drama: Live Across America
Yes Symphonic Prog

Review by Matt-T

3 stars I'm not going to indulge in the sheep like, fan boy dribbling that seems to accompany anything from the YES camp. I am not overwhelmed by this recording by any means.

There's nothing major wrong here ..... hence the 3* rating ... it just ..... doesn't quite do it for me.

1. Its so SLOW! ... if they play this stuff any slower they'll never reach the end of a piece without needing a break to take a leak.

2. I'm not going to knock the singer for not being Jon Anderson ... I actually think the earlier live releases he's sung on were really rather good ... but not this time. I can't put my finger on it .... it just doesn't work for me.

3. Crowd noise a little too high in the mix

4. The elephant in the room ..... or should i say the elephant is not in the room? Anyway ... No Chris Squire. One doesn't necessarily appreciate how integral his backing vocals are .... until they're not there anymore.

5. unlike many of the Jon Anderson worshipers ... I love the Drama album ..... but this performance feels inferior.

6. I much prefer the older available performances of the 'oceans' tracks .... although they give it a shot, it just feels ... lacking.

7. Finally, do we really need any more renditions of the other classic YES trax on here? I'd say ... NO .... as a gain these feel weaker than other performances of them, including the recent ones on the last 3 contemporary live albums the band have put out in recent years.

I always want to love a YES release .... this time, I couldn't get there.

with the utmost respect, I think it's time for the guys to recognise, with No Chris AND No John ..... with Alan struggling with health issues ..... maybe this 50th anniversary year is the time to call it a day. They've done enough.

 Duke by GENESIS album cover Studio Album, 1980
3.47 | 1318 ratings

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Duke
Genesis Symphonic Prog

Review by FalconBleck

4 stars #14 Review

The album where Genesis created a ridiculous story that has nothing to do with thi whole album, brilliant indeed. Entering the 80's Genesis wanted to create some sort of "suite" and they did but had to put some more songs and ultimately decided "hey, Supper's Ready it's too great, this suite will be put to shame so just put some songs between them" and that's how Duke came out the way it is. This album has also good B-sides and i'm thinking on updating all my previous reviews with B-side and Rehearsals content, once i finish reviewing these Genesis albums.

Also, Phil Collins was happening at this time, i almost forget in every review to mention the solo work they have done, and they have done A LOT of things solo, with other groups and at many things, but i think that while it has influenced on some songs, it really doesn't matter for me that much on these reviews.

As always i review by song.

1.- Behind the Lines 10/10 Now that's a strong start (spoilers), it's just majestic, like the start of the show, though made in a simpler nature it's catchy and epic, great start for this album. 1st part of the "Duke Suite". Edit: I forgot the lyrics, the lyrics fit the song and the instruments still pull off nice jams in between, and again it is considered a pop song because of it's estructure, but i give it the "prog-badge" because of it's theatrical intentions.

2.- Duchess 10/10 Many people regard this song as a pop one (because of its estructure), but at the start it gets a really emotional piano piece and then some really powerful lyrics and singing by Phil Collins, perfect continuation to the previous track. 2nd part of the "Duke Suite".

3.- Guide Vocal 10/10 Songs like these destroy the scale of a review by song, it's a perfect continuation to the previous song, has good lyrics and it's well composed... but it's too short. 3rd part of the "Duke Suite".

4.- Man of Our Times 8/10 I like how it sounds, a little exagerated and repetitive tho, the lyrics are almost unexistant tho, but that doesn't mean much to me, this song sounds like an experimentation that would lead to the creation of some Abacab songs, and this song also has influences from The Lamb Lies Down on Broadway (like that N.Y.C. song).

5.- Misunderstanding 9/10 Another song critically panned as popular, it has the structure and all, but it definitely has that special instrumental Genesis flavor, also this song sounds like it could fit in "... And then there were three... ". This song it's repetitive but the rythm it's really good + the Genesis spyce, so it's a win for me.

6.- Heathaze 10/10 It was hard to get into this song at first, but one day i was really sad and this song expressed perfectly how i felt and made me feel better some how. I really like the atmosphere on this song, it has the best lyrics from the album and i realized that this song was perfect for Mellotron, and discovered that someone on YT already added the Mellotron to this song and it's really good.

