Progarchives, the progressive rock ultimate discography

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 | 4118 ratings
CLOSE TO THE EDGE
Yes
4.63 | 3839 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.60 | 3335 ratings
FOXTROT
Genesis
4.44 | 3249 ratings
FRAGILE
Yes
4.42 | 2910 ratings
NURSERY CRYME
Genesis
4.40 | 2446 ratings
MIRAGE
Camel
4.38 | 2095 ratings
MOONMADNESS
Camel
4.36 | 2805 ratings
RELAYER
Yes
4.37 | 1592 ratings
HYBRIS
Änglagård
4.35 | 1196 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.30 | 2629 ratings
THE YES ALBUM
Yes
4.29 | 2740 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.29 | 2114 ratings
THE SNOW GOOSE
Camel
4.28 | 2375 ratings
A TRICK OF THE TAIL
Genesis
4.31 | 1087 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.49 | 354 ratings
FROM SILENCE TO SOMEWHERE
Wobbler
4.31 | 799 ratings
DEPOIS DO FIM
Bacamarte
4.24 | 1921 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.25 | 997 ratings
VILJANS ÖGA
Änglagård
4.25 | 950 ratings
HAMBURGER CONCERTO
Focus
4.22 | 1020 ratings
LEFTOVERTURE
Kansas
4.16 | 2133 ratings
TRESPASS
Genesis
4.22 | 654 ratings
ASHES ARE BURNING
Renaissance
4.14 | 1725 ratings
BRAIN SALAD SURGERY
Emerson Lake & Palmer
4.19 | 637 ratings
TO SHATTER ALL ACCORD
Discipline
4.16 | 792 ratings
BRIDGE ACROSS FOREVER
Transatlantic
4.19 | 596 ratings
? [AKA: QUESTION MARK]
Morse, Neal
4.11 | 1479 ratings
TRILOGY
Emerson Lake & Palmer
4.20 | 519 ratings
THE SNOW GOOSE (RE-RECORDING)
Camel
4.10 | 1791 ratings
WIND AND WUTHERING
Genesis
4.18 | 599 ratings
SOLA SCRIPTURA
Morse, Neal
4.15 | 706 ratings
POINT OF KNOW RETURN
Kansas
4.14 | 767 ratings
V
Spock's Beard
4.22 | 377 ratings
UNFOLDED LIKE STAIRCASE
Discipline
4.13 | 646 ratings
SONG FOR AMERICA
Kansas
4.24 | 309 ratings
MARSBÉLI KRÓNIKÁK (THE MARTIAN CHRONICLES)
Solaris
4.06 | 1670 ratings
TARKUS
Emerson Lake & Palmer
4.03 | 1851 ratings
GOING FOR THE ONE
Yes
4.08 | 740 ratings
THE SIX WIVES OF HENRY VIII
Wakeman, Rick
4.09 | 641 ratings
FOCUS II [AKA: MOVING WAVES]
Focus
4.05 | 889 ratings
THE WHIRLWIND
Transatlantic
4.07 | 712 ratings
SMPTE
Transatlantic
4.08 | 577 ratings
TURN OF THE CARDS
Renaissance
4.05 | 787 ratings
RAJAZ
Camel
4.11 | 461 ratings
BLOMLJUD
Moon Safari
4.07 | 607 ratings
EPILOG
Änglagård
4.05 | 743 ratings
BANKS OF EDEN
Flower Kings, The
4.10 | 456 ratings
ONE
Morse, Neal
4.17 | 293 ratings
SUFFOCATING THE BLOOM
Echolyn
4.16 | 296 ratings
BETWEEN FLESH AND DIVINE
Asia Minor
4.06 | 554 ratings
BACK IN THE WORLD OF ADVENTURES
Flower Kings, The
4.24 | 205 ratings
IN THE REGION OF THE SUMMER STARS (1984)
Enid, The
4.12 | 311 ratings
MEI
Echolyn
4.26 | 180 ratings
10.000 ANOS DEPOIS ENTRE VÉNUS E MARTE
Cid, José
4.05 | 516 ratings
ECHOLYN
Echolyn
4.06 | 444 ratings
WHO'S THE BOSS IN THE FACTORY?
Karmakanic
4.30 | 152 ratings
SLOW DANCE
Phillips, Anthony
4.00 | 634 ratings
BRIEF NOCTURNES AND DREAMLESS SLEEP
Spock's Beard
4.04 | 434 ratings
TESTIMONY
Morse, Neal
3.96 | 1198 ratings
CAMEL
Camel
4.01 | 561 ratings
TESTIMONY 2
Morse, Neal
4.04 | 383 ratings
THE NEAL MORSE BAND: THE SIMILITUDE OF A DREAM
Morse, Neal
4.08 | 293 ratings
L'HEPTADE
Harmonium
4.20 | 177 ratings
BLÅ VARDAG
Atlas
3.99 | 554 ratings
KANSAS
Kansas
4.10 | 256 ratings
THE FLOWER KING
Stolt, Roine
4.20 | 171 ratings
METANOIA
Nexus
3.98 | 533 ratings
DESOLATION ROSE
Flower Kings, The
4.15 | 200 ratings
NOSTRADAMUS BOOK OF PROPHECIES
Solaris
3.90 | 2232 ratings
TALES FROM TOPOGRAPHIC OCEANS
Yes
3.95 | 642 ratings
A NOD AND A WINK
Camel
4.02 | 340 ratings
THE GEESE AND THE GHOST
Phillips, Anthony
4.16 | 177 ratings
TRIANA (EL PATIO)
Triana
4.07 | 237 ratings
CONCERTO FOR PIANO AND ELECTRIC ENSEMBLE
Kotebel
4.11 | 205 ratings
REFUGEE
Refugee
3.97 | 421 ratings
MOMENTUM
Morse, Neal
4.06 | 237 ratings
THE WAY
Anima Mundi
3.95 | 471 ratings
FLOWER POWER
Flower Kings, The
4.14 | 164 ratings
LOS DELIRIOS DEL MARISCAL
Crucis
4.04 | 251 ratings
MARSBÉLI KRÓNIKÁK II (THE MARTIAN CHRONICLES II)
Solaris
3.93 | 553 ratings
STARDUST WE ARE
Flower Kings, The
4.13 | 166 ratings
GLORY OF THE INNER FORCE
Finch
3.95 | 407 ratings
FISH OUT OF WATER
Squire, Chris
4.11 | 172 ratings
L'ARAIGNÉE-MAL
Atoll
4.10 | 176 ratings
OVERGROUND MUSIC
After Crying
4.06 | 197 ratings
TARDIGRADE
Simon Says
3.92 | 446 ratings
RITES AT DAWN
Wobbler
4.70 | 52 ratings
PAZZO FANFANO DI MUSICA
Pazzo Fanfano Di Musica
4.08 | 174 ratings
SONG OF THE MARCHING CHILDREN
Earth And Fire
3.94 | 359 ratings
ILLUSIONS ON A DOUBLE DIMPLE
Triumvirat
4.13 | 142 ratings
CICLOS
Canarios, Los
4.00 | 236 ratings
LOST SYMPHONY
Karfagen
3.96 | 278 ratings
AU-DELÀ DU DÉLIRE
Ange
4.10 | 147 ratings
POLLEN
Pollen
3.95 | 288 ratings
AS THE WORLD
Echolyn
3.90 | 405 ratings
666
Aphrodite's Child
3.90 | 395 ratings
THE SUFFERING JOY
Magic Pie
3.97 | 246 ratings
OUT OF THE BARNYARD
Fright Pig
4.07 | 158 ratings
SOMEWHERE BUT YESTERDAY
Citizen Cain
4.02 | 187 ratings
SOLO
Kaipa

