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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 06/02/16

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

4.65 | 3907 ratings
CLOSE TO THE EDGE
Yes
4.63 | 3629 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.60 | 3138 ratings
FOXTROT
Genesis
4.44 | 3068 ratings
FRAGILE
Yes
4.42 | 2737 ratings
NURSERY CRYME
Genesis
4.39 | 2287 ratings
MIRAGE
Camel
4.37 | 1957 ratings
MOONMADNESS
Camel
4.36 | 2646 ratings
RELAYER
Yes
4.38 | 1498 ratings
HYBRIS
Änglagård
4.35 | 1117 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.29 | 2573 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.29 | 2482 ratings
THE YES ALBUM
Yes
4.29 | 1988 ratings
THE SNOW GOOSE
Camel
4.27 | 2228 ratings
A TRICK OF THE TAIL
Genesis
4.31 | 1009 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.32 | 755 ratings
DEPOIS DO FIM
Bacamarte
4.24 | 1814 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.25 | 935 ratings
VILJANS ÖGA
Änglagård
4.25 | 878 ratings
HAMBURGER CONCERTO
Focus
4.22 | 943 ratings
LEFTOVERTURE
Kansas

Symphonic Prog overlooked and obscure gems albums new


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

GUET-APENS
Ange
BRIDGE ACROSS FOREVER - THE LIMITED EDITION
Transatlantic
BOOK OF HOURS
Willowglass
SAECULA SAECULORUM
Saecula Saeculorum

Latest Symphonic Prog Music Reviews


 Live: Made In Norway by ÄNGLAGÅRD album cover DVD/Video, 2017
5.00 | 6 ratings

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Live: Made In Norway
Änglagård Symphonic Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

5 stars This is the first official video of the band in filmed in Sandvika, Norway February 21, 2015. The venue is very small probably not more that one hundred people there. So the cameras were very close capturing some really close shots of the musicians. The visuals are restricted to the basic lighting of any small clubs. But the best is the music and the discrete surround sound makes this video a very pleasant experience. I must say that the discovery of their "Hybris" album in 1993 was something special for me and I continued to follow the band even thought they made only 3 albums. In this 2 hours of music, we have a good representation of those albums, all epic songs of vintage 70's prog rock with their own style of symphonic based around the flute, guitars, and keyboards developing the melody with a solid rhythm section. The dark and melancholic atmosphere of their music must have been inspired by their long winter nights in Sweden and explain why bands coming out that country have a similar sound. So, the music here is great as we could expect and seeing this band played in front of a small crowd was like seeing a great band at their debut, but here, the band contrary to some bands that have become more popular and playing in front of larger crowd, are still living out their music of passion only.
 Modern Masquerades by FRUUPP album cover Studio Album, 1975
3.23 | 102 ratings

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Modern Masquerades
Fruupp Symphonic Prog

Review by Zayash

4 stars A fine album but sadly underestimated. The Fruupp became known for outstanding Future Legends, with your sound sharp and consistent, a heavy prog of the best. Without much refinement in the compositions and production in two 'lbuns after future legends the Group also lacked certain lack of versatility, falling in worn and repetitive formulas. Then in the "Modern" the music appears redesigned and with more resources combined with a sound production (Ian Macdonald) more careful and clear. The style is more to Camel with an eclectic and very technical tone. The Heavy almost gives to rustic with more symphonic tone and elegant, with addition of wind instruments like oboe and trumpets. Peter Farrely vocals is very well fitted, with vigorous and organic interpretations (Sheba's Song is an example). 'Gormenghast' is a composition that grace a dedicated and attentive hearing: it is a work of great beauty, very delicate and rich in detail, with a bottom almost melancholy without being depressing. For the radical supporters don't accept heavier groups making cleaner and more complex music this album may not please. However, the mark of previous albums is as a background that allows new experiments and landscapes that only enrich the musical experience. In my opinion, Modern Masquerades is a great job overshadowed by nationality of the band (Ireland) and maybe by the time it was made late (1975). Before you judge, meet! It's worth it!
 Power And Outcome by CAST album cover Studio Album, 2017
4.20 | 16 ratings

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Power And Outcome
Cast Symphonic Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars

The first song "Rules of the Desert" starts the album in such uptempo mood and with a punchy style that I thought it was another band. This song is instrumental and the presence of the violin that will be constant throughout the album add a little touch to the music. The second song "Power and Outcome" bring back the vocals and reassure me that it's still the Cast traditional style. The band is back with his style of symphonic music with piano and classical arrangements. The vocals remind me of some Neo-Prog bands of the 80's and 90's which fortunately is not ruining the talented songwriting. The third track is a beautiful and peaceful ballad. "Start Again" is another instrumental track taking us back to the first song tempo but this time the guitar is taking his spot with the keyboards of Louis Alfonso Vidales. The song shows some impressive instrumental parts where the guitar is left lose in some exquisite solos. "Illusions and Tribulations" is another great track and the best way to enjoy the vocals when the music is quieter. This is a strong album of the band with some Genesis and Kansas influences that will please a bunch of Progressive Rock fans.

 La Mosaïque De La Rêverie by PAGEANT album cover Studio Album, 1986
3.70 | 42 ratings

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La Mosaïque De La Rêverie
Pageant Symphonic Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars A rock combo PAGEANT can be called as one of Japanese symphonic rock progenitors positively inspired by Genesis and 70s British progressive rock scene. The album "La Mosa'que De La R'verie" was released in 1986 as their debut creation, and it's said long time and much money were needed for the production. Well understood PAGEANT needed much expensive stuff, and this album sounds of another Japanese Fantasia for being launched in 1986. Exposure not simply of Genesis' flavour and view, but apparently of Japanese cultural dramatic "cartoon-ish" texture, can be appreciated.

Their instrumental technique is beyond expression really. For almost all of Japanese in 1980s progressive rock might be symphonic rock, and artists had tried hard to make soundscape decently symphonic we can imagine easily. Hiroko's voices sound not cute nor lovely but sharp-edged and theatrical. No suspicion she should lead this whole combo to enthusiastic sound space. In the current progressive rock scene this music style flooded with mysterious tragic storytelling melody and lyrics is not rare nor innovative but yes, 30 years before! As the frontman Ikko says, "Un Giel De Celluloide" is not fit for such a dramatic narrative touch but anything. Let me emphasize especially the titled track composed / written by Hiroko is full of creativity and original sound points of view. Unforeseeable melodic stream of the story drives the audience crazy thrilling. We should listen to and digest this stuff out without any breath. What a supra-impressive one.

For various reasons above mentioned, this album is impressive even now. One of authenticities in Japanese progressive rock world, we can call ... like the mystic sleeve pic!

 Launch Overture by ALVARADO, LEON album cover Singles/EPs/Fan Club/Promo, 2016
2.00 | 1 ratings

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Launch Overture
Leon Alvarado Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

— First review of this album —
2 stars Tormato

The opening track from the album The Future Left Behind by Leon Alvarado is here presented in an alternate edit on this digital single. Actually, calling it an "edit" undersells it somewhat as it is really more of an alternate arrangement of the tune with some parts that came at the beginning of the album version now appear instead at the end of the track. It is hard to say which version is better, but it is anyway the best song from the album and a nice one in its own right. Yes legends Rick Wakeman and Billy Sherwood appear as guests on the track with Rick doing a Moog solo and Billy playing guitars. The cover art clearly gives a nod to Yes' Tormato.

 The Future Left Behind by ALVARADO, LEON album cover Studio Album, 2016
3.00 | 3 ratings

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The Future Left Behind
Leon Alvarado Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Journey into space

The structure of The Future Left Behind by Leon Alvarado is clearly modelled on Rick Wakeman's Journey To The Centre of The Earth with similarly styled narration alternating with instrumental music. Wakeman himself actually appears here as a guest contributing a Moog solo to the opening Launch Overture. The guitars are provided by another Yes-man in Billy Sherwood with the exception of the lovely acoustic guitar piece To Be Loved which is played by Johnny Bruhns (at some point Sherwood's band mate in Circa). Everything else is done by Alvarado who plays keyboards and drums among other things. The drums is the weakest link in the sound and it would have been much advisable to hire another drummer for the proceedings. The narration is well done and the story paints a bleak picture of our planet's future albeit with some silver linings. Still, as is often the case with narration on music albums, it tends to get tedious on repeated listens. Thankfully the narration is isolated to separate tracks that can easily be programmed out leaving around 35 minutes of decent instrumental music.

Hardly a groundbreaking release, but pleasant enough.

 Atlantis by EARTH AND FIRE album cover Studio Album, 1973
3.47 | 87 ratings

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Atlantis
Earth And Fire Symphonic Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

5 stars First to say, the logotype mixture of the band name and the album title is awesome. :D

Journey to Atlantis, a great journey for me. It's very surprising the evaluation for the album "Atlantis" would not be so high and decent as I've expected, even though it was released just after Earth And Fire's masterpiece "Song Of The Marching Children". Surely the longest titled track (upon the entire A Side) plays the role of the signboard of this creation with colourful passions and appearances (hard rock, folk, symphonic, psychedelic, and so on). The first melodic attack along with Chris' crying guitar plays would absorb the audience conspicuously. Sounds like Japanese Enka flooded with emotional, tragic texture ... it might be a tad rare a suite gets started with such a strict sadness of melody lines. As the suite goes ahead, the guitar essays will explode more and more emotionally. Jerney's voices are not so perfect but our heart would get attracted deeply, especially in the part "Destruction" drenched in fruitful soundscape. Who cannot appreciate this suite eh?

On the other side ... a couple of melodic gems are upon the B Side really, let's listen. "Maybe Tomorrow, Maybe Tonight" is one of the most popular, most acceptable songs of all upon their career. Gerard's keyboard / mellotron play is crazy delightful and drives other instruments / voices more and more of uptempo. In the last phase of "Fanfare" following a psychic sound drama "Interlude", some mysterious, sorrowful phrases drag the audience into the Earth like Classical polyphony or canon (obviously the Baroque scene had exerted much influence upon their creativity). Jerney's fragile but enthusiastic voices give definite power to us in solitude. "Theme From Atlantis" sounds like another excerpt of the magnificent A-Side suite but mystic rites not heard before should be there definitely. The epilogue of this album "Love, Please Close The Door" quite suitable for the suite finale might feature solemn "down-to-the earth" I suppose.

For me this Symphonic Progressive Crystal can be called as one of cornerstones, like the previous masterpiece of Earth And Fire.

 Invention of Knowledge by ANDERSON/STOLT album cover Studio Album, 2016
3.68 | 181 ratings

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Invention of Knowledge
Anderson/Stolt Symphonic Prog

Review by Walkscore

3 stars Better than most Jon Anderson solo albums.

Many reviewers have suggested this album comes across as a parts Olias of Sunhillow and Tales from Topographic Oceans, and I would not, on the whole, disagree. However, it is missing key elements of both albums that pushed them into 'excellent' territory. On the positive side, all the music on this album is highly listenable all the way through, which can't be said for most Jon Anderson solo albums (which often have duds that must be skipped over, except Olias of course), and all of the pieces here are solid even if not highly memorable. Jon Anderson's lyrics here are also pretty good - better than a lot of his more cheesy lyrics on some of his solo albums, and his voice has kept well - he sounds pretty darn good for a 70-year old! So, good on these scores, and worth picking up for these reasons. On the negative side, the vocals are too constant, with insufficient instrumental breaks. While I generally love Jon Anderson's vocals, too much of a good thing can be a bit tiring to listen to - there is not sufficient time to wander off into the music before perking up one's ears again for the lyrics. Related to this, while the music behind the lyrics is excellent, it is not sufficiently the focus of the album. Often the excellent playing is too low in the mix (leaving the vocals always up front and centre), and the musical interludes are too short. Among the great thing about Yes (and the Flower Kings and Roine Stolt's solo work) was/is the high degree of musicality in their instrumental sections, and you can hear right away the potential for this in this album too, but alas there are no extended instrumental pieces (not even extended new-age-y ethereal tails like on Olias) - AND there are not enough guitar solos! Roine Stolt is a fantastic player and on a duet album one would like to hear him play the guitar some more (there are a number of short solos, but most are more like bridges or transitions than real solos). Saying all this, I don't want to give a bad impression of this album - it is actually very good for what it is and worth hearing. I have listened to this about 10 times now, and I find a number of sections quite musical, and nothing is off-putting. But it is not quite 4-star material. I give this album 7.7 on my 10-point scale, which translates to 3 PA stars.

 The Sum Of No Evil by FLOWER KINGS, THE album cover Studio Album, 2007
3.81 | 496 ratings

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The Sum Of No Evil
The Flower Kings Symphonic Prog

Review by Walkscore

5 stars One of two TFK masterpieces!

While 'Unfold the Future' is often lauded as one of TFK's best albums, Sum of No Evil is often overlooked. But I think it qualifies as the second TFK masterpiece, and thus deserves much more attention. Many reviewers here on PA have rated this down, but I think this is a problematic result of the way ratings work on sites like this, and not a reflection of the true musical value of this great work. When someone is rating an album that we all know well (say, a classic album from the 70s), it is one we have listened to for years, multiple times. So, even for those albums that are very dense, complex and difficult to penetrate at first (think, a lot of the more difficult albums by Yes, GG, the Hatfield's, etc), after multiple listens over many years emerges the musicality that was initially impenetrable to the listener. So, we can say that Tales is a great, musical album and rate it accordingly. However, when a recent album is released, many reviewers will listen to it once or twice, and then review it. The more difficult-to-penetrate albums are then rated down, because they have not had the luxury of multiple listens yet. And multiple listens are absolutely essential - much of the pleasure of good music is derived from the anticipation of knowing what comes next - satisfying that anticipation releases endorphins in the brain, leading to the pleasure we experience when a great section of music we have listened to many times arrives. But an album one listens to once or twice cannot, by definition, do this, particularly one that is more complex and difficult to get initially, even when they are highly musical. Meanwhile, other more-accessible albums that one can easily 'get' on first or second listen then get higher ratings (think many of the recent neo-prog albums). Even worse, on first listen, one might catch a few musical or lyrical references to those older classic 70s albums, and if at the same time the rest of the music seems impenetrable, it is so easy to be derogatory and label the music as just "retro-prog". I think this is patently unfair, and so I make a policy of only reviewing albums that I have listened to multiple times, and also of reviewing the music AS music, regardless of when and by whom it was made, or what is on the album cover.

And this album, to me, stands up there with the best of many of the classics. If it had been released in 1975, I think it would be up there in the top 100. I think if it had the benefit of decades, by now reviewers would know it inside out and would have a different take. It is both very dense (so requiring MANY multiple listens) AND very musical. It takes a long while to cognitively map this album, but once you do, one finds an exceptionally satisfying and beautiful set of music. Even the short slower tune, "Trading My Soul", which many reviewers here on PA seem to dismiss as it strikes them as less progressive and sappy (probably after one or two listens), is exceptionally musical and poignant. It all flows together very well, and even though this album is another example of an over-extended TFK set (over 78 minutes!), it carries you along and the time flies quickly. You don't want it to end!

While TKF albums and songs are, for the most part, not notable for their lyrics, this album is an exception. I really appreciate Roine Stolt's lyrics here - instead of searching around for external topics to write about (like he did in Adam and Eve, and Paradox Hotel), Stolt here writes from the heart. Reviewers seem to have latched onto a few lines (like the title and some lyrics in the long epic "Love is the Only Answer") in their arguments for why this album might be graded down, or deemed retro, etc, without actually listening to the content of the lyrics. Now I don't know Roine Stolt (and have never met him) but it seems to me this is his most personal TFK album. Indeed, I think the entire album is a dialogue with himself about the benefits of continuing with TFK, the sacrifices he and his family have made, and even his relationship with music itself. Stolt is someone who has given his entire life to music, but despite building a small but solid TFK following the band remained precarious. On this album, it seems he is letting on that he has decided to give it one more try, to follow his heart one more time, knowing full well he was getting older, 'trading his soul', and soon would have to make some decisions and reconcile with his other loved ones. Many of the songs are full of personal thoughts (including references to some of Stolt's favourite songs, and heroes, which on this album often take on multiple meanings). "Love is the Only Answer" is not a sappy throwaway, but an internal dialogue negotiating with darkness. The closing piece ("Life in Motion") ended up having a double meaning. He was coming home again to music. But after the tour ('Kaput'!), he folded the TFK for 5 years and actually did go home. Perhaps he was too emotionally drained, perhaps the opportunity to rejoin Transatlantic was just too lucrative, perhaps a number of things, but I wonder what would have happened with TFK if this album had been the one to take off. Regardless, I see this album as a huge musical accomplishment. It contains some of TFK's best compositions, and some of Stolt's most personal and (to me) interesting lyrics. There is not an unmusical minute on it, let alone an unmusical song (whereas other TFK albums usually contain a few duds, this one is just so musical all the way through). The first (and second, and third) time I listened to this, I found it too dense to form an opinion about it, but if I had to might have agreed with those who said it is fragmented and impenetrable. It is a good thing I didn't review it then! I have by now listened to this over 50 times. It is one of the few albums in my collection that just keeps getting better with each listen (those pro-musical endorphins at work!). It is a real keeper. I give it 9.6 out of 10 on my 10-point scale, and so 5 PA stars.

 The Rainmaker by FLOWER KINGS, THE album cover Studio Album, 2001
3.48 | 397 ratings

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The Rainmaker
The Flower Kings Symphonic Prog

Review by Walkscore

3 stars Very good - high 3*!

This album is often viewed less worthy than other TFK albums. However, there is some excellent music on here. This album is the last album to feature Jamie Salazar on drums, who had played with the TFK since inception (and on the album that started it all, The Flower King). I don't have any inside information about the band, but Salazar officially quit in May 2001, and listening to this it seems that Stolt may have rushed the recording process in order to be able to get Salazar to play on it (and the title "Rainmaker" - clearly a double-entendre - does this also refer to Salazar - the one who brought the 'rain' (Stolt crying?)). Some of the songs are mere fragments (eg "Red Alert") that would have been great if developed into, or made part of, longer pieces, while others (eg "World without Heart", "Thru the Walls", "Elaine") feel like they were written, or wrapped up, quickly. I also wonder if the last song "Serious Dreamers" is not about the loss of Salazar, who apparently quit not for emotional or musical reasons, but for entirely pragmatic reasons. While I think many of the songs are great, I do think there is a problem with the running order. Unfortunately, at key points the songs do not flow well from one to another, and I actually think it opens with the wrong song. While on first glance "Last Minute on Earth" sounds like a good opener, after multiple listens I think it would have been better near the end. 'Last Minute' sets a sad-ish tone, and as a longish and often harder-edged song, exacts a bit more from the listener than many other tunes, which is good but means they may be tired by the time the rest of the album comes along. "World without Heart" should also be near the end - it doesn't work as a second song. The best piece on the album is the longest one, "Road to Sanctuary", up there with the best TFK pieces, and if this had opened the album I think it would have set the tone differently. Saying this, I also agree that a number of tunes on this album don't seem as well worked out. Even 'Road' should have been longer - just when it seems it would be great for it to come back to the main theme (after 14 minutes, thus creating an extended epic) it ends. Did the band not have time to make sure this one lived up to its potential? "Serious Dreamers" is excellent, and it grooves. However, the groove is interupted on a number of occassions - if this had been played live a number of times first I think the band would have realised a better arrangement. "Rainmaker" And songs like "Elaine" and "Thru the Walls" are filler (although "Elaine" has a really fantastic bass-led section at its coda - that minute alone is worth the price of the album!). I really like the title track, but it is mainly a guitar solo, and could have been developed more into something with even more musical and emotional weight. So, on the whole, lots of excellent music, but an album that seems to miss its potential, possibly because the band didn't have enough time to really think/play through the music before it had to be recorded. On balance, I give this album 7.6 out of 10 on my 10-point scale, which translate to the high end of 3 PA stars.

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Symphonic Prog bands/artists list

Bands/Artists Country
21. PERON Turkey
5BRIDGES Netherlands
7 OCEAN Belarus
ABBHAMA Indonesia
ABSTRACTION LAYER Brazil
ACCENT Romania
ACHE Denmark
ACUITY United States
ADVENTURE Norway
AETHER Brazil
AFTER CRYING Hungary
AFTER THE FIRE United Kingdom
AGNUS Argentina
AGNUS GRAAL Brazil
AIRLORD New Zealand
AJALON United States
AKACIA United States
ALAMEDA Spain
ALASKA United States
ALBATROSS United States
ALMS Spain
ALPHA CENTAURY France
ALPHA III Brazil
ALTER ECHO Sweden
LEON ALVARADO United States
SERGIO ALVAREZ Argentina
AMAGRAMA Argentina
AMENOPHIS Germany
AMOS KEY Germany
ANABIS Germany
ANCIENT VISION United States
ANDERSON 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
AQUAPLANAGE United Kingdom
ARABESQUE United States
ARACHNOID France
ARCABUZ Spain
ARION Brazil
ARS NOVA (JAP) Japan
ART IN AMERICA United States
ASA DE LUZ Brazil
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 Italy
BANANA Argentina
BANZAI Belgium
ZELJKO BEBEK AND PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
ROBERT BERIAU Canada
ED BERNARD Canada
BLACK SEPTEMBER United States
BLAKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
BOX OF SHAMANS United States
BRIMSTONE United States
BURNING CANDLE Germany
BUSKER Canada
CAFEINE France
CAI Spain
CAIRO United States
CAJA DE PANDORA Mexico
CAL Spain
CAMEL United Kingdom
LOS CANARIOS Spain
CANNABIS INDIA Germany
ALEX CARPANI BAND Italy
CAST Mexico
CATHEDRAL United States
CHAKRA United States
CHALCEDONY United Kingdom
CHAOS CODE United States
CHRONOS MUNDI Brazil
JOSÉ CID Portugal
CINEMA Japan
CIRCLE Germany
CITIZEN CAIN United Kingdom
CLAY GREEN'S POLYSORBATE MASQUERADE BAND United States
CLEARLIGHT France
CODA Netherlands
CODICE Mexico
COLLEGIUM MUSICUM Slovakia
COTO EN PEL Spain
COUSINS & CONRAD United Kingdom
COVENANT United States
CRACK Spain
CRAFT United Kingdom
CRESSIDA United Kingdom
CRONICO Mexico
CROOKED MOUTH United Kingdom
CRUCIBLE United States
CRUCIS Argentina
DAWN Switzerland
DEJA-VU Japan
DELUGE GRANDER United States
DIALOGUE (DAWN DIALOGUE) Russia
DIAPASAO Brazil
DISCIPLINE United States
DOGMA Brazil
DORACOR Italy
DOUG WOODS & COLIN POWELL United Kingdom
DR. COENOBITE Netherlands
DRAGONFLY Switzerland
DRAMA France
DRUCKFARBEN Canada
DRUID United Kingdom
EARTH AND FIRE Netherlands
EARTHRISE United States
ECCENTRIC ORBIT United States
ECHOLYN United States
ECLAT / ECLAT DE VERS France
ECLIPSE Brazil
EDEN Canada
EGGROLL Israel
EIK Iceland
ELLESMERE Italy
ELOHIM France
ELOITERON Switzerland
EMERSON LAKE & PALMER United Kingdom
REDJY EMOND Canada
ENGLAND United Kingdom
THE ENID United Kingdom
EPIDAURUS Germany
EPIGNOSIS United States
EPISODE United States
EQUILIBRIO VITAL Venezuela
ESPIRITU Argentina
ESTRUCTURA Venezuela
ETCETERA Denmark
ÉTERNITÉ Canada
ETHOS United States
EVERFRIEND United States
EX-VAGUS France
EXODE France
EXODUS Poland
EZRA WINSTON Italy
FAITHFUL BREATH Germany
FALLING EDGE Canada
FANTASY United Kingdom
FARMHOUSE ODYSSEY United States
FICCION Venezuela
FINCH Netherlands
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