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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 01/22/2017

kev rowland (Kev)
Evolver (Scott)
tszirmay (Thomas)

Crossover Prog Top Albums


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

4.31 | 1471 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 1233 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1332 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.29 | 1898 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.22 | 918 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 1672 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 807 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 782 ratings
SNOWTORCH
Phideaux
4.17 | 970 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 755 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.18 | 514 ratings
~
Iamthemorning
4.17 | 696 ratings
THE UNDERFALL YARD
Big Big Train
4.35 | 90 ratings
SON
Obiymy Doschu
4.13 | 566 ratings
NIGHT
Gazpacho
4.10 | 1076 ratings
TUBULAR BELLS
Oldfield, Mike
4.13 | 390 ratings
HOUNDS OF LOVE
Bush, Kate
4.21 | 160 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.13 | 340 ratings
SPIRIT OF EDEN
Talk Talk
4.32 | 88 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.19 | 163 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers

Crossover Prog overlooked and obscure gems albums new


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

GENERAL WINTER'S SECRET MUSEUM
Tea Club, The
STANDING STONE
Oliver
FOLKLORE
Pez
VOICE
Capability Brown

Latest Crossover Prog Music Reviews


 Vier by PERFECT BEINGS album cover Studio Album, 2018
4.09 | 117 ratings

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Vier
Perfect Beings Crossover Prog

Review by Antonis Kalamoutsos

5 stars Perfect Beings' Johannes Luley stated in a recent interview: "Take a break, put the headphones on and shut off your mobile phone for a couple of hours. It's good for the soul". Those unable to understand or to apply this rule in their lives may not realize the meaning of the presentation that follows and will definitely not conceive what kind of an album Vier really is.

For quite a long time now, progressive rock community deals with matters of existential self-identifications. I stand sorrowful and observe the vast majority of artists treating as "progressive" whatever music with a higher degree of technicality (as if the rest of musical world has no right to be skilled), repeatedly copying again and again all the icons of the past and eventually turning progressive music into another sterile and stiff artistic form, naturally at the expense of any genuinely innovative new voice. And while all these happen within the masterfully crafted prog microcosm, Los Angeles' Perfect Beings release their 3rd album as if they were always ready for it, with no fanfare and no illusions. More importantly, with no self-identification syndromes since the creative triplet of Johannes Luley (guitar, bass, keys, production), Ryan Hurtgen (Vocals, piano) and Jesse Nason (keyboards, piano) looks like it has completely skipped these issues.

In a cute cliché, we regard many nice albums as "trippy". What is this trip really and how is a spiritual journey with/through music signified? However one defines a journey or however often one uses that word to describe music, there are only very few albums that deserve to be treated as a Journey as Vier. Not because of its 72 minutes duration (divided into four 18 minute long compositions, each one covering a vinyl side) as we have seen many extra-long and completely pointless "journeys" of such type. What makes it a Journey is its unpredictable nature. Quoting William Blake: "Improvement makes straight roads but crooked roads without improvement are roads of genius". It is precisely this chaotic genius which is the source and the purpose of this album. During these 72 minutes every known musical norm seems to be ignored. There is not even one repeated part, no verses and choruses, not even one easy, catchy, accessible or expectable moment. Nothing to cling to, nothing to recollect or to refer, nothing to give the listener a sense of a moment's rest ? the listener or the band. On the other hand, this is not glass-cold or abstract music. It always sounds warm and familiar and it always evolves moving forward, totally indifferent of what lied before or of what will follow next. It is eventually music that rather defies Time or its products. On the contrary, as the geometrical shapes of the cover suggest, Vier feels like it is dedicated to the exploration of space. Like it is ever moving or completely lying still, Vier expands so much to the point it reaches the final borders of human expression. It is so broad that it can unavoidably turn only towards its own self. Ryan sings the lyric "Enter the center " many times during "Guedra". The quest for that center is one of the two key phrases of the album.