Symphonic Prog overlooked and obscure gems albums new


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

BRIDGE ACROSS FOREVER - THE LIMITED EDITION
Transatlantic
SÈVE QUI PEUT
Ange
NOCHE ABIERTA
Cai
ET APRÈS
Memoriance

Latest Symphonic Prog Music Reviews


 From Genesis To Revelation by GENESIS album cover Studio Album, 1969
2.56 | 1060 ratings

BUY
From Genesis To Revelation
Genesis Symphonic Prog

Review by martindavey87

1 stars I love Genesis! I grew up on the Phil Collins pop-era stuff, and as I later discovered progressive music, I came to appreciate the bands earlier material. But, I'd imagine like many others, the only reason I own this, the bands 1969 debut, is simply because it's Genesis.

Not because I like it.

But honestly, I really don't have the energy to bash 'From Genesis to Revelation'. Not much, anyway. It's just so 'not my thing' that I'm really not interested. None of the songs stand out to me, and this is literally music from a bygone era. The performances are fine and all, but the compositions themselves are just so flat and lifeless. They're mostly acoustic or orchestral pop songs, very simple structures and vocal patterns, and a huge lack of drums to give the tracks any energy.

It's kind of like a cross between the Beatles and Simon & Garfunkel, but nowhere near as good as either. Again, I love Genesis! But I just really don't care for this album.

Perhaps it's the lack of Phil Collins...? Yeah! That must be it! There's a bit of Phil Collins in everyone, and Genesis without Phil Collins... is just Genesis. And that's boring! Ah well... better things are just round the corner. Watch this space...

 Jerusalem by EMERSON LAKE & PALMER album cover Singles/EPs/Fan Club/Promo, 1973
4.50 | 35 ratings

BUY
Jerusalem
Emerson Lake & Palmer Symphonic Prog

Review by Matti
Prog Reviewer

5 stars - The first review for this release -

I confess that Emerson, Lake & Palmer have never been among my biggest prog favourites. The trio's highly virtuotic music often tends to be "too much", over the top. I do enjoy a great deal of their [70's] output, but the album I find the most painful to listen to completely is Brain Salad Surgery. Yes, the one they promoted with this single. H. R. Giger's unique artwork for the album cover is circulated here.

You know how it was with ELP: the ballads of Greg Lake always tended to be chosen for a single's A side. His new song 'Still... You Turn Me On' (also on Brain Salad Surgery) had already impressed live audience before the album was released. But this time they wanted something more representative for the whole trio. There really could have been no better choice than the powerful and majestic version of the well-known church anthem 'Jerusalem', which Sir Hubert Parry composed in 1916 to the poem by William Blake. The composition is of course gorgeous in itself, and it's no wonder that the audiences in the BBC Proms Festivals sing it from the bottom of their heart (I would, too!). But ELP made a deeply impressive version that summarizes the essence of the band. Keith Emerson's mighty organ playing, impassioned vocals of Greg Lake, and the "drum for your life" approach of Carl Palmer work together extremely effectively in this song. Sometimes the hair of my skin may stand up for disgust when I listen to ELP, but when I listen to 'Jerusalem', it stands up for bliss.

The B side contains an instrumental with a long and pretentious name: 'When the Apple Blossoms Bloom in the Windmills of Your Mind I'll Be Your Valentine'. The music is interesting however. It has a strong sense of Jazz Rock / Fusion, and even though it's very keyboard oriented, it has a nice groove and it feels more democratic as a group effort than many of Emerson's compositions. The track was re-released in Works 2 (1977).

