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.

IvŠn Melgar Morey, Peru 2006



Symphonic Team

Current Team as at 09/07/17

IvŠn Melgar Morey (IvŠn_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 | 4424 ratings
CLOSE TO THE EDGE
Yes
4.64 | 4109 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.60 | 3567 ratings
FOXTROT
Genesis
4.45 | 3507 ratings
FRAGILE
Yes
4.42 | 3125 ratings
NURSERY CRYME
Genesis
4.39 | 2661 ratings
MIRAGE
Camel
4.37 | 3021 ratings
RELAYER
Yes
4.38 | 2261 ratings
MOONMADNESS
Camel
4.37 | 1698 ratings
HYBRIS
ńnglagŚrd
4.35 | 1290 ratings
SI ON AVAIT BESOIN D'UNE CINQUI»ME SAISON
Harmonium
4.30 | 2931 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.29 | 2840 ratings
THE YES ALBUM
Yes
4.30 | 2274 ratings
THE SNOW GOOSE
Camel
4.41 | 624 ratings
FROM SILENCE TO SOMEWHERE
Wobbler
4.28 | 2555 ratings
A TRICK OF THE TAIL
Genesis
4.32 | 1202 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.30 | 845 ratings
DEPOIS DO FIM
Bacamarte
4.23 | 2081 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.26 | 1081 ratings
VILJANS ÷GA
ńnglagŚrd
4.38 | 445 ratings
A DROP OF LIGHT
All Traps On Earth
4.24 | 1013 ratings
HAMBURGER CONCERTO
Focus
4.22 | 1119 ratings
LEFTOVERTURE
Kansas
4.15 | 2265 ratings
TRESPASS
Genesis
4.22 | 719 ratings
ASHES ARE BURNING
Renaissance
4.13 | 1851 ratings
BRAIN SALAD SURGERY
Emerson Lake & Palmer
4.20 | 670 ratings
TO SHATTER ALL ACCORD
Discipline
4.13 | 1587 ratings
TRILOGY
Emerson Lake & Palmer
4.17 | 839 ratings
BRIDGE ACROSS FOREVER
Transatlantic
4.17 | 771 ratings
POINT OF KNOW RETURN
Kansas
4.19 | 641 ratings
SOLA SCRIPTURA
Morse, Neal
4.19 | 625 ratings
? [AKA: QUESTION MARK]
Morse, Neal
4.10 | 1918 ratings
WIND & WUTHERING
Genesis
4.14 | 819 ratings
V
Spock's Beard
4.18 | 561 ratings
THE SNOW GOOSE (RE-RECORDING)
Camel
4.22 | 405 ratings
UNFOLDED LIKE STAIRCASE
Discipline
4.13 | 703 ratings
SONG FOR AMERICA
Kansas
4.24 | 338 ratings
MARSB…LI KR”NIKŃK (MARTIAN CHRONICLES)
Solaris
4.05 | 1794 ratings
TARKUS
Emerson Lake & Palmer
4.04 | 1977 ratings
GOING FOR THE ONE
Yes
4.08 | 788 ratings
THE SIX WIVES OF HENRY VIII
Wakeman, Rick
4.09 | 692 ratings
FOCUS II [AKA: MOVING WAVES]
Focus
4.06 | 841 ratings
RAJAZ
Camel
4.09 | 621 ratings
TURN OF THE CARDS
Renaissance
4.08 | 656 ratings
EPILOG
ńnglagŚrd
4.07 | 752 ratings
SMPTE
Transatlantic
4.05 | 922 ratings
THE WHIRLWIND
Transatlantic
4.11 | 484 ratings
ONE
Morse, Neal
4.05 | 804 ratings
BANKS OF EDEN
Flower Kings, The
4.10 | 492 ratings
BLOMLJUD
Moon Safari
4.16 | 321 ratings
SUFFOCATING THE BLOOM
Echolyn
4.16 | 315 ratings
BETWEEN FLESH AND DIVINE
Asia Minor
4.22 | 225 ratings
IN THE REGION OF THE SUMMER STARS (1984)
Enid, The
4.09 | 442 ratings
THE NEAL MORSE BAND: THE SIMILITUDE OF A DREAM
Morse, Neal
4.13 | 329 ratings
MEI
Echolyn
4.26 | 194 ratings
10.000 ANOS DEPOIS ENTRE V…NUS E MARTE
Cid, Josť
4.05 | 543 ratings
ECHOLYN
Echolyn
4.23 | 200 ratings
TRIANA (EL PATIO)
Triana
4.03 | 607 ratings
BACK IN THE WORLD OF ADVENTURES
Flower Kings, The
4.05 | 472 ratings
WHO'S THE BOSS IN THE FACTORY?
Karmakanic
4.28 | 169 ratings
SLOW DANCE
Phillips, Anthony
4.05 | 460 ratings
TESTIMONY
Morse, Neal
4.10 | 316 ratings
L'HEPTADE
Harmonium
3.96 | 1286 ratings
CAMEL
Camel
4.00 | 667 ratings
BRIEF NOCTURNES AND DREAMLESS SLEEP
Spock's Beard
4.10 | 288 ratings
THE FLOWER KING
Stolt, Roine
4.15 | 223 ratings
NOSTRADAMUS BOOK OF PROPHECIES
Solaris
4.20 | 185 ratings
BLŇ VARDAG
Atlas
3.99 | 587 ratings
TESTIMONY 2
Morse, Neal
4.04 | 378 ratings
THE GEESE AND THE GHOST
Phillips, Anthony
3.98 | 602 ratings
KANSAS
Kansas
4.19 | 178 ratings
METANOIA
Nexus
4.12 | 226 ratings
REFUGEE
Refugee
3.97 | 588 ratings
DESOLATION ROSE
Flower Kings, The
3.95 | 678 ratings
A NOD AND A WINK
Camel
4.10 | 239 ratings
ECHOES FROM WITHIN DRAGON ISLAND
Karfagen
3.98 | 492 ratings
RITES AT DAWN
Wobbler
4.08 | 250 ratings
CONCERTO FOR PIANO AND ELECTRIC ENSEMBLE
Kotebel
4.16 | 180 ratings
LOS DELIRIOS DEL MARISCAL
Crucis
3.89 | 2373 ratings
TALES FROM TOPOGRAPHIC OCEANS
Yes
3.98 | 452 ratings
FISH OUT OF WATER
Squire, Chris
3.96 | 516 ratings
FLOWER POWER
Flower Kings, The
4.07 | 251 ratings
THE WAY
Anima Mundi
4.13 | 191 ratings
L'ARAIGN…E-MAL
Atoll
3.97 | 445 ratings
MOMENTUM
Morse, Neal
4.03 | 278 ratings
MARTIAN CHRONICLES II
Solaris
4.15 | 163 ratings
SOMEWHERE BUT YESTERDAY
Citizen Cain
4.12 | 174 ratings
GLORY OF THE INNER FORCE
Finch
3.92 | 603 ratings
STARDUST WE ARE
Flower Kings, The
4.10 | 186 ratings
SONG OF THE MARCHING CHILDREN
Earth And Fire
4.06 | 209 ratings
TARDIGRADE
Simon Says
4.13 | 152 ratings
CICLOS
Canarios, Los
4.10 | 163 ratings
POLLEN
Pollen
3.97 | 299 ratings
AU-DELņ DU D…LIRE
Ange
3.93 | 390 ratings
ILLUSIONS ON A DOUBLE DIMPLE
Triumvirat
4.06 | 186 ratings
OVERGROUND MUSIC
After Crying
4.05 | 190 ratings
JORD
JordsjÝ
3.90 | 542 ratings
UNFOLD THE FUTURE
Flower Kings, The
4.05 | 187 ratings
ADONIS
Anyone's Daughter
3.95 | 306 ratings
AS THE WORLD
Echolyn
4.03 | 196 ratings
NATTFIOLEN
JordsjÝ