7.- Turn it on Again 10/10 The most hated song in this album by Genesis purists and the most loved by... well, everybody. This song it's relatively easy to play, but for the public that doesn't play music, it's hard to clap to this song, literally Phil Collins always claps to this song live so he can see and laugh at people failing miserably at following this weird mutated time signature that i don't remember how it was. As far as expressions go, this song brightens my day a lot. 4th part of the "Duke Suite" weirdly, it should've been Heathaze... or both.

8.- Alone Tonight 6/10 This song also fits "... And then there were three... ", but that one already had too much ballads, and here it fits because Genesis like always tries to bring happyness followed by sadness and so on. The song is very repetitive and simple, not that much interesting and that's why it gets a 6.

9.- Cul-De-Sac 6/10 This one certainly has an interesting start, but then rehashes it many times through the song and gets repetitive. Everything else is just fine, nothing really special. For some reason the way Phil sings in the chorus reminds me of a late 80's popular song, idk wich one.

10.- Please Don't Ask 6/10 I like how this song sounds, it's another ballad, it follows a similar structure as the previous song but i feels less repetitive, the problem is that the other song had an interesting start, this nothing, it's just a good song, nothing very special.

11.- Duke's Travels 10/10 This is my favorite instrumental song from the 80s, this song it's GENESIS, an incredible piece for all the instruments used and also the song that makes prog hardcore fans to say "Duke wasn't that bad, because of that Duke's Travels thing". This song takes me to a complete adventure that i have wanted to animate since i first heard this song, it's just amazing how every change they do in this song feels so perfect. I still haven't experienced the 5.1 Surround sound that the 2007 Full Remaster edition offers, so if you're going to hear this song on YT, hear anything but that first because YT doesn't support Surround. 5th part of the "Duke Suite".

12.- Duke's End 10/10 And the glory ending, with a remade version of the first song that's more complex and epic. 6th and Final part of the "Duke Suite".

As you can see, the Duke Suite got a 10 and everything else go less, this is a hard decision to make, this album got 88/100 and that's really close to 5 stars, they could've easily deserved that for the suite but the "midle" songs (aka 8, 9 and 10) are specially forgetable, so i can't say that this is a masterpiece. 4/5 Stars.

 Jordsjø II by JORDSJØ album cover Studio Album, 2015
3.77 | 12 ratings

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Jordsjø II
Jordsjø Symphonic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Album number two for Norwegian's own JORDSJO sees them offering up a bevy of retro Prog in the Scandanavain tradition. Unlike their latest this doesn't bring ANGLAGARD to mind much but man the mellotron is all over this along with flute and I love that he sings in Norwegian. This clocks in at around 37 minutes including the digital bonus track which fits in nicely with the rest of the album.

"Mine Templer" opens with spacey sounds that pulse before fuzzed out guitar takes over with a catchy melody. Soon a beat and mellotron join in. Beautiful! A change at 1 1/2 minutes as the flute, vocals and fuzzed out guitar take over. So uplifting. Acoustic guitar and a mellow sound with mellotron takes over around 3 minutes. A beat as well as the vocals have stepped aside. An earlier theme with vocals returns before 4 minutes and other themes come and go too. Great song!

"Den Klaustrofobiske Masken" sounds absolutely amazing early on with that electric piano, would love more of this. Atmosphere too as drums join in. Guitar before 1 1/2 minutes then back to the heavier sound. Contrasts continue then the vocals arrive before 2 1/2 minutes. The catchy chorus arrives first before 3 minutes. Acoustic guitar and flute take over after 3 1/2 minutes in this folky section. It's full with vocals again a minute later and the chorus follows. A bass line only after 5 minutes as mellotron, piano and random drums join in. So good! Flute too, it's building. The drumming just keeps getting better.

"Svarthelleren" opens with acoustic guitar as vocals, drums, bass and organ help out. Mellotron too and it's so gorgeous here. Another feel-good tune. The chorus is more passionate and I actually like the versus more. Acoustic guitar and water sounds just before 3 minutes, some flute too. It kicks back in at 4 1/2 minutes. Nice.

"Under Aurora B." is different from the rest really. The mellotron comes in waves to start the proceedings. Soon bass and a beat joins in. This almost comes across as Post-Rock, it's really interesting, quite melancholic too. Spoken words just before 4 minutes. The electronic beat after 4 1/2 minutes is unique as well. Acoustic guitar comes to the fore as mellotron continues from the start, bass and beats too. Sounds like vibes in this haunting conclusion.