So, Perfect Beings righteously deserve to be characterized as "progressive" but beyond this, nothing else feels definite. Vier absorbs so many different sonic elements that it isn't safe or 100% certain to regard it as rock album. Each one of the 4 compositions/chapters seems like being constructed by different structural materials. "Guedra" and "Annunaki" deliver some rock sounds of course but "The golden arc" starts an open dialogue with Contemporary Music and " Vibrational" is mainly a new age/electronic creation. Let me put it other way, in no case Vier is influenced more by Yes for example than Tangerine Dream, Mike Oldfield, Stravinsky, world, jazz or fusion music. All these influences are expressed with such a composing and arranging freedom that evoke feelings of awe. A bunch of talented contributors add their own touch but I need to specifically mention Max Kaplan, as his saxophone makes a real difference each time it appears.

To fully experience Vier, the listener needs to dedicate his/her energy equally to its lyrical aspect. The included poetry may seem transparent, abstract or even surreal at first, but I sense that words desire to break the exact same barriers as music. Enigmatically mentioning mystical Moroccan dances, Lotus trees, ancient Mesopotamian gods, geometrical terms or the Powhatan native tribe, may seem puzzled or irrelevant but, as already said, Vier tries to find a Center beyond the thresholds of perception. Amidst that philosophical quest lies Western civilization's typical human being and the forming of a lifestyle that seems to be far away from nature and from our profound spiritual truths. Of course, as any great piece of art, this album won't provide us with easy answers. Actually, this is portrayed in the second key-phrase: "Mysteries, not answers". It seems like begging for even more questions. Be warned, no one here will answer for you, no one will think for you. You have to do it on your own and it's going to be a long and solitary Journey.

There is no end to all the things I could write about Vier. Words must give their way to silence though and music must take it from here. Perfect Beings have already performed a small miracle for anyone that cares to accept it and Vier seems to be an album that will choose its listeners and not the other way around. I don't even know how "good" this album is ? in terms of entertainment ? and it will take me months to unlock its secrets. I don't know how high it will be in my end of the year list. What I do know for sure is that, after listening to prog music for 27 years now, Vier is an album capable of renewing my faith in the possibilities of a truly innovative and revolutionary progressive rock and that it is a highlight for sophisticated music of the current century. For bold listeners only.

Originally posted in againstthesilence.com

 Dissolution by PINEAPPLE THIEF, THE album cover Studio Album, 2018
4.09 | 63 ratings

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Dissolution
The Pineapple Thief Crossover Prog

Review by Menswear
Prog Reviewer

4 stars The hottest band on the market?

Yes.

Pineapple Thief grew a ton of hair since Gavin Harrison joined. No more peachfuzz, the music is now a muscular but very gracious adult. Like Porl Thomson, Dave Grohl or Ian Mosley , Harrison is now 'THE drummer' that elevated a band to something better, higher or steadier. Although he's never overdoing it, his mind-boggling beats (and melodies?) are giving the band an aura of true perfectionism, something sleek and chic, that elevates everything and making it classy.

The recipe is quite similar to their 'Wilderness' album, don't expect any changes: more imploding than Porcupine Tree but still rumbling with anger at times. I like when the band is leashing out crunchier moments, unfortunately rarer on this cookie. PTh is good at what Porcupine Tree started and perfected until The Incident (that sucked the big one). On the other side, PTh is giving you a good following to that pattern but only with more eerie/spooky factor perhaps? The more you listen, the more you realize you're facing an hybrid beast: half-past, half-future but completely charming.

Whatever floats your goat, Dissolution is giving you a great time, no doubt about it. Closer to a pop album than a prog, it's short, goes to the point and cut off all the baloney elements of longer albums (*ahem* Roine Stolt). Are you tired of interminable records of 74 minutes? I sure am. Something epurated like this album is oxygen for your brain and won't test your patience. If they keep up like that, they will give birth to a mammoth of good taste and self-mastery. They are THAT close.

Who said shorter albums are because of the lack of inspiration? Not this case here!

 Memorias Do Tempo by WERLANG, GERSON album cover Studio Album, 2008
3.52 | 17 ratings

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Memorias Do Tempo
Gerson Werlang Crossover Prog

Review by TenYearsAfter

3 stars Gerson Werelang is the guitarplayer of the Brasilian progrock band Pocos E Nuvens, this is his first solo album, from 2008 (in 2015 he released a second solo album entitled Sistema Solar). The sound is varied but most remarkable is the important role for the warm, frequently intense native vocals, male, female and duo. Like in the shorte songs Colheita De Inverno (wonderful violin), Vozes Outonais (in combination with piano), Ao Pouco Que Resta (beautifully blended with sitar and classical guitar), Do Ex'lio Volunt'rio (also twanging guitar and violin) and the final composition Epit'fio (soaring keyboards).

The longer tracks sound pretty progressive featuring a lush instrumentation.

Classical guitar, vibraphone and violin in the very alternating Invoca''o: from dreamy with flute-Mellotron and twanging guitar to compelling and bombastic or a fluent mid-tempo with fiery guitar and propulsive drums.

Violin and harpsichord in the also alternating Rosa M'stica: frequent sensitive electric guitar runs and a strong grand finale with guitar, organ and vocals.

And soaring keyboards, propulsive guitar riffs, bombastic organ and howling guitar in the strongly build-up Saudades Da Serra.

I had to get used to the contrast between the folky and classically oriented parts with warm and emotional native vocals and the fluent and bombastic parts with exciting work on guitar and keyboards. But in the end I was very pleased with this first solo album by Gerson Werlang.

My rating: 3,5 star.

 MacArthur by MACARTHUR album cover Studio Album, 1979
3.76 | 8 ratings

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MacArthur
MacArthur Crossover Prog

Review by marwood

4 stars I really didn't know what to expect from this: never heard of MacArthur in all my puff. To say I was pleasantly surprised would be an understatement indeed!

I like to think that I have pretty wide-ranging taste in music, but I always return to prog eventually. Especially prog with an 'edge', with nice 'crunchy' guitar. MacArthur fit that predilection very nicely. This is late era (1979) edging towards Neo-Prog. Guitarist Ben MacArthur is the star of the show here. that's not to dismiss the other musicians (keyboardist Bill Hefflefinger shines, particularly on the last track, 'Shock of the New'). So what do MacArthur sound like? Well no-one in particular, although the last few tracks could probably stand being described as a rockier sounding Supertramp.

The highlight of the album, for me anyway, is Generations/First Contact (with its slightly naff sci-fi lyrics excepted!)

Any gripes? Well the production leaves a bit to be desired and sometimes guitarist Ben sounds like he is about to shoot his fingers off the fretboard, but other than that this is a wee gem!

 Walking In The Wild Land by MCCARTY, JIM album cover Studio Album, 2018
3.00 | 2 ratings

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Walking In The Wild Land
Jim McCarty Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars This is the third solo album from McCarty, but he will always be thought of as the drummer of The Yardbirds, the only man who stayed true to that group through all its different versions since they first came together to support Cyril Davies in 1963 (as a side note, if you have never come across this amazing blues harmonica player you need to do so!). His vocals may not be as strong as they used to be, but in fairness he is 75 later this year! Here he provides vocals, acoustic guitar and some drums, and he has been joined by fellow Renaissance co-founder John Hawken on a couple of numbers with delicate piano. Mind you, probably the most surprising guest is Alex Lifeson, who provides lead guitar and synth guitar on 'Soft In A Hard Place'.

In many ways this is an album of its time, and that time was probably either the late Sixties or mid Seventies. But, Jim is producing psychedelic pastoral folk with hints of folk, and it is obvious that he is doing so because he wants and needs to, as opposed to being forced to. There is a gentle flow through the songs, and it is incredibly easy to listen to. This is never going to set the world alight, but for someone who has been involved with the music scene for 55 years he is showing that he has lost none of his knack of writing good material, even if it may not have the punch of his heyday. Obviously fans of his previous bands, and possibly even Rush completists, will search this out. But actually, if you just want something to play on a summer's day that isn't going to tax either the ears or the braincells, then this could be the perfect sonic tonic.