Symphonic Prog overlooked and obscure gems albums new


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

SAECULA SAECULORUM
Saecula Saeculorum
ET APR»S
Memoriance
L'ARBRE-CIMETI»RE
Maldoror
S»VE QUI PEUT
Ange

Latest Symphonic Prog Music Reviews


 The Snow Goose (Re-recording) by CAMEL album cover Studio Album, 2013
4.18 | 561 ratings

BUY
The Snow Goose (Re-recording)
Camel Symphonic Prog

Review by chikinn

2 stars I'm no Camel expert, but along with the rest of the community here, I think well of their first four records (although I prefer Mirage and Moonmadness).

This re-recording adds little to the original. Skip it, or at least start with the four significantly altered/extended tracks labeled "revised version", of which I liked "Migration" best.

In fact, it feels backward. The original featured beautiful instrumental performances by the London Symphony Orchestra. Perhaps the arrangements have been improved, but it's hard to get past the clunky synths (a hallmark of bad prog) when the original was executed tastefully. (Contrast this approach to Ayreon's re-recording of Actual Fantasy, where a drum kit is replaced with Ed Warby. That's a solid reason to redo an album.)

Original - 2.5 stars

Re-recording - 1.5 stars. Rounding up as a nod to its predecessor.

 Yes by YES album cover Studio Album, 1969
3.25 | 1310 ratings

BUY
Yes
Yes Symphonic Prog

Review by jamesbaldwin
Prog Reviewer

3 stars The debut album of Yes sounds now very pretty and sixties.

1. Beyond and Before (4:50) is a good ballad folk-rock. Guitar wah-wah, vocals in CSNY' style. Squire's bass immediately jumps. Rating 7,5/8.

2. I See You (6:33). Song written by the Byrds. It is much longer than the original, and the Byrds psychedelia is not present. The song is jazzed up. Anderson's female voice is dubbed but begins to peep alone, creating a strange sensation. Banks and Bruford solo all jazz. A lot of creativity but also a lot of confusion. Rating 8.

3. Yesterday and Today (2:37). Short melodic, acoustic song, where the celestial Anderson's contralto voice emerges for the first time, but the tone is not as high as it will be in the future. Good atmosphere but the pathos is missing. Rating 7+.

4. Looking Around (3:49). Conventional rock ballad with the organ in foreground. Good sound, but nothing more - The listener now begins to understand that the singer has just that voice. Rating 6,5/7.

End of A-Side.

5. Harold Land (5:26) opens B- side. Intro a minute and a half long, rambling, then a melodic ballad starts that alternates good moments with bad ones. Rating 6,5/7.

6. Every Little Thing (5:24). A new jazzy intro thanks to Bruford and Banks, then the music changes, and the Beatles' song is recognized, a song with a vague and insignificant melody that is covered here by rhythm and arrangement. It seems to witness a transformation, like distorting a beat, melodic song into a jazz-rock song. As always with Yes, you lose in feeling and pathos but you gain in musical emphasis, in visionarity. The cover is well centered, and since the original is a poor song, this cover gains us. The best song on the album. Rating 8+.

7. Sweetness (4:19). Sweet and melodic ballad where Anderson still sings on the low notes. The listener has become accustomed to his asexual voice, and does not yet know that in the future he will almost use falsetto. More engaging than the ballad of the first side. Rating 7.5

8. Survival (6:01). Blues-rock guitar, organ, then drums and bass, then acoustic piece and finally Anderson's voice. Personally, I regret this still neutral voice and on the low notes, almost warm, compared to the high note that will come. This is perhaps the song that projects Yes into the future, the less epigonic, more personal song. Bruford plays jazz-style drums again, and the melody is good this time. It is a bridge between the beat, the melodic song and the prog. Almost epic ending but then a short instrumental digression arrives. Rating 8.

Total Time: 38:59

Yes was still a long way from what King Crimson did in 1969, and also Van Der Graaf Generator. The listener hears a band that brings together beat, rock, jazz arrangements, which has great musical potential, especially the rhythm section (Bruford and Squire), and a singer with an asexual voice, which gives a whole sense of estrangement, even if still moderate, compared to the future. A group that does well when it expands the beat songs by 2-3 minutes, when it creates a jazz atmosphere, and when it has a singer who remains on low notes. A music that has yet to grow to become personal, but already has a quality: to make commercial a song format different from the catchy verse of a 2-3 minute refrain. Still naive but pleasant album.

Rating 7+. Yes reach three stars.

 Illusions On A Double Dimple by TRIUMVIRAT album cover Studio Album, 1974
3.93 | 390 ratings

BUY
Illusions On A Double Dimple
Triumvirat Symphonic Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Triumvirat is to Emerson, Lake and Palmer as Starcastle is to Yes. Triumverat is made up of 3 excellent musicians that have been compared to ELP as a clone band, but no one can deny how talented they are, and they would have to be to be accurately compared to them. Just like ELP, they are made up of 3 individuals, however the line-up did change several times through their history. However, the one constant is keyboardist Jurgen Fritz, who can definitely make some complex and bright keyboard driven music.

Their 2nd album 'Illusions on a Double Dimple' sees the band shining with some complex and excellent symphonic rock, of course, in the same style as ELP. In fact, this band started out playing covers of ELP tracks, but they were good enough to make music of their own. In this album, the music is divided up into two suites, each taking up a full side of the album. However, right away with this album, you can see the main difference of changing line-ups as the first side ('Illusions on a Double Dimple') features the original bassist Hans-Georg Pape, where the 2nd side ('Mister Ten Percent') features the bassist/vocalist that replaced him; Helmut Kollen. The drummer (and often co-writer) on this album is Hans Batheilt.

The first suite, the title track, begins with a quick introductory vocal track 'Flashback' which soon moves into a good, upbeat track 'Schooldays'. But it's on the track 'Triangle' that the band's instrumental talent begins to show through, especially Fritz's talent as he pretty much takes the spotlight in the same way that Emerson would. Kollen's vocals are a bit more rock oriented than Lake's, but he still has a good range and a powerful voice. As the first suite continues, you will also notice that the music is also more structured than ELP's in that there is less improvisation, though there is some. It also seems that each musician has an important part to play, its not as centered as much on Fritz's talent as it is in Emerson's case. The music is still quite entertaining and interesting in its own right, complex, but not always as complex. It is also a bit less reliant on classical music. As the music continues through the movements 'Illusions' 'Dimplicity' and 'Last Dance' you notice some returning themes that bring everything together nicely, and you will also notice sections that are similar to Emerson-penned tracks. All of the music on this first suite is quite upbeat, no ballads or slower sections exist. Bathelt isn't quite as dynamic of a drummer as Palmer, but he holds his own with the complex passages.