"I Atuans Gravkammer" opens with flute as a beat joins in then a picked instrument of some sort. We get the main melody starting after a minute with flute out front along with bass and drums. Vocals 1 1/2 minutes in, electric guitar too. It's cool how the flavour changes slightly as this plays out and how themes are repeated. I'm reminded of early WOBBLER before 3 minutes. I like the vocals and sound that follows too. Some passion here. A cam 5 minutes in with mellotron, flute and a serious rhythm. What a great sounding track, like a tribute to Norwegian Folk music in that retro Scandinavian sound.

A solid 4 stars but I want to give it more, I just love this retro style so much. You have to check this band out!

 Seventh Hell by ARS NOVA (JAP) album cover Studio Album, 2009
3.52 | 39 ratings

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Seventh Hell
Ars Nova (JAP) Symphonic Prog

Review by TenYearsAfter

3 stars Between 1992 and 2009 female Japanese formation Ars Nova made 7 studio albums, a live CD and a DVD. Most of their earlier albums are keyboard driven symphonic rock with strong hints from UK, ELP and Trace. But later Ars Nova invited guess musicians, like on their album entitled Biogenis Project (2003) featuring Ayreon mastermind Arjen Lucassen on guitar and PFM legend Lucio Fabbri on violin. After these 7 albums Ars Nova disbanded but ... the story is not over (yet). The following years the management released two Official Bootlegs and a CD-DVD box entitled Divine Night (for details see the official website). Meanwhile keyboard player Keiko did a lot of Ars Nova interviews for foreign progrock magazines. This inspired her to re-found Ars Nova in 2015, with former members, but she is the only original member. The new version of Ars Nova started to play gigs, recently late 2017 on a Japanese progrock festival.

On their latest official studio album Seventh Hell the guest musicians are Zoltan Fabian (known from Nemesis) and Satoshi Handa. The theme on this CD is surrealism, the five compositions are based upon paintings by famous artists like Hieronymus Bosch, Magritte and Dali. I was very curious how Ars Nova would incorporate their ideas about these very creative and original legendary painters.

Ars Nova sounds very tight and driven, the fans of ultimate bombastic symphonic rock will enjoy the mindblowing interplay, the cascades of shifting moods and the frequent solos on keyboards and guitar. And also the many interesting musical ideas in the five compositions:.

Dreamy waves of violin-Mellotron and wonderful Grand piano along blistering guitar, dazzling keyboard flights and a swirling rhythm-section in the long opener Seventh Hell,

From orchestral keyboards and biting guitar to a virtuosic acoustic guitar solo in La Venus Endormie.

A surprising break with Spanish guitar and castagnettes in Cazadora De Astros.

And muddy fat guitar riffs with propulsive drums, fiery guitar and a very pleasant keyboard sound in Voice Of Wind.

And then the final track entitled Salvador Syndrome (with Robby Valentine as guest on vocals), never a dull moment, what a variety: a warm accordion sound with Nina Hagen-like opera vocals ... a break with latino bass and an acoustic guitar solo ... a Spanish inspired interlude with guitar and handclapping ... and a splendid final part featuring an ultimate bombastic keyboard sound, heavy guitar and a propulsive rhythm-section. Here we can enjoy the exciting contrast between the classically inspired keyboards and the harder-edged guitar sound, how sensational!

To the 'mainstream' proghead this CD will sound a bit 'over the top', and I also analyse that most tracks tend to sound more as jam-sessions than elaborate compositions. But if you like this kind of heavy and bombastic symphonic rock you will be delighted about Ars Nova, in my opinion this is one of their most exciting efforts (also available as a DVD-R)! My rating: 3,5 star.

 The Sanctuary by CARPANI BAND, ALEX album cover Studio Album, 2010
3.92 | 53 ratings

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The Sanctuary
Alex Carpani Band Symphonic Prog

Review by TenYearsAfter

3 stars Alex Carpani was born in the Swiss city Montreux in 1970, with an Italian father and a French mother. On his sixth he was taught organ, then piano and also writing compositions. The way he discovered progressive rock is very special: he was in the same class as the son of the late Keith Emerson named Aaron, at Keith his home he got familiar with ELP and Alex loved it!

In 1993 he released his first solo album entitled Hypothesis, followed by numerous projects including the very interesting CD Waterline in 2007 featuring Aldo Tagliapietra (Le Orme), Tony Spada (Holding Pattern) en Paul Whitehead (designer of the early Genesis LP's).

On this solo album The Sanctuary drummer Gigi Cavalli Cocchi (Mangala Vallis and Moongarden) and guitar player Ettore Salati (ex-The Watch, The RedZen and SoulenginE) are invited as guest musicians. Listening to the 10 compositions on The Sanctuary I was often carried away to Vintage Keyboard Heaven due to the sound of flashy Minimoog synthesizer flights, majestic Mellotron choirs, sparkling Grand piano and sumptuous Hammond organ. Especially in the ELP inspired Templar's Dream and swirling solos in Knights And Clergymen). Ettore Salati's guitar work is in the shadow of the lush keyboards but he plays very tasteful and varied, from powerful riffs to flowing and sensitive runs with hints of Steve Hackett (like in Entering The Sanctuary). And in Master Of Ceremonies he delivers a captivating duel on flamenco guitar with Mellotron choirs, goose bumps! Some tracks contain English vocals, these sound decent but not on the level of the other instruments. I am sure that singing in their wonderful native language would have given these songs more emotional depth.

Nonetheless, this new effort by Alex Carpani and his musical friends has turned into a very pleasant progrock experience with the focus on exciting vintage keyboards, recommended! My rating: 3,5 star. In 2014 and 2016 Alex Carpani released two other acclaimed albums as I look at the PA ratings.

 From Genesis To Revelation by GENESIS album cover Studio Album, 1969
2.58 | 1047 ratings

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From Genesis To Revelation
Genesis Symphonic Prog

Review by FalconBleck

2 stars #13 Review

This is where it all started, the band released this album in 1969 but it probably started production when the band conformed in 1967, already over 18 years old the members of the band where when the ablum released, composed of Tony Banks, Mike Rutherford, Peter Gabriel, Anthony Philips and Chris Stewart (Drums).

I really don't have that much to say on this album, so i'll get into reviewing the songs as always.

1.- Where the Sour Turns to Sweet 5/10 I dig the style on this one, but the song really falls short and it never gives that "moment", it's like a joke that lacks the "punch-line". Still a nice and interesting rythm to start but this is not near what the band will accomplish one year later.

2.- In the Beginning 4/10 Another nice rythm, but this song shows even more that early "garage-made" album quality sound. It feels more repetitive than the last one and it gets boring quickly.

3.- Fireside Song 6/10 Tony Banks showing himself as the heart of the band here, this song feels like a nice departure from the last 2, it's really pretty and feels warm... but gets repetitive as well.

4.- The Serpent 5/10 All instruments are making a bigger presence here, but the song still gets repetitive quick, specially when the instruments stop.

5.- Am I Very Wrong 7/10 The flute appears here, and the atmosphere of this song makes it feel closer to the next Genesis album, this is the best song so far, just the voices need a little more polish... as well as the sound, obviously.

6.- In the Wilderness 5/10 Another song that feels warm and nostalgic, but this song it's mostly made by the chorus, so it gets repetitive as well, the piano ending adds something a little special.

7.- The Conqueror 4/10 I expected this song to be darker judging by the intro, but it got like any other average song from this album. Too repetitive near the end, almost annoying. The guitar ending saves this song from being a 3/10.

8.- In Hiding 6/10 I like the lyrics and what Tony Banks does here, this is another song that's near Trespass, but not quite.

9.- One Day 8/10 What i like in this album it's done in this song, Piano, Violin, Trumpets and a choir in the back, it's another pretty song with nice lyrics. This should be the song that guided this album, it marks what the album should've been in its entirety.

10.- Window 6/10 This song gets increasingly better, the mood is clearly set but i can feel the lyrics through the music, really well done, a little repetitive tho.

11.- In Limbo 5/10 Another song that i expected to get darker for some reason, and also more atmospheric, but it lost it quickly, and then when it got back to those first chords, it's already too late, the "pop" alredy kicked in. It's still not a bad song tho, just average to this album and repetitive as well (with good lyrics).

12.- The Silent Sun 4/10 Similar case as the last song, except that it's worse, like it was made from the most average parts of this album.

13.- A Place to Call my Own 6/10 1 minute with lyrics and the rest with instruments, the instrument part it's really nice and it feels like a testament to what's to come, a nice ending indeed.

13 songs and 1 stands out more and 5 others are better than average, but it has one song that almost made the top worst from the band, or it'll probably be. I give it a 55/100, better score than "Abacab" but the same amounts of stars, i think that i did a pretty fair review, it was though to make, i did this review like 3 times, the first time it was like a 40/100, the second time was a 62/100 and now i inspected it a little more (and also compared a little more with their other works) and it came out this way.