Much to my own surprise, I rate this single with five stars, like the majority have done here. 'Jerusalem' is an undisputed masterpiece of prog songs covering someone else's music, while 'Apple Blossoms' is another kind of musical delight.

 Nostradamus by FIRST+AID album cover Studio Album, 1977
3.16 | 23 ratings

BUY
Nostradamus
First+Aid Symphonic Prog

Review by GruvanDahlman
Prog Reviewer

4 stars It is obvious, from any standpoint, that First Aid was out of touch with what was fashionable in 1977. Had they recorded this album, say, five years prior perhaps things would have turned out differently for them. You see, their brand of pompous progressive rock was simply not in fashion anymore. I do not think that punk music should be seen as the sole reason for the decline in prog popularity but Sex Pistols and their comrades are generally seen as the conquerors of the musical landscape in the last few years of the 70's. Anyway, this review will not take any definite stand regarding that issue. Tally ho!

Pompousness. Just let that word sink in for a moment. What does it mean? In general the word is used in it's negative form, describing someone or something as totally distanced from reality, wound up in themselves and thus being anything but likeable. I guess that's a fair assessment. However, when it comes to prog the mere word sends shivers down my spine. Not shivers of dislike but rather of excitement. A part of prog is and must be pompous, larger than life, ambitious and visionary. And that is the meaning of the word, for me, regarding prog music. Yes, First Aid were pompous and gloripusly so. Taking inspiration from the old Nostradamus, the fortune teller or viewer of the future, what they created was a minor masterpiece of majestic progressive rock.

Starting with a spoken introduction, along with the winds and howls of time passing, one instantly gets the idea. This is not an album to take lightly. The concept and visions within are seriously meant. The title track with the chanting of dark voices and heavy musical approach is quite stunning. The vocals are very pleasant and the combination of dense keyboards and heavy guitar which then transforms into lighter textures before going back to heaviness is really brilliant. "The awful truth" is a piano led short piece of quite impressive complexity, preceding "By royal appointment", a sort of announcement piece. "Catherine" is a gentle, string laden thing which is a real beauty. Lush and jazz-folky, if you can imagine. "Two brothers" is yet again a quite dense and heavy piece with thick keyboards. Then comes the ending "The shape of things to come". This is really the big winner. Starting with a narrative voice and foreboding instrumentation, proclaiming doom and disaster, it turns into a majestic and powerful piece of progressive rock. Really heavy in a jazz-rock kind of way. It ends with Hitler serving us some nonsense before Churchill has a word or two aswell. Really effectful.

It's a pity they were out a bit too late, really. This is high quality progressive rock with ambition, vision and pompousness. A really satisfying slice of keyboard driven prog, heavy on the orchestration and rough touches, though highly accomplished and tightly performed. I really appreciate this album and think it is a great listen for anyone into older progressive rock from the glorious 70's.

 Sete Cidades by BACAMARTE album cover Studio Album, 1999
3.55 | 71 ratings

BUY
Sete Cidades
Bacamarte Symphonic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 192

"Sete Cidades" is the debut and only studio album of Mário Neto of Bacamarte and was released in 1999. The line up on the album is Mário Neto and Robério Molinari.

Since the late 70's, progressive rock has been on decline due to the appearance of less elaborated and heavier music styles such as Punk, or more the pop and the dance styles such as the Disco Music. Because of that, many groups of this genre ended their careers at that time like Gentle Giant and Van Der Graaf Generator or, therefore, adhered to more commercial sonorities such as those mentioned, losing all progressivity and creativity, with Genesis and Yes being the most famous examples. In the meantime, it was released in 1983, by an improbable country called Brazil, an album that rescued what was best in prog style, being considered a renaissance of erudition in music. I'm talking about "Depois Do Fim" ("After The End"), the debut and only album of Bacamarte, a very excellent proposal, especially at the time.

The band emerged in Rio de Janeiro in 1974, and after almost ten years changing their line up and trying to get a contract, they released "Depois Do Fim" in 1983. Its founder was guitarist Mário Neto who had, initially, the idea to mount an instrumental band. The music of Bacamarte came naturally from a fusion of the group's musical influences, the classical music, studied since the childhood, and the music of The Beatles. In short, this is the origin of the particular sonority of the band. It's worth mentioning that the album was also produced by Mário Neto. The success of the album, which made the group consecrated in Europe and Japan, didn't stop the band from ending in 1984. In the 90's, guitarist Mário Neto released the album "Sete Cidades" ("Seven Cities"), with the codename Bacamarte.

Neto is a great guitarist with a classical formation. The great differential in Bacamarte is Neto's guitar, which oscillates between climates, textures and soils with great tranquillity. His guitar style is unique. He plays his guitar only with fingering, without straws. He performs fast scales, complicated chords and lavish technique, be it classical, jazz or whatever the style is. He also changes from guitars, easily. In 1977, Bacamarte already had a considerable amount of music for the band. Neto got a performance in the global program Rock Concert. The visibility of the program presentation served two things. First was to get a studio and record the songs with sufficient quality. The other, very unusual, was the harassment suffered by Neto on the part of the businessman of the English band Genesis, who had toured some Brazilian cities and was about to lose his guitarist, Steve Hackett. The production of Genesis was deeply impressed with the amazing guitar technique of Neto and invited him to integrate Genesis. Although this sounded like a dream coming true, Mário choose to continue in Brazil, due to a request of his parents and because he was still a minor.