'Mister Ten Percent' is the name of the 2nd suite, also made up of 6 movements. Starting off with 'Maze', now you can hear some similarities to another prog band, that is 'Yes'. The first movement is mostly instrumental except for a couple of sudden breaks where they sing 'Ahhh' and other little passages will remind you of bits and pieces off of various Yes albums. The piano is more straightforward, similar to Rick Wakeman's piano. But then when the vocals in 'Dawning' begin, you hear a certain over-the-top delivery more akin to Greg Lake. There is the inclusion of The Cologne Opera House Orchestra and Kurt Edelhagen Brass Section on this part of the album that fleshes out the music even more, and now you can hear a new dimension to the music besides the ELP/Yes similarities. A nice bass solo even separates Triumverat apart even more as 'Bad Deal' continues and then the section know as 'Roundabout'. Yep, they did that. But it's not the same song, just the same title as the Yes track. As it all goes on, the ELP likeness comes back to the fore when Fritz opens up on the keys again. The band then takes another clue for naming the subsections as the next is called 'Lucky Girl' (similar to the title of ELP's 'Lucky Man'). You even get the acoustic guitar suddenly taking over as it drives this part of the suite along, but at least it's not a direct rip off as there is plenty of help from the other members, but it is the most laid-back part of the album. It is different enough from the ELP track that if it hadn't been similarly named, you probably wouldn't even notice any similarities. It all ends with 'Million Dollars' which brings everything together for this side of the album.

This album helped bring the band out into the spotlight as they toured many countries opening for 'Fleetwood Mac' and other bands. It would be the follow up album 'Sparticus' that would get the band notoriety in the states. However, as a lead up to that album, this one has also become one of the band's most revered albums among lovers of progressive music. It is hard not to compare the band to ELP however, as the there are so many similarities. But, even if they are a clone band, they can handle themselves quite well, and, if you couldn't get enough of the best years of ELP, then you will defintately want to check out Triumverat's better albums. Its excellent keyboard-driven symphonic prog and they have also been able to get the respect they deserved among prog circles.

 X by SPOCK'S BEARD album cover Studio Album, 2010
3.77 | 559 ratings

BUY
X
Spock's Beard Symphonic Prog

Review by friso
Prog Reviewer

2 stars In recent years I've gained some interest in modern prog by buying some recent vinyl releases of Kaipa, Pendragon, IQ, Galahad and The Flower Kings. Exploring an album by Spock's Beard felt like a logical next step. I must admit; this album sums up all negative ideas I had about modern prog. To poppy, to focused on canonical exploitation and without an own unique vibe or some personality in the performances. Luckily the album gets slightly better after its false start; there are few songs as unappealing as the uneventful sympho-pop and Blue Oyster Cult imitation 'Edge of the In-Between'. The album shows endless hints to the progressive styles of bands like Kansas, Pink Floyd (even 'Atom Heart Mother'), Genesis, Yes, Gentle Giant and some prog-related groups, without ever capturing some these original recording's main strengths. The overal impact of the record is that of a band playing on the background, whereas my few experiences with early Spock's Beard music is that of being at least impressed by its frontal imminent impact. An atmospheric neo-prog type song like 'The Man Behind the Curtain' starts of just right and then gets sloppy with weak refrains and out of place bridges with Beatles influences, poppy symphonic rock clich's and gutless Yes-imitations. Spock's Beard 'X' is a record full of musical and production talent, but it takes more than talent to make a piece of art.
 Works Vol. 1 by EMERSON LAKE & PALMER album cover Studio Album, 1977
2.93 | 753 ratings

BUY
Works Vol. 1
Emerson Lake & Palmer Symphonic Prog

Review by iluvmarillion

2 stars How to Save a Mess?

Back in the 1990's I used to take the freely available outtakes from the Beach Boys Smile sessions and arrange them in various different ways onto a CD to play back in the way I envisage the album was meant to unfold in the vision of Brian Wilson. The choral introduction of Our Prayer followed by the long version of Heroes and Villains was easy, but then came a jigsaw puzzle of piecing together the middle tracks through to the culmination of the seminal track Surf's Up to finish the album. Brian Wilson solved the puzzle himself when he released the Smile album under his own name around 2004.

Works doesn't command the legendary status of Smile but it does represent a watershed for the excesses of the Prog Rock movement which was being overtaken in popularity by Punk and New Wave.

Where it all went wrong I think was in its conception of giving each band member a side of music with the fourth side devoted to a band effort. Throw in a complete side of Keith Emerson music which is purely piano and orchestra and try to mesh it with acoustic Greg Lake numbers and a drum orchestral suite by Carl Palmer would be an impossible task for any record producer. Maybe it was a case of ego in combination with ambition, with the added anxiety of wanting to put out a studio album after a three-year absence, overriding common sense. The result actually isn't that bad. Musicians like Keith Emerson, Greg Lake and Carl Palmer are incapable of producing sludge (even Love Beach has its moments).

So, this in my opinion is how the whole project could have been saved:

Opening track. Fanfare for the Common Man. This is a fantastic version of the Aaron Copeland and a favorite with ELP fans. Fast and jazzy with a catchy upbeat why was it hidden on side 4? It has to open the album.

Track 2. Piano Concerto. Keith Emerson's attempt at sonata form which sits with mainly 19th classical music. That's ok I guess because Keith is attempting something purely orchestral with piano. Trouble is even George Gershwin was dispensing with sonata form back in the 1920's. Bela Bartok was composing piano concertos in the early 20th century but they depart radically from anything before that period. I think inwardly Keith is a romantic who loves that period of symphonic music from mid to late 19th century and sees the pure orchestral form as a challenge reflecting his love of that period. If it was Gershwin it would be very jazzy and very American. That's not Keith. He turns to European late romantic 19th century. Whether he succeeds or not depends on your love of that period, your love of the symphony orchestra and your willingness to suspend your love of electronic form which led you to ELP in the first place.

Track 3. C'est La Vie. Greg Lake's song writing skills are never going to be a match for Ray Davies, Bob Fripp or David Bowie. Nevertheless, Greg has a voice to kill for, a beautiful guitar playing style and the sensibilities of building a song structure. C'est La Vie is a typical Lake acoustic ballad, a French flavor with the cliched piano accordion accompanying it and a beautiful orchestral arrangement. Ok, it not the most subtle composition Greg Lake ever wrote but it suits the romantic theme of the album.

Track 4. Pirates. Grand finale all guns firing, group effort here. Ok again, subtlety it isn't with cliched lyrics and a rousting theme, but the playing is superb and the orchestral arrangement is quite stirring.

I've deliberately left out side three which features a drum orchestral suite by Carl Palmer in which he offers a remake of Tank from their self-titled album and a reinvention of pieces of JS Bach and Prokofiev. As an added bonus you get to hear guitarist Joe Walsh on LA nights.

Verdict:

Two Stars for the original double album Three and a half to four stars for a reconstituted album stripped back to a single album size with my above suggested changes. Fours stars for Carl Palmer's drum orchestral suite which is really the best thing on the Works album and deserved its own solo studio album.

 Blind Man's Mirror by SECOND MOVEMENT album cover Studio Album, 1976
3.65 | 22 ratings

BUY
Blind Man's Mirror
Second Movement Symphonic Prog

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

4 stars One of the true obscurities of German prog from the 70s, SECOND MOVEMENT is a band that formed all the way back in 1971 in Coburg but didn't find any album release until late in the game in 1976 and due to its formation so early on has been assumed to be just another Krautrock band from the vibrant scene of the early 70s but this band forged ahead with a sound all its own as it kept some of the psychedelic features of the 60s but mixed them with a more symphonic approach that often emulated the great Keith Emerson with energetic outbursts of keyboard prowess. Add to that the band infused Santana-esque percussive drive and occasional solos but even stranger was that the catchy pop hooks, soaring emotive guitars and stylistic approach seemed to prognosticate the neo-prog movement of the 80s. There are even occasional saxophone solos and lush flute passages.

Having incarnated from the ashes of a band called The O.N.E. that played covers of songs by the Beatles, the Rolling Stones and the Troggs in the late 60s, SECOND MOVEMENT carried on many of the pop sensibilities while it incorporated a healthy dose of proggy workouts as it headed into the second wave of German prog along with other bands such as Anyone's Daughter, Amenophis and Rousseau. By the time SECOND MOVEMENT got around to recording and releasing an album, the octet lineup was whittled down to the mere sextet of Harald Kesselhack (lead vocals), Sigmund "Seggi" Zeidler (keyboards), Thomas MŲckl (guitar), Manni Bierback (flute, saxophone), Manni Greiner (bass) and Mathias Helk (drums). The band released its debut album BLIND MAN'S MIRROR and a standalone single "Fool's Dance / Rainbow" on Castle Records in 1976. The album is a true obscurity as only 700 copies were produced on vinyl and it has never found a repressing as of 2020 at least.

Not only has this album suffered from its true obscurity but has also been subjected to lots of criticism over the decades probably due to the fact it didn't adhere to the norms of the German scene and sounds more like an English band in many ways. Not only do the keyboards emulate Keith Emerson but the vocal style of Harald Kesselhack often sounds a lot like Greg Lake particularly on tracks like the length nine minute "Back In Town" but while that may be true, the band has a much more diverse spectrum of tones and timbres than ELP ever did and the keyboard parts are for the most part crafted to create a hyperactive atmospheric backdrop for the melodic flow to weave a tapestry around. The inclusion of the flute and spaced out guitar chops evokes another German band, Nektor although some Pink Floyd influences can be heard now and again but what stands out the most are the airy guitar sweeps that evoke the Genesis albums with Steve Hackett around Wind & Wuthering.

Underneath the prog workouts lays a very classical sounding foundation and at times the keyboard reverts to pure Baroque style Bach sounds that immediately bring bands like The Nice to mind but these revelations are fleeting and the prog regalia quickly returns to its originally scheduled program. Despite four tracks extending past the nine minute mark with the title track exceeding twelve, SECOND MOVEMENT's composiitons are primarily vocal based, sung in English and give no hints as to the fact that this band was German but despite the lyrical content providing much of the running time, there are plenty of opportunities for extended improvisations, proggy time signature deviations and a few hairpin turns but overall this album has somewhat of a crossover appeal as it's based on pop infused catchy hooks that give this album more of a happy new wave feel which is possibly why it's been panned by many since it betrays the German tendencies to create dark, brooding and even depressing music that was so prevalent in the Krautrock scene.

While its true this band wore its influences on its sleeves prominently, at the same time it's impossible to mistake this album as something crafted by any of the bands that made an impression on SECOND MOVEMENT. This album exists somewhere between the early symphonic prog 70s and the later post 76 new wave scene which gives this one a really unique flavor as it somehow manages to bring classical music, jazz, psychedelia, symphonic prog, new wave and even Latin flavors all into one cauldron. Personally i like this one a lot. The album is extraordinarily consistent and although this may appeal more to the crossover prog and neo-prog crowds, it's definitely a keeper that seriously needs to find a remastered renaissance. The band released one more album without any prog in 81 and then soon disbanded.

 Divergencie by COLLEGIUM MUSICUM album cover Studio Album, 1981
3.63 | 30 ratings

BUY
Divergencie
Collegium Musicum Symphonic Prog

Review by sgtpepper

4 stars Divergencie has several music messages incorporated in its body: continuation of sheer ambition and talent from the 10- years old "Konvergencie" that stirred the surface of progressive rock in central Europe, updated sound, all-star vocals of Slovakian part of Czechoslovakia and conceptual topics. 80 minutes are definitely worth listening and the music should be acceptable to pop, rock and progressive rock fan with even a dose of joy for classical music and jazz music listener. The first suite "Refreny" offers a surprising jazz-rock ouverture in "Refren" with keyboard leads, guitar, bass taking solo and a plenty of good contemporary prog-rock moments.

"P.F" is a mini-suite of many sketches with beautiful angel children choir, orchestra and instrumental music not too unsimilar from P.F. 1972 on "Konvergencie". For symphonic oriented fans, this is the suite to go for.

"Musica concertante" is a classical music inspired suite.

"Sadza do obalky" is the only dinstinctively poppy part but convinces with good vocals and melodies that show emotions and will stay in your mind like worms.

I like this album better than 1977 and 1979's efforts as it is more ambitious, maybe less pompeous and testifies the development of Marian's Varga gifted craftmanship.

 Close To The Edge by YES album cover Studio Album, 1972
4.66 | 4424 ratings

BUY
Close To The Edge
Yes Symphonic Prog

Review by FunKiller555

5 stars At the time of writing, this is my favorite album of all time. Each song starts and ends on its own terms, so I feel it's fair to review it in segments. Close to the Edge immediately works to build an atmosphere. Its detailed layering hooks you, and keeps you there for the full ride. Followed by another one because, even though you just heard an incredible album with a killer outro, you hear something new underneath the noise. The sounds interact differently, maybe you didn't hear the pulsing keyboard part, not because you weren't listening, just because the music pulled you into a very purposeful, approachable, and grand masterwork on its own right that it made you want to experience on its own terms. What it adds in detail it does not sacrifice in clarity. After a multifaceted introduction the music does not let up, with tasteful performances from Yes' best lineup that all add to a wonderful atmosphere that is just fun to listen to. The catchy grooves, melodies, and fun harmonies all give each other space to breathe while they blur the transition between phases of the song, allowing time to disappear while you appreciate the artistry, all without feeling forced. By the time the Keyboard solo happens not a second is wasted in setting up the finale in the most pleasant way possible. The keyboard solo takes what you've been invested in and enjoying and puts a knife in you adding an unsolvable tension to constantly renew interest. By the time its over you'll beg for it to happen again as the most cathartic release of that tension comes with a reintroduction of elements from the first half. This song will meet you wherever you are and take you on a new journey on each listen perfectly setting up And You And I.

Tightly written towards the same cathartic release, And You And I makes you feel sincerely what would otherwise be deflected by post ironic shields. It opens you up to feel anything and expresses some of the most powerful and complex emotions possible. Siberian Khartu ends the album with a haunting, spacey, rock driven epic. There's plenty to intellectualize here, but so much more to feel, which is this album's main draw for me.

 Shipwrecked by GENESIS album cover Singles/EPs/Fan Club/Promo, 1997
2.55 | 34 ratings

BUY
Shipwrecked
Genesis Symphonic Prog

Review by FalconBleck

3 stars #42 Review

Disclaimer: CD version 1, for the B-Sides. As stated in an earlier review, this single reviews will be added to the complete CAS review as an update.

1.- Shipwrecked 5/10 This song it's very repetitive, but it's not an unlistenable song, just forgetable. Genesis has done much better ballad type songs.

2.- Phret 7/10 What i found was missing in the CAS album was an instrumental, and here is one, it's kind of a misterious and innocent track with some nice changes here and there but overall most of the song repeats once.

3.- 7/8 8/10 An instrumental and in an odd time signature (also something that i felt was under-used in CAS)? Well, even though its just 7/8 i'm happy, and this for me is probably one of my favorite tracks from the CAS sessions. Sounds like some kind of videogame menu music, and a good one at that.

So overall, this was pretty nice, i really like instrumentals, 67/100 curiously hampered by the reasons why this single was released.

 Our Own Sad Fate by THIRTEEN OF EVERYTHING album cover Studio Album, 2019
3.50 | 12 ratings

BUY
Our Own Sad Fate
Thirteen Of Everything Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars This is the second album from the Texas-based progressive rock group, only some fourteen years after the debut. I have no idea what has happened in the intervening years but the core of the band has stayed the same with Mick Peters (vocals, Chapman stick, bass, pedals, guitars), Ted Thomas (vocals, drums, percussion, synthesizer) and Joe Funk (guitars, synthesizer). Thad Miller (synthesizer) who played on the first album here only features on one track and has been replaced by Bruce McIntosh (piano, organ, synthesizer) who plays on the rest, plus there are a few guests.

Here we have a band who are taking the classic influences of Pink Floyd, Gentle Giant, King Crimson and Camel and combining them into something which feels fresh and inviting. There is a power here, a real depth to the music as it swirls and combines. The real joy of this is one is never really sure where it is going to be lead as the path has many branches and they are taken at will, sometime coming back to the main route, others finding a new way, while at others just going around to take you back to where you started. The use of different instruments to provide the bassline allows the music to mutate gracefully and with ease, while Thomas is obviously at home playing anything but a standard rock pattern, which again brings us closer to the Seventies. But the songs and arrangements are modern, with great vocals (there are three different lead singers on the album, as Rick Clark guests on 'Walk on Water').

There is huge variety on the album as they bring their influences to bear, and the more attention and time the listener gives to it the more they will get out of it. I can only hope it isn't fourteen years until the next one.

Data cached

Symphonic Prog bands/artists list

Bands/Artists Country
21. PERON Turkey
35 TAPES Norway
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
ALL TRAPS ON EARTH Sweden
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
ńNGLAGŇRD Sweden
ANIMA Argentina
ANIMA DOMINUM Brazil
ANIMA MORTE Sweden
ANIMA MUNDI Cuba
ANOXIE France
ANTARES Germany
ANYONE'S DAUGHTER Germany
APH…LANDRA 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
ASTRň United States
ASTURC”N 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 & PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
ROBERT B…RIAU Canada
ED BERNARD Canada
BLACK SEPTEMBER United States
BLŇKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
BOX OF SHAMANS United States
BILL BRESSLER United States
BRIMSTONE United States
BURNING CANDLE Germany
BUSKER Canada
CAF…ŌNE 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
JOS… CID Portugal
CINEMA Japan
CIRCLE Germany
THE CIRCLE PROJECT Spain
CIRKUS Canada
CITIZEN CAIN United Kingdom
CLEARLIGHT France
CODA Netherlands
C”DICE Mexico
COLLEGIUM MUSICUM Slovakia
COT” EN P»L Spain
COUSINS AND 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
CZYSZY Poland
DAWN Switzerland
DEJA-VU Japan
DELUGE GRANDER United States
DIALOGUE (DAWN DIALOGUE) Ukraine
DIAPAS√O Brazil
DISCIPLINE United States
DOGMA Brazil
DORACOR Italy
DR. COENOBITE Netherlands
DRAGONFLY Switzerland
DRAMA France
DRUCKFARBEN Canada
DRUID United Kingdom
EARTH AND FIRE Netherlands
EARTHRISE United States
ECCENTRIC ORBIT United States
ECHOLYN United States
ECLAT / ECLAT DE VERS France
ECLIPSE Brazil
EDEN Canada
EGGROLL Israel
EIEMEL Argentina
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
ESPÕRITU Argentina
ESTRUCTURA Venezuela
ETCETERA Denmark
…TERNIT… Canada
ETHOS United States
EVERFRIEND United States
EX-LIBRIS Canada
EX-VAGUS France
EXODE France
EXODUS Poland
EZRA WINSTON Italy
FAITHFUL BREATH Germany
FALLING EDGE Canada
FANTASY United Kingdom
FARMHOUSE ODYSSEY United States
JAROD FEDELE United States
FICCI”N Venezuela
FINCH Netherlands
FIREBALLET United States
FIRST AID United Kingdom
FLAGSHIP Sweden
FLAME DREAM Switzerland
FLAMING BESS Germany
THE FLOWER KINGS Sweden
FL‹GHT Mexico
FLYTE Belgium
FOCUS Netherlands
FOREVER TWELVE United States
THE FOUNDATION Sweden
FRŃGIL Peru
FRIGHT PIG United States
FROMAGE Japan
FRUUPP United Kingdom
FUSONIC Netherlands
G.A.L.F. Brazil
GALASPHERE 347 Multi-National
GALI… Mexico
GENESIS United Kingdom
GENS DE LA LUNE France
THE GIFT United Kingdom
GLASS United States
GLASS HAMMER United States
G“TIC Spain
GOVEA Mexico
GRACIOUS United Kingdom
GRANADA Spain
GRAND STAND Sweden
GRANDBELL Brazil
CLAY GREEN'S POLYSORBATE MASQUERADE BAND United States
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 Sweden
HIGH WHEEL Germany
TERUTSUGU HIRAYAMA Japan
HOGGWASH Ukraine
HOKUS POKUS Norway
LYLE HOLDAHL United States
HOLDING PATTERN United States
HOLY LAMB Latvia
HORIZONT Russia
HOT FLASH United States
HYACINTUS Argentina
I.C.U. Germany
III MIL NIO Brazil
ILVCIA Spain
IN SPE Estonia
INDEX Brazil
INDIGO Germany
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
BJ÷RN JOHANSSON Sweden
JORDSJō 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
KORNMO Norway
KOTEBEL Spain
KVAZAR Norway
KYRIE ELEISON Austria
LADY LAKE Netherlands
LANVALL Austria
LŃQUESIS Argentina
LAZA I IPE Yugoslavia
LEGACY United States
LEGACY PILOTS Germany
LEI SECA Brazil
LEITMOTIV Canada
LETHE Netherlands
FRANCIS LICKERISH United Kingdom
LIFE LINE PROJECT Netherlands
LIFT United States
PńR LINDH AND BJ÷RN JOHANSSON Sweden
PńR 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
BRUNO MANSINI Brazil
MANTICORE Sweden
MANTRA Spain
LA MŃQUINA DE HACER PŃJAROS 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
MIKLAGŇRD Sweden
MIKROMIDAS Norway
MILKWEED Canada
MARIO MILLO Australia
DAVID MINASIAN United States
MIND SKY United States
MINOTAURUS Germany
MINUS TWO 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
JESŕS MU—OZ FERNŃNDEZ Spain
MYTHOPOEIC MIND Norway
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
L' ORIENT D'‘ Canada
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
PO«OS & NUVENS Brazil
P’HJA KONN Estonia
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 MA«√S Brazil
REFUGEE United Kingdom
RELAYER United States
RENAISSANCE United Kingdom
RING OF MYTH United States
RING VAN M÷BIUS Norway
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 CORA«√O DA TERRA Brazil
SALMON Netherlands
SANDROSE France
GUSTAVO SANTHIAGO Brazil
SATAN France
SCARAMOUCHE Germany
SCHICKE & F‹HRS & FR÷HLING Germany
SEBASTIAN HARDIE Australia
SECOND MOVEMENT Germany
SENSITIVE TO LIGHT France
SEVEN REIZH France
SHADES OF DAWN Germany
SHADOW CIRCUS United States
SHALASH BAND Russia
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
SPIRAL ORCHESTRA Switzerland
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
TAŌ PHONG France
TANTRA Portugal
TARANTULA Spain
TARKUS Brazil
TAURUS Chile
TAURUS (NETHERLANDS) Netherlands
TEMPUS FUGIT Brazil
TENDERTON Norway
O TER«O Brazil
TERPANDRE France
TERU'S SYMPHONIA Japan
TESIS ARSIS Brazil
TEXEL Multi-National
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
TR»FLE France
TREM DO FUTURO Brazil
TRESPASS Germany
TRESPASS Israel
TRIANA Spain
TRILOGY Germany
TRION Netherlands
TRITONUS Germany
TRIUMVIRAT Germany
TRY Germany
‹NDER LINDEN Argentina
UNIFAUN Sweden
URBAN TRAPEZE Spain
MARIŃN 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
DOUG WOODS & COLIN POWELL United Kingdom
X RELIGION Uzbekistan
XII ALFONSO France
XNA United States
THE YELLOW BOX 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