 Dave Bainbridge & Sally Minnear: Live In The Studio by BAINBRIDGE, DAVE album cover DVD/Video, 2018
5.00 | 1 ratings

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Dave Bainbridge & Sally Minnear: Live In The Studio
Dave Bainbridge Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
5 stars I don't receive nearly as many DVDs as I used to, but I am so glad that this one made it all the way to New Zealand as it is a real gem. I have followed Dave's career for some years, firstly with the amazing, wonderful, brilliant Iona and then with his other projects. Prior to this I hadn't previously come across Sally, although for some reason her surname seemed familiar, and it was only when watching the conversation between the two of them at the end of the disc, where they interview each other, that I realised that she is the daughter of Kerry Minnear of Gentle Giant fame. Her and Dave met initially as Dave is friends with her parents, and she grew up listening to Iona albums. Kenny is of course a multi-instrumentalist, which means that there were always a great many different instruments in the house, and Sally also can turn her hands to most things.

The main part of the DVD features Dave and Sally performing in his studio, with Dave providing keyboard, guitars and bouzouki while Sally is on vocals, acoustic guitar, percussion, recorded, whistle, violin and keyboards. The two of them perform surrounded by instruments, so much so that it can be quite hard to have enough space to stand. But, using these and combining them with some triggers (there are only two of them after all), they create music which is based in the Celtic tradition, and is hauntingly beautiful. My wife, Sara, walked into the study at the end of the DVD and asked what I was watching, and I told her that the only word to really describe their music was "Beautiful", and that nothing else mattered.

The production is clear, and there is nothing fancy about the camerawork as there doesn't need to be. There are a few different cameras being used, which allows the watcher/listener to be close to what is going on, and really enjoy the feeling of being there. As well as the songs recorded live in the studio, there are another four from a show earlier this year, plus the conversation. My only personal gripe, which is incredibly minor, is that I would love for this to have been released with a CD or download of the music so that I could also play this in the car, as it is truly glorious in every facet. This is absolutely essential for any fans of Iona, Dave or Sally, Celtic music, or who just want to hear music where vocals and instruments combine to create something which is ethereal and powerful, both at the same time. Simply stunning.

 Walking In The Wild Land by MCCARTY, JIM album cover Studio Album, 2018
3.00 | 2 ratings

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Walking In The Wild Land
Jim McCarty Crossover Prog

Review by SteveG

3 stars As a keeper of the flame of the first incarnation of Renaissance and of the songwriter and male vocalist for the later Illusion projects, namely Jim McCarty, I would be remiss if I failed to review his latest offering from 2018 titled Walking In The Wild Land. With songs written in a similar philosophical vain to the proceeding album from 2009 titled Sitting On The Top Of Time, I can quickly say that it's another quality offering from McCarty. However, this time most of the songs are arranged and performed in a more straight up singer/songwriter style that one would have encountered in the 1970's and '80's. That doesn't make the songs bad but they are less intriguing from those found on Sitting On The Top Of Time as they are somewhat stripped of their moody, atmospheric and, at times, esoteric musical themes and general vibes.

That said, the acoustic guitars return along with tasteful piano and keyboard playing from several guests, including the incredible John Hawken, as well as the hypnotic bass playing of producer George Koller. Where McCarty had Steve Hackett guest on electric lead from one song on Sitting On The Top Of Time, the great Alex Lifeson does a similar turn on this album's fifth track titled "Soft In A Hard Place". It has a smoking Santana-like "Smooth" tone and really wakes up this sleepy song. How great it must be top be able to call upon such stellar friends to contribute to one's album projects! Amazing. Other Standout tracks include the title track which features a stirring violin accompaniment. The Renaissance-like "Mountain Song", "Right On The Road" and "Dancing Leaves" are quite good due to their reliance on captivating piano and bass interplay. Oddly, for this album, the up tempo "Charmed" could have been a Smile era Beach Boys song in some alternate universe, with it's cheery use of a flugelhorn to steer the melody between the song's catchy verses and chorus, along with it's swooping vocal harmonies. As I stated above, Walking A Wild Land doesn't have quite the charm of it's predecessor, but it's still a valuable addition to the growing McCarty solo canon. Yes, quite amazing indeed.

 Ones & Zeros - Volume 0 by 3RDEGREE album cover Studio Album, 2018
4.21 | 121 ratings

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Ones & Zeros - Volume 0
3RDegree Crossover Prog

Review by Buddahfurious15

5 stars I'm a bit late to the party here but finally got the other half of 3RDegree's Ones & Zeros 2 part conceptual work. Vol. 0 is different than Vol. 1 overall but you can probably jumble up the tunes in another way (like Big Big Train's Full Power) and be none the wiser. Just checked out my Vol. 1 review and I'd say all that I marveled over with that release holds true here and then some. Continued is the thing the band does that few other bands do where the DNA of the music is thoroughly 'prog' but the songcraft rules the day. The other thing is how economically sound the band is where this album almost reaches a full hour and you're not tired nor are you fed any filler. Even if you might not think one track is as great as another you notice it serves a purpose and makes the album better. Not sure if I attribute that to the array of writers or the different lyrical subjects presented. While the songs sort of dip into each other it's not full of the sound effects present on Vol. 1 so it might come off as a bit less 'thought out' but with the band themselves calling it a prequel it kind of lets them off the hook in a way. I wonder how they had this all worked out when they completed the last album. How did they make the songs on this new album to all predate those they finished first? No matter, but it seems a master stroke even if they lucked out! Sonically this album seems a bit retro primarily in its use of warm analog synths throughout. Beyond that it just feels like more good music about head scratching issues on the horizon. While this broad concept of futurism has been good for the band and has definitely got them good press, somehow I look forward even more to see where they go next and that's a good thing.
 Cinematica by MITCHELL, KENNY album cover Studio Album, 2017
3.93 | 9 ratings

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Cinematica
Kenny Mitchell Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars After reviewing Kenny's most recent album, 'The Light and The Dark', I am now listening to his 2017 instrumental release, 'Cinematica'. The album title is very much in keeping with the songs on the album, as one can certainly imagine them being used as film soundtracks. The first and last of the three songs are more than 28 minutes in length, sandwiching a three minute ear cleanser and the time given to these pieces really allows Kenny to stretch his musical wings. When it commences, one is immediately drawn to the music of Jean Michel Jarre, as the music progresses (literally) then it becomes far more similar to Tangerine Dream. Here he allows his ambient keyboard soundscapes to mix with floating guitar lines to create something which really allows the listener to drift away.

This is definitely not an album I would recommend playing in the car, as I find that when listening to this I become incredibly relaxed and am drawn into a different world. It can't be treated as background music, but is an album that does demand close attention and time being spent just to play and enjoy the music for what it is. Headphones, a nice large glass of your favourite spirit, and then allow yourself to drift into a quite magical, atmospheric world that still has plenty of dynamics.

 Metallia by OH. album cover Singles/EPs/Fan Club/Promo, 2018
4.50 | 11 ratings

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Metallia
OH. Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars 'Metallia' is the sixth release from Olivia Hadjiioannou, who kindly operates under the name "Oh." so that us poor reviewers don't have to keep copying and pasting her surname to make sure we spell it correctly. Before I even get onto the music on this six-track 25- minute-long EP, I must make a mention of the packaging. Firstly it has been released physically, not just digitally, as a digipak. There is great artwork when it is opened up, and this continues onto the CD itself so that it forms part of the picture. This depicts Olivia sat half naked on the top of a mythical beast holding an electric guitar aloft, and it feels very classical in nature, which also ties in with the artwork on the front cover where she is depicted as a warrior. The small booklet features the rationale behind each instrumental, along with details of what she played, plus more artwork. There has been a great deal of care put into this and I found that I was impressed even before putting it into the player ? remember, 'Metallia' is a self-release, not funded by a label.

And then we get onto the music. If my ears are working correctly, I believe that Olivia is playing all the instruments she mentions, as opposed to triggering samples, which means that as well as playing guitar and bass she also provides the drums, toumperleki (the goblet drum ? I had to google this one), violin, keyboards and vocals. Vocals here are used as an additional instrument, with no lyrics as such. The two words that immediately spring to mind when playing this are "intensity" and 'chaos", but in a good way. It has ended up on PA in the Crossover category, but arguably this could be in prog metal, eclectic or even fusion, as it is all over the place with influences. The title is apt, as first and foremost this is a heavy album, full of multiple types of shade and complexity, with a little light here and there to provide relief. Time signatures change, bombastic elements come in and out, and it really feels like the listener is being swept along in a maelstrom, or being put inside a washing machine when it is at full pelt.

But, the chaos does have purpose, and melodies raise their heads and allow themselves to be heard before again diving down again for cover as the force takes over. The result is something that in many ways is quite draining to listen to, as it is takes quite a deal out of the listener, at least if the correct attention is being paid towards it. It also needs to be played loudly, very loudly, but my sheep are used to hearing strange sounds going out to the paddocks and it didn't seem to faze them too much. This is the first release I have heard from Oh., and I look forward to what comes next as this is an incredibly complex and chaotic album that is a real discovery.

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
3 United Kingdom
3 United States
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
AARDVARK United Kingdom
AARDVARK' Finland
THE AARON CLIFT EXPERIMENT United States
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AGRABAH Argentina
EDUARDO AGUILLAR Brazil
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALEPH Australia
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALPHA LIGHTING SYSTEM Mexico
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
AMAZING MACHINE Norway
THE AMAZING Sweden
AMBERFIELD Germany
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
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
APPLESMELLCOLOUR Spain
AQUA TALK Turkey
AQUILA United Kingdom
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
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASIMÉTRICA Mexico
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIO'M France
AUDIOCRACY Multi-National
THE AURORA OBSERVATORY United States
AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
AUTUMN ABOVE United States
AUTUMN CHORUS United Kingdom
AUTUMN ELECTRIC United States
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
AUXFORD Russia
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
AMADEUS AWAD Lebanon
DAVID AXELROD United States
AZURETH Multi-National
BACKHAND Venezuela
BAD DREAMS Argentina
BADWATER FIRE COMPANY United States
JOE BAILEY United Kingdom
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
BALEIA Brazil
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
THE BARDS OF ANTIQUITY United States
NICKLAS BARKER Sweden
BARNUM'S FREAK Italy
BARON United Kingdom
MARTIN BARRE United Kingdom
BARROQUEJON Chile
SEBASTJAN BARTOL Slovenia
M.M. BARTULICA Bosnia and Herzegovina
COLIN BASS United Kingdom
BAT LENNY United States
BATISFERA Russia
BAUER Argentina
BE BOP DELUXE United Kingdom
BEAD GAME United States
BEAM-LIGHT Poland
DAVID BEDFORD United Kingdom
BEDUÍNOS A GASÓLEO Portugal
BELGRAD Poland
BEND SINISTER Canada
BENT KNEE United States
THE BENZENE RING United States
ROBERT BERRY United States
EMILY BEZAR United States
BIG BIG TRAIN United Kingdom
BIRZER BANDANA United Kingdom
BITTERTOWN Netherlands
BJÖRK Iceland
BLACK CAT BONES United Kingdom
THE BLACK LIGHT United Kingdom
BLACK MOTH SUPER RAINBOW United States
BLACK MOUNTAIN Canada
THE BLACK OF SPACE United States
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
BLURRED VISION Canada
THE BODY POLITIC Canada
BOMBER GOGGLES United States
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
THE BOY; THE BIRD & THE BEAST United States
VICTOR BRADY United States
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
BRIGHT BROWN United States
THE BRIMSTONE SOLAR RADIATION BAND Norway
TOM BRISLIN United States
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
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