"Portais" is a great open that follows the same style of "Depois Do Fim". It has a gentle intro of 2 minutes, a bombastic middle part and a string final part. I can see here strong influences of Italian bands, especially early PFM. "Ritual Da Felicidade" is a short, strange and extravagant track all made by percussions. It has some tribal sounds strongly influenced by Afro-Brazilian musical culture, which seems to be a little bit out of context on the album. "Filhos Do Sol" is another short track, but this time, in a symphonic vein. It's a very simple track sung by Neto. He has a good voice, and it has a nice flute section and a mellotron based chorus really outstanding. "Espíritos Da Terra" represents a return to the more conventional symphonic territory. It's almost an acoustic track, very soft and melodic, with a spacey and ambient music. This is perhaps the best track on the album. "Mirante Das Estrelas" appears after on "Depois Do Fim" as a bonus track. It's another excellent track with a nice guitar work by Neto, including an excellent synthesizer solo in the end, in the style of Steve Howe. This is one of the centerpieces of the album. "Carta" is another short acoustic track with vocals by Neto. The song is agreeable but is slightly spoiled by the voice of Neto. "Canto Da Esfinge/Portais" is the lengthiest track on the album. It alternates between calm and frantic passages, showing great instrumental work. It's amazing that only one man could have played almost all this alone. This track represents a nice ending for the album.

Conclusion: "Sete Cidades" is inferior to "Depois Do Fim", but it's quite interesting and in some parts, very surprising. It has some great tracks like "Portais", "Espíritos Da Terra", "Mirante Das Estrelas" and "Canto Da Esfinge/Portais". Nevertheless, the rest of the album doesn't introduce anything new or any particularly surprising break through, in comparison to their stunning debut album. The main leading instrument here, as usual, is the tasteful guitar work by Neto. The man is really a very gifted guitarist and no wonder that someone in Genesis have been interested on him to substitute Hackett. But the main real weak point is the vocal work. Despite not be so bad, it isn't really a great work, indeed. Anyway and fortunately, this episode doesn't spoil the overall quality of the album. This is indeed a nice album.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.31 | 799 ratings

BUY
Depois Do Fim
Bacamarte Symphonic Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nº 191

Bacamarte was a Brazilian symphonic progressive rock band formed in 1974. The band was formed by three colleagues from the Marist College San Jose in Rio de Janeiro, but because of their ages, they soon disbanded. The band suffered several lines up changes all over the time and in 1977, Mario Neto, the guitarist of the group, reformed the band with a new set of musicians. It was with this new line up that they recorded this great and fantastic musical opus piece.

"Depois Do Fim" is considered one of the best progressive Brazilian rock albums, and it can be considered also as some of the best and most expressive creations of the main bands of the genre, like Pink Floyd, Jethro Tull, Yes, Genesis, Gentle Giant and Camel, especially because it was released in a very difficult times for progressive rock.

The music of "Depois Do Fim" is rich and symphonic, with wonderful keyboards and an excellent flute work that illuminates the compositions with full of pomp. The band has their biggest influence in the Italian school of progressive rock, mirroring in bands like, Locanda Del Fate, Premiata Forneria Marconi and Quella Vecchia Locanda. Some tracks are instrumental while others feature some vocals in Portuguese, influenced by bands like Renaissance and Curved Air.

The line up on "Depois Do Fim" is Jane Duboc (vocals), Mario Neto (acoustic and electric guitars), Marcus Moura (flute and accordion), Delto Simas (acoustic and electric basses), Sergio Villarim (keyboards), Marco Veríssimo (drums) and Mr. Paul (percussion).

"Depois Do Fim" is the debut studio album of Bacamarte and was released in 1983. The album has eight tracks. The first track "Ufo" is an instrumental track very influenced by the classical music. It's a memorable song with a very beautiful classical guitar entry and has a very beautiful flute work, too. It has also a magnificent keyboard performance and a beautiful choral part. But, the main important thing here is the performance of the guitarist Neto, which is fantastic. The second track "Smog Alado" is a very good track. It's a song that reminds me Jethro Tull, in some parts, due to the flute performance of Moura. This is the song where we can listen, for the first time, the very beautiful voice of Jane. The third track "Miragem" is another fantastic instrumental track. This is a song with great use and influence of organ and flute. The sound of the flute is very classic and beautiful. However, what catches more my attention again, is the magnificent guitar work of Neto. It has an exotic, complex and intricate guitar performance that reminds me the Swedish symphonic band, Anglagard. The fourth track "Pássaro De Luz" is a small but is at the same time a very nice acoustic piece. It's a classic acoustic song very well performed by Neto and where once more we can hear the beautiful voice of Jane. The fifth track "Caño" is another short song, another instrumental track. The main musical instrument focused on this song is the accordion of Moura. It's a fantastic progressive track, and sincerely, I think this is one of the best examples of how a two minutes song can be a great progressive track. The sixth track "Último Entardecer" is the lengthiest track and represents the great opus of the album. This is a perfect progressive song. It has the fantastic voice of Jane, has great individual musical performances and has, especially, the best and the most memorable guitar performance of Neto, which is absolutely wonderful. The seventh track "Controvérsia" is another short instrumental song, a kind of a transitional track. It's a song dominated by the musical style of Emerson, Lake & Palmer. The eighth and last track "Depois Do Fim" represents also one of the highest moments on the album. Once more it has everything of what is present on "Último Entardecer". It's a song that proves once more that Neto is a truly genius guitar player.

Conclusion: I want thank to Progarchives because, once more, this site made me know another unknown progressive pearl. Sincerely, this is the only Brazilian progressive rock album that I know, until now. I agree with my Brazilian brother (this is how we, Portuguese and Brazilians, like to call to ourselves), of this site Evandro Martini, when he wrote that is a shame that Brazil and Portugal are so distant culturally, when he reviewed "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas" of Quarteto 1111. We are so close and so far, at the same time, my friend. I really think that we can do some parallelism between "Depois Do Fim" and "10.000 Anos Depois Entre Vénus E Marte", de solo album of José Cid. Both albums are from two countries with a very small tradition in the progressive rock music, both have lyrics in Portuguese, both are symphonic, both are masterpieces, both can be considered the two best progressive albums of our countries, and above all, both have achieved the rare status of being considered two cult albums. I think we may say that Portugueses and Brazilians can be proud of these two fantastic prog albums, especially because they honour our common mother tongue, the Portuguese language. "Depois Do Fim" is a very rare, special and unique prog rock album, very varied and very well performed. It can't be missed by any serious prog rock lover in any part of the world.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Transi by ARS NOVA (JAP) album cover Studio Album, 1994
3.13 | 27 ratings

BUY
Transi
Ars Nova (JAP) Symphonic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

3 stars It's not fair to instantly dismiss instrumental Japanese prog group Ars Nova as being lazy or unimaginative Emerson, Lake and Palmer clones, even if the all-female trio are heavily influenced by the legendary band as a starting point. Instead, they marry the grand bluster of that classic Seventies act to a heavier and darker gothic sound, and their second album, 1994's `Transi', in addition to being perhaps their most grandiose and complex work overall, weaves in plenty of demented and noisily schizophrenic touches as well!

Opening introduction `Phantom' sounds like the love-child of horror director/composer John Carpenter and legendary Italian soundtrack doomsters Goblin with its ghostly electric piano tip-toes and approaching infernal majesty. It leads directly into the punchy little `Chase', unsurprisingly attacking and up-tempo, and full of Keiko Kumagai's frantic races of buzzsaw-like electronics, dizzying Moog spins and staccato piano stabs, Akiko Takahashi's bashing relentless drums and Kyoko Kanazawa's stalking grumbling bass.

From there on, `Transi' and all the lengthier epic pieces bring plenty of classical pomp and gothic flair, coming together to resemble a gloriously over-the-top spectral pantomime. With everything from fanfare church organs rising around whipping tension and echoing ambience, snaking icy Mellotron slivers, searing Hammond blasts, upfront coursing bass spasms and pounding drum tantrums, the album takes no prisoners. Breathless and relentless, victorious and grandiose, kitsch and histrionic...and there's a devilish mischievousness creeping out of every pore that will surely have Old Nick licking his lips with malevolent glee!

`Dance Macabre' incorporates some exotic Arabian flavours here and there, and `Sahara 2301' houses reprising Moog themes that are both heroic and romantic in a proud Rick Wakeman-esque manner. The near-thirteen minute closer `Nova' is overloaded with sumptuous sweeping flourishes but also moves through everything from avant-garde jazzy piano noodling ala early Pink Floyd, a little bit of swooning Vangelis-like prettiness and an abundance of deliciously scratchy organ violations and hellish Mellotron fire, and an unexpected subdued ambient outro will make you wish Ars Nova explored that area a little more.

Yes, this one can be a little overwhelming and exhausting in the way it darts about in constant multiple directions most of the time (some listeners will likely find that particular quality aggravating), it sure could do with a few more quieter breaks to allow the listener to catch their breath, and you will likely wish the band would calmly develop a few more stronger reprising themes here and there. But the technical virtuosity, extravagant arrangements and inspired energy on display is infectious and hard not to be impressed by, and `Transi' remains a blurring kaleidoscope of musical colour for symphonic-prog lovers.

Three and a half stars.

 Drama by YES album cover Studio Album, 1980
3.77 | 1550 ratings

BUY
Drama
Yes Symphonic Prog

Review by babylonstrange

5 stars I saw the Yes Drama tour and remember when the original Yes members left the stage to leave Downes and Horn alone to perform Video Killed The Radio Star and other Buggles hits that half the audience booed. I think those guys that booed didn't realize the history they were witnessing. OK Buggles aren't prog but don't forget that VKTRS was the first video every shown on MTV, signaling a new era in music. But, hey, this isn't some novelty album. Of the neo-symphonic Yes albums it's clearly the best, with homages to Relayer and hints of Progressive Metal yet to come. A bridge between the old and the new that future Yes albums failed to live up to. I think it's second only to Closer to The Edge as a studio album. Yes Album and Fragile are much better as parts of Yessongs. 90125 may have inspired more of the modern prog bands, but some of it's hardly even rock, let alone prog; I don't think I've made it through the whole album in 30+ years. Drama on the other hand stands up just fine and I listen to it on a regular basis. So why is to good? As Jon and Wakeman started to go wishy-washy and left the band, Steve Howe gets to play a major role in the album, and do some of his heaviest work on Machine Messiah, but it's still Yes through and through. If Dream Theater ever decide to do a Yes cover in their bootleg series then Drama is definitely the album for it. Heaven forbid but the Buggles hit I am Camera morphs into a modern prog classic as Into the Lens, with Relayeresque guitars and keyboards, but with lyrics that you can actually understand, plus a heavy dose of classic Squire's classic bass. White's drums are great throughout, and Downes and Horn are eye opening. What a shame this was just a one-off lineup. So it's Yes's forgotten album, but what a great record.
 Holdfénykert by YESTERDAYS album cover Studio Album, 2006
3.65 | 46 ratings

BUY
Holdfénykert
Yesterdays Symphonic Prog

Review by Matti
Prog Reviewer

4 stars My review (posted originally in November 10, 2015) concerns the remastered version of the 2006 debut album by YESTERDAYS, a band consisting of musicians from the Hungarian minority of Western Romania. [As a side note I'd like to mention that I've witnessed the amazing acoustic guitar playing of Ákos Bogáti-Bokor last spring in a gig featuring the Finnish band Paidarion and multi-national guests. That's one of my fondest gig memories.] A thank you to the drummer Kimmo Pörsti who kindly sent me this CD among a heap of others. He's an executive producer here. Ákos underlines that the remastering didn't involve any compression. The booklet features also very beautiful outdoor photography with piano keys, guitar and a flute. The musicians themselves are not photographed, but this visual approach suits nicely to the pastoral feel in the music. The short instrumental opener 'Napfénykert' stars flute, mellotron and acoustic guitar. Mellow and pretty, perhaps a bit too much so. 'Végtelen' introduces the charming, innocent female vocals. The playing is soft and dreamy, comparable to the classic KC ballad 'I Talk to the Wind'. On the third track there's a brief flute melody citing 'Close To The Edge' (this was amusing to hear for the first time: I instantly recognized it to be from a YES track, but which one was it...). The peaceful and accessible compositions on this acoustically oriented album are not hugely progressive -- and this fact is definitely not a fault, but understandably it can make the album sound a bit too spineless to some prog listeners.

Warmly recommended if you enjoy pastoral works of e.g. ANTHONY PHILLIPS, STEVE HACKETT, ERRATA CORRIGE, CELESTE etc. The Hungarian lyrics are completely beyond my reach but they do sound nice. A couple of songs are sung in English, and actually some of the charm is lost by that. I really like this peaceful music with lots of flute, but the compositions indeed could be more impressive. Hence four stars.

 Suffocating The Bloom by ECHOLYN album cover Studio Album, 1992
4.17 | 293 ratings

BUY
Suffocating The Bloom
Echolyn Symphonic Prog

Review by Luqueasaur

5 stars The 70s but it's the 90s: 9/10

After being disappointed by ECHOLYN's 2011 eponymous album, but still enamored with Raymond Weston's remarkable vocal power, I decided to still give the band another chance and check their more renowned album SUFFOCATING THE BLOOM, acclaimed for being oh so good just like the good ole 70s. And lemme tell you how it's a fair enough claim, if not an underestimation.

Right off the bat echolyn's energetic and insanely eclectic style of GENTLE GIANT-]-tinted progressive rock calls attention. It instantly glued me to the rest of the album like a sticky trap glues a fly to slow, agonizing death. And for good, because there are so many good moments available for an attentive ear! Bluesy, fast-tempo, tropical, violin-oriented, jolly carol-esque wintery tracks; a wide range of styles always presenting superb musicianship from everyone involved (especially the drummer!) with, naturally, the omnipresence of synthesizers, as progressive rock typically presents.

In fact, this diversity is a beautiful demonstration of creativity that actually astounded me as I underestimated these fellas. I find rare to see modern bands capture that innovative, metamorphic aspect of the 70s prog without sounding like it belongs to the 70s... and that's exactly what ECHOLYN does. It gets the best of the 70s prog, and translates into a more modern style. This is the 90s prog, baby, and it's just as good as the original!

... well, not quite, but, as far as I'm concerned, early ECHOLYN is just good.

Checka-checka check it out!

 The Yes Album by YES album cover Studio Album, 1971
4.30 | 2629 ratings

BUY
The Yes Album
Yes Symphonic Prog

Review by SonomaComa1999

5 stars REVIEW #9 - "The Yes Album" by Yes (1971). 07/07/2018

Its been a while since I've done a review, and over the last few weeks I was able to witness my first Yes concert. While the group today is radically different than it was in the seventies, with Steve Howe being the only remaining permanent member from that period, the band still played a myriad of works from throughout their history. One album the band relied on heavily was 1971's "Yes Album", which is largely considered to be the band's breakthrough work.

Two month's prior to the release of the band's second studio album "Time and a Word", the band's original guitarist Peter Banks left the group. This set the stage for Steve Howe to enter the band, bringing Yes's sound to the next level as they were trying to find their footing in the progressive rock world. Howe's presence would elevate the band, even prior to the induction of keyboardist Rick Wakeman. While Wakeman would join Yes later in 1971, Tony Kaye is still keyboardist on this album. Otherwise, we have the same lineup of Jon Anderson (vocals), Chris Squire (bass), and Bill Bruford (drums). With pressure from Atlantic Records to produce an album that was commercially successful, Yes got to work in creating the album which would give them a taste of success at the mainstream level.

The album begins with "Yours Is No Disgrace", which is a very well-liked live staple of the band which gives the listener a wonderful taste of what the band can bring to the table in 1971 as opposed to 1970. In addition to the powerful drumming of Bruford and the diverse bass techniques of Squire, we hear the very fast-paced and borderline acoustic style of Howe's ES-175. I would say that this piece is a great exposition to the album, and furthermore very progressive to boot with a few guitar solos and a keyboard solo. Kaye is not as talented on the keyboards as Wakeman would be, but nevertheless holds his own enough to not distract from the music. "Disgrace" is an anti-war tune that lasts almost ten-minutes, and gives enough instrumental breathing room to compensate for Anderson's vocal passages. I understand that some people are turned off by the vocalist's falsetto, but I view Anderson as probably the defining member of the band alongside Howe, and his voice gives Yes a level of uniqueness that allowed them to stand out in prog. However, Howe deserves a lot of credit for the direction of the band, as evidenced by the acoustic interlude "Clap" that follows the opener. I am personally a big fan of Howe's acoustic work, and "Clap" is perhaps his greatest achievement in that regard. Sourced from a live performance, it is a three-minute fast and upbeat instrumental influenced by Chet Atkins and Mason Williams. I found this song particularly inspiring thanks to its similarities to the work of gypsy jazz virtuoso Django Reinhardt, who introduced me to the quality of critically listening to music. That being said, one will appreciate "Clap" even more when they realize how difficult it is to play; not only is at a rapid tempo, but Howe utilizes a special technique when he does not only use a pick, but he also strums with his ring and pinky fingers simultaneously, demonstrating his impeccable ability with the guitar. Howe would go on to contribute more acoustic pieces to the band, as well as a live solo album dedicated entirely to acoustic work, which I recommend you check out if you are a fan of "Clap" and its style.

Rounding out the first side is quite possibly my favorite Yes song in "Starship Trooper". In typical progressive fashion, the song is split into three parts, with each part being written by a different member of the band. Seguing directly out of "Clap" the first part "Life Seeker" immediately impresses with its spacey opening sound combined with Howe's guitar. Written by Anderson and based on the 1959 scifi novel "Starship Troopers", the vocals are extremely prevalent here, with a theme of religious realization and the search for God, a topic which he seemingly like to rely on. This is a very fun passage, with Squire's bass being especially prevalent alongside Bruford's drums. With a rhythm section as powerful as the Fish and Bruford, it is absolutely key to utilize them to their strengths, which is what Yes does on this track. After three minutes we enter the movement "Disillusion", penned by Squire. The symphonic element of Yes is emphasized here with an acoustic backdrop which eventually moves its way back towards a reprise. I found it surprising that Squire did not a radical bassline that would allow him to show off his skill more than in "Life Seeker". Finally, the final part of the song is in my opinion one of the best passages in the Yes catalog - the instrumental "Wurm" penned by Howe. Based on a piece used in Howe's old band Bodast, it is a cadenza of chords played at a tempo reminiscent of Ravel's "Bolero" that goes along a continuous build-up lasting a couple minutes with the help of Kaye's keyboards and intense drums. Finally at the climax Howe comes back in at the forefront for one last great guitar solo that serves as the de facto coda. Not to discredit Howe's epic shredding session, but Squire's deep throttling bass in the background absolutely makes this moment for me as it just augments the electronic treble coming from the ES-175. Fading out to conclude the first side, Yes could have seriously stopped there; in fact I think this song would have been great as the absolute album closer, but I was satisfied when the band used this piece as the grand finale of the show that I went to - to make things cooler the group did have Tony Kaye come out during the encore to perform this piece alongside "Disgrace".

Picking up where we left off, the band brings on another progressive suite with "I've Seen All Good People", which is split into two passages as opposed to three. Opening up with an a cappella vocal harmony, Howe enters the scene with a Portuguese vachalia guitar for the Anderson-penned part "Your Move" which in similar fashion to "Life Seeker" provides deeply philosophical lyrics to aid with the sublime musical themes and motifs. In fact, things get intensely progressive as Anderson likens the human relationship to a game of chess, long before Gryphon made that album with the chess concept. There is a spontaneous transition to the second part "All Good People", written by Squire and this time featuring a technical and discernible bassline to go behind the chorus. There are a couple references to the works of John Lennon in this song, from a lyrical reference to the song "Instant Karma!" to an organ motif that bears similarity to "Give Peace a Chance". Maybe this was some sort of unintended foreshadowing for the eventual induction of Plastic Ono Band drummer Alan White into the band, who played on Lennon's hit "Imagine". While I have never been much of a huge fan of this piece, it did surprisingly garner the approval of music critic and vocal prog-hater Robert Christgau of the Village Voice, who referred to it as a "great cut". Of course he would later go on to rate the album as a "B-". Perhaps the only piece which falls short on this album is the simplistic "A Venture" which relies heavily on both Kaye and Anderson. It is not a bad track, but it just fails to stand out in an album which is staffed by seminal tunes composed by the band. Fortunately, it is only about three minutes long, roughly the same size as "Clap" and is over with quite quickly as the band decided to omit a Howe guitar solo which comes in right as the music fades out. We finish things off with another Yes classic which I look upon very highly in "Perpetual Change". I consider this tune to be the most upbeat of the tracks on "the Yes Album", and is grandiose enough to match "Starship Trooper" to close a side of the album. While the lyrics come with a rather unnatural mellow and prodding background, the band hits the nail on the head with the symphonic chorus, and better yet, includes a progressive middle instrumental section that features the band going off in two different directions similar to the style of King Crimson. While I prefer the intensity of "Starship Trooper", "Perpetual Change" holds its own in concluding the album while still being a classic staple of the band, largely in thanks to the power of its choruses. I find the ending to be a little bit underwhelming, and I still stand by my opinion that "Trooper" is the natural conclusion to this album in its entirety.

