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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

4.31 | 1756 ratings
CRIME OF THE CENTURY
Supertramp
4.29 | 2256 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.30 | 1471 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1682 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.23 | 1047 ratings
DOOMSDAY AFTERNOON
Phideaux
4.21 | 1108 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 1868 ratings
GRACE FOR DROWNING
Wilson, Steven
4.21 | 955 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.20 | 874 ratings
SNOWTORCH
Phideaux
4.20 | 913 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.18 | 818 ratings
THE UNDERFALL YARD
Big Big Train
4.26 | 194 ratings
MAGNIFIED AS GIANTS
Caligonaut
4.17 | 509 ratings
HOUNDS OF LOVE
Bush, Kate
4.34 | 113 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.13 | 1297 ratings
TUBULAR BELLS
Oldfield, Mike
4.17 | 434 ratings
SPIRIT OF EDEN
Talk Talk
4.14 | 574 ratings
~
Iamthemorning
4.13 | 651 ratings
NIGHT
Gazpacho
4.20 | 219 ratings
SHINY EYED BABIES
Bent Knee
4.11 | 884 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train

Crossover Prog overlooked and obscure gems albums new


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

GLOSSOLALIA
Walsh, Steve
VOICE
Capability Brown
PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof
BROKEN CHINA
Wright, Richard

Latest Crossover Prog Music Reviews


 Bankstatement by BANKS, TONY album cover Studio Album, 1989
2.75 | 95 ratings

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Bankstatement
Tony Banks Crossover Prog

Review by Sidscrat

2 stars There is a problem when you are trying to be like everyone else looking for that golden wand that you can use to rake in lots of dough. Tony Banks is one of the most brilliant keyboardists in rock and especially prog. I am a big Genesis fan, that is "Trespass" through "Wind & Wuthering". "And then there were 3" was okay and "Duke" had the last blast of their old prog sound (Duke's Travels). Post Hackett meant abandoning prog for the most part. They would include a lame piece of sort of prog on each album. Buying each album as it came out left me searching for the tunes that were "just okay."

As I have gotten older I have a little more respect of pop music but not much. Anyone can sit down and spend 20 minutes writing a 3 minute song. Granted, some of the tracks here instrumentally are complex in the keyboard area which is the saving grace here. I wonder what would have happened had they included some of the pop tracks on a Genesis album.

I think what I am trying to say here is that Tony was not destined to be a pop star and he spent his solo days trying to be something he wasn't. Tony should be Tony, not Phil, not Mr. Mechanic. His albums seem to want to accomplish success more than they do putting out great music. I really think Tony's pride hated the fact that he just couldn't get on the charts like Phil, Peter or Mike and he sure wasn't going to allow Steve to best him since he always gave the impression he didn't like him in the band. Thankfully Hackett stayed true to himself and I respect him more than any of the other 5 core members of Genesis. It is a shame he has been criminally overlooked by his former bandmates and the critics. Steve just puts out music he wants and isn't looking for stardom. You have to respect a musician who does that regardless of what genre they are in. Anyway, Tony is not a pop music genius.

We have his later album that once again was under a band name: "Strictly". It is like Bankstatement in that it is catering to pop except on the last song which is a long prog tune that seems totally out of place on the album. It is okay but again, lacking, "Still" had some good moments but it was also like this album in many ways with the one long prog song on it, The Fugitive was musically his best attempt and has some prog in it. This album isn't so bad but it isn't great. I bought it on vinyl as soon as it came out and oddly the vinyl version was missing the song which I felt was probably the best: "Diamonds Aren't So Hard". That song I just couldn't stop playing. The catchy driven beat, the tightly interwoven keyboards and even the lyrics make that song the strongest for me. "The Border" also has a full sound due to the more complex keyboard melody. "Big Man" I actually like and his voice works on it almost having a Beatle-esc sound to it mixed with the strange keyboard sound.

The last song is an instrumental "Thursday the Twelfth" and I like the keyboards on it. That is as prog as the album gets. One cannot review this album from the platform of prog as it just isn't nor was it meant to be. It is an attempt to create pop stardom and falls short but again, Genesis put out those awful pop ballad like songs that threw them into stardom so I would think some of the other love tracks would do well with Phil's voice. In other words, Tony could have given them to Phil to drop on his solo album and then Tony could make his money!

 Mosaic by LESOIR album cover Studio Album, 2020
3.70 | 15 ratings

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Mosaic
Lesoir Crossover Prog

Review by Deadwing

4 stars Lesoir is great surprise for the new batch of Prog Bands post 2010. Their last album, Mosaic, shows it being a great mix of modern prog with catchy hooks and each song being very distinct from each other. It a bit of Mostly Autumn but with stronger neo-prog elements in the mix.

The vocals are all female, they are beautiful and have some great arrangements and melodies. They are usually accompanied by mellow songs, but the album does take a rocking energy when it's required. You will also find (great) guitar solos in almost all the songs, very melodic and David Gilmour-esque, although a bit drier sounding, which I enjoy a lot. Mixing is also very clear and not too loud, it's more modern than retro though (like Wobbler). The drums use reverb and might annoy some listeners, though.

Highlights: Mosaic, Is This It?, Dystopia, Two Faces (superb ending)

 Night by GAZPACHO album cover Studio Album, 2007
4.13 | 651 ratings

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Night
Gazpacho Crossover Prog

Review by Dapper~Blueberries

5 stars Dreams are so interesting and odd to me. The idea of journeying to the inner corners of your mind and imagination with no rhyme or reason, yet some form of meaning is something that feels almost like fiction. This real-world phenomenon has been researched from point a to point z, and I feel like we might never get a grasp of what they truly mean due to people's different psyches. Our psychological understanding of what is and isn't, the false truths bleed into dreams and our minds mustn't be deterred from reality or our sanity will go away. In all honesty, I am surprised this phenomenon would make an amazing concept for an album, especially in the realm of progressive rock, but sadly I never see any such a concept explored to its fullest potential. We may get albums where a part is a character's delusions in their minds or being stuck in their mind, but never dreams themselves. There may be two reasons for this. 1. It'd be very hard to pull off effectively. 2. Night by Gazpacho is already a thing, so why attempt what they mastered once in their career?

Gazpacho is a contemporary progressive rock group from the early 2000s. Formed by Jan-Henrik Ohme, Jon-Arne Vilbo, and Thomas Andersen they take a page from the popular, more Radioheadesque art rock of the time, however with their spin on the whole style that is most closely related to Neo progressive rock. Their name comes from the Marillion song off of their Afraid of Sunlight album. At this point in their career they had released 3 albums, Brave, When Earth Lets Go, and Firebird. During this period they experimented and improved on their melancholic sound, utilizing alternative rock atmospheres that allowed them to create a unique, inspired sound. Since their conception they have always been a progressive rock band, however, they never fully smothered deep dished themselves in the bread, sauce, cheese, and grease of the progressive rock pizza. That was until 2007 when the band had created their 50+ minute conceptual piece. This was an album where they fully delved into the concept of dreams, creating one giant song in the process, however, they split it into 5 different songs that all fit together.

Unlike most albums that do something similar to this in the vein where it is one song that is split up (IE Colors or Tower of Silence) where I genuinely feel like each part intertwines in such a way that it makes every part feel essential for the listening experience. However, the fact each part is separated allows this album to never get boring, which I feel is one of the biggest hurdles any band making this kind of album has to go through. It may be one long song but I do not feel as though I ever get bored near the end, or that some parts do not mesh well with others, which were some of my complaints for stuff like Dopesmoker or Mirror Reaper.

The sounds on this album are something to behold. Everything around each part has a consistent theme and leitmotifs that you can notice, which I think is a good thing. I am a sucker for this kind of thing, especially when it comes to leitmotifs. Heck one of my favorite video games is packed brim with leitmotifs, and when it applies to a progressive rock context I am always happy. It is like a fun spotting game where after each song you can have a new motif to search for. While in most cases this would be boring, in the grand scale of the piece these motifs happen fairly rarely, however they happen often enough to fit every piece to this dreamy puzzle. Not only that but the main contributor to this album's greatness is the instrumentation. I just love how it perfectly captures the feelings of dreams and nighttime. The energy that resonates from this album speaks home to the feeling of being in a dream. The strums of the guitar, the drumming, and Ohme's vocal works on this album are the cream of the crop. Speaking of Ohme, his singing is downright beautiful. I cannot express how truly lovely they can get, sometimes to where I feel like he turns into a completely different singer.

Not only is the instrumentation excellent, but so is the emotion that drips off this album. Everything here feels melancholic, and where in some cases I feel like the band is missing out on something greater if they expressed more emotions on the emotional spectrum in their music, I feel like here it works well, since what is the night without the lack of light? The night is the darkest time of each 24 hours, because of this it is befitting for the band to be more melancholic.

What is more melancholic is the entire concept of this piece, which is of course about dreams. While the lyrics feel more like a story about something coming to an end, it is actually about where dreams end and reality begins. It is not simply about dreams as in something our brain conjures up when we sleep, it is about what happens when the dream ends. Where do all those little brain characters go and so forth? Each part does contribute to this narrative in some way, with Dream of Stone and Upside Down being about a blind prince who gets engulfed by the sun; Chequered Light Buildings is about growing so high to go to space; Valerie's Friends is about a girl named Valerie having a nightmare about going to a dangerous party; Massive Illusion being about how dreams end. All such have that intrinsically implemented inconsolable nature the band always loves to pull.

For a progressive rock epic, not only is this a masterpiece, there truly is no other album like it in the grand sea of albums. For anyone who loves that atmospheric, melancholy progressive rock from bands like Marillion, The Pineapple Thief, or even Pink Floyd, this album deserves its highs in spades. An amazing modern progressive rock record deserves its five stars.

 Emnalóc by BUHLMANN, ROLAND album cover Studio Album, 2022
5.00 | 1 ratings

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Emnalóc
Roland Buhlmann Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

— First review of this album —
5 stars Here is an artist that wholly deserves not only our interest but also our heartfelt admiration. Roland is a Swiss multi- instrumentalist who is now five albums deep into his career, masterfully adept on the guitar, bass and various electronic devices and keyboards. His style is quite eclectic in that his technique can go from one extreme to another, soft and pastoral guitar etchings to effusive and at times, explosive jazz-rock flicks of the wrist that would find a soft spot with fans of Robert Fripp, Mick Karn, David Torn, Markus Reuter, Allen Holdsworth, Herd of Instinct, Djam Karet, etc? Experimental, all instrumental and highly cinematographic soundscapes that conjure spectacles of aural sceneries that only the imagination can fuel. Within each expanded piece, there are brief placid ambiences, often with absolutely stunning bass playing (you got me there!), shifting into impossible guitar designs, decorated with unending exploration and passionate expression. He has enlisted once again the excellent Terl Bryant (Peter Murphy, Iona, John Paul Jones, Joanne Hogg, Rick Wakeman, among a hundred others) on drums and percussion, as well as David Cross (yeah, The Crimson guy) on violin, as well as trumpet player Luca Calabrese, Angelo Lebrato on acoustic guitar and Ondrej Glogar on the carnyx (an instrument used by the Celts of the Iron Age).

The first two tracks "Umiion" and "Assailen" are in the 7?9-minute range and really set the stage for the tone of what is to follow, or so one is led to believe! The first one swoons then rumbles, with constant variation and artistic meandering, Terl can do a mean Bruford, shuffling his percussive edge wherever needed, as Roland guitar shavings do as much visceral damage as possible, sputtering one moment, shimmering the next, then suddenly coiled like a hissing cobra. The bass travels nicely at the end. The second follows suit, the four-string monster still on its reptilian warpath, growling like a resolute beast, as the serpentine electric guitar begins its highwire routine, balancing with both distortion and fluidity, never veering off to far to the side. Terl keeps the relentless pace while the bass and the guitar never vacillate from the purpose of blowing your mind. Phew! What a talent!

Then, when you least expect it, the listener is transported to the hot Carioca beach, as the bossa nova infused "Sevamcao' takes hold, a refreshing tropical interlude from all the previous exaltations. Dancing Bikinis, swaying sand, tanned skin, and a football to boot around, only Luca's smooth trumpet caress to seduce you further.

The opposite atmosphere is offered on the rather more Nordic "Rithnal", a ten minute + megalodon of sound with a riveting Frippian guitar foray of sustained power notes, thunderous percussive blasts, and a sombre, darker, very icy cold feel. The ripping guitar really sounds more like a grinding axe (with an axe to grind, LOL), voluble, vigorous, and verbose. Roland even dares to momentarily slap down some simpler riffs, making them even more glamorous by the sheer audacity of including it in the maelstrom! I am pretty sure this will knock a few unprepared listeners to the canvas, searching for their dislocated jaw (yet strangely, still smiling!). A ridiculous track!

The next four tracks veer towards more subtle and contemplative musical explorations, certainly even more experimental and introspective. "Yndrun" is a towering manifesto of ambient shimmer, an ideal set up for an overt Asian mood with Luca's sensuous trumpet, a clicking cubic percussive backdrop, and some slippery bass lines. Think Mark Isham or David Sylvian as a possible influence, before Roland slices through the misty sonic fog and delivers a muted yet complex guitar incursion that soars, swerves and simmers. Relaxingly adventuresome. The three-part within one track "Letarladoth" remains well anchored within the contemplative mood for most of the time, a glimmering tapestry of smooth sounds that set once again the stage for an electric guitar surge of the highest quality, all restraint and feeling. The third part has the bass, drums and the fretboard coalescing into one final 'Uf Widerluege' (goodbye in Swiss German). On the quirkier "Berithlan", the undulating guitar phrasings would make the Crimson madman quite proud, as Roland massages, caresses, twists and occasionally even tortures his strings with seemingly little effort. The acoustic guitar acts as a perfect foil for the quixotic sounds emanating from the speakers, a truly humbling listening experience.

And now, we have arrived at the 'letzte haltestelle' (final station) , the enigmatic title track "Emnaloc" , which truly serves to embody within one 12 minute composition, all the rudiments that make this a seminal, I daresay , monumental work of art. Gleaming sounds and effects, dissonant percussion, savagely untamed electric guitar lines and that monstrously vacillating bass that keeps it all in check. The lead instrument is once again the much- maligned trumpet, that sunshiny brass apparatus that suggests both masculine grit and feminine seduction within one breath. The final axe exploration is the proverbial arrow going through the apple, that was firmly resting on the head of William Tell's son. 'Apfelsosse' anyone?

This should be on very prog fans, to-buy list, a tremendous listening experience for the discerning instrumental prog fanatic. I looked up all the song titles for some clues and it seems that these are all Kobaian-like fictional words that proffer a specific mood or feel. Roland is also a pinhole photographer, and his work is quite the original and active artform. The artist most really need to hear immediately.

5 constellations

 Peter Gabriel 1 [Aka: Car] by GABRIEL, PETER album cover Studio Album, 1977
3.59 | 735 ratings

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Peter Gabriel 1 [Aka: Car]
Peter Gabriel Crossover Prog

Review by A Crimson Mellotron
Prog Reviewer

4 stars The allure of the solo album is undeniable and the stellar catalogue of Peter Gabriel is beyond exciting, at least for the ones willing to explore his unusual sonic world; After fronting Genesis in the first half of the 70s and leading his band successfully through their most glorious years [musically, certainly], he left after 'The Lamb' and went on to release a string of severely engaging and innovative art rock albums, where he shifted styles and crossed boundaries, never disposing of that precious progressive aura that is, of course, bound to 'haunt' him, regardless of what he puts out to the listeners to embrace. And his very first studio album as a solo artist provides some strong evidence to back all of this up - the self-titled 1977 album, also known as 'Car', after the famous Hipgnosis cover artwork, is a bold collection of nine completely unrelated songs that seem to go from one extreme to another, stylistically, providing a fine glimpse into Gabriel's musical vocabulary. To make it all even more exciting, one has to mention the presence of Robert Fripp and Tony Levin (who would later go on to play together in King Crimson in the 80s), as the main contributors to the music on 'Peter Gabriel 1'.

Significant and rich are certainly the words that best describe this record, the elegance that accompanies each composition is also valuable, as well as the fact that the album is completely different from everything one might expect from Peter Gabriel, given his previous releases with Genesis. The opening track 'Moribund the Burgermeister' is arguably the weirdest song on the album, and this one resembles some of the material on 'The Lamb' just remotely, making it the only plausible Genesis comparison one could make; Then there are the two fantastic and successful singles 'Solsbury Hill', a song that needs no introduction, and 'Modern Love', with its artsy, wacky music video. The softer 'Humdrum' has to be another highlight, and so is the 7-minute Americana 'Waiting for the Big One'. We have producer Bob Ezrin's influence on these more American-sounding tracks, while Gabriel has been credited for the more 'European sounds' on the record. The rest of the album is also excellent in the face of 'Down the Dolce Vita' and the emotional rollercoaster that is 'Here Comes the Flood'. It is interesting how Peter Gabriel's very first solo album is simultaneously so diverse, so warm, and so hard to predict, yet it is far from perfect, while there are no weak moments on it. His progressive leanings are evident, though not so strongly, as he incorporates a more approachable way of composing songs, in comparison to all releases behind his back up until 1977. All in all, this is a great album that needs to be given some time, in order to be fully appreciated, as the subtlety of it reveals itself gently and gradually before the patient listener.

 Escape by SLATTER, TOM album cover Studio Album, 2021
3.95 | 3 ratings

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Escape
Tom Slatter Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Here I am writing about an album which has been out for roughly a year, yet so far there is not a single review on PA which makes me both annoyed and incredibly disappointed. This is Tom's eighth album, and I have reviewed the previous three to this one, yet for some strange reason he is in the underground of the underground. I know he is self- effacing and never takes himself too seriously, nor does his record label come to that, but here we have a true English progressive artist combining elements of Geoff Mann and John Dexter Jones to create music, which is lyrically powerful, musically moving, and progressive in its truest sense as he stamps all over the different sub genres in his refusal to conform.

He brings in a few guests to add their touches on a different track each, but primarily this is Tom (vocals, guitar, keyboards) with Michael Cairns (drums) and Keith Buckman (bass). He has taken this album in a much heavier area, with far more crunching guitars yet never really moving into prog metal as there is too much eccentricity in his music for that to take place. While there are four tracks at the 5?6-minute mark this album is bookended by one at 12:36 and another at 19:12 which allows Tom to spread his musical wings and go for it. There is no doubt this is one of the most diverse yet also direct albums he has produced to date, hence my annoyance that this is flying so far under the radar as to be mining tunnels. He is not conforming to any particular norms, but instead is doing whatever he wants. When asked about the album he said, "I've always been an indoors kid. Escapism, whether books, music, or computer games, has always meant a lot to me. With the awful year we've all had, I felt like an album full of high energy rock songs about spaceships was the escapism we needed."

There is no doubt he is correct, and here he displays yet again that he really is an incredible talent who should be far more widely known within the scene. This is a great album, one which all progheads who enjoy the eccentric English style of many of our great acts need to discover today.

 Equations of Meaning by PATTERSON, TONY album cover Studio Album, 2016
4.87 | 8 ratings

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Equations of Meaning
Tony Patterson Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars I hadn't seen that this album had finally been admitted to the PA database. Too bad the admins still don't get that this is NOT a Brendan Eyre album or collaboration (Brendan plays piano on one song), but a Tony Patterson solo album.

This is lovely Neo Prog drawing from 70s ALAN PARSONS PROJECT, 80s GENESIS, and current day STEVEN WILSON with plenty of lush keyboard arrangements and ethereal vocal displays.

The drum machines may drive you crazy but the songs are definitely all gorgeous, mature constructs--they will quickly dig their way into your brain and never leave--you will never want them to; they are addictive.

1. "Ghosts" (4:01) an instrumental that captures the quintessential sound of the gorgeous electric guitar stylings of STEVE HACKETT--both Genesis-era and solo--before giving way to a more cinematic song style. Gorgeous. (9.5/10)

2. "The Magdalene Fields" (5:59) opens with an obvious "Entangled" GENESIS/ANTHONY PHILLIPS sound before the gorgeous AMERICA-like voice harmonies enter. The key shift down into the rather disappointing chorus are this song's only flaws. Otherwise, beautiful--especially the ethereal section beginning at 4:08. (9/10)

3. "Each Day a Colour" (4:48) opens with some gorgeous spaciness very much like the work of Steven WILSON's PORCUPINE TREE in the 1990s ("The Sky Moves Sideways" and Signify come to mind). When the band's rhythm section and vocal join in it still has a bit of the WS feel but also a kind of California dream-pop feel not unlike that of bands like PORNO FOR PYROS and WEST INDIAN GIRL. The keyboard work, chord progressions, and 'light' rhythmic approach make this another absolutely gorgeous song. (10/10)

4. "Cast Away" (2:35) again we find Tony and company masterfully replicating the STEVE HACKETT songs style when Steve is at his most melodic and intimate. Another absolutely hypnotic, dreamy gorgeous song. Flawless. (9.5/10)

5. "The Angel and the Dreamer (i.vision, ii. journey, iii. reprise)" (7:02) feels like a long lost song from one of ALAN PARSONS PROJECT's earlier days--Pyramid or even I, Robot era--even with the ANTHONY PHILLIPS-like 12-string presence in the middle. (9.5/10)

6. "Beneath a Perfect Sky" (5:09) casts such a hypnotic spell of lush beauty that you may find yourself pushing the 'permanent repeat' button and lying down to sleep in a poppy field ... forever. Echo-y repeat piano chords, intermittent synth washes, Mark ISHAM-like percussive keyboard sequencing, languid drum pace, Kate Bush-like background vocal incidentals, laid back Tony Banks-ian synth soloing, even a lazy trumpet solo, all contribute to the magic here. (9.5/10)

7. "Sycophant" (5:23) reminds me of the cinematic work of Poland's LEBOWSKI over-lace with an intermittent Hogarth-like vocal. Pretty good song! (8/10)

8. "And When the Sky Was Opened" (2:07) could've come off of one of STEVEN WILSON's spacier 1990s albums. Really cool. I'd love to hear a 10 to 20 minute version of this. (5/5)

9. "Pilgrim" (5:24) another hypnotic technologically created beat (quite similar to that of STEVEN WILSON's song from Hand. Cannot. Erase., "Perfect Life") whose dreamy music, melodies, and vocal don't quite stand up to some of the album's other gems. But it's still great! (I love the slow, single-note piano play at the 4:00 mark. Very dreamy!) (8/10)

0. "As the Lights Go Out" (2:44) is a pretty little piano-based song embellished by the occasional contributions of synths and flutes. (9/10)

11. "The Kindest Eyes" (6:30) again replicates the beautiful harmony vocal stylings that were so perfectly perfected by AMERICA in the early 1970s--but Tony here does only that: replicates; he offers nothing new, exciting, special or innovative. It's just okay, maybe even a little disappointing for its lack of buildup or climax. It would never be a radio hit in the way that AMERICA songs were.(9/10)

A-/five stars; a minor masterpiece of progressive rock music. This is without a doubt a collection of very beautiful, well composed songs. In fact, this is one of the most beautiful collections of beautiful songs I've come across in a long time. Astounding and spell-binding. This is MY FAVORITE NEO PROG ALBUM OF ALL-TIME.

 Equations of Meaning by PATTERSON, TONY album cover Studio Album, 2016
4.87 | 8 ratings

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Equations of Meaning
Tony Patterson Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars If one was bold enough to imagine what the ideal vessel would be for a 2016 version of a progressive Genesis, well, I would like to propose Tony Patterson as the likeliest candidate. Having a voice that is part Gabriel and part Collins is obviously a major attribute as well as the fact that Tony cut his teeth on being ReGenesis' lead vocalist, a band that unabashedly reprised the Prog icon in mostly live settings. I also cannot help to draw parallels to Mike Rutherford's debut (and only truly prog) solo album 'Smallcreep's Day", a personal and much idolized recording in my collection. My germinating interest was only accrued by the recent masterpiece Tony put together with Riversea and Nine Stones Close keyboardist Brendan Eyre, entitled "Northlands", to which I allotted a maximum score as it was a truly epic and genial release.

"Equations of Meaning" simply continues the spirit of Northlands with a similar mood, artwork, and artistic lineup, yet this is a full Patterson solo album, playing most of the instruments himself (guitars, keys, flutes and programming). Guest cameos include keyboardists Nick Magnus and Brendan Eyre, guitarist Adrian Jones, Andy Gray has a solo axe spot and Doug Melbourne on synths. Fred Arlington returns on sax and horns. Tony's voice, while obviously capable of imitating his icons, is starting to develop its own hue and dimension, which is the added bonus one gets with sublimely atmospheric material, that so effectively paints images on the mind. The entire recording is a n utter audio joy, basking in deep clouds of melancholia, celestial wisps of sacral sounds, possessing that uncanny ability to take one into an altered state of contemplation. There is also a sense that this is a very personal effort, deeply rooted in a certain perception of music, decorum, and art, and thus, highly original in its honesty and raison d'etre.

The spectral splendour of "Ghosts" serves as the ideal anesthetic, a mellow yet swelling carpet of synths and strings, both suave and seductive, like a melodic morphine seeping into the veins. Ready to get operated on, nicely medicated and quite comfortably numb. Gorgeous nirvana. In the spirit of the previously mentioned Smallcreeps' Day masterpiece, "The Magdalene Fields" recalls those glory days of reverberating acoustic 12 string phrasings, sweepingly sweetened voices both lead and backing, and titanic keyboard swarms. Fred's sax provides rays of golden sunshine amid the puffy synthesized clouds, the pulsing rhythms that remain discreet in the background, with loads of cymbal work. As the song whispers into silence, I cannot help but to let out a long, contented sigh.

Welcome to "Each Day a Colour" , a straightforward gem of bright musical disposition, both unpretentious and fragile, , boldly stating "the world begins to smile and a dreamer's dream makes it all worthwhile" , adding a solid guitar foray and a sudden end. "Cast Away" serves as a perfect segue, a windswept lullaby of soothing vocal breezes that are barely above a murmur, birds fluttering in the air, clanging guitar flicks, all utterly restrained. Achingly beautiful as the synthesized strings build into quite the climax. The first elongated piece is the 7 minute, three-part all instrumental epic "The Angel and the Dreamer", initially a platform for Siobhan Magnus to use her mellifluous voice to instill a vaporous mood, egged onward by a simple backbeat and a spiralling acoustic and electric rant that coalesce into a meaningful whole. The track also features some delightful horn work from Fred, the highly organic drum programming work is out of this world, as well as Melbourne's synth solo that is all charm, technique, and passion. Toss in some church bells tolling, a celestial choir and added avian tweeting, all combining to create a cinematographic canvas which is hard to overlook.

The solemn ambience continues undeterred on the entrancing "Beneath a Perfect Sky", as Patterson owns this ultra-smooth whisper that is completely addictive to these ears, a swooning infusion that remains whole-hearted to the core, making for some fascinating enjoyment. Sparkling piano blends into the mix with elegance and finesse, while the horn solo provides a most welcome jazzy touch to the ethereal sounds. While my descriptions may fool one into thinking that all the preceding tracks have a sameness about them, it is just my failing! Out of the blue, comes this scintillating piece of inspiration, , as "Sycophant" has some serious sneer, a James Bond-like orchestral theme that titillates unashamedly, kicking up the audition a notch, where the voices are all modulated to modern levels and of course, a rather snarly lyrical content that spits out venom in a gentlemanly tone (ah, the British flair!). Andy Gray's twisted corkscrew electric guitar solo only serves to further convey the nasty message: "I never liked you, I never will, just bide my time and move in for the kill". My, my, quite vile, wot? Tempered only by the cascading waterfalls of string synthesizers that act like a mellotron in heat! Effing perfection.

A short synpho-electronic interlude in the shape of "And the Sky was Opened' further gentrifies the sensational progression of this magnum opus, keyboard heavy sounds laying the groundwork for the next track, the uber addictive "Pilgrim". This is a modern serenade for pensive discourse, armed with an insistent beat, an obstinate voice and adamant forward propulsion thanks to some sizzling horn and unassuming drum work. A real stunner. The Brendan Eyre piano led "As the Lights Go Out" gives the opportunity for Brendan to reveal his delightful skill, as he flutters over the ivories with emotion and refinement. This will lead to the last extended piece and heart wrenching finale, "The Kindest Eyes" , a song dedicated to Tony' s wife Angela ( who very sadly passed away this year, RIP), a gulp-inducing ode to a partner who faithfully influenced his craft, a testimony to this album's generous disposition and highly personal touch . She was the angel; he is the dreamer. Adrian Jones of Nine Stones close fame offers a scorching slide and lead guitar solo that will blow your jaw sideways. I am so totally impressed, feeling this music so deeply, even upon first spin through.

Imagine 10cc's classic "I'm Not in Love" musically, with its stylish choir voices and moody lilt , you will get the idea., though this is way more wistful, creative and progressive. Exactly my kind of personalized progressive rock, highly evocative, heartfelt, and meaningful, from the first second to the last. I could listen to this forever and I fully intend to do so. You should too.

5 Equivalences of significance

PS. Thank you Keishiro and the Crossover team for reinstating this album.

 Octobre by OCTOBRE album cover Studio Album, 1973
3.45 | 22 ratings

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Octobre
Octobre Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars I don't care how proggie this is, it's amazingly beautiful music. Singer-songwriter Pierre Flynn sounds like a man invested in his music: like a cross between Jacques Brel and Ευστράτιος Δημητρίου (Dimitrio Stratos).

1. "Si on partait" (2:34) organ and gently picked electric guitar are supported by bass and drums as Pierre Flynn sings his heart out. The choral chorus is intriguingly gentle and delicate. A very competent rock song as if from some of the masters of the late 1960s. (8.5/10)

2. "Ça prend presque rien" (4:06) brooding piano arpeggi support the heart-wrenching solo vocal of Pierre Flynn. Wow, is he powerful! I can only imagine seeing him perform live, in concert! Must be an emotionally draining experience. His voice has the power and presence of Dimitrio Stratos! And the music beneath is absolutely perfect in a Motown/Temptations kind of way. But what a vocal performance! Three minutes in we move into a blues-jazzy organ solo with perfect support from bassist mario Légaré and drummer Pierre Hebert. My favorite song on the album--and that's saying a lot! (10/10)

3. "Dans ma ville" (3:12) sounds very much like a Jacques Brel song were Jacques to have adopted to a more rock/prog rock lineup of instruments (electric guitar, clavichord, electric bass, rock drums). (8.5/10)

4. "Les vivants" (4:20) a gorgeous and not-so-simple chord progression opens another song over which Pierre delivers yet another powerful vocal performance--a bit like Serge Fiori and a slightly tamer Dimitrio Stratos. Nice bluesy-rock lead guitar performance over Pierre's clavichord-dominated keys during quite an unusually extended instrumental section. Almost a top three song. (8.75/10)

5. "Viens vivre" (3:00) sounds as if it comes from a Broadway musical with its full-band overture opening and support of the choral delivery of the lyrics. But, then, surprise, there is a dramatic shift to a gorgeous and dreamy passage with more spread among the vocalists. Really tight instrumental performances--very much like a professional pit orchestra at a theater. A great song. Another top three for me. (9/10)

6. "Au fond de tes yeux" (4:19) Another gorgeous song that feels as if it could have come from a stage rock opera like Godspell. The extended chorus outro is a bit long, but, otherwise, another great song. My other top three song. (9.25/10)

7. "Bonjour" (3:01) Pierre's voice over the organ-led rock combo is a little pitchy--a little too lax. Still, this guy can write powerful songs! And what a great drummer is Pierre Hebert! And guitarist Jean Dorais is no slouch. (8.75/10)

8. "La maudite machine" (4:02) opens like a classic rock song from the late 1960s--perhaps The Animals and Eric Burden. Probably my least favorite song on the album--and it's still powerful! (8/10)

Total Time 28:34

As Sean Trane wrote in his review of this album, the prog lover will not be disappointed with these songs due to the presence of enough prog instruments but also because the songs are so powerful and beautiful. There is also quite a little feel of the politico-religious" rock operas of the time like Hair, Joseph and the Technicolor Dreamcoat, Jesus Christ Superstar, and Godspell.

As masterful as this collection of great songs is, the short 28+ minute length provides some issues for in regards to assigning a rating. I want to give it five stars so badly--these are incredible songs!--but . . .

 Ommadawn by OLDFIELD, MIKE album cover Studio Album, 1975
4.30 | 1471 ratings

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Ommadawn
Mike Oldfield Crossover Prog

Review by WJA-K

5 stars I think this is Mike Oldfield at his peak. The similarities with Tubular Bells are obvious. But hey, it's the same artist!

This record has more warmth, more soul and more variation than Tubular Bells. I also feel this one showcases better musicianship. Not Tubular Bells but this one is the go-to album to discover what Mike Oldfield is capable of. Because, unlike the far better-known debut, this one isn't frontloaded at all. Both sides of the album are equally beautiful and great.

And can someone please explain why this would be Crossover Prog? What's not "real" prog about this?

This is so great. 5 stars from me.

Data cached

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
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
ALPHA LIGHTING SYSTEM Mexico
ALPHAJORGE Brazil
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
ASGARD United Kingdom
ASHES IN SAPPHIRE Venezuela
ASIDE BESIDE France
ASIMÉTRICA Mexico
ASSUAGE United States
ASTRAL BAZAAR Finland
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
ATRAVAN Iran
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
AVOCADO MOON EXPERIMENT Italy
AMADEUS AWAD Lebanon
DAVID AXELROD United States
AZURETH Multi-National
BABAL United Kingdom
BACKHAND Venezuela
BACKWARD RUNNERS Poland
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 BARDIC DEPTHS United Kingdom
THE BARDS OF ANTIQUITY United States
NICKLAS BARKER Sweden
BARNUM'S FREAK Italy
BARON United Kingdom
BARON MUNCHAUSEN Multi-National
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
BELLING THE TIGER United States
BEND SINISTER Canada
BEND THE FUTURE France
BENJAMIN'S KITE Canada
RAY BENNETT United Kingdom
BENT KNEE United States
THE BENZENE RING United States
ROBERT BERRY United States
EMILY BEZAR United States
BIG BIG TRAIN United Kingdom
BIG SLEEP United Kingdom
BIRZER BANDANA United Kingdom
KENNY BISSETT United States
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
BLACK STRAT BAND Greece
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
BLURRED VISION Canada
THE BODY POLITIC Canada
BOMBER GOGGLES United States
STEVE BONINO 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
PATRICK BROGUIÈRE France
BROKEN PARACHUTE United Kingdom
DAVE BRONS United Kingdom
DUNCAN BROWNE United Kingdom
BRUTEUS United States
ANDERS BUAAS Norway
ROLAND BUHLMANN Switzerland
BUILT FOR THE FUTURE United States
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
BURNT BELIEF Multi-National
BURNTFIELD Multi-National
ALAIN BURO Belgium
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
C SIDES United Kingdom
CAIRO United Kingdom
CALIFORNIA GUITAR TRIO United States
CALIGONAUT Norway
CAMELION France
THE BEN CAMERON PROJECT Australia
CANAMII South Africa
CANNATA United States
CANTURBE Argentina
CAP OUTRUN Sweden
CAPABILITY BROWN United Kingdom
CAPTAIN MARRYAT United Kingdom
FRANCK CARDUCCI France
CAREWORN United Kingdom
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
LAURA CASALE United States
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
GUILLAUME CAZENAVE France
CEILING UNLIMITED United States
CELESTIAL BURST France
CELL15 United States
CELLULOID WINTER United States
CHALIS United States
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASING THE MONSOON United Kingdom
CHASM Norway
RANI CHATOORGOON Canada
CHAYAN United Kingdom
CHEETO'S MAGAZINE Spain
CHILDREN IN PARADISE France
CHIMPAN A United Kingdom
CHOICE Germany
CHOKE THE WORD United States
CHROME HOOF United Kingdom
CHURN MILK JOAN Multi-National
CINEMA SHOW Brazil
CIRCA SURVIVE United States
CIRCA: United States
CIRCULINE United States
CIRCUS PARANOIA Netherlands
CIRCUSFOLK Finland
CITADEL France
WOJCIECH CIURAJ Poland
CLARION Italy
STEVE CLARK Australia
STEWART CLARK United Kingdom
THE AARON CLIFT EXPERIMENT United States
CLOUD ATLAS United Kingdom
CARY CLOUSER Canada
CLOVER SEEDS France
CLUB MERANO Finland
SUSAN CLYNES Belgium
COATSWORTH-HAY United States
STEVE COCHRANE Canada
CODICE C Italy
COHEED AND CAMBRIA United States
COLLECTING SPACE United States
COLOR Hungary
COLOURATURA United States
COMA ROSSI India
CONSPIRACY United Kingdom
CONTRACTION Canada
THE COOPER TEMPLE CLAUSE United Kingdom
CORALSPIN United Kingdom
COREY & MAPLE Finland
CORRAL Poland
CORVUS STONE Multi-National
COSHISH India
THE COSMIC PUPPETS United Kingdom
THE COSMIC REMEDY Multi-National
COSMIC SINGULARITY Multi-National
COSMOS DREAM France
ROB COTTINGHAM United Kingdom
COZHE Finland
BEN CRAVEN Australia
CRAZY DUMBSAINT United States
CRAZY WORLD Finland
CRÉPUSCULE Germany
CRIMINAL CATERPILLAR Canada
CRIMSON STARS EYES Italy
CRONOFONÍA Mexico
CROSS Sweden
BEPPE CROVELLA Italy
CRYPTEX Germany
CRYSTALWOOD United States
CUAC! Spain
ROSALIE CUNNINGHAM United Kingdom
CUPRUM Czech Republic
PAUL CUSICK United Kingdom
THE CUSTODIAN United Kingdom
CYNOSURA Switzerland
CYRIL Germany
LAREN D'OR Hungary
NICK D'VIRGILIO United States
DAEMONIA Italy
DAMANEK United Kingdom
DAPHNE Italy
DARK LIGHT India
DARWIN United Kingdom
DAVID'S LODGERS Italy
DAYMOON Portugal
DDNZ Serbia
MARCO DE ANGELIS Italy
DEADWOOD FOREST United States
DEAMBRA United States
THE DEAR HUNTER United States
DEAR MR. TIME United Kingdom
FRANCIS DÉCAMPS France
DEEP FEELING United Kingdom
DEEP LIMBIC SYSTEM Mexico
DEERHOOF United States
DEGEN HERB MROSZCZOK SCHLEICHER Germany
DELIRIO SONORO Italy
DELIRIUM Mexico
DELTA SLEEP United Kingdom
DELUSION SQUARED France
DEMIAN CLAV France
JOE DENINZON United States
DESTROY ALL PLANETS United States
A DEVIL'S DIN Canada
DIATESSARON Canada
DICE Germany
THE DIFFERENCE Slovakia
DIFFERENT LIGHT Czech Republic
DIGITAL CHEMISTRY United States
DIN WITHIN United States
DIRECT DIVIDE United States
DIRTY PROJECTORS United States
DISCONNECT United States
DISSONATI United States
DISTANT LIGHTS United States
DISTRICT 97 United States
DLGZ ROCK 5TET France
DOC'S FERMENT United States
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
DOPING HORNETS Canada
GEOFFREY DOWNES United Kingdom
DOWNRIVER DEAD MEN GO Netherlands
DR FOLAMOUR France
DREAM THE ELECTRIC SLEEP United States
DREAMING MADMEN United States
THE DREAMING TREE United Kingdom
DREDG United States
DRY RIVER Spain
MARK DUBERRY Ireland
FRANCIS DUNNERY United Kingdom
DW. DUNPHY United States
DUTCH UNCLES United Kingdom
DYNAMO BLISS Sweden
DYONISOS United States
DZEJBI Yugoslavia
EARTHKIND United States
EATLIZ Israel
ECHO Romania
ECHOES OF GIANTS United States
ECLIPSE Canada
ECLIPSE SOL-AIR Multi-National
ED ZERO Spain
EDEL Multi-National
EFFA LENTE Ireland
EIDÔLON France
ELDBERG Iceland
ELECTRA Germany
ELECTRIC LIGHT ORCHESTRA United Kingdom
ELECTRIC SORCERY United States
ELECTRO COMPULSIVE THERAPY Mexico
ELECTRUM United States
ELEND France
ELEPHANT PLAZA Norway
ELIPHASZ Canada
RYAN MARK ELLIOTT United States
ELORA France
ELYSIUM Switzerland
ELYSIUM THEORY United States
KEITH EMERSON United Kingdom
GERT EMMENS Netherlands
EMPEROR NORTON United Kingdom
EMPIRE United Kingdom
EMPIRICAL TIME Italy
AARON ENGLISH United States
ENINE Russia
ENNÏS TÓLA Australia
ENTITY PARADIGM Pakistan
ENTRANSIENT United States
ENVIZIBLE ORKESTRA United Kingdom
EOS Chile
EPIICYCLE United States
ESAGIL Greece
ESFERA Portugal
ESP Multi-National
ETHERS EDGE United Kingdom
EUZEN Multi-National
EVELINE Italy
EVEN HORSES Germany
EVENT United States
EX-WISE HEADS United Kingdom
EXISTENCE Canada
EXOVEX United States
EYEVORY Germany
FACE THE DAY Czech Republic
FAINT SIGNAL United States
FAIR TO MIDLAND United States
FAIRY TALE Slovakia
FALSTAFF France
ALESSANDRO FARINELLA Italy
FATAL FUSION Norway
LA FE Chile
FEARFUL SYMMETRY United Kingdom
FEED ME JACK United States
ALI FERGUSON United Kingdom
FEROZ Mexico
FERVENT MIND Norway
FIBONACCI SEQUENCE United States
FIELD MUSIC United Kingdom
FIELDS OF NÆCLUDA France
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
FINALLY GEORGE Germany
HEATHER FINDLAY United Kingdom
FIRE GARDEN United States
FIRE ON DAWSON Germany
FIREHORSE Germany
FISH ON FRIDAY Belgium
FLAMENCS Argentina
FLAUD LOGIC United States
FLEESH Brazil
FLICKER United Kingdom
FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
FLOWER FLESH Italy
JEREMY FLOWER United States
THE FLYING CARAVAN Spain
FOBOS Argentina
FONTARABIE Canada
FORMATIV Multi-National
THE FORMER LIFE Italy
LORENZO ESPOSITO FORNASARI Italy
FILIPPO FORTUNATO Brazil
FORWARD SHAPES United States
FOSSIL EVOLUTION Belgium
FOURTEEN TWENTYSIX Netherlands
FRACTAL MIRROR Netherlands
FRACTAL ROCK United States
FRAGILE Estonia
FRANC ALBIR Spain
FREDDEGREDDE Sweden
FREEDOM TO GLIDE United Kingdom
FREELIGHT United States
FRENCH LICK United States
FREQUENCY DRIFT Germany
HASSE FRÖBERG & MUSICAL COMPANION Sweden
FRONTECIELO Italy
FROSKULL United States
FRUTERIA TONI Spain
FRXHO Mexico
FSB Bulgaria
FUCHS Germany
FULL CODE New Zealand
FUTURUM Czech Republic
GABRIEL BONDAGE United States
PETER GABRIEL United Kingdom
GALACTIC COWBOY ORCHESTRA United States
GALAXY-LIN Netherlands
GALERIA DE RAICES Argentina
GALIJA Yugoslavia
GALLERY Norway
GAMMA REPEATER United States
GANDALF Austria
GANDALF'S PROJECT Italy
GAP PARTY Italy
ANJA GARBAREK Norway
GAZPACHO Norway
KEVIN GEIER United States
GEKKO PROJEKT United States
GIO GENTILE Italy
GENTLE KNIFE Norway
THE GENTLE STORM Netherlands
GENTLEMEN WITHOUT WEAPONS United Kingdom
GEPPETTO'S RETRIBUTION United States
THE GHAITANELLIS-TASSI PROJECT France
GHOST CIRCUS Multi-National
GHOST COMMUNITY United Kingdom
GIANNOTTI United States
GIANT SKY Norway
GIANT THE VINE Italy
IL GIARDINO ONIRICO Italy
GIDEON Canada
KEVIN GILBERT United States
KRISTOFFER GILDENLÖW Sweden
GINTONIC Spain
GIRAFFE United States
GIZMO United Kingdom
GLASFROSCH Australia
GLASS HARP United States
GLASS KITES Canada
GLASS OCEAN Australia
GLENCOE United Kingdom
YIANNIS GLEZOS Greece
GLORIE United States
GLORIOUS WOLF Netherlands
VICTOR GO Ukraine
GODSTICKS United Kingdom
GOLDEN CAVES Netherlands
GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
GOTHIK SERPENT Singapore
GRAMONAUTUS Argentina
PHILIPPE GRANCHER France
THE GRAND SILENT SYSTEM Australia
GRANDVAL France
GRAVITY TREE United States
GREEN Italy
THE GREEN VIOLINIST Belgium
MARK GREEN United Kingdom
DAVE GREENSLADE United Kingdom
GREY EYE GLANCES United States
GREY LOTUS Netherlands
GRICE United Kingdom
GRILL Australia
GRIME France
GROUP 309 Russia
LA GUERRA DELLE FORMICHE Italy
ID GUINNESS Canada
GUITAR GARDEN United States
GUNGFLY Sweden
HA' ARNAV HA-LAVAN Israel
HABELARD2 Italy
HABITAT Argentina
JOHN HACKETT & NICK FLETCHER United Kingdom
HADDAD Brazil
HAGGARD Germany
HÄLLAS Sweden
THE HALLUCINANT TELEPHERIQUE United States
HALO BLIND United Kingdom
HANLON'S RAZOR Netherlands
HATS OFF GENTLEMEN IT'S ADEQUATE United Kingdom
JASON HAVELOCK France
HAYWARD & LODGE United Kingdom
HEADS IN THE SKY Canada
HEARTSCORE Germany
HEAT EXCHANGE Canada
HEATWAVE Italy
ROEL VAN HELDEN Netherlands
HELICOPRIA Multi-National
HELIOTH United States
LUC HENRION Belgium
HENRY FOOL United Kingdom
HERESY United States
HERMETIC SCIENCE United States
HEYOKA United States
HIIDENSOINTI Finland
HIPGNOSIS Poland
STEVE HOGARTH United Kingdom
JOANNE HOGG United Kingdom
MARK HOLLIS United Kingdom
HOLLOW BRANCHES Multi-National
HOLLOW WATER United Kingdom
STE VAN HOLM Denmark
HOLON Norway
THE HOME GUARD United Kingdom
HOMESICK FOR SPACE United States
HOT HEAD SHOW United Kingdom
HOUR OF THE SHIPWRECK United States
HOUSE OF RABBITS United States
STEVE HOWE United Kingdom
HYPNOMEN Finland
I AM THE MANIC WHALE United Kingdom
I HEARD FROM LAVINIA Italy
I.AB United States
IAMTHEMORNING Russia
ICONIC SKY United Kingdom
IF / IFSOUNDS Italy
IGAYON Israel
IGNATIUS Spain
ILLUMINAE United Kