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CROSSOVER PROG

A Progressive Rock Sub-genre


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Crossover Prog definition

Crossover Prog contains progressive rock music that, though 100% progressive, may have a musical connection to popular music-- whether it be the lack of emphasis on extended compositions, or an influence from mainstream music in addition to classical, jazz and folk. Compositions, however, still exhibit a high degree of sophistication, sometimes outright complexity, and the musicianship and virtuosity is often on a par with established Prog acts. Much like their kin in the established prog sub-genres, these groups will incorporate many major parts of what defines prog rock: the fusing of rock with the structures and discipline of more traditional musics, the use of syntheisizers and new technologies, intelligent thematics, and the expansion of the form.

The defining characteristics of Crossover Prog are a pop music influence that is largely vacant in typical prog rock. Songs tend toward shorter, more concise presentations though still reach beyond the typical verse, bridge, chorus pattern. The harmonic, melodic, and rhythmic structures may be more easily digested in Crossover while not losing the musical integrity that a prog listener expects. Whereas Prog Related bands are generally commercial groups with certain prog elements or players that were involved in prog acts, Crossover Prog artists are predominantly progressive with elements of popular music.

The most representative examples for this genre include The MOODY BLUES, SUPERTRAMP, DREDG, CINEMA SHOW, RADIOHEAD.

- written by micky (Michael) and Chus (Jesus)

Current team members:
as at 7/1/2022
Scott (Evolver)
Keishiro (DamoXt7942)
Cristi
Ken (progaardvark)

Crossover Prog Top Albums


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

4.32 | 1828 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 2369 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1773 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.30 | 1526 ratings
OMMADAWN
Oldfield, Mike
4.24 | 1137 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.21 | 1934 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 1071 ratings
DOOMSDAY AFTERNOON
Phideaux
4.21 | 1011 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.21 | 889 ratings
SNOWTORCH
Phideaux
4.20 | 953 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.21 | 847 ratings
THE UNDERFALL YARD
Big Big Train
4.18 | 533 ratings
HOUNDS OF LOVE
Bush, Kate
4.15 | 1363 ratings
TUBULAR BELLS
Oldfield, Mike
4.33 | 123 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.17 | 461 ratings
SPIRIT OF EDEN
Talk Talk
4.17 | 374 ratings
FOR YOUR PLEASURE
Roxy Music
4.14 | 665 ratings
NIGHT
Gazpacho
4.14 | 581 ratings
~
Iamthemorning
4.23 | 162 ratings
SON
Obiymy Doschu
4.21 | 189 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin

Crossover Prog overlooked and obscure gems albums new


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

VOICE
Capability Brown
GENERAL WINTER'S SECRET MUSEUM
Tea Club, The
NARROW-CASTER
3RDegree
PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof

Latest Crossover Prog Music Reviews


 What's Cookin'? by SPACE KITCHEN album cover Singles/EPs/Fan Club/Promo, 2024
2.00 | 1 ratings

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What's Cookin'?
Space Kitchen Crossover Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

— First review of this album —
2 stars "What's Cookin'?" was launched in March 2024 as the second ep of an Ontario-based duo SPACE KITCHEN. They have already released their debut eponymous ep last year, where we can hear lovely catchy approaches tinged with progressive essence. Their latest stuff sounds more of a smart pop than the previous one. Pretty appropriate for us to get more active and more delightful.

"Lovin' 9 To 5" consists of cool tight beats created by strict rhythmic kicks and dramatic guitar flows. Slightly complicated vibes can be easily accepted. Reminds me of the similar vein to YMO in the 'Naughty' era. "Believer Deceiver" is another power rock. Speedy percussive punches pump us up. Yes, a clearly vivacious atmosphere is good, and simple pop / rock launchers are not bad either. In "Life At Sea" more dramatic movements can be enjoyed. There is no lunacy nor burden around their creation as well. Happiness is a warm gem ... guess we could feel so.

Yes, not bad as a pop ep. Recommended if you are depressed at a hard time. You will get fine.

 Street Life: 20 Great Hits by ROXY MUSIC album cover Boxset/Compilation, 1986
3.29 | 27 ratings

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Street Life: 20 Great Hits
Roxy Music Crossover Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 757

"Street Life: 20 Great Hits" is a compilation album of Roxy Music that was released in 1986. This is a very special compilation album because it features music of Roxy Music and music of the band's lead member and singer Bryan Ferry as a solo artist. And this is even more special because the songs that belong to the Roxy Music's repertoire are songs that were released as singles. This isn't really a very strange thing, because we all know that Roxy Music always was a singles' band where many were more successful than the singles of the majority of the bands on this site, indeed.

"Street Life: 20 Great Hits" has twenty tracks, fourteen from Roxy Music and six from Ferry. About Roxy Music's tracks, "Virginia Plain" was their debut single. Originally, it wasn't recorded on "Roxy Music". After the success of their debut, it was included on the later reissues. It was released as a single, together with "Pyjamarama", in 1977. It's an interesting song made to be released as a hit single. It has good appointments by Eno. "Pyjamarama" was never released on any of their studio albums. It was released as a single to promote "For Your Pleasure". As I said before, it was also released as a single, together with "Virginia Plain". Like many of the early Roxy Music's tracks, it's fantastic and rocks nicely. The guitar work is great. "Do The Strand" is from "For Your Pleasure". It has a fantastic vocal work by Ferry that sings some curious lyrics. It has also great guitar, keyboard, and saxophone performances, well accompanied by strong and vigorous drums. This is a great song plenty of energy. "Street Life" is from "Stranded". It's a song in the pop/rock style, enjoyable and composed in the commercial vein. It's well performed and Ferry's vocal style is good. "Love Is The Drug" is from "Siren". It's an incredible song, melodic and with great quality. It has an incredible performance. MacKay and his saxophone are really great, Manzanera and his guitar work is great too and Ferry's vocals are fantastic, as always. "Dance Away" is from "Manifesto". Despite it has nothing of progressive, it has good and simple lyrics, a fantastic melody and a great dancing rhythm. I always loved this song. For me, it's one of the greatest pop songs ever written. "Angel Eyes" is also from "Manifesto". It's a pop oriented song featuring a rock style. It's better than many of the songs on "Manifesto". It's well performed in spite of be a normal and simple song. "Oh Yeah" is from "Flesh + Blood". It's a catchy pop song, well made and that improves the good commercial quality of the song writing on "Flesh + Blood". "Over You" is also from "Flesh + Blood". It has a high melodic guitar work, supported by pulsating drums and bass. This is a catchy pop song well made reaching its objectives well. "Same Old Scene" is also from "Flesh + Blood". It has a strong bass line, nice vocals, great keyboards, and especially, a fantastic saxophone work by MacKay. This is a great Roxy Music's song. "In The Midnight Hour" is also from "Flesh + Blood". It's a cover song of Wilson Pickett and Steve Cropper originally performed by Pickett in 1965 and released on his 1966's studio album "The Exciting Wilson Pickett". I don't know the original song, but from what I read, this is a different version. It's a good song with a cool sound that has become a classic Roxy Music's song. "More Than This" is from "Avalon". It's a good commercial pop song made for an easy radio listening. We may say this is a perfect hit pop song of the 80's. "Avalon" is also from "Avalon". It has good lyrics and the music is perfect and invites you to dance slowly like when the party is over. The voice of Ferry is fantastic and the female chorus is warm with a nice touch. "Jealous Guy" is a cover song of Lennon. It was originally released on "Imagine" of Lennon in 1971. It was only released as a single, and was made after the dead of Lennon as a tribute to him. This is a great version of a fantastic song, a perfect fit for Ferry's persona and Roxy Music's adult rock.

About Bryan Ferry's tracks, "A Hard Rain's A-Gonna Fall" is from "These Foolish Things". It's a cover song of Bob Dylan. "These Foolish Things" is also from "These Foolish Things". It's a cover song of Harry Link, Holt Marvell and Jack Strachey. "Let's Stick Together" is from "Let's Stick Together". It's a cover song of Wilbert Harrison. "Smoke Gets In Your Eyes" is from "Another Time, Another Place". It's a cover song of Jerome Kern and Otto Harbach. "Sign Of The Times" is a Ferry's song of "The Bride Stripped Bare". "Slave To Love" is also a Ferry's song of "Boys And Girls". I know very well all these tracks. They're all great, but since they aren't progressive, I'm not going to review them here.

Conclusion: "Street Life: 20 Great Hits" is an interesting and curious compilation album of Roxy Music. It's a hybrid compilation with a great collection of songs with good quality. As the title suggests, it's concentrated exclusively on Roxy Music and Bryan Ferry's most commercial successful tracks, ignoring completely their more complex, creative and progressive tracks. About Roxy Music's tracks, almost all their studio albums are represented here. Unluckily, "Country Live" isn't. So, almost their entire career is represented here. Nevertheless, half of the tracks belong to their less creative and progressive phase. However, the tracks of those albums are, in general, good. About Ferry's tracks they're good, but we can't say that they're properly progressive tracks. Regardless, this is a good compilation album.

Prog is my Ferrari. Jem Godfrey (Frost*)

 The New Worlds Fair by MOORCOCK & THE DEEP FIX, MICHAEL album cover Studio Album, 1975
3.08 | 12 ratings

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The New Worlds Fair
Michael Moorcock & The Deep Fix Crossover Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars

MICHAEL MOORCOCK's fantasy fiction stories have always been a bit "out there" for me, far flung, fetched and set tales of other worlds in contrast to his more sci fi oriented material shared with the likes of HAWKWIND and BLUE OYSTER CULT. I expected that perhaps his sole (for many years) musical offering under the auspices of DEEP FIX would help us understand how those two mildly disparate qualities can intersect. Instead we have a third MOORCOCK in the form of a gritty and vaguely sinister tale of a world's fair of the newish variety. It's like RENAISSANCE's "Trip to the Fair' until the needle hits the groove, ok it isn't, mostly.

Setting aside the already passe aspects of narrated intros and hippy cliches aside for a moment, I hear more conventional rock and roll than I would have expected in the related tracks that follow those intros. Nonetheless, "Fair Dealer" is a melodically sly inexplicably terrifying number that I heard on college radio back in 1979 and filed away for many years. OK I was a deer in the headlights at my first real job but it still moves me today. Several other tracks attempt to eclipse it, including the BOWIE like "Hero", the English folk rock of "Come to the Fair", and the infectious rocker "Starcruiser". These more than offset the uninspired "16 Year Old Doom" and "Ferris Wheel".

Flaws aplenty and aside, this fair is just off kilter enough to augment Moorcock's legacy, which is appropriate for someone who has contributed so much to several bands we love before and since.

 The Harmony Codex by WILSON, STEVEN album cover Studio Album, 2023
3.62 | 213 ratings

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The Harmony Codex
Steven Wilson Crossover Prog

Review by The Crow
Prog Reviewer

3 stars Two years after "The Future Bites" and having released another album with Purcupine Tree in between, the prolific Steven Wilson returned to his old ways with another solo adventure called "The Harmony Codex"!

It is an album produced by Steven Wilson himself that abandons the more pop paths of his two previous works to once again enter a more progressive and experimental path, but which unfortunately fails to recover the brilliance of works like "The Raven that Refused to Sing" and "Hand Cannot Erase."

Perhaps for me the worst defect of this album is the style of many songs that seem repetitive and lacking in ideas, many of them turning out artificially elongated. That is something serious for someone who is used to listening to songs lasting more than half an hour without getting bored.

In any case, Steven Wilson fans are in luck, since at least this "The Harmony Codex" does manage to at least surpass the quality of the mediocre "To The Bone" and "The Future Bites". It is something!

Best Tracks: What Life Brings (the best song on the album and the only one that reminds us of Wilson's classic period. I especially like the accompaniment work on the keyboards), Impossible Tightrope (a song that recovers the instrumental brilliance of yesteryear, at least in part) and Time is Running Out (a track that makes another original use of the keyboard and offers us vocal melodies very typical of Wilson)

My Rating: ***

 The Likes of Us by BIG BIG TRAIN album cover Studio Album, 2024
4.40 | 58 ratings

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The Likes of Us
Big Big Train Crossover Prog

Review by richardh
Prog Reviewer

5 stars Big Big Train are one of those bands who never take any real chances but instead choose to deliver stellar playing and top quality writing while never losing sight of the melody. The component parts are all there, already technically one of the best bands on the planet, they have now have a keyboard player who can do the Keith Emerson style keyboard runs in Oskar Holldorff (check out the 17 minute masterpeice Beneath The Masts). There is no doubt in my mind that this is their best album since 2016's Folklore with a 'heaviness' to match.. New vocalist Alberto Braveen has a very appealing timbre and reminds me of Chris Thompson (Manfred Manns Earthband) while the trademark hooks are all very present and correct. Guitar wise Rikard Sjöblom and Dave Foster dovetail superbly on Oblivion, a heavy up tempo rocker with that BBT trademark vocal hook. Another highlight is the poppier Love Is The Light which is as cheesy as hell. Nothing not to like, plenty to enjoy.
 The Likes of Us by BIG BIG TRAIN album cover Studio Album, 2024
4.40 | 58 ratings

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The Likes of Us
Big Big Train Crossover Prog

Review by hpantazo

5 stars Like all Big Big Train fans, I was very saddened to learn of David Longdon's sudden passing, and was worried that it may mark the end of one of my favorite music groups. Fortunately, this album not only represents a rebirth of sorts, but also quite possibly the best album Big Big Train has ever released, certainly up there with English Electric and The Undersell Yard. This is one of their most consistent albums both in terms of thematic style and strength. The album opens with a largely instrumental 6 minute overture of their classic sound that foreshadows the wonderful musical moments to come. Once the Big Big Train orchestra kicks in, we get a warm familiar feeling , with plenty of new elements throughout. It transitions right into Oblivion, a harder edge first single with a beautiful mid-section that introduces us to the new frontman Alberto Bravin. Bravin quickly makes it clear that he is the perfect choice as the new lead singer and also so much more, with a number of significant writing contributions throughout the record that introduce new elements and energy that blend perfectly with the classic Big Big Train sound.

The centerpieces of the album are the two epic tracks, Beneath The Masts and Miramare. These two tracks are everything we love about this band and more, with so many epic moments, they easily stand at the upper echelon of Big Big Train tracks, right up there with East Coast Racer. Beneath The Masts may be my favorite of all of them and brings a personal, emotional journey that is rare for Big Big Train. Miramare is more in line with the historical lyrical focus of Big Big Train songs, with some incredible instrumental and lyrical moments including some wonderful violin work from Clare Lindley. Her playing is such a great element throughout the record, but really shines on this track.

Love Is The Light is an Alberto Bravin penned track that is the most accessible single the band has ever released, while still containing enough of the core elements that make Big Big Train a favorite prog group. It has quickly become a crowd favorite on tour with the audience loudly singing the refrain towards the end every night.

The shorter tracks , including Skates On and Bookends, are also very strong. In fact, there are no weak moments at all. The message of not taking anything in life for granted, seizing the day, and appreciating the people in your life are the focus of these two tracks and also permeates throughout the album. The spirit of David Longdon is felt throughout the record both in terms of lyrics as well as musical composition, such as the wonderful vocal harmonies throughout the record.

Last Eleven is another highlight that closes the album and ties together the main messages that appear throughout, along with a theme that speaks to many of us fans of this group. Overall, easily a 5 star album, which I hesitate to give to any album easily. It is one of those records that gets better and better with repeated listens as more layers are revealed and appreciated. This is one album I am sure I will come back to repeatedly. A triumphant return for Big Big Train and a career highlight. I am excited for what the future brings for this group.

 One Of The Many by MILLER, RICK album cover Studio Album, 2024
4.88 | 5 ratings

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One Of The Many
Rick Miller Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars Here is a consistently focused artist that just keeps on giving every year sterling musical adventures, that pay homage to the early glory years of Progressive rock. Yes, there is an obvious Floyd reference, as well as the Moody Blues and early Alan Parsons Project, in that the proposed material is smooth as the finest silk, and contrary to some pundits who may state that his craft is just the same composition over and over again, I must state that this would be a grossly unfair and a rather cheap characterization. Because upon closer scrutiny among the 13 Rick Miller albums I have in my collection, there are endless examples of variation, alteration, and progression. He does his thing and its extremely entertaining, especially if, like me, you enjoy adventurous mind music that takes you somewhere that is way more interesting that the daily and impertinent media sludge we are subjected too, for way too long. Plus, I admire petulant rebels who refuse to bend over and spread 'em!

A shimmering introduction with the 8 minute + "Atrophy", a velvety concoction that possesses all the Miller trademarks, a leisurely developing melody with soothing keys, bumping bass and percussive pace, with a series of glittering guitar interventions, while Rick' hushed and gentle voice, tells the tale, "As time slips through my hand". A slight Egyptian sonority adds the needed mystery, various voice effects thrown in theatrically, and capped off by a blazing solo from the Barry Haggarty guitar, as the arrangement glides higher into the stratosphere. Change of pace on the measured "Time Goes On", as Rick settle down on his piano, guitars twanging in the sound corridors, hushed voice, and a quivering lead axe blast, as the acoustic guitar proposes a crystalline contrast, a most pleasant little composition.

Speaking of contrast, the tortuously volatile "The Lost Years" is garnished with celestial female vocals and a raucous (rock) rhythm guitar riff that would make the stoned Keith smile, rapid shifts of tone and finally, another extended bluesy Haggarty rant, all kinds of mini-transitions as to prepare for a mid-section that adds cinematographic grandeur, a trait that Miller has perfected over the decades. When Rick states "I am your knight in white satin", I cannot help but grin at the overt hint. This is perhaps one of his finest compositions yet, a classic Miller track that has all the condiments to excite the taste receptors, including a rather dreamy yet solemn outro.

A breathtaking instrumental "She of the Darkness", is the proud owner of a heartbreakingly gorgeous melody played on the flute by Giulia Cacciavillani, shrouded with dense orchestrations, a pastoral acoustic guitar from Kane Miller and an elegant piano accompaniment. Simply magnificent.

The title track reverts back to familiar territory, a flowing lilt that does have a Floydian feel , what with the gentle rhythmic pulse, the voice effects, the bluesy guitar flourishes and Rick seizing the microphone once again, less hushed and more immediate, as the main melody will adhere to your senses from the very first spin, as if this was 'One of the Many' times his material had offered up such pleasures. The daunting lyrics are particularly clever 'The truth gets torn to tiny bits, so we can reach a million hits'. My everyday thoughts precisely, as bold-faced media lying has become the new messiah.

The grand epic is up next with "Perchance to Dream" a colossal 13 minute + effort, the appropriate platform to stretch out the arrangements and literally shoot for the stars. The flute, piano and voice combo settle once again the score (excuse the pun), adding lush choir vocals, a current fixation of mine. Again, the lyrics are highly expressive, with the current trend of disbelief firmly stated. "You place your trust each day in the machine, you want to believe, but life is not what it seems. I don't care if I ever see another day of reality. Look back through the years, I once dried your tears". Gulp! Yes, I have become uncomfortably numb! I long for the gentler, perhaps even naïve days of my youth. A series of profound guitar solos underpin the sorrow of the burgeoning importance of the negative narrative, banishing the goodness to the sin bin. A masterful performance once again. The siren is calling on "Wonderlust", a beckoning to some kind of finality, a revelation or simply just an end and perhaps an eventual rebirth. Sorrowful choir, acoustic guitar, and a stark cello surge from Artem Litovchenko and Mateusz Swoboda conspire to illustrate the dread, sliced wide open by razor sharp electric guitar surgery, amid all the Gothic Valhalla intensity.

The final track acts as a bonus track (the brooding lyrics introduced after the musical credits), asking 'how long does a lifetime last'and referring a moody 'Days of future past'. It is the natural finality that as we veer towards the golden years, nostalgia kicks in. We will ALL eventually return to those pleasant moments in our past where we found solace, love, understanding, compassion, and peace. Old Souls, old memories.

Kudos for the recent artwork, as Old Souls, Altered States and this latest one, are all attractive renditions of the music inside. This album is my favourite from this artist, and I urge the discriminating sonic adventurist to go out and get endless bliss from this release. I certainly did and will, as this was one of the many times I listened.

5 Sole souls

 The Likes of Us by BIG BIG TRAIN album cover Studio Album, 2024
4.40 | 58 ratings

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The Likes of Us
Big Big Train Crossover Prog

Review by gbjones

4 stars This is a solid four-star album with even a few five star tracks, such as Skates On, Miramare, and Bookmarks. The new vocalist Bravin fits perfectly in this band; he even has more range than his predecessor, which fans will appreciate. Bravin himself wrote the music for the ten-minute Miramare, which again, fits pefectly with the rest of the band. A few notes - the former vocalist did not do much songwriting; the genius behind the band has always been and continues to be Greg Spawton, an English genius tall-guy type. It is interesting that no mention of Longdon is made in the artwork and the jacket for the album; usually when you lose an important member something is said about them in the subsequent release.
 The Cycle Undone by TWENTY COMMITTEE, THE album cover Studio Album, 2023
4.00 | 9 ratings

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The Cycle Undone
The Twenty Committee Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Can it really be ten years since the debut album from these guys? 'A Lifeblood Psalm' was released in 2013, when I gave it full marks, but this was only released at the end of 2023, so I guess it was. Mind you, Geoffrey Langley (vocals, keyboards) joined Renaissance in 2016 and he has been very busy on that front. One would not expect the band to have the same line-up given the length of time, but Justin Carlton (guitars, keyboards), Richmond Carlton (bass) and Joe Henderson (drums, percussion) have all returned with the only change being the departure of guitarist Steve Kostas who has been replaced by Jeff Bishop. When I reviewed them last time, I said they were mixing pop sensibilities (think Coldplay) with progressive (think Gentle Giant) with rock (think John Miles and City Boy). Now we have seen them move more away from the pop area, and more into the prog and rock stylings, and they are more than happy to provide lengthy complex instrumental passages which have a real sense of purpose and are far more than just a vehicle for them to show off.

Opener "Recodified" has plenty of Gentle Giant stylings (they are the main influence through much of this album) and at twelve minutes in length only suffers from being somewhat too short: that final passage could have lasted much longer to my mind. Mind you, that is not the longest track on the album, that title belongs to "The Cycle Undone" where Geoffrey kicks it off by showing just what a fine pianist he is, providing a wonderfully complex classical introduction which leads us into some gently picked guitars. The vocals are kept quite a way back in the mix, never dominating, which allows the different musical layers to be easily heard with the use of space an important element. This never feels rushed or constrained in any way, rather that the song is being given the time it needs to develop, which it does in a somewhat unexpected way as it becomes a full-on instrumental belter, and then as it drops back in volume an instantly recognisable voice can be heard. Yes, we have none other than Annie Haslam guesting, which soon turns into a duet. Perhaps this should not be too much of a surprise given Geoffrey being in Annie's band, but I certainly wasn't expecting it.

I am somewhat surprised to see this album not gaining more recognition given the almost universal acclaim for the debut, but 10 years can be a long time for some. We can only hope more people discover this wonderful prog release and we do not have to wait quite so long for the next one.

 Louder Than Words by FEARFUL SYMMETRY album cover Studio Album, 2019
3.19 | 7 ratings

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Louder Than Words
Fearful Symmetry Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars I have come across bands in many different ways over the years, but I think this is the first time it has ever happened due to a case of mistaken identity! A friend of mine tagged me on Facebook regarding a review I had supposedly written ? a quick check of my files and we discovered she had confused me with another writer, so she amended the post. This in turn got me wondering who this band actually were, as I had not come across them before. It transpires that they are a duo of Suzi James and Jeremy Shotts, plus some additional musicians. They provide some background, saying "We're rock and prog-rock fans, (but not exclusively), going way back, who wanted to create something new, inspired by the 'progressive' music we've listened to over the years. The music on our debut album, 'Louder Than Words', is an affectionate homage to classic prog: new compositions but aiming to convey a familiar and beloved sound and feel. Fearful Symmetry is not so much a band, more an aesthetic - a set of principles defining our approach to this music - not constrained by genre but seeking to capture and blend a mix of styles. How we arrived at this concept wasn't born out of pre-conceived notions. It evolved from conversations between two cousins, both with a love for music - listening and playing."

They have also brought in additional singers, both male and female, yet it does feel more like a band than a project, although on their website they are at pains to point out this is only a studio project and not one which will play live. This is light and fresh neo-prog, which also contains elements of bands such as Alan Parsons Project. Songs can be fairly simple and easy to get understand, while there are others where they put in some incredibly complex runs with guitar and keyboards as one. This is a concept album, inspired by William Blake, and they provide some interesting notes on the rationale behind each song and how it relates to Blake on their website, which is well worth investigating. This is a fresh and interesting album, and it will be interesting to see where they go from here, as while there are some places when it feels it does not really hit the mark due for one reason or another, there are plenty of others where it is exciting and inviting. This album is available both physically and digitally so why not check it out on Bandcamp.

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
22 Norway
3 United Kingdom
3 United States
3 LEGGED MONSTER United States
3RDEGREE United States
5TH SEASON Finland
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
A2RK United Kingdom
AARDVARK United Kingdom
AARDVARK' Finland
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACCION ROCK BAND Spain
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AGRABAH Argentina
EDUARDO AGUILLAR Brazil
AHOORA Iran
AKACIS United States
AKENATHON Argentina
AKIN France
AKROPOLIS Denmark
ALEPH Australia
ALIAS Italy
ALIAS EYE Germany
ALL IMAGES BLAZING Japan
ALL OVER EVERYWHERE United States
ALMA Argentina
ALPHA LIGHTING SYSTEM Mexico
ALPHAJORGE Brazil
ALTA FORMA United Kingdom
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
AMARTIA France
AMAZING MACHINE Norway
THE AMAZING Sweden
AMBERFIELD Germany
AMBIGRAM Italy
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
AMPHETAMIN France
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
THE ANCHORESS United Kingdom
ANDERSON PONTY BAND Multi-National
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
JERZY ANTCZAK Poland
ANUBIS SPIRE United States
ANYWHERE United States
APATHEIA Czech Republic
APE AMPLITUDE Germany
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
APPLESMELLCOLOUR Spain
AQUA TALK Turkey
AQUACADIA United States
AQUILA United Kingdom
THE ARBORIST United States
ARC OF LIFE United States
ARCA PROGJET Italy
ARCHANGELICA Poland
ARCHIVE United Kingdom
ARCPELAGO Brazil
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARID GARDEN Italy
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
ARONORA Australia
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTIFICIAL HOME Latvia
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
AS YOU LIKE IT United Kingdom
ASFALTO Spain
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