"The Yes Album" reached #4 on the UK album charts, serving as Yes's commercial breakthrough. Better yet, the album set the stage for the release of the seminal "Fragile" album released later that year, and eventually the GOAT album "Close to the Edge" in 1972. All three of these albums have been given their fair share of respect in the prog community, and all three deserve to be labeled as essential works of prog. The vast majority of this album is memorable and listenable, and even when the filler track "A Venture" is involved, there still are no negative takeaways from this album. In fact, the group would continue to get better by adding Wakeman for the next album. As I have noted, "Starship Trooper" is my personal favorite Yes composition, but "Clap" is also one of my favorite prog tunes since I'm a huge fan of Howe's acoustic work. In many ways, it could be argued that Steve Howe is the member responsible for Yes's ascension to prog fame, as his guitar work on this album excelled in bringing the band's sound into its own. I look forward to reviewing these golden age Yes albums in the future, mainly because they have stood the test of time which remaining obviously seventies. For "the Yes Album", I award a five-star rating (94% - A) which puts it ahead of their 1973 album "Tales from Topographic Oceans", which I reviewed earlier (and you should check out).

Data cached

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 / STOLT Multi-National
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
ARS PRO VITA Brazil
ART IN AMERICA United States
ASA DE LUZ Brazil
XAVIER ASALI Mexico
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 / HOLLOWSCENE 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
ECCENTRIC ORBIT United States
ECHOLYN United States
ECLAT / ECLAT DE VERS France
ECLIPSE Brazil
EDEN Canada
EGGROLL Israel
EIK Iceland
ELLESMERE Italy
ELOHIM France
ELOITERON Switzerland
EMERSON LAKE & PALMER United Kingdom
REDJY EMOND Canada
ENGLAND United Kingdom
THE ENID United Kingdom
EPIDAURUS Germany
EPIGNOSIS United States
EPISODE United States
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
FALLING EDGE Canada
FANTASY United Kingdom
FARMHOUSE ODYSSEY United States
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
G.A.L.F. Brazil
GALIE Mexico
GENESIS United Kingdom
GENS DE LA LUNE France
THE GIFT United Kingdom
GLASS United States
GLASS HAMMER United States
GÒTIC Spain
GOVEA Mexico
GRACIOUS United Kingdom
GRANADA Spain
GRAND STAND Sweden
GRANDBELL Brazil
GREENSLADE United Kingdom
GREYFIELD Spain
GROBSCHNITT Germany
SHAUN GUERIN United States
GUILDENSTERN Germany
HALLOWEEN France
HANDS United States
BO HANSSON Sweden
HARLEQUIN MASS United States
HARMONIUM Canada
HECENIA France
HELIOPOLIS United States
ANDERS HELMERSON Brazil
HIGH WHEEL Germany
TERUTSUGU HIRAYAMA Japan
HOGGWASH Ukraine
HOKUS POKUS Norway
LYLE HOLDAHL United States
HOLDING PATTERN United States
HOLY LAMB Latvia
HORIZONT Russia
HYACINTUS Argentina
I.C.U. Germany
III MILÊNIO Brazil
ILVCIA Spain
IN SPE Estonia
INDEX Brazil
INFINITY United States
THE INNER ROAD United Kingdom
INQUIRE Germany
JACK INTVELD United States
INVISIBLE Argentina
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
KALABAN United States
KALO Japan
KANSAS United States
KARDA ESTRA United Kingdom
KARFAGEN Ukraine
KARMAKANIC Sweden
KHATSATURJAN Finland
KING EIDER Netherlands
KLOCKWERK ORANGE Austria
KOGAION Romania
KOTEBEL Spain
KVAZAR Norway
KYRIE ELEISON Austria
L'ORIENT D'Ô Canada
LADY LAKE Netherlands
LANVALL Austria
LÁQUESIS Argentina
LAZA I IPE Yugoslavia
LEGACY United States
LEI SECA Brazil
LEITMOTIV Canada
LETHE Netherlands
FRANCIS LICKERISH United Kingdom
LIFE LINE PROJECT Netherlands
LIFT United States
PÄR LINDH AND BJÖRN JOHANSSON Sweden
PÄR LINDH PROJECT Sweden
LITTLE TRAGEDIES Russia
CAILYN LLOYD United States
THE LOAD United States
LOCH NESS Brazil
LORD FLIMNAP Israel
M-OPUS Ireland
DUNCAN MACKAY United Kingdom
MADAME CLAUS Argentina
MADISON DYKE Germany
MAGDALENA Japan
MAGIC PIE Norway
MAGIC SPELL Switzerland
NICK MAGNUS United Kingdom
MAGRATHEA United Kingdom
MAHOUJIN Japan
MAINHORSE Switzerland
MALDOROR France
MANDALABAND United Kingdom
MANDRAKE Japan
MANGROVE Netherlands
MANTICORE Sweden
MANTRA Spain
LA MÁQUINA DE HACER PÁJAROS Argentina
MARCO Mexico
MARYGOLD Italy
MASQUE PREMIERE United States
MAZE OF TIME Sweden
MEDINA AZAHARA Spain
MELVIN'S NOSEHAIR Netherlands
MEMORIANCE France
JACQUES MENACHE Mexico
MERLIN Germany
METABOLISME France
MEZQUITA Spain
MIA Argentina
MIDAS Japan
MIKLAGÅRD Sweden
MIKROMIDAS Norway
MILKWEED Canada
MARIO MILLO Australia
DAVID MINASIAN United States
MIND SKY United States
MINOTAURUS Germany
MIRROR Netherlands
MIZUKAGAMI Japan
MONA LISA France
MONOLITH United States
MOON SAFARI Sweden
MOONGARDEN Italy
MORGAN United Kingdom
MORILD Norway
MORSE CODE Canada
NEAL MORSE United States
TIM MORSE United States
MOSAIK Sweden
MOTH VELLUM United States
MUGEN Japan
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 / 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
TENDERTON Norway
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

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives