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SYMPHONIC PROG

A Progressive Rock Sub-genre


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Symphonic Prog definition

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

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

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

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

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


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

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

Iván Melgar Morey, Peru 2006



Symphonic Team

Current Team as at 9/12/2022

Louis (rdtprog)
Anton Fritz (SouthSideoftheSky)
Ken (progaardvark)

Symphonic Prog Top Albums


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

4.68 | 5085 ratings
CLOSE TO THE EDGE
Yes
4.65 | 4673 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.61 | 4063 ratings
FOXTROT
Genesis
4.46 | 4062 ratings
FRAGILE
Yes
4.42 | 3592 ratings
NURSERY CRYME
Genesis
4.42 | 3073 ratings
MIRAGE
Camel
4.40 | 2618 ratings
MOONMADNESS
Camel
4.38 | 3491 ratings
RELAYER
Yes
4.35 | 1865 ratings
HYBRIS
Änglagård
4.31 | 3314 ratings
THE YES ALBUM
Yes
4.31 | 3363 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.31 | 2617 ratings
THE SNOW GOOSE
Camel
4.32 | 1410 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.28 | 2957 ratings
A TRICK OF THE TAIL
Genesis
4.35 | 870 ratings
FROM SILENCE TO SOMEWHERE
Wobbler
4.24 | 2372 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.29 | 936 ratings
DEPOIS DO FIM
Bacamarte
4.26 | 1174 ratings
VILJANS ÖGA
Änglagård
4.25 | 1147 ratings
HAMBURGER CONCERTO
Focus
4.26 | 886 ratings
ASHES ARE BURNING
Renaissance

Symphonic Prog overlooked and obscure gems albums new


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

HIJOS DEL AGOBIO
Triana
WELCOME TO THE FREAKROOM
Shadow Circus
GUET-APENS
Ange
POLLEN
Pollen

Latest Symphonic Prog Music Reviews


 Open Your Eyes by YES album cover Studio Album, 1997
2.06 | 996 ratings

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Open Your Eyes
Yes Symphonic Prog

Review by MellotronBoy37

2 stars Well... How i can to talk about this...? Where i begin...

In knowless therms... This album is a fusion between Barclay James Harvest and a New Wave band The Outfield... BJH in your acoustic dynamics, The Outfield in a vocal lines...

Yes bring a great promises in Keys to Ascension (1996- 1997), but, something happens with the band in the path... If i known? No, i don't known, but something happens there, it's a correct thing.

In last case, Yes fall here. Try a new dynamic and betrayed your first concepts from Keys to Ascension duo.

The result of this? Songs with a almost without emotion and inspiration, and a fail try to reply a No Earthly Connection album from Rick Wakeman with a worst track The Solution (the parts likes the repeat previous musics or segment on track, but the difrence to a NEC album from 76, is a off of dynamic and interest...).

In other case, i liked a refrence with a Animation Jon Anderson album from 82 with a Boundaries segment in Somedays, Someshow... Jon makes the same in The Promise Ring (curiositly released in 97 too), and in The Ladder Yes album (?). But this is it...

 Collapse the Wave by IZZ album cover Studio Album, 2024
4.65 | 8 ratings

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Collapse the Wave
Izz Symphonic Prog

Review by Grumpyprogfan

5 stars For years, IZZ has been releasing quality albums. Yet, the music created is constantly evolving and new nuggets are introduced to keep things fresh. They are one of the rare bands that improve with every release. On "Collapse the Wave" IZZ play with an enthusiastic energy to give us what could be their heaviest and most excellent album to date.

"We Are The 3rd" blasts out of the gate - loud and bold, heavy and confident - crushing all expectations. John's bass work, as always, is stellar. How can you not love a fat punchy "audible" growly bass tone? "So Many Voices" is a short piano driven ballad. "Brace For Impact" is a heavy rocking unusual tune, is that Paul signing? "Deep Inside" is a catchy poppy song with excellent signing by Laura. Next up is the title track. It begins with a jumpy jazzy pattern propelled by the tight rhythm section. I've always thought IZZ shine during instrumental moments, and that is heard through the first 2 1/2 minutes of this song. "Sometimes Sublime" is another slower tune showcasing acoustic guitar. Paul's guitar work is outstanding as always. "There's Hope!" is an up tempo song that has a definite Yes vibe. Nice vocal harmonies. "Breathren" is totally unexpected, a very short fierce percussive jam where the drummers, Brian and Greg, let loose. I only wish it lasted longer. Is it only me, or does the beginning of "Not About Me" sound like a Frost* song? Is that Jem or Tom signing? Most definitely one of the highlights for me. "Soak Up The Sunlight" is another upbeat tune with playful instrumental jams. The album ends with "And We Will Go". I dig the syncopated drum riffs and the urgency of the tune. Leaves you wanting more. Definate Yes vibes.

Overall, this is another great release from IZZ. The production and engineering also shine. Definitely a must have. 4.5 stars, and let's round up.

 Himlabacken Vol. 2 by MOON SAFARI album cover Studio Album, 2023
4.06 | 106 ratings

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Himlabacken Vol. 2
Moon Safari Symphonic Prog

Review by grosssover

5 stars This album from 2023 is quite possibly one of the best Prog Rock albums of that year. They finally made it to sound just like the album that is missing from the eighties albums dyscography.

1. 198x (Heaven Hill) song is a great tribute to the eighties and a great introduction to the new album, considering they haven't released an album in over 10 years. 2. Between The Devil And Me is a song that perfectly describes what this band really plays. It reminds a lot of the Journey band, a little bit of the glam bands of that era. They have a visualizer video for this song. Maybe it is the best representative from this album. The over 10-minute arrangement perfectly depicts what pop-prog influences should sound like today. 3. Emma, ​​Comme On is an excellent version of the prog influence with high pitch singing and very good synth and guitar passages. 4. A Lifetime To Learn How To Love is a song that balladically introduces the simpho - festival sound. Great singing and guitar solos. 5. Beyond The Blue is Baroque sounding track. 6. Blood Moon is just like Queen from the eighties era. A bit of synth rithm and guitar harmonies, with great vocals. 7. Teen Angel Meets The Apocalypse is totally great epic track. Just like some unrecorded movie from the past. Great classical passages, pop multiple singings, atmosferic acoustic guitars, piano synths. Progressive metal moments are very special. Just great stuff. Very original and positive track. 8. Forever , For You is a track that longer ballad should sound like today. Great polyphonic singing, acoustic instruments, just great. And after 7th minute of the track and onwards, they are showing their prog metal and pop rock skills. 9. Epilog starts with a church bells also with an organ. Singing is just like christmas tracks but in a way that this album deserves an great outro. Overall this album deserves more attention from the prog rock collectors. Such a refreshing album. 5/5

 The Restoration - Joseph: Part Two by MORSE, NEAL album cover Studio Album, 2024
3.90 | 47 ratings

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The Restoration - Joseph: Part Two
Neal Morse Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars I strongly felt Neal's last album was a real return to form after his previous Christian musical, 'Jesus Christ The Exorcist', which was for me one of his weakest releases, although to be fair I do not think it is possible for Morse to put out a truly poor album. Needless to say, I have been looking forward to hearing this, and at long last we have the concluding part of the well-known story. 'The Dreamer - Joseph: Part One' finished with Joseph unjustly imprisoned, and in 'The Restoration - Joseph: Part Two,' we find him becoming the viceroy of Egypt and reuniting with his family. Neal assumes the lead vocalist role, plus there are a host of guests including Nick D'Virgilio (Spock's Beard, Big Big Train), Ted Leonard (Spock's Beard, Pattern Seeking Animals, Enchant), Matt Smith (Theocracy), Ross Jennings (Haken), Jake Livgren (Proto-Kaw, Emerald City Council) and Alan Morse (Spock's Beard), along with members of the Neal Morse Band, such as Bill Hubauer and Eric Gillette.

It must be said that some of this does seem somewhat like Morse by numbers, and there is no doubt we have previously heard the vocal approach on "The Argument" on songs like "Gibberish" ? it is very clever but there is definitely the feeling we have come across this before. It is a shame as the driving guitar which precedes it is simply wonderful, and then we morph into "Make Like a Breeze" where we are into classic driving prog which makes me almost forgive what just came before. The man is a genius, of that there is no doubt, but when working in a multi- instrumentalist fashion there is always the risk of not taking on new ideas and falling back on what is safe. The result is an album I have thoroughly enjoyed but is not at the heights of being truly indispensable, and given how much I enjoyed the first part I must admit to being somewhat disappointed. I understand that Neal feels it is his duty to keep spreading the word of Christianity as it is incredibly important to him, and over the years he has released some truly great albums (seeing him perform 'Testimony' in London was a very special event indeed), but if he is going to have the impact he desires then he also needs to rethink his musical approach, as while there are times when this is truly brilliant there are also others where we feel we have heard it before and are looking for something new.

It may not have been the brilliant conclusion I was looking for, but it is still worthy of investigation for those like me who have followed his career with interest ever since the arrival of 'The Light' all those years ago.

 Harbour Of Tears by CAMEL album cover Studio Album, 1996
3.75 | 709 ratings

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Harbour Of Tears
Camel Symphonic Prog

Review by Progressive Heart

4 stars One of Camel's most notable albums is "Harbour of Tears," whose quality is amplified by a strong and emotionally resonant concept that aligns perfectly with the band's musicality. To better understand the story behind this album, we need to go back in time to Ireland between approximately 1845 and 1850, a dark period in the country's history known as "The Great Famine."

This album uses this tragic historical moment as its guiding thread. It tells the story of an Irish family facing painful separation, with the younger members departing for the United States and Canada in search of a better life. The album's title, "Harbour of Tears," alludes to the deep-water port located in the town of Cobh. This port served as the departure point for the ships carrying these people, creating an extremely sad farewell scene.

The lyrics of the album were primarily written by Andrew Latimer's wife, Susan Hoover. Though I don't have full confirmation on this, it seems that Latimer's idea for the album was inspired by the story of his own ancestors, who were Irish immigrants from that time. This personal connection adds an additional layer of depth and emotion to the work.

Musically, it's an album that blends progressive rock with Celtic and folk elements, deeply reflecting the Irish theme. Through its melodic and atmospheric harmonies, the album creates a sonic environment that transports the listener to the landscapes and stories of Ireland. The instrumental passages are meticulously crafted, creating a mesmerizing sonic tapestry.

"Irish Air," with it just under a minute, delicately and melancholically kicks off the album, notable for Mae McKenna's soft and emotive vocals. The song's atmosphere sets the emotional tone for the rest of the album, immersing the listener in a mood of introspection and sentiment. "Irish Air (instrumental reprise)" is an instrumental version of the opening track, reinforcing the central melody and the feeling of sadness and nostalgia.

"Harbour of Tears" is an emotionally charged song, whose lyrics capture the pain of departure and the hope for a new beginning. This duality between sadness and hope is skillfully expressed through the music, especially by Andy Latimer's evocative guitar, which shines over a combination of gentle chords and engaging harmonic progressions. "Cobh" is another short instrumental track with less than a minute, serving as an interlude, offering a moment of beauty and simplicity that functions as a reflective pause in the album's narrative.

"Send Home The Slates" is more dynamic, standing out for its vibrant combination of electric guitar and keyboards. The interaction between these two instruments creates a rich and engaging sound, while its lyrics emphasize the harsh reality of railroad workers, the importance of sending money home to the family, and the longing and emotional connection with loved ones in Ireland. "Under the Moon" is more introspective and stands out for its gentle arrangement and melancholic guitar that echoes like a lament. The atmosphere created is dense and emotive, evoking a sense of delicacy and contemplation.

"Watching The Bobbins" is one of the longest tracks on the album and boasts instrumentation that is truly remarkable, standing out for its ability to create a rich and immersive sonic tapestry. Latimer's guitar is the pulsating heart of the music, emitting notes that are laden with emotion and depth, while the lyrics depict the realities of a woman's life in the textile industry, highlighting difficult working conditions, physical and emotional strain, and the desire for freedom and autonomy. "Generations" is another short interlude that adds yet another layer of depth to the album.

"Eyes of Ireland" brings a sense of the green and mystical fields of the land of the Celts. The guitar, with its gentle and captivating melody, guides us through a path of memories and emotions, while subtle keyboard lines in the background add an ethereal and hypnotic atmosphere. It's a perfect instrumentation for an emotional narrative about a grandmother's memories of her life in Ireland and the importance of honoring roots while embarking on a new journey.

"Running From Paradise" is an instrumental track that features what I consider to be the most beautiful arrangement on the album, standing out for its symphonic approach and meticulous attention to detail. From the first notes, we are immersed in a world of sonic beauty, where each instrument plays a vital role in building a rich and engaging musical landscape.

"End of the Day," with its delicate vocalization, soft guitar and flute notes, stands out for its beauty and depth. Meanwhile, the flute adds an additional layer of depth and feeling, filling the music with a sense of nostalgia and introspection. Its three-verse lyrics impose a feeling of longing and yearning to reconnect with fragments of experiences and emotions that now seem distant.

"Coming Of Age" features orchestral arrangements where each instrument plays a vital role in creating a rich sonic landscape. Latimer's guitar takes on the role of a conductor, guiding the orchestra with mastery and precision. The keyboards deliver various nuances that evoke darkness and mystery. Each note seems loaded with meaning, sounding like a complete sensory experience, evoking a myriad of emotions and images in the mind of the listener who becomes enveloped.

"The Hour Candle (A Song For My Father)" is a brilliant closing for the album. The introduction with its hypnotic rhythm and the gradual addition of Latimer's guitar seems to signal the arrival of something extraordinary. The orchestral arrangements are amazing, enveloping the listener in a rich and lush sonic tapestry. Latimer's guitar shines once again through a lot of emotional expression, creating moments of pure musical magic. It's hard to put into words the depth of sensations that this music evokes. It's an experience that transcends rational understanding, leading us to a state of contemplation and ecstasy. Despite the track being marked as approximately twenty-three minutes long, from the eight-minute mark, it is filled only by gentle sounds of waves. This peaceful and serene ending serves as the perfect epilogue to the musical journey taken, bringing a sense of calm and peace that is deeply comforting.

"Harbour of Tears" exemplifies Camel's continued commitment to conceptual and narrative albums, highlighting the band's ability to create music that is simultaneously complex and accessible. Since its conception, the album immerses the listener in an emotional and imaginative journey, leading them to explore the deepest corners of the mind and soul. Although the songs may be dense in layers and meanings, they are presented in a way that is easily appreciated and understood.

Through "Harbour of Tears," Camel not only pays tribute to the history and experience of Irish immigrants but also addresses universal themes of loss, hope, and resilience that resonate deeply with anyone who listens. An ode to humanity and the capacity of the human spirit to persevere in the face of difficulties. It's a powerful reminder that even in the darkest moments, there is always hope and the promise of a new dawn.

 Hijos Del Agobio by TRIANA album cover Studio Album, 1977
3.99 | 130 ratings

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Hijos Del Agobio
Triana Symphonic Prog

Review by Progressive Heart

4 stars I have always had a special appreciation for Spanish music, although I never considered myself an ardent expert in the progressive rock produced in that country. "Hijos del Agobio" is the second album recorded by Triana and released in 1977, once again demonstrating talent and creativity, with each song being carefully crafted, resulting in a cohesive and engaging work.

Jesus de la Rosa's vocals continue to lead an incredibly strong instrumentation. His interpretation carries a distinctly regional essence that adds significant depth and authenticity to the music. The way he sings conveys emotions that connect deeply with the listener.

This unique essence is skillfully softened by the excellent use of keyboards and synthesizers, which play a crucial role in creating a very rich symphonic atmosphere. The instrumental arrangements are sophisticated and well- balanced, allowing each element to stand out without overshadowing the others. The keyboards and synthesizers not only complement Jesus de la Rosa's voice but also add layers of complexity and sonic richness to the compositions.

The band released "Hijos del Agobio" shortly after the death of dictator Francisco Franco, during a period when, among many other enemies, freedom of expression was obviously one of them. The album's release occurred at a time of great social and cultural upheaval. The fall of the Francoist regime allowed for an explosion of creativity and artistic expression that had been suppressed for decades. The record captured this spirit of change and resistance, resonating deeply with a generation that yearned for freedom and justice.

Musically, the album is a fusion of traditional Spanish influences with modern elements, creating a unique and innovative sound. The lyrics address themes of struggle, hope, and the search for a renewed identity in a Spain that was rediscovering itself. Lyrically, the album delivers songs that reflect the concerns and hopes of Spanish youth during the transition to democracy. Themes of freedom, resistance, and identity quest are recurring.

The album begins with the title track, serving as a powerful statement about the political and social situation of Spain at the time. Lush keyboards, subtle guitar, expressive guitar lines, finely orchestrated harmonic progressions, and passionate, intense vocals start the album in a sublime manner. "Rumor" features ethereal keyboards that contribute to a sense of otherworldliness, creating a sonic environment that seems to transport us to another realm, while its lyrics suggest reflection on the impact of rumors and the need for truth.

"Sentimientos de amor" is one of the album's most accessible tracks, presenting a captivating melody and romantic lyrics that immediately win over the listener. The skillful combination of acoustic and electric guitar creates a rich and engaging sonic texture, providing a moment of lightness and romance amidst denser, more introspective songs. "Recuerdos de Triana" is an instrumental track where the band members demonstrate their ability to create a more experimental musical line.

"Ya Está Bien" is a song that radiates energy and assertiveness, reflecting the urgency of social and political change. Both the lyrics and the music are direct and forceful, driven by a strong rhythm, where the melody is marked by powerful chords and a pulsating beat that creates a sense of constant movement. The instruments come together in powerful synergy, propelling the music forward with determination and vigor. "Necessito" is a track that, despite being the least exciting to me on the album, still showcases the talent and artistic sensitivity of the band.

"Sr. Troncoso" is an acoustic ballad that evokes deep emotion and sincerity, enveloped in a contemplative atmosphere, becoming more energetic as it approaches the end while delivering a message of hope and encouragement to someone going through a process of self-discovery. "Del Crepúsculo Lento Nacerá el Rocío" is the final track of the album and stands out as an epic piece, characterized by several changes in rhythm and atmosphere. The music evolves slowly and carefully, taking the listener on a complex and engaging sonic journey. It is a track that encapsulates the essence of the album and leaves the listener with a feeling of completeness and satisfaction.

"Hijos del Agobio" can easily be cited as one of the best examples of how rock can be combined with local musical traditions to create something genuine and powerful. The fusion of styles and the emotional depth of the album are remarkable, leaving a lasting legacy in Spanish progressive music, demonstrating the importance of engaging with the current social and political context through art.

 Land of Chameleons by KARFAGEN album cover Studio Album, 2024
4.60 | 11 ratings

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Land of Chameleons
Karfagen Symphonic Prog

Review by MalenaRoss

5 stars Amazing album from start to the last chords. Combination of long instrumental passages with lovely melodic songs.Antony did it again! Firstly "Land of Chameleons" charms you with its surreal and imaginative artwork (by maestro Igor Sokolskiy). Then you dive into the world of sound - which is very balanced and production is top (actually all latest albums raised the bar on a high level!). It`s already on a Spotify (though only the "main" cd material, which is presented on a vinyl too, that will be released later) I enjoyed the 2nd cd of the Deluxe edition as well - must have edition for true fans! (you can listen to it and purchase of course, on Antony's official Bandcamp site). I'm waiting for my Cd to arrive - and to hold this prog epic in my hands. Unfortunately, I`m not into vinyls anymore (wish i could have more space for my collection) but I do beleive "Land of Chameleons"will look and sounds gorgeous in LP format. So, the latest release is at some point a mixture of Karfagen's classic symphonic driven prog with brightest elements of Sunchild, that to me, is a perfect combination.
 Twelve Inches on Tape by YES album cover Singles/EPs/Fan Club/Promo, 1984
2.80 | 28 ratings

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Twelve Inches on Tape
Yes Symphonic Prog

Review by MellotronBoy37

2 stars The Synthpop and New Wave bands are so famous by makes a anniversary versions of your albums. In same cases, with a 30+ tracks in new releases or new albums.

But, in very much examples, very bands puting in their albums 4 or more versions of your musics in a refered work. U2 makes this in a Atchung Baby, Zooropa and How to Dismantle an Atomic Bomb. A-ha makes in Minor Earth|Major Sky from 2000.

But, what the Yes band have a aparenthal things with this? I answer! This single... Beyond the sucess of 90125, Yes makes a singles in LP's with a diffrent versions of some songs of this album (most precisally Leave It and Owner of a Lonely Heart). Various of this singles have an electronic version for a discohouses and a dance versions. To be honest, i don't like very much these versions (at least i like some tracks from Kraftwerk and Peter Schilling). But, if the band not rejected this release, i don't need to talk more...

Is this...

 Hourglass by PATCHWORK CACOPHONY album cover Studio Album, 2024
3.75 | 3 ratings

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Hourglass
Patchwork Cacophony Symphonic Prog

Review by alainPP

3 stars PATCHWORK CACOPHONY melodic and symphonic rock; Mellotron and Hammond keyboards and multi-layered vocals for a relaxing atmosphere.

"Wake Up" opening instrumental like the morning sun, Olympian arpeggio, sovereign, all of a majestic YES intro. "Carpe Diem" continues on a melodic framework with vocals with choirs above all; a long, festive, bucolic variation with an intimate moment and a dark piano; the spleen guitar, launching progressive intonations of yesteryear varied enough not to resemble a particular group; the finale shows fine skill by revealing grandiloquent fruity notes. "Perspective I" completes this movement with another haughty arpeggio, a crystalline variation of great beauty. "Blind Faith" with a SUPERTRAMP-style acoustic guitar at the start; dynamic title where the keyboard leers at that of BANKS at the start, then taking its ease by developing an air conducive to travel, to jumps in space; note a well-paced guitar solo on it.

"My Home Is Tomorrow" solemn piano arpeggio and here we go again for a piece stamped with symphonic prog rock; the twirling keyboards with the appearance of Pat's fingers from DRIFTING SUN, on ELP, a little bit jazzy, the high voice for a very melodic nostalgic rock which goes into a slightly festive folkloric gig, far from its House; airy, spatial, contemplative finale with the muffled voice and yet another piano arpeggio. "Perspective II" for the keyboard interlude moment of plenitude, resuming your breathing before launching "Castaway" for best song it's true; rhythmic, energetic with the contribution of James on drums; vocal forward, warm choir; a keyboard that leers at the PENDRAGON, the air that smells of TOTO, STYX and more nervous; the break halfway through with the piano arpeggio and the flute that vibrate the ambient air; the time to settle down and start again with a melodic guitar solo, more in emotion than in technique. "Wake Up (reprise)" says it all, the atmosphere still dark, mysterious, solemn to close this conceptual album. Note Halfhourglass the EP with "Blind Faith", "My Home Is Tomorrow", "Castaway" and "Carpe Diem" in radio edit, durations of 5 minutes for those who fear long titles; personally I don't see the point because it cuts the intro but who knows that it's on? radio?

PATCHWORK CACOPHONY concept album giving pride of place to melodies rather than instruments; a simple, effective album that recalls old sounds without delving into vintage, a plus for the current decade. (3.5) Initially on Profil Prog.

 Tarkus by EMERSON LAKE & PALMER album cover Studio Album, 1971
4.06 | 2091 ratings

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Tarkus
Emerson Lake & Palmer Symphonic Prog

Review by ken_scrbrgh

5 stars This, however, you must know: I find that God made man simple; man's complex/ problems are of his own devising. Qo 7: 29-30 (Jerusalem Bible)

Or, in the words of Greg Lake on "Tarkus," "The weaver in the web that he made . . . ." I would like to suggest that the lyrics of "Tarkus" are more of a meditation on The Human Condition, and less of an accompaniment to the linear "story" of the creature or entity, "Tarkus," and the album's somewhat legendary cover art by William Neal.

Lake's lyrics fall roughly into three sections. On the surface, "Stones of Years" could be considered an address to "Tarkus" in its isolation following its volcanic birth, preparing to confront its foes ahead --- "In time you'll see the sign/And realize your sin . . . ." However, this address is to a wider "audience," humanity itself. In this context, sin is the reality of removal of oneself from the world, the resistance to active involvement with experience: "Has the dawn ever seen your eyes? / . . . Will you know how the seed is sown? / All your time has been/overgrown/ Never known . . . ."

What are the facets of the realm of experience? Or, in terms of theological anthropology, what are the consequences of the Fall of humanity into self-consciousness as delineated in Genesis, chapter 3? That we know of, humans are the only terrestrial creatures capable of self-transcendence, while simultaneously aware of their mortality and finitude. In this connection, I would like to mention Ernest Becker's, 1973, "The Denial of Death."

Human experience and our collective life are products of the "weaver and the web that he made." Very loosely, in the spirit of the Buddha, "all existence is sorrow," and the cause of this sorrow is "desire." According to William Neal, "Tarkus" is a conjunction of "Tartarus" and "carcass." In Greek mythology, "Tartarus" is both a mythic location and an entity. "Tartarus" corresponds to the term "Sheol" in the Hebrew Bible.

So, "Tarkus" is a metaphor for human existence in the realm of experience. The section "Mass" elaborates the identities of the characters who inhabit this realm of space and time: "The preacher, the minister of hate, the pilgrim, the cardinal of grief, the high priest, the messenger of fear, a bishop, a cloak of darkness, and the silent choir." On one level, this list embodies the participants of the secular state and the established Church of England. And, a consequence of this state of affairs is "a cloak of darkness" that pervades human existence.

We are all too familiar with a regrettable consequence of this darkness: war. In "Battlefield," Lake describes, in 1971, outcomes of human strife inseparable from today's world: "Clear the battlefield and let me/ see/ All the profit from our victory/ You talk of freedom, starving/children fall . . . Were you there to watch the earth be scorched? . . . Know the leaves of sorrow/ turned their face/ Scattered on the ashes of disgrace . . . ." At its conclusion, will The Human Condition be characterized by "Then there will be no sorrow / Be no pain?"

Lake's lyrics to "Tarkus" form a bridge between 1969's "Epitaph" of King Crimson and 1973's "Karn Evil 9." On the often maligned side two of "Tarkus," Lake continues his exposition of human existence in "The Only Way," questioning religious belief: "Can you believe God makes you /breathe? Why did he lose six million Jews? . . . [H]ow can you just obey? . . . Don't need the word, now that/ you've heard/ Don't be afraid, man is man-made . . ."

Here, Lake "steps" into a real "thicket." To the "rational" mind, nefarious realities like the Holocaust do raise objections to the existence of the God of the monotheistic traditions of Judaism, Christianity, and Islam. Further, human history is replete with violence and warfare and unending suffering. The Greg Lake of the early 1970's might confidently assert that man is "man-made;" however, perhaps, later in his life, Lake might have admitted that humanity with no reference to something transcendent is a "train wreck waiting to happen . . . ."

I, of course, would be greatly remiss, should I not comment on the intense musicality of "Tarkus." Even before I became truly aware of Yes in the wake of the popularity of "Roundabout," I was introduced to "Tarkus." For me, the late Keith Emerson remains my favorite progressive rock keyboardist . . . Yes, I must highlight Rick Wakeman, Tony Banks, Jordan Rudess, et.al., as I state my preference for Keith Emerson. Yet, in terms of fluidity, Emerson's Hammond organ work is always legendary. As a proponent of Moog synthesizers, Emerson remains in the avant- garde. And, perhaps most memorably, Emerson was an educator. Through him, many of us first encountered Bartok, Janacek, Copland, Mussorgsky, J.S. Bach, Ginastera, Holst, and, perhaps, even, Scott Joplin.

From the opening moments of "Eruption," Palmer's percussion engages Emerson's lines as if a co-lead instrument. Despite Lake's initial resistance to Emerson's conception of "Tarkus," his bass propels "Tarkus'" structure; his electric guitars provide adept rhythmic and lead contrast to "Mass" and "Battlefield."

As a musical entity, "Tarkus" endures as an essential composition in the "library" of progressive rock . . . .

Truly, "[T]here is nothing new under the sun." Qo 1:9 (Jerusalem Bible)

Data cached

Symphonic Prog bands/artists list

Bands/Artists Country
21. PERON Turkey
35 TAPES Norway
5BRIDGES Netherlands
7 OCEAN Belarus
AAMUNKOITE Finland
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
AGENTS OF MERCY Sweden
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
AMUZEUM United States
ANABIS Germany
ANCIENT VISION United States
ANDERSON - BRUFORD - WAKEMAN - HOWE United Kingdom
ANDERSON / STOLT Multi-National
ANGE France
ANGIPATCH France
ÄNGLAGÅRD Sweden
ANIMA Argentina
ANIMA DOMINUM Brazil
ANIMA MORTE Sweden
ANIMA MUNDI Cuba
ANOXIE France
ANTARES Germany
ANYONE'S DAUGHTER Germany
APHÉLANDRA France
APHRODITE'S CHILD Greece
APOCALYPSE Brazil
APOCALYPSE United States
AQUAPLANAGE United Kingdom
ARABESQUE United States
ARACHNOID France
ARC France
ARCABUZ Spain
ARION Brazil
ARS NOVA (JAP) Japan
ARS PRO VITA Brazil
ART IN AMERICA United States
ARTEFACTRON Mexico
ARTNAT Portugal
ASA DE LUZ Brazil
XAVIER ASALI Mexico
ASIA MINOR France
ASTRË United States
ASTURCÓN Spain
ATILA Spain
ATLANTIS PHILHARMONIC United States
ATLAS Sweden
ATMOSPHERA Israel
ATOLL France
AUTUMN United Kingdom
AUTUMN BREEZE Sweden
AVIVA (AVIVA OMNIBUS) Russia
AXCRAFT United States
AZABACHE Spain
BABYLON United States
BACAMARTE Brazil
BANANA Argentina
BANZAI Belgium
BAROCK Norway
ZELJKO BEBEK & PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
JEF BEK United States
ROBERT BÉRIAU Canada
ED BERNARD Canada
BLACK SEPTEMBER United States
BLÅKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
LARS BOUTRUP'S MUSIC FOR KEYBOARDS Denmark
BOX OF SHAMANS United States
BRESK Norway
BILL BRESSLER United States
BRIMSTONE United States
BURNING CANDLE Germany
BUSKER Canada
CAFÉÏNE 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
CEN-PROJEKT Germany
CHAKRA United States
CHALCEDONY United Kingdom
CHAOS CODE United States
THE CHRONICLES OF FATHER ROBIN Norway
CHRONOS MUNDI Brazil
JOSÉ CID Portugal
CINEMA Japan
CIRCLE Germany
THE CIRCLE PROJECT Spain
CIRKUS Canada
CITIZEN CAIN United Kingdom
CLEARLIGHT France
THE CLIVEDEN SET United States
CODA Netherlands
CÓDICE Mexico
COLLEGIUM MUSICUM Slovakia
COTÓ EN PÈL Spain
COUSINS AND CONRAD United Kingdom
COVENANT United States
CRACK Spain
CRAFT United Kingdom
CRESSIDA United Kingdom
CRONICO Mexico
CROOKED MOUTH United Kingdom
DANIEL CROSS United States
CRUCIBLE United States
CRUCIS Argentina
CZYSZY Poland
DAWN Switzerland
DEJA-VU Japan
DELUGE GRANDER United States
DIALOGUE (DAWN DIALOGUE) Ukraine
DIAPASÃO Brazil
DISCIPLINE United States
DOCMEC Switzerland
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 / EX ECLAT DE VERS France
ECLIPSE Brazil
EDEN Canada
EGGROLL Israel
EIEMEL Argentina
EIK Iceland
ELLESMERE Italy
ELOHIM France
ELOITERON Switzerland
EMERALD CITY COUNCIL United States
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
ESPÍRITU Argentina
ESTRUCTURA Venezuela
ETCETERA Denmark
ÉTERNITÉ 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
FICCIÓN 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
FRAGILE Germany
FRIGHT PIG United States
LARS FREDRIK FRØISLIE Norway
FROMAGE Japan
FRUUPP United Kingdom
FUSONIC Netherlands
G.A.L.F. Brazil
GALASPHERE 347 Multi-National
GALIÉ Mexico
GENESIS United Kingdom
GENS DE LA LUNE France
GERALD PETER PROJECT Austria
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
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
MIKE HARVEY New Zealand
MARIANO HAYON Argentina
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
HOLLOWSCENE / EX BANAAU Italy
HOLY LAMB Latvia
HORIZONT Russia
HOT FLASH United States
HYACINTUS Argentina
I.C.U. Germany
III MILÊNIO Brazil
ILVCIA Spain
IN SPE Estonia
INDEX Brazil
INDIGO Germany
INFINITOME United States
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
ANTONY KALUGIN Ukraine
KANSAS United States
KARDA ESTRA United Kingdom
KARFAGEN Ukraine
KARMAKANIC Sweden
KDB3 United States
KHATSATURJAN Finland
KING EIDER Netherlands
KLOCKWERK ORANGE Austria
KOGAION Romania
KORNMO Norway
KOTEBEL Spain
KVAZAR Norway
KYRIE ELEISON Austria
LADY LAKE Netherlands
LANVALL Austria
LÁQUESIS 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
PÄR LINDH AND BJÖRN JOHANSSON Sweden
PÄR LINDH PROJECT Sweden
LITTLE TRAGEDIES Russia
LIVE Germany
CAILYN LLOYD United States
THE LOAD United States
LOCH NESS Brazil
LORD FLIMNAP Israel
LUNAR CLOCK Netherlands
M-OPUS Ireland
DUNCAN MACKAY United Kingdom
MADAME CLAUS Argentina
MADISON DYKE Germany
MAGDALENA Japan
MAGIC PIE Norway
MAGIC SPELL Switzerland
MAGICIAN'S RED Finland
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 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
MERÈT Argentina
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
MINUS TWO Germany
MIRROR Netherlands
MISTER ROBOT Russia
MIZUKAGAMI Japan
MONA LISA France
MONOLITH United States
GUSTAVO MONTESANO Argentina
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
MOURNING KNIGHT United States
MUGEN Japan
JESÚS MUÑOZ FERNÁNDEZ 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'Ô Canada
ORION France
OUTER LIMITS Japan
PABLO EL ENTERRADOR Argentina
PAGEANT Japan
PALE ACUTE MOON Japan
PANDORA Sweden
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
PH2 France
ANTHONY PHILLIPS United Kingdom
PHOG France
PHYLTER Belgium
PI2 Spain
PICTORIAL WAND Norway
PIG FARM ON THE MOON Venezuela
THE PINK MICE Germany
MICHAEL PINNELLA United States
POÇOS & NUVENS Brazil
PÕHJA 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
QUERCUNIAN CAMERATA Spain
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
REGNA Spain
RELAYER United States
RENAISSANCE United Kingdom
RESIDUOS MENTALES Greece
RING OF MYTH United States
RING VAN MÖBIUS Norway
ROCKAPHONICA Argentina
ROCKET SCIENTISTS United States
RAIMUNDO RODULFO Venezuela
ROLF ZERO Australia
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
SAGA Netherlands
SAGRADO CORAÇÃO DA TERRA Brazil
SALMON Netherlands
SANDROSE France
GUSTAVO SANTHIAGO Brazil
SATAN France
SCARAMOUCHE Germany
SCHICKE & FÜHRS & FRÖHLING Germany
SEBASTIAN HARDIE Australia
SECOND MOVEMENT Germany
SENSITIVE TO LIGHT France
SERENE Germany
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
MICKEY SIMMONDS United Kingdom
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
ST. CLAIRE Japan
STARCASTLE United States
ROBBY STEINHARDT 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
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
TRÈFLE France
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
VRAJITOR'S TENEBRARIUM Finland
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

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