As a side note, i have heard people say that side 1 is better, but i think that both are equally enjoyable.

 The Form Of The Good by DELUGE GRANDER album cover Studio Album, 2009
3.83 | 118 ratings

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The Form Of The Good
Deluge Grander Symphonic Prog

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars After getting his feet wet on his debut album "August In The Urals" after leaving Cerebrus Effect, Dan Britton took another few years to craft another batch of complex compositions that take the symphonic prog realm to new unthinkable heights. Just as on the debut album DELUGE GRANDER dishes out a new stranger batch of progressive rock tunes on the second album THE FORM OF THE GOOD that seem to borrow as much from Western classical artists as it does from the symphonic prog greats. Once again, the album is mostly instrumental with a loose sort of concept that tells a story about humanity through music and art instead of lyrical content. The concept is also depicted on the album cover of how people disagree and end up taking their journeys in opposite directions but eventually come full circle and arrive at the same destination. Once again, this nebulous concept escapes me but is hardly required to enjoy the music. There are five tracks on THE FORM OF THE GOOD that are quite distinct with the longest stretching over the nineteen minute mark.

Starting things off is the bizarre little "Before The Common Era," which is the shortest and easiest track to digest. It is the least meandering of the bunch and incorporates some gorgeous Gregorian chanting accompanied by an easy catchy piano riff with lots of samples of violins that add an extra layer of melancholy. The symphonic effects are in full display with brilliant sweeps of keyboards. The chants remain somewhat subdued under the symphonic elements which adds a rather murky and mysterious sort of tune but one that sets a tone and allows the listener to calibrate to the overall mood before diving into the larger complexities that follow.

"The Tree Factory" is the second longest track which takes its cue from the debut release and shows how DELUGE GRANDER has grown as a band and how Britton has indulged his wildest prog fantasies and nurtured them into extreme pomp and awe. The secret to understanding these longer tracks such as this one is to understand that what may seem like lengthy meandering and aimless noodling is actually more like a progressive medley of sampling different classical albums that range from Penderecki to Varèse and beyond and then set to symphonic progressive rock instrumentation. Generally speaking, segments are allowed to develop melodies before changing things up to another seemingly completely different motif. Some of these segments stay soft and play the symphonic card in full regalia and other segments just simply rock out with heavy guitar, bouncy bass and drum bombast and even include sizzling lead guitar solos. Tracks like this display the mind of a music nerd and how these types think in music where one idea simply cedes to another.

"Common Era Caveman" is somewhat of a breather between the two behemoths of the album and a lot easier on the ears. Composed of a mere two chords, this one has a busy bass line played on the electric piano with the skillful drumming prowess of Patrick Gaffney showing how he can keep up with the most unorthodox of time signature deviations. While being a simple composition in many ways, the progressive features are let off the leash with heavy jazzy brass embellishments and jittery time sigs jolting in different directions. Dave Berggren also dishes out some of the heaviest guitar riffs on this track which makes this one more of the rocker and as a change subduing the keyboards to subordination however the ambience and atmospheric additions give this one a true eerie feeling while the heavier parts bounce along.

"Aggrandizement" is the monster track of the album that dips over the nineteen minute mark and runs the gamut of prog workouts. While starting out with a rather exotic Middle-Eastern sort of flair, it shifts fairly quickly to the symphonic elements that wend and wind it through a series of changes that include time signature shake ups, dynamic and tempo deviations and the multitude of classically tinged melodies that meander aimlessly through the never-ending tunnel of music. This is the type of complexity that proggy dreams are made of as all progressive elements are fully employed and although once segments are completed and rarely return for reprises, are still quite the satisfying albeit adventurous listening experience. This track included lyrics when played at Progday in Chapel Hill, NC and at Orion in Baltimore in 2009. The lyrics were implemented to try to make the live experience a little more audience interactive as this kind of stuff can be a little abstract. The lyrical accoutrements were included on the Progday performance in the film "Romantic Warriors." It's amazing to me that i can sit through this one and never get bored wondering how long it lasts. On the contrary i'm consistently amazed how many ideas are packed into this one. More than most albums by lesser talents.

The title track ends the dense layer of movements that makes up THE FORM OF THE GOOD and at a mere 8 minutes and 40 seconds is the second shortest track on the album. Britton says that he was subconsciously mimicking PFM's "L'Isola di Niente" with a grand bombastic intro that ratchets up the symphonic aspects while the staccato guitar riffs add a heft supplied by the great Italian symphonic prog artists of the 70s complete with the Genesis inspired pastural atmospheric developments. Perhaps the mellowest track after the intro, it track shapeshifts as it evolves with droning synth sounds in the background allowing the musical caterpillar crawl of the guitar, bass and percussion to slowly gain in dynamics and tempo. While the album is divided into a gazillion subsections that don't repeat, the album closes with the last 30 seconds from the opening track "Before The Common Era" which closes the long and lengthy loop which is exactly what the concept of the album is about.

THE FORM OF THE GOOD is an ambitious project to say the least taking symphonic progressive rock into completely nerdy arenas and is somewhat the math rock version of that particular subgenre. While heavily steeped in classical music tradition, the jittery time signature deviations and dynamic shifts keep this one a guessing game as to where any particular section of the tracks may be heading. While some may call this aimless and rather pointless as it doesn't have any sort of traditional patterns to latch onto, i find this stuff to be exhilarating since the music is so layered and steeped in complexities that no matter how many times one listens to this it always sounds new in some ways. DELUGE GRANDER may have created a hard nut to crack in terms of nebulous concepts carried out in grandiose musical parades in any particular direction but somehow each segment that connects to the following sounds as if its a mini-suite of some sort that does feel logical even if it sounds like it's unrelated. The whole thing comes off as more intuitively based than stodgily cranked out on paper. The production of the album is impressive as so many subtle sounds dance around the other and create an interesting tapestry effect that makes DELUGE GRANDER sound like absolutely no other progressive band on the scene. Personally i find this kind of stuff a form of intelligent design that is reserved for those moments when i can't get enough complexity in my prog.

 2 Originals Of Yes by YES album cover Boxset/Compilation, 1973
3.43 | 9 ratings

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2 Originals Of Yes
Yes Symphonic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 162

"2 Originals Of Yes" is a very special compilation of Yes. It's an economic package that includes Yes' debut eponymous studio album, released in 1969 and their second studio album "Time And A Word", released in 1970. This is a very interesting compilation because it includes the first two studio albums of Yes' catalogue at a very cheap price, what would be a very worth purchase at the time, when it was released. It's also very interesting because it shows the group giving their first steps before the beginning of their most creative phase, the period of their great masterpieces, which would turn them in one of the best, most important and most influential progressive rock groups ever. This is also very interesting because this compilation reunites together the only two albums with the original line up of Yes. These are also the only studio albums from the group that include songs which weren't written by Yes. So, and all in all, despite both albums can't be properly considered as two fundamental works from Yes, and two indispensable purchases, both have its merits and deserve to be checked and appreciated by all Yes' fans and all progressive rock lovers.

The line up on both albums is Jon Anderson (lead vocals), Peter Banks (vocals and guitars), Tony Kaye (keyboards), Chris Squire (vocals and bass) and Bill Bruford (drums).

As I've already reviewed these two albums previously on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my both reviews. However, in here I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them track by track, as I made before, but I'm only going to make a global appreciation of both albums.

"Yes": Although Yes' eponymous debut album be not exactly what they're remembered most for, it's still a decent piece of proto-prog. From quite obvious reasons this is also their most 60's influenced album. Two of the tracks, "Beyond And Before" and "Sweetness" dates back from the time when Anderson and Squire were in a band called Mabel Greer's Toyshop. Some of the Yes' trademarks can already been heard here, like the falsetto vocal-harmonies and the powerful and distinctive bass playing of Squire. But it's of course a much more basic and rougher album than their symphonic progressive rock classics from the 70's. "Survival" remains the classic track from this album, and it's also the track with most glimpses of what Yes later would made. They also covered The Byrds' "I See You" and The Beatles' "Every Little Thing" in a very refreshing and convincing way. "Yesterday And Today" is a beautiful and atmospheric little tune, but the other ballad on the album "Sweetness" is all too sweet and fluffy. "Looking Around" and "Beyond And Before" is a kind of a late 60's progressive power pop driven song by the excellent Hammond work of Kaye and the gutsy guitar playing of Banks. "Harold Land" is another pretty tune with progressive tendencies and good melodies. In short, "Yes" marked a decent starting point for a band that would become one of the greatest progressive rock bands ever.

"Time And A Word": Yes' second album, the last with the original guitarist Banks, was the first where the band began to move into a more symphonic direction. They even hired a small orchestra to prove the point. Although, their sound was still under development, there was already plenty of excellent progressive rock to enjoy here. "Then", "Astral Traveller" and "Sweet Dreams" were all among the best tracks from very early Yes. The sound on the album is dominated a lot by the tasty Hammond work from Kaye and the orchestral arrangements works, fine nicely in my ears. The beautiful title track was the only track from the first two albums that would remain in their live sets for years to come, while "The Prophet" has a delightful fairytale atmosphere. And as just happened with their first album, "Time And A Word" also included two cover versions of songs. First there was a very tight and "yesified" version of Richie Haven's "No Opportunity Necessary, No Experience Needed" and an atmospheric version of Stephen Still's "Everydays" with an incredible instrumental part in the middle. Yes still had some more steps to go before they would reach their creative highlights and definitive masterpieces, but "Time And A Word" is a good piece of early 70's progressive rock, anyway.

Conclusion: If you have already the two individual studio albums of Yes, you don't need this compilation because it hasn't anything new to offer, like bonus tracks, for instance. Unless you are a collector and you have the chance to discover this, as a forgotten vinyl record, in any record store. In this case, this would be a great purchase and a good complement for you, to add a new item to your record collection. Anyway, if you don't have these two albums yet, on vinyl or CD format, I think you must buy them. But, as I wrote above, these two albums aren't properly two fundamental works of Yes. However, they represent a different side of Yes. Still, they witness the first moments as a band starts to develop and watch them progress, is one of the most rewarding things a music enthusiast can take part in. However, two years later the scaffold will be removed and the building work will be complete, and as strong as it would ever be.

Prog is my Ferrari. Jem Godfrey (Frost*)

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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
AD ASTRA 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
LEON ALVARADO United States
SERGIO ALVAREZ Argentina
AMAGRAMA Argentina
AMENOPHIS Germany
AMOS KEY Germany
ANABIS Germany
ANCIENT VISION United States
ANDERSON BRUFORD WAKEMAN HOWE United Kingdom
ANDERSON/STOLT Multi-National
ANGE France
ANGIPATCH France
ÄNGLAGÅRD Sweden
ANIMA Argentina
ANIMA DOMINUM Brazil
ANIMA MORTE Sweden
ANIMA MUNDI Cuba
ANOXIE France
ANTARES Germany
ANYONE'S DAUGHTER Germany
APHÉLANDRA France
APHRODITE'S CHILD Greece
APOCALYPSE Brazil
AQUAPLANAGE United Kingdom
ARABESQUE United States
ARACHNOID France
ARCABUZ Spain
ARION Brazil
ARS NOVA (JAP) Japan
ARS PRO VITA Brazil
ART IN AMERICA United States
ASA DE LUZ Brazil
ASIA MINOR Turkey
ASTRË United States
ASTURCON Spain
ATILA Spain
ATLANTIS PHILHARMONIC United States
ATLAS Sweden
ATMOSPHERA Israel
ATOLL France
AUTUMN United Kingdom
AUTUMN BREEZE Sweden
AVIVA (AVIVA OMNIBUS) Russia
AXCRAFT United States
AZABACHE Spain
BABYLON United States
BACAMARTE Brazil
BANAAU Italy
BANANA Argentina
BANZAI Belgium
ZELJKO BEBEK AND PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
ROBERT BERIAU Canada
ED BERNARD Canada
BLACK SEPTEMBER United States
BLAKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
BOX OF SHAMANS United States
BRIMSTONE United States
BURNING CANDLE Germany
BUSKER Canada
CAFEINE France
CAI Spain
CAIRO United States
CAJA DE PANDORA Mexico
CAL Spain
CAMEL United Kingdom
LOS CANARIOS Spain
CANNABIS INDIA Germany
CARAVELA ESCARLATE Brazil
ALEX CARPANI BAND Italy
CAST Mexico
CATHEDRAL United States
CELLAR NOISE Italy
CHAKRA United States
CHALCEDONY United Kingdom
CHAOS CODE United States
CHRONOS MUNDI Brazil
JOSÉ CID Portugal
CINEMA Japan
CIRCLE Germany
THE CIRCLE PROJECT Spain
CIRKUS Canada
CITIZEN CAIN United Kingdom
CLAY GREEN'S POLYSORBATE MASQUERADE BAND United States
CLEARLIGHT France
CODA Netherlands
CÓDICE 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
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ECHOLYN United States
ECLAT / ECLAT DE VERS France
ECLIPSE Brazil
EDEN Canada
EGGROLL Israel
EIK Iceland
ELLESMERE Italy
ELOHIM France
ELOITERON Switzerland
EMERSON LAKE & PALMER United Kingdom
REDJY EMOND Canada
ENGLAND United Kingdom
THE ENID United Kingdom
EPIDAURUS Germany
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EPISODE United States
EQUILIBRIO VITAL Venezuela
ESPIRITU Argentina
ESTRUCTURA Venezuela
ETCETERA Denmark
ÉTERNITÉ Canada
ETHOS United States
EVERFRIEND United States
EX-VAGUS France
EXODE France
EXODUS Poland
EZRA WINSTON Italy
FAITHFUL BREATH Germany
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FICCION Venezuela
FINCH Netherlands
FIREBALLET United States
FIRST+AID United Kingdom
FLAGSHIP Sweden
FLAME DREAM Switzerland
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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
G.A.L.F. Brazil
GALIE Mexico
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GENS DE LA LUNE France
THE GIFT United Kingdom
GLASS United States
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GÒTIC Spain
GOVEA Mexico
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GRAND STAND Sweden
GRANDBELL Brazil
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GREYFIELD Spain
GROBSCHNITT Germany
SHAUN GUERIN United States
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HALLOWEEN France
HANDS United States
BO HANSSON Sweden
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HARMONIUM Canada
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ANDERS HELMERSON Brazil
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TERUTSUGU HIRAYAMA Japan
HOGGWASH Ukraine
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LYLE HOLDAHL United States
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HOLY LAMB Latvia
HORIZONT Russia
HYACINTUS Argentina
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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
IRON DUKE Denmark
ISILDURS BANE Sweden
ISOPODA Belgium
IZZ United States
JELLY FICHE Canada
BJÖRN JOHANSSON Sweden
JORDSJØ Norway
KAIPA Sweden
KAIPA DA CAPO Sweden
KAIZEN Brazil
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KALO Japan
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KARFAGEN Ukraine
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KHATSATURJAN Finland
KING EIDER Netherlands
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KOGAION Romania
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LEGACY United States
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LETHE Netherlands
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LIFT United States
PÄR LINDH AND BJÖRN JOHANSSON Sweden
PÄR LINDH PROJECT Sweden
LITTLE TRAGEDIES Russia
CAILYN LLOYD United States
THE LOAD United States
LOCH NESS Brazil
LORD FLIMNAP Israel
M-OPUS Ireland
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MAGDALENA Japan
MAGIC PIE Norway
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NICK MAGNUS United Kingdom
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MAHOUJIN Japan
MAINHORSE Switzerland
MALDOROR France
MANDALABAND United Kingdom
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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
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MIA Argentina
MIDAS Japan
MIKLAGÅRD Sweden
MIKROMIDAS Norway
MILKWEED Canada
MARIO MILLO Australia
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MIND SKY United States
MINOTAURUS Germany
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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
JESÚS MUÑOZ FERNÁNDEZ Spain
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
ONE Argentina
ONIRIS France
OPUS Yugoslavia
ORION France
OUTER LIMITS Japan
PABLO EL ENTERRADOR Argentina
PAGEANT Japan
PALE ACUTE MOON Japan
PANTA RHEI Hungary
PARAGONE United States
PARTHENON Venezuela
PATCHWORK CACOPHONY United Kingdom
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
PROUD PEASANT 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
THE ROME PRO(G)JECT Italy
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 CORAÇÃO DA TERRA Brazil
SALMON Netherlands
SANDROSE France
GUSTAVO SANTHIAGO Brazil
SCARAMOUCHE Germany
SCHICKE & FÜHRS & FRÖHLING 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
SICHER Switzerland
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
STONEHENGE France
SUBLIMINAL Argentina
SUPERNOVA Argentina
SURPRISE United States
SUSTAIN Netherlands
SWEDISH FAMILY Sweden
SYNOPSIS France
T-TAURI Netherlands
TABULA RASA Finland
TABULA SMARAGDINA Hungary
TAÏ 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
THRILOS Poland
TIBET Germany
ARMANDO TIRELLI Uruguay
TISARIS Brazil
TOCCATA Mexico
TOMPOX Hungary
TONIC Germany
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
TRY Germany
ÜNDER 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
VITRAL Brazil
THE VOYAGER France
RICK WAKEMAN United Kingdom
WALLENSTEIN Germany
WALLY United Kingdom
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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