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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 09/07/17

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

Symphonic Prog Top Albums


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

4.66 | 4345 ratings
CLOSE TO THE EDGE
Yes
4.64 | 4038 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.60 | 3511 ratings
FOXTROT
Genesis
4.45 | 3436 ratings
FRAGILE
Yes
4.41 | 3076 ratings
NURSERY CRYME
Genesis
4.40 | 2590 ratings
MIRAGE
Camel
4.38 | 2213 ratings
MOONMADNESS
Camel
4.37 | 2965 ratings
RELAYER
Yes
4.38 | 1665 ratings
HYBRIS
Änglagård
4.35 | 1265 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.30 | 2877 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.30 | 2785 ratings
THE YES ALBUM
Yes
4.30 | 2225 ratings
THE SNOW GOOSE
Camel
4.42 | 579 ratings
FROM SILENCE TO SOMEWHERE
Wobbler
4.28 | 2507 ratings
A TRICK OF THE TAIL
Genesis
4.32 | 1165 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.31 | 836 ratings
DEPOIS DO FIM
Bacamarte
4.23 | 2036 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.27 | 1061 ratings
VILJANS ÖGA
Änglagård
4.37 | 399 ratings
A DROP OF LIGHT
All Traps On Earth

Symphonic Prog overlooked and obscure gems albums new


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

LA MARCHE DES HOMMES
Morse Code
SÈVE QUI PEUT
Ange
ET APRÈS
Memoriance
BRIDGE ACROSS FOREVER - THE LIMITED EDITION
Transatlantic

Latest Symphonic Prog Music Reviews


 Aun Es Tiempo De Sonar by BANANA album cover Studio Album, 1979
3.39 | 47 ratings

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Aun Es Tiempo De Sonar
Banana Symphonic Prog

Review by sgtpepper

3 stars Banana released one interesting but not very memorable or distinguished effort: Aun es tiempo de sonar (1979). Vocals are thankfully in Spanish and contain enough emotions. Playing is average and there are fewer technical finesses than on most other albums of that age. Keyboards provide good layers and sound diversity. They could be compared to Genesis. The guitar and drums are good but not above average. I like the bass guitar and keyboards most. The compositions are adequate. Compositions like the title one have at leat one foot outside of prog and bear traces of contemporary pop/rock. One of the most complex tracks is "Vispera" with drum fill-ins and keyboard solos. "Preguntas ao cielo" has the best melody.

It's good to have this album but it is a non-essential piece of progressive rock music.

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.31 | 836 ratings

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Depois Do Fim
Bacamarte Symphonic Prog

Review by sgtpepper

4 stars Arguably one of the strongest progressive rock albums from South America. We can even say that it can beat most European progressive rock albums of the 80's. Two trademarks are original Portuguese female vocal and virtuoso guitar. However, also keyboard layers and folk influences underlined by flute, are hearable. Influences could be traced to Italian prog and Genesis/Camel/Yes."Smog alado" is a symphonic composition with solemn organ in the second part and great vocal. The first track is a pleasant instrumental piece."Miragem" features guitar with Brazilian folk motives; by now you must have noticed that the guitar has a slightly different recorded sound than usually. "Ultimo Entardecer" is the longest track and most varied track. Howe-like guitar runs, Wakeman's synths, acoustic section after symphonic one,...

"Controversia" is not a controversial instrumental workout in a typical Bacamarte manner. The title track has a very solemn synth start and returns down to earth with the female vocals.

The bonus track has synth drums and is not on par with the original tracks.

 Rokus Tonalis by AVIVA (AVIVA OMNIBUS) album cover Studio Album, 2007
3.70 | 36 ratings

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Rokus Tonalis
Aviva (Aviva Omnibus) Symphonic Prog

Review by sgtpepper

3 stars A suprisingly strong album that nobody expected, at least not from Russia! The mastermind behind, Dimitri A. Loukianenko, has certainly already heard a couple of prog-rock records before composing that one. The fact that he is multiinstramentalist, is not only impressive but also surprises with well constructed sound layers and instrumental variety. Drums are programmed which does not mean that they are monotonous, the overall sound is malformed, though.

Keyboards take the prime and most prominent role as Dimitri's home instrument.

Most notable influences include ELP and neo-prog.

As the album progresses, it runs out of steam and becomes too generic. Another weakness of the album is lack of emotions, it is purely focused on precise execution and being pompous.

 Lady of Shalott  by ATMOSPHERA album cover Studio Album, 1977
3.59 | 80 ratings

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Lady of Shalott
Atmosphera Symphonic Prog

Review by sgtpepper

2 stars One of the most apparent clones of Yes even though coming from such unprog country such as Israel. All 5 musicians with with exception the keyboard player try hard to sound like classical Yes Lineup, the bass, drum players and the singer to be most successful clones.

I don't mind any band not sounding original as long as they can produce quality material and execute it flawlessly.

Atmosphera has mastered instruments and Yes sound well, though still miles away from the sovereign playing by Howe, Wakeman, Bruford and Squire.

Vocals are much more limited than Anderson's, keyboards are not varied and experimental, the bass playing is energetic enough to remind of Squire and the guitar player shows his own face easily.

The main problem with this album sounds elsewhere, however - the lads are not compositionally at the level of an average progressive rock band.

Considering average overly long original pieces and abundance of live and rare material of which none is memorable, the original album turns into an overwhelming listening experience.

Unless you are curious or are into this band already, no need to go for the bonus track edition.

2 stars what could be 2.5 if not for the bonus material that does not add any greater value.

 Reviure  by ATILA album cover Studio Album, 1977
4.06 | 91 ratings

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Reviure
Atila Symphonic Prog

Review by sgtpepper

3 stars I must be the only one here who does not like the album so much as the tracks are too lengthy without being interesting enough. Vocals are annoying, playing is competent. The music seems to be veering towards various directions from space rock to jazz-rock, progressive rock or simply jamming. The second track may be interesting during first hearings but it seems to be not good enough for being immortalized on an album. "Atila" starts in the same way to be rescured by symphonic moments later on. Pretty complex drumming brings joy to every progger. "Almati" is perhaps the most forgettable track but thankfully does not last for too long.
 Nattfiolen by JORDSJØ album cover Studio Album, 2019
4.15 | 121 ratings

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Nattfiolen
Jordsjø Symphonic Prog

Review by kev rowland
Special Collaborator Crossover Team

4 stars Jordsjø are based around Håkon Oftung (vocals, guitar, flute, Hammond M100, Mellotron, Clavinet D6, ARP Pro) and Kristian Frøland (drums, triangle, percussion) with some additional guests, and this is their fifth album in just four years so they are incredibly prolific for this style of music. This is an album out of time, as the guys refuse to sit within one particular genre of progressive rock and instead move throughout the scene, bringing it together in something which feels quite lightweight at times and massively complex at others. Just by looking at how plays what on the album, I expect from will discount Frøland as "just" the drummer and that this is based all around Oftung, but while that is obviously true in some respects, here is a musician who I would expect to be as happy playing jazz as he is prog, as he is way more over the kit than many would expect.

But given that virtually everything else is performed by Oftung (although a special mention should be made of Christian Meaas Svendsen ? he may only play his double bass on the one song, "Mine Templer II", but it has quite an impact), it is his vision which carries it through. It is hard for the listener to pick his main instrument, as at times it appears to be piano, at others keyboards, while his guitar and bass playing is superb and his flute sublime. It is unusual to find a musician who appears so content on woodwind, stringed instruments and keyboards, and don't forget he also provides vocals. Vocals are in Norwegian, which I am really happy about as it adds an additional element to a non-native speaker such as myself.

It isn't unusual for there to be sections where there is very little bottom end to the arrangements, no bass and very little foundation, which moves the music in a quite different direction. Even though none of the songs are particularly lengthy (just one more than nine minutes in length, and the album itself is less than forty), there is always room for the music to shift and change considerably throughout. Jordsjø are a new name for me, even though they have been around for a while, and here is yet another I will be adding to my watchlist as this is a very strong album indeed which is highly recommended to any old school progheads.

 Don't Panic by IZZ album cover Studio Album, 2019
4.20 | 123 ratings

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Don't Panic
Izz Symphonic Prog

Review by kev rowland
Special Collaborator Crossover Team

5 stars One of the downsides of being known as a reviewer who keeps scribbling words week after week, year after year (or in my case decade after decade), is that I rarely seek out additional music to listen to apart from what I have been sent. Indeed, I only grab a fraction of what is made available to me, and I am still miles behind where I like to be in terms of lead time. Yes, it's a nice problem to have, and I am very fortunate indeed, but there are times when it is something of a pain, which brings me to Izz. This is their ninth album yet is only the second of theirs I have written about, which means my musical experience is sadly lacking indeed as this is very special. The only other album I have heard of theirs is 2009's 'The Darkened Room' which I raved over, and here some ten years later I am going to be saying exactly the same. This is their ninth studio album, and five of the seven members were involved in the debut 20 years ago, and six were involved in 'The Darkened Room' ten years ago, so their stability is superb, and it shows in the music they are playing.

This is their third album with this line-up, which features no less than four singers and two drummers, and comprises Paul Bremner (electric and acoustic guitars), Anmarie Byrnes (vocals), Brian Coralian (electronic and acoustic drums and percussion), Greg DiMiceli (acoustic drums and percussion), John Galgano (bass guitar, electric and acoustic guitar, vocals), Tom Galgano (keyboards, vocals) and 'new girl' Laura Meade (vocals). What really strikes the listener is the complex simplicity, or is it simple complexity, of what is being presented. It is simple because it is incredibly accessible, an album it is possible to fully enjoy with a smile on the face the very first time it is played, yet these guys are creating arrangements which are massively over the top. This really comes to bear in the epic '42' which is nearly 19 minutes long, where everyone has their chance to shine. Four singers weaving harmonies, but they move through permutations so everyone has a chance to take the lead, and while Anmarie and Laura may be duetting, it is never quite as straightforward as that.

There are times when they come across as an Americanised version of Gentle Giant, and indeed guitarist Gary Green has been involved with the band in the past, while on the acoustic 'Six String Theory' (musical earwash following the intricate epic) Paul shows he is influenced very much by both Steves' Howe and Hackett. Listen to Tom swirling piano at the beginning of 'Moment of Inertia' and it is classic Wakeman, yet while these guys have been influenced by all those acts and others, they are creating modern progressive rock music which combines elements of all these and brings in so much more. The last time I reviewed Izz I said I would seek out more of their albums to find out what they have been doing and I really must. For anyone who wants their arrangements to be over the top yet to be able to easily understand what is happening, brought together with intricate melodies and superb vocals, then you too need to seek out Izz.

 Fragments Of The 5th Element by MAGIC PIE album cover Studio Album, 2019
3.89 | 54 ratings

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Fragments Of The 5th Element
Magic Pie Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

4 stars I remember when I got Magic Pie´s first two CDs and how much I liked them. In many ways this great band from Norway reminded me of 90´s The Flower Kings: retro prog, alright, but with a personality of their own and lots of great melodies. After their third album, however, I kind of lost contact until I found this CD by pure chance., And I must say I was delighted to see they remain more or less the same in style, but they also evolved on the songwriting department: although the classic 70´s influences are still very much evident (and this is a compliment), their songs are also unique. The band is also tighter than ever, with every instrument and vocal appearing at the right moment: those guys are obviously skilful musicians but use their superb technique for the music not for showing off. So if you´re looking for 10 minute solos and a general display of virtuosity you should go elsewhere. However, if you enjoy great melodic symphonic prog with lots of nice surprises, this is for you!

Actually I must also say that the CD is not perfect: the opener The Man Who Had It All and the closer epic The Hedonist are pure symphonic prog of the highest calibre. Together they respond for a little more than half of the CD and they are worth the price of the album alone. Between them there are three tracks: P & C is another fine prog tune with a driving fusion keyboard solo, while the Beatles influenced Table For Two is also very good but less adventurous lyrically, Maybe the only negative point is Touched By An Angel. Not a bad track at all, it has a really good guitar line, but at eight minutes this ballad is stretched a little too much. I guess it would be fine if stayed on the four or five minute time, but it drags as it is cutting the CD´s even flow up until then. However, there are not enough good things to say about the almost 23 minute closer, The Hedonist. Inspired, powerful, full of twists and turns, with gorgeous vocal and instrumental arrangements, it never loses steam throughout the whole epic making it one of the most well constructed and captivating prog suites I have heard in a long time. It´s one of those long songs it sounds only too short every time you listen to it, intuitively wishing it could go on t least a little longer, especially the emotional last part.

The production is simply superb, as are all the performances. I have been listening to this CD non stop for two weeks and I guess it´ll be on my fave list for a long time still. Surely it will be on any best of list of progressive rock releases of this year. A great rediscover!

Rating: 4,5 stars. Highly recommended!

 Der Kommissar by AFTER THE FIRE album cover Boxset/Compilation, 1982
2.95 | 4 ratings

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Der Kommissar
After The Fire Symphonic Prog

Review by patrickq
Prog Reviewer

3 stars Although Der Kommissar is technically a compilation album, it was marked to US consumers as After the Fire's stateside debut album. The lead single, a cover of Falco's "Der Kommissar," hit #5 in the US. The follow-up, "Dancing In the Shadows," stalled at #85. The album itself made a respectable #25 on the Billboard Top 200 Albums chart. But the band had broken up and that was that.

As has been discussed at length, After the Fire began as a Christian prog-rock band, but when that didn't work out, headed for AOR territory in the late 1970s. In their native UK, they had three hit singles in the, the most successful hitting #40, and three LPs which peaked in the second division of the top 100.

Falco's German-language "Der Kommissar" was a worldwide smash, hitting #1 in Japan and five European countries. It was successful in many other territories, including Australia (#7) and Canada (#11). In the US it was a minor pop hit, although it received a fair amount of airplay on modern-rock stations and hit #10 on Billboard's disco club-play chart. At some point, it appears, the race was on to put together an English-language version. After the Fire's Andy Piercy wrote new lyrics and the band recorded it, beating Laura Branigan to the punch, so to speak.

Beyond the hit single, Der Kommissar is surprisingly good. The other 12 songs are written by the band (nearly all are credited to bassist-guitarist Piercy and keyboardist Peter "Memory" Banks) and most have an early new-wave, skinny-tie sound. Although the group was based in London, there's no hint of the impending Second British Invasion of Culture Club, Eurythmics, Human League, and so on. In fact, After the Fire sounds just as American as British, reminding me of power-pop groups like Cheap Trick, the Romantics, and the Knack, as well as the (Australian) Men at Work.

Along with the title track, "Dancing in the Shadows," "Billy Billy," and "Love Will Always Make You Cry" are the strongest tunes here, while "Sailing Ship," "Laser Love," and the two instrumental cuts ("1980-F" and "Joy") are b-side material. There are no clunkers here, although CBS had three UK albums from which to select material to compliment "Der Kommissar."

If you aren't fond of 1980s pop-rock music, don't turn around; stay far away from Der Kommissar. But if you are, and have already heard everything on the beaten path, give it a try.

 The Geese And The Ghost by PHILLIPS, ANTHONY album cover Studio Album, 1977
4.03 | 368 ratings

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The Geese And The Ghost
Anthony Phillips Symphonic Prog

Review by patrickq
Prog Reviewer

4 stars Maybe I'd see things differently if I were more than a casual fan of Gabriel, Collins, and company, but The Geese and the Ghost sure sounds like a Lost Genesis Album to me. Others have pointed out that Anthony Phillips's debut is missing several of the characteristics of a Genesis record: the trademark soaring guitar of Steve Hackett, for example, and Tony Banks's virtuoso keyboard work. There's also the fact that only three of the songs have vocals, that the lyrics don't really sound too much like Genesis, and that there's very little percussion, never mind Phil-Collins-strength drumming.

But I view this as a Lost Genesis Album anyway, for two distinct reasons. First, serious Genesis fans seem to really like this record even though Collins is the primary vocalist and Peter Gabriel is absent completely. That says something to me: despite all that's missing, there's some other element or elements that attract those fans. Secondly, this record sounds like Gabriel-era Genesis - - not just someone mimicking or saluting Gabriel-era Genesis - - without Gabriel, Banks, Hackett, or producer John Burns.

Of course the fact that Collins sings two songs makes a big difference, but the most significant element is the synergy between Phillips and Genesis bassist-guitarist Mike Rutherford. This pair, who co-wrote the two main pieces here, also perform the guitar duets that dominate The Geese and the Ghost. It may be these largely acoustic guitar orchestrations, which echo parts of "Supper's Ready," "The Cinema Show," and other Genesis songs, that so endear Genesis fans to this album.

Or perhaps it's these pastoral arrangements of serene but pleasant melodies, which, while lilting, never deteriorate into elevator music. Indeed, Phillips neglects to smooth over the occasional melodic edge - - to good effect. Nonetheless, the album has none of the edginess of a Genesis album. Among its other qualities is the superb audio mixing of the instruments, including flutes, oboes, and strings.

The Geese and the Ghost sounds like an album which was made to satisfy the artist, not the audience. It's kind of appropriate that it failed to chart in the UK and just barely nicked the US top 200 album listings. Others have pointed out that the hybrid of progressive folk and symphonic rock offered by Phillips wasn't selling in 1977, but I can't think of any particular time when it would've been a smash hit. The Geese and the Ghost is a Lost Genesis Album almost on purpose.

In summary - - and I don't mean this as faint praise - - What a nice album.

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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 / STOLT Multi-National
ANDERSON BRUFORD WAKEMAN HOWE United Kingdom
ANGE France
ANGIPATCH France
ÄNGLAGÅRD Sweden
ANIMA Argentina
ANIMA DOMINUM Brazil
ANIMA MORTE Sweden
ANIMA MUNDI Cuba
ANOXIE France
ANTARES Germany
ANYONE'S DAUGHTER Germany
APHÉLANDRA France
APHRODITE'S CHILD Greece
APOCALYPSE Brazil
AQUAPLANAGE United Kingdom
ARABESQUE United States
ARACHNOID France
ARCABUZ Spain
ARION Brazil
ARS NOVA (JAP) Japan
ARS PRO VITA Brazil
ART IN AMERICA United States
ASA DE LUZ Brazil
XAVIER ASALI Mexico
ASIA MINOR Turkey
ASTRË United States
ASTURCON Spain
ATILA Spain
ATLANTIS PHILHARMONIC United States
ATLAS Sweden
ATMOSPHERA Israel
ATOLL France
AUTUMN United Kingdom
AUTUMN BREEZE Sweden
AVIVA (AVIVA OMNIBUS) Russia
AXCRAFT United States
AZABACHE Spain
BABYLON United States
BACAMARTE Brazil
BANAAU / HOLLOWSCENE Italy
BANANA Argentina
BANZAI Belgium
ZELJKO BEBEK AND PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
ROBERT BERIAU Canada
ED BERNARD Canada
BLACK SEPTEMBER United States
BLAKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
BOX OF SHAMANS United States
BILL BRESSLER United States
BRIMSTONE United States
BURNING CANDLE Germany
BUSKER Canada
CAFEINE France
CAI Spain
CAIRO United States
CAJA DE PANDORA Mexico
CAL Spain
CAMEL United Kingdom
LOS CANARIOS Spain
CANNABIS INDIA Germany
CARAVELA ESCARLATE Brazil
ALEX CARPANI BAND Italy
CAST Mexico
CATHEDRAL United States
CELLAR NOISE Italy
CHAKRA United States
CHALCEDONY United Kingdom
CHAOS CODE United States
CHRONOS MUNDI Brazil
JOSÉ CID Portugal
CINEMA Japan
CIRCLE Germany
THE CIRCLE PROJECT Spain
CIRKUS Canada
CITIZEN CAIN United Kingdom
CLEARLIGHT France
CODA Netherlands
CÓDICE Mexico
COLLEGIUM MUSICUM Slovakia
COTO EN PEL Spain
COUSINS & CONRAD United Kingdom
COVENANT United States
CRACK Spain
CRAFT United Kingdom
CRESSIDA United Kingdom
CRONICO Mexico
CROOKED MOUTH United Kingdom
CRUCIBLE United States
CRUCIS Argentina
CZYSZY Poland
DAWN Switzerland
DEJA-VU Japan
DELUGE GRANDER United States
DIALOGUE (DAWN DIALOGUE) Russia
DIAPASAO Brazil
DISCIPLINE United States
DOGMA Brazil
DORACOR Italy
DOUG WOODS & COLIN POWELL United Kingdom
DR. COENOBITE Netherlands
DRAGONFLY Switzerland
DRAMA France
DRUCKFARBEN Canada
DRUID United Kingdom
EARTH AND FIRE Netherlands
EARTHRISE United States
ECCENTRIC ORBIT United States
ECHOLYN United States
ECLAT / ECLAT DE VERS France
ECLIPSE Brazil
EDEN Canada
EGGROLL Israel
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
ESPIRITU Argentina
ESTRUCTURA Venezuela
ETCETERA Denmark
ÉTERNITÉ Canada
ETHOS United States
EVERFRIEND United States
EX-VAGUS France
EXODE France
EXODUS Poland
EZRA WINSTON Italy
FAITHFUL BREATH Germany
FALLING EDGE Canada
FANTASY United Kingdom
FARMHOUSE ODYSSEY United States
JAROD FEDELE United States
FICCION Venezuela
FINCH Netherlands
FIREBALLET United States
FIRST+AID United Kingdom
FLAGSHIP Sweden
FLAME DREAM Switzerland
FLAMING BESS Germany
THE FLOWER KINGS Sweden
FLÜGHT Mexico
FLYTE Belgium
FOCUS Netherlands
FOREVER TWELVE United States
THE FOUNDATION Sweden
FRÁGIL Peru
FRIGHT PIG United States
FROMAGE Japan
FRUUPP Ireland
FUSONIC Netherlands
G.A.L.F. Brazil
GALASPHERE 347 Multi-National
GALIE Mexico
GENESIS United Kingdom
GENS DE LA LUNE France
THE GIFT United Kingdom
GLASS United States
GLASS HAMMER United States
GÒTIC Spain
GOVEA Mexico
GRACIOUS United Kingdom
GRANADA Spain
GRAND STAND Sweden
GRANDBELL Brazil
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 Brazil
HIGH WHEEL Germany
TERUTSUGU HIRAYAMA Japan
HOGGWASH Ukraine
HOKUS POKUS Norway
LYLE HOLDAHL United States
HOLDING PATTERN United States
HOLY LAMB Latvia
HORIZONT Russia
HOT FLASH United States
HYACINTUS Argentina
I.C.U. Germany
III MILÊNIO 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
BJÖRN JOHANSSON Sweden
JORDSJØ Norway
KAIPA Sweden
KAIPA DA CAPO Sweden
KAIZEN Brazil
KALABAN United States
KALO Japan
KANSAS United States
KARDA ESTRA United Kingdom
KARFAGEN Ukraine
KARMAKANIC Sweden
KHATSATURJAN Finland
KING EIDER Netherlands
KLOCKWERK ORANGE Austria
KOGAION Romania
KOTEBEL Spain
KVAZAR Norway
KYRIE ELEISON Austria
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