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.
Iv�n 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 | 5067 ratings
CLOSE TO THE EDGE Yes |
4.65 | 4659 ratings
SELLING ENGLAND BY THE POUND Genesis |
4.61 | 4051 ratings
FOXTROT Genesis |
4.46 | 4048 ratings
FRAGILE Yes |
4.42 | 3581 ratings
NURSERY CRYME Genesis |
4.41 | 3062 ratings
MIRAGE Camel |
4.40 | 2610 ratings
MOONMADNESS Camel |
4.38 | 3478 ratings
RELAYER Yes |
4.35 | 1861 ratings
HYBRIS �nglag�rd |
4.31 | 3302 ratings
THE YES ALBUM Yes |
4.31 | 3355 ratings
THE LAMB LIES DOWN ON BROADWAY Genesis |
4.30 | 2609 ratings
THE SNOW GOOSE Camel |
4.32 | 1407 ratings
SCHEHERAZADE AND OTHER STORIES Renaissance |
4.28 | 2950 ratings
A TRICK OF THE TAIL Genesis |
4.35 | 867 ratings
FROM SILENCE TO SOMEWHERE Wobbler |
4.24 | 2363 ratings
EMERSON LAKE & PALMER Emerson Lake & Palmer |
4.28 | 936 ratings
DEPOIS DO FIM Bacamarte |
4.26 | 1172 ratings
VILJANS �GA �nglag�rd |
4.25 | 1141 ratings
HAMBURGER CONCERTO Focus |
4.26 | 876 ratings
ASHES ARE BURNING Renaissance |
Symphonic Prog overlooked and obscure gems albums
Random 4 (reload page for new list) | As selected by the Symphonic Prog experts team
BRIDGE ACROSS FOREVER - THE LIMITED EDITION Transatlantic |
TALES FROM AN ISLAND - IMPRESSIONS FROM RAPA NUI Blank Manuskript |
GUET-APENS Ange |
ET APR�S Memoriance |
Latest Symphonic Prog Music Reviews
Genesis Symphonic Prog
Review by
VianaProghead
Prog Reviewer
"14 From Our Past" is a compilation of Genesis that was released in 2007. As its name indicates, it features fourteen songs from the band which aim to be representative of the whole history of Genesis. So, practically all studio albums of the group are represented with one song except their debut and third studio albums "From Genesis To Revelation" and "Nursery Cryme". It has also a song "Happy The Man" that was never put on any official studio album at the time. However, it was recorded and released at the same time of "Nursery Cryme" and so it became the song representative of it. It's also interesting to note that all the songs on "14 From Our Past" were put strictly in the chronological order.
Thus, "14 From Our Past", like its name indicates, is a compilation album with fourteen tracks. The tracks chosen to be part of this compilation album are the following: "The Knife" from "Trespass", "Happy The Man" which is a non-album's track, "Watcher Of The Skies" from "Foxtrot", "I Know What I Like (In Your Wardrobe)" from "Selling England By The Pound", "The Lamb Lies Down On Broadway" from "The Lamb Lies Down On Broadway", "Squonk" from "A Trick Of The Tail", "Your Own Special Way" from "Wind And Wuthering", "Follow You, Follow Me" from "...And Then There Were Three...", "Turn It On Again" from "Duke", "Abacab" from "Abacab", "That's All" from "Genesis", "Land Of Confusion" from "Invisible Touch", "Hold On My Heart" from "We Can't Dance" and "Congo" from "Calling All Stations".
"The Knife" is a composition unusually aggressive for the band and pronounced, in a certain way, the path the band would follow up on their next albums. It's the most famous song on "Trespass" and is the heaviest track of Genesis. "Happy The Man" is a song that was never released on any studio album of the band. It was released only as a single, in a few countries, as the A side of it and with "Seven Stones" as the B side. It was later put on several compilation albums, some with slightly different versions. The song was originally recorded in 1972. It was released almost simultaneously with the "Foxtrot" album. It's a good song, but one that wouldn't have fit very well on that album. "Watcher Of The Skies" is one of the most popular and beloved songs by their fans, and one of the most played live by the band. It's a great song that gives a sense of majesty and power. "I Know What I Like (In Your Wardrobe)" is a funny song with some characteristics of a pop song. Still, it's a great song. It was the first charting single of the band. "The Lamb Lies Down On Broadway" is one of the most accessible songs on the entire early Genesis' catalogue. It revolves around piano, synthesizer and Mellotron tunes, with the traditional rock instruments accompanying. It has some great lyrics too. "Squonk" is a very simple song with great choral work. It has a great memorable opening and a remarkable fantastic drumming work of Collins. "Your Own Special Way" is a straight forward pop song with excellent melody. It has very good 12 string guitars, and some superb keyboard arrangements by Banks, plus some autoharp by Hackett. "Follow You, Follow Me" is a song released for a single with the intention to be a hit that achieved the top sales. It's a good pop song that should never have been recorded by Genesis, but recorded by Collins on one of his solo albums. "Turn It On Again" is a good pop rock song, one of their greatest successes and one of their most played live songs. "Invisible Touch" is a typical pure pop song made to be a greatest hit. As a pop song, it's a great song. Still, it has nothing to do with prog. "Abacab" is a very good song that I like very much. I really think that we are in presence of one of the best songs on "Abacab" album. It's a song with a simple structure that progresses in a modern way. "That's All" is a simple song with a catchy tune that remains nice to hear from the beginning to its ending. It's a Collins' song with all the ingredients to be a successful pop song. "Land Of Confusion" became a Genesis' classic song with a catchy rhythm and a beautiful melody, very nice and pleasant to hear. Of course this isn't exactly a progressive song but it's good enough to be remembered. "Hold On My Heart" is a song that never should be part of a Genesis' album. It's a good song, but it really belongs to a Collins' solo work. "Congo" marked the debut of Ray Wilson as the vocalist of Genesis. It's a song with a pop tune with an African style drum beat. It isn't bad, but it sounds too much to a pop song.
Conclusion: "14 From Our Past" is an interesting and strange compilation. We can't say that we are in presence of a bad compilation because almost all their studio albums are represented. The only exceptions are "From Genesis To Revelation" and "Nursery Cryme". About "From Genesis To Revelation" is comprehensive and expected because, in a certain way, it's an outsider album in their discography. But, "Nursery Cryme" is unexpected and less comprehensive. In relation to the choice of the tracks, there was the concern of selecting short tracks. The overall quality of the compilation is good. Half of it is progressive. But of course it has some weak tracks like "Follow You Follow Me", "Hold On My Heart" and "Congo". So, "14 From Our Past" is a good compilation which runs almost their entire career. Still, it serves only those who are beginners with the band or those who aren't familiar with the entire band's musical career.
Prog is my Ferrari. Jem Godfrey (Frost*)
Genesis Symphonic Prog
Review by ProgSphere
When most people think of Phil Collins they think of "In the Air Tonight," I think of "Apocalypse in 9/8." Genesis has an extensive collection of great albums which makes it difficult to choose a favorite from their catalog. For me, "Foxtrot" represents the band's peak of progression and diversity. While it shares similarities with their preceding album, "Nursery Cryme," its distinguishing features lies in the production quality and the epic track concluding the album (which I'll touch a bit more on later). Each musician can shine with their own moment, showcasing some of their finest work.
The album features Peter Gabriel on vocals, Steve Hackett on guitar, Phil Collins on drums, Tony Banks on keyboards, and Mike Rutherford on bass. The band would record Foxtrot in London's Island Studios in August and September 1972. Initially planning to work with producer John Anthony, disagreements over costs led to a search for a new producer. After failed attempts with numerous producers, they went with co-producer David Hitchcock who produced albums for band's such as Mellow Candle and Caravan at the time. Foxtrot would ultimately receive high praise, with Charisma Records' owner predicting it would define their career. Banks particularly praised the album, believing it contained no weak tracks.
The album opens with "Watcher of the Skies" which borrows its title from John Keats' 1817 poem "On First Looking into Chapman's Homer." This track stands out for its complex musicality, unconventional time signatures, and intriguing lyrics, making it one of the tracks I find myself returning to the most from the band. Notably, it features a stunning mellotron introduction. Interestingly, this mellotron was purchased from King Crimson before the recording of the album. "Time Table" showcases a more delicate side of the band, highlighted by Banks' skillful piano playing. On the other hand, "Get 'em Out by Friday" and "Can-Utility and the Coastliners" delve deeper into a progressive and theatrical direction, showcasing intricate songwriting that exemplifies the best of progressive rock. "Horizons" provides a gentle interlude, allowing Hackett to deliver a beautifully executed acoustic piece which he composed. The album culminates with the monumental "Supper's Ready," comprised of seven distinct sections with recurring motifs. Personally, I regard "Supper's Ready" not only as the band's crowning achievement but also as one of the genre's finest tracks. Banks himself acknowledged the latter parts as "probably our peak."
In essence, "Foxtrot" stands as a testament to Genesis's artistic prowess and musical innovation. It represents the pinnacle of their career, showcasing their ability to seamlessly blend complex instrumentation with thought- provoking lyrical content. Ultimately, this album remains a shining example of the band's surviving legacy in the realm of progressive music. If you are reading this review, I would hope that you've already heard the album, if not, do yourself a favor and listen to it as soon as possible.
Favorite Track: Supper's Ready (22:53)
Yes Symphonic Prog
Review by ProgSphere
As this is the first review that I intend to publish out of many, I feel like it wouldn't be right to start with any other album than Close to the Edge. It was among the first albums that introduced me to the world of progressive rock. Initially, it left me perplexed and unsure, but with each subsequent relisten, I found myself unable to resist adoring it and sharing it with people I knew, ultimately receiving many mixed reactions. Despite releasing in 1972, the album remains to be a classic with not just myself, but with many fans within the progressive rock genre. Furthermore, the album has garnered acclaim from music critics across the board and is hailed as one of the finest in the genre.
The album features the contributions from Jon Anderson on vocals, Steve Howe on guitar, Rick Wakeman on keyboards, Chris Squire on bass, and Bill Bruford on drums. This lineup is often acknowledged as their "classic lineup," and rightfully so, as each member is able to bring a unique dynamic to their sound. Each member's influence extends beyond the band and into various projects and solo careers which contributes to each of their enduring legacies. When envisioning the ideal lineup for a supergroup, it's difficult not to include at least one or two members of Yes. Additionally, credit is due to Roger Dean and Eddy Offord for their contributions to the album. Roger Dean's cover artwork, though simpler than his typical style, is complemented by a captivating landscape inside the gatefold. This adds an extra layer of allure to the album while also blending very well with the music. Meanwhile, Eddy Offord's exceptional production work shines through as he draws from his experience with the band's live performances. Offord aimed to capture the energy of their best concerts within the studio recordings.
The album begins with the monumental track "Close to the Edge." Words can hardly express the profound significance this song holds for me; it continues to stand as one of my all-time favorites. The sheer brilliance of musicianship, the intricate composition comparable to a symphony, and the lyrical depth rivaling that of esteemed poets make it a true masterpiece. It embodies the very essence of progressive rock, taking listeners on a journey through various styles, genres, and emotions. Moreover, the following two tracks deserve equal acclaim. Both stand out as some of the band's finest compositions. "And You And I" begins with delicacy, gradually evolving into an impressive crescendo which allows Jon Anderson to showcase his remarkable talent. This song underscores the significance of dynamics in music; the interplay between soft and loud passages is essential for its impact. "Siberian Khatru" is yet another outstanding piece that seamlessly blends various genres into an engaging composition.
Midway through the recording process of this album, Anderson made the decision to walk home from the studio following a difficult session that stretched into the early hours of dawn. Overwhelmed with emotion upon his arrival, he found himself in tears, realizing that he could now proudly declare himself a true musician. This moment led him to fill in the occupation section of his passport, a space previously left blank, with the title of "musician." Following the completion of this album, the band faced a significant change as drummer Bill Bruford departed to join King Crimson. His departure marked the entrance of Alan White, previously known for his work with John Lennon, as the new drummer. "Close to the Edge" stands as an essential cornerstone for those exploring progressive rock and music in general. Its historic significance makes it an essential listening experience.
Favorite Track: Close to the Edge (18:12)
Genesis Symphonic Prog
Review by ken_scrbrgh
After the show, one of our group responded, 'Peter who . . . ?'
In addition to the recently released 'Wind and Wuthering,' Phil and 'company' were touring 'A Trick of the Tail.' Released in early 1976, this album decidedly answered the question, could Banks, Collins, Hackett, and Rutherford carry on without 'Peter who . . .?' Although not explicitly a 'concept' album, 'A Trick of the Tail' bears affinity to a Twentieth Century phenomenon known as 'magic realism.'
In the world of literature, Gabriel Garcia Marquez' 'One Hundred Years of Solitude' and Gunter Grass', 'The Flounder' are prime examples of this tradition in literary expression in which 'the ordinary becomes extraordinary' and the 'extraordinary becomes ordinary.'
A modicum of investigation on the Internet has led me to the novel, 'The Inheritors' by William Golding, the final chapter of which is the source of inspiration for Tony Banks' song, 'A Trick of the Tail.' In 'The Inheritors,' Golding delves into the lives of a group of Neanderthals from the perspective of these individuals, who live in an 'eternal present' broken only by the passage of the seasons. Golding is concerned with the origins of religion, culture, sacrifice, and war. In this work's final chapter, the focus is on the perspective of the modern humans (homo sapiens sapiens) who coexist with the Neanderthals (homo sapiens neanderthalensis). Both groups treat each other with fear and suspicion.
In the song 'A Trick of the Tail,' Banks has kept the perspective of the curiosity of the one group for the other, but no longer maintains Golding's exploration of the Neanderthal by the modern human, rather presents the reaction of modern humans to the presence of one 'Bored of the life in the/city of gold . . . In search of another/to share his life.' Banks has transferred Golding's Neanderthal to the character of one who possesses 'horns' and a 'tail.'
And so, the album is an invitation to the listener to enter Banks, Collins, Hackett, and Rutherford's world of 'magic realism.' And, throughout, 'A Trick of the Tail' displays some of Genesis most potent instrumental prowess.
In any other work, 'Los Endos' could function as a fanfare, announcing all of the themes to follow. Here, the themes are stated in retrospect. In considering 'Los Endos,' I like to think of the Who's 'Overture' to 'Tommy.'
At this juncture, I'd like to mention that, during the mid-seventies as I became familiar with Genesis' music, I needed repeated listening to appreciate the virtuosity of Steve Hackett. As we enter 'A Trick of the Tail,' through 'Dance on a Volcano,' Hackett's guitar is considerably overt. In 'Entangled,' we encounter 'Freudian slumber empty of sound' replete with mesmerizing guitar and one of Tony Banks' truly towering final synthesizer solos.
Hackett's 'trademark' is his use of the volume peddle. The guitar work in 'Ripples' exemplifies his mastery of this device. To my '1976' ears, many of Hackett's performances initially registered as synthesizers. Simultaneously, Hackett delivers an exemplary 'rhythm guitar' performance in 'Squonk.' And employing the rubric 'less is more' during Bank's keyboard solo in 'Robbery, Assault, and Battery,' Hackett sustains a single note in an arc that transcends the proceedings.
On an individual level, I must state that 'A Trick of the Tail' holds a critical place in my appreciation of Genesis' music. With 'Selling England by the Pound,' 'A Trick of the Tail' ensured my readiness to approach 'Supper's Ready' and 'The Lamb Lies Down on Broadway.'
I suppose Banks, Collins, Hackett, and Rutherford send an 'acknowledgment' of esteem to 'Peter who' in the ending of 'Los Endos,' when Collins, referring to Rev 19:17 and 'Suppers Ready,' sings 'There's an Angel Standing in the Sun . . . .'
In reference to 'magic realism,' what more authoritative source could there be than the Book of Revelation?
Transatlantic Symphonic Prog
Review by
VianaProghead
Prog Reviewer
Transatlantic is a progressive rock super band formed in 2000 by Neal Morse of Spock's Beard and Mike Portnoy of Dream Theater. Originally intending to include guitarist Jim Matheos of Fates Warning, Morse and Portnoy decided to include Roine Stolt of Flower Kings when Matheos was unable to participate. The band ended their line up by adding Pete Trewavas of Marillion. Their debut album, "SMPT:e" of 2000 received strong and rave reviews. Their second album, "Bridge Across Forever" of 2001 finds the band affixing the form that prog rock is known for. Their third album "The Whirlwind" of 2009 arise after a break of almost seven years. The fourth album "Kaleidoscope" was released in 2014.
"Kaleidoscope" is available in two formats, a double edition and a special edition, which is mine. The double edition has two CD's. The first CD has the main album with five original tracks. The second CD has eight tracks, which are eight cover songs. The eight cover songs are "And You And I" of Yes, "Can't Get It Out Of My Head" of Electric Light Orchestra, "Conquistador" of Procol Harum, "Goodbye Yellow Brick Road" of Elton John, "Tin Soldier" of Small Faces, "Sylvia" of Focus, "Indiscipline" of King Crimson and "Nights In White Satin" of The Moody Blues. The special edition, beyond the main album and the bonus disc, contains also a DVD that contains the making of "Kaleidoscope", a promo video clip of the track "Shine" and images behind the scenes. This is probably the version that most fans will desire.
The line up on the album is Roine Stolt (vocals, electric guitars and percussion), Neal Morse (vocals, keyboards and acoustic guitars), Pete Trewavas (vocals and bass) and Mike Portnoy (vocals and drums). The album had also the participation of Daniel Gildenlow (vocals), Rich Mouser (pedal steel guitar) and Chris Carmichael (cello).
If you like progressive rock music, you surely know or at least heard of the super group Transatlantic. As many of we know, the band's formation is a true constellation of progressive stars. All these super musicians met again in 2013 and planned a new studio work, "Kaleidoscope". "Kaleidoscope" is a long album, over an hour, and only five songs, which can chase away the listener who hates long tracks guitar and keyboard solos and long intros. But, Transatlantic knows how to reconcile very well in each song heavier and lighter passages, more poppy and accessible with passages of pure rhythmic smashing. Regardless of the taste of each one, they are all very well elaborated tracks that bring together everything that this band has already shown in previous albums, what really is the progressive rock primer is all about.
About the five tracks, "Into The Blue" is the first epic. It's the typical opening song for a Transatlantic's album. With 25 minutes, it's a complete journey divided into five parts, "Overture", "The Dreamer And The Healer", "A New Beginning", "Written In Your Heart" and "The Dreamer And The Healer (reprise)", obeying to a very common logic in the classical music and reused by progressive rock. Each of these parts contains its own riffs, solos, choruses and vocal melodies, making of "Into The Blue" a set of tracks united by the same narrative idea and the melodic theme. "Shine" is a lovely heartfelt number, a ballad with a very calm and a nice engaging groove. All four members of Transatlantic have their opportunity to sing. The whole band participates, giving vigour to the song. "Black As The Sky" is a vigorous song, one of the best on the album. While the keyboards and guitar are the main instruments on the song, there's a great interplay between bass and drums throughout the entire track. "Beyond The Sun" is the least emblematic track on the album and one of the weakest in Transatlantic's discography. It serves as an interlude between the previous and the next track. It's neither a thrilling song as the previous one, nor as beautiful as "Shine". "Kaleidoscope" is the second epic. It's almost 32 minutes divided into seven parts "Overture", "Ride The Lightning", "Black Gold", "Walking The Road", "Desolation Days", "Lemon Looking Glass" and "Ride The Lightning (reprise)". It's exciting, beautiful, well made and well produced. It takes advantage of the skill of all musicians. It delivers very accessible sessions to the audience for any listener to be able to connect with its verses, choruses and rhythms. But, like every great epic progressive track, there are many sophisticated harmony passages and different time signatures. This is a true progressive epic piece in all its aspects.
Conclusion: Once again, some will say that Transatlantic doesn't propose anything new and is content to reproduce what they have already done in the past. It's true it has the same formula you've heard before and that offers very little in the way of experimentation or newness. But, it's done just as well as ever. Due to its technical quality and its above-average production, "Kaleidoscope" remains a fascinating album. Every element you expect is there fully. In the end, this is music adventurous, intricate, and fun that deserves acclaim, regardless of how identifiable it sounds. The fact that these great musicians can reunite compose and perform so well, it's reason enough to celebrate. The quartet still stands as a dominant force in its field. Let's hope they keep it going for years and years to come. So, fans will love it.
Prog is my Ferrari. Jem Godfrey (Frost*)
Clearlight Symphonic Prog
Review by
UMUR
Special Collaborator Honorary Collaborator
"Forever Blowing Bubbles" opens with "Chanson", which is a track featuring vocals, which is a first for Clearlight, as their debut album was fully instrumental. "Forever Blowing Bubbles" is also predominantly an instrumental release, but there are in addition to "Chanson" a few other tracks featuring vocals. While the debut album featured only two 20 minutes long compositions, "Forever Blowing Bubbles" features seven more "regular" length tracks (2 to 8 minutes long). The overall music style is similar, although the shorter song lengths make these tracks a bit more concise and also more easily accessible. Psychedelic rock, symphonic progressive rock, meditative new-age atmospheres, and louder more energetic jazz/rock influenced sections. That�s what you get on "Forever Blowing Bubbles".
The album features a detailed, organic, and overall great sounding production, where all instruments and the sparse vocals are audible in the mix. Upon conclusion "Forever Blowing Bubbles" is a pretty eclectic progressive rock album for fans of ethereal atmospheres but also jazz/rock energy, and psychedelic excursions. A 3 star (60%) rating is warranted.
Ellesmere Symphonic Prog
Review by BBKron
Neal Morse Symphonic Prog
Review by BBKron
Regna Symphonic Prog
Review by BBKron
Pulsar Symphonic Prog
Review by alainPP
- Halloween Part II begins with distant percussions, choirs coming from elsewhere in space; we are no longer on Master SCHULZE there; a breath, yes a bit of the psychedelic period of PINK FLOYD, a bit of everything; the start brings back the sound of KING CRIMSON, here the loop is made, a little flute, violin, the sound is admirably found; this departure remains in a larval form, axolotl not knowing where to go; the continuation with a guitar solo imprinting a solemn melody for an enjoyable moment; the oldfieldian sound again with a beautiful flute; the voice comes through well, always with a solemn touch; the percussive hit adds emotion to the grandiloquent tune, this piece is well done, monolithic but with a beautiful crescendic rise; pastoral organ interlude the one before the church steps; hold the tune of 'Close Encounters of the 3rd Kind' suddenly introducing dithyrambic percussion; musical dog sounds then an acoustic arpeggio blending in; listen to the sound of the saucers from 'Mars Attack' yes they will land much later, it's an image; good digression suddenly reminding me of CLEARLIGHT, it swirls lastingly and pleasantly; ah a divine choir, shh I'm listening...yes not Gary NUMAN but the classic tune...beauty has a price and listening to this tune I always wonder why this group hasn't had more recognition.
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 |
�NGLAG�RD | 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 |
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 |
ASTR� | 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 |
BANANA | Argentina |
BANZAI | Belgium |
BAROCK | Norway |
ZELJKO BEBEK & PODIUM | Yugoslavia |
BEGGARS OPERA | United Kingdom |
JEF BEK | United States |
ROBERT B�RIAU | Canada |
ED BERNARD | Canada |
BLACK SEPTEMBER | United States |
BL�KULLA | 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 |
CAF��NE | 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 |
THE CHRONICLES OF FATHER ROBIN | Norway |
CHRONOS MUNDI | Brazil |
JOS� 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 |
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 |
DANIEL CROSS | United States |
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 |
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 |
ESP�RITU | 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 |
FR�GIL | Peru |
FRAGILE | Germany |
FRIGHT PIG | United States |
LARS FREDRIK FR�ISLIE | Norway |
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 |
GERALD PETER PROJECT | Austria |
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 |
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 MIL�NIO | 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 |
BJ�RN JOHANSSON | Sweden |
JORDSJ� | 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 |
L�QUESIS | 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 |
P�R LINDH AND BJ�RN JOHANSSON | Sweden |
P�R 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 M�QUINA DE HACER P�JAROS | 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 |
MER�T | Argentina |
MERLIN | Germany |
METABOLISME | France |
MEZQUITA | Spain |
MIA | Argentina |
MIDAS | Japan |
MIKLAG�RD | 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 |
JES�S MU�OZ FERN�NDEZ | 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 |
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 |
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 |
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 MA��S | Brazil |
REFUGEE | United Kingdom |
REGNA | Spain |
RELAYER | United States |
RENAISSANCE | United Kingdom |
RESIDUOS MENTALES | Greece |
RING OF MYTH | United States |
RING VAN M�BIUS | 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 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 |
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 |
TA� 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 |
MARI�N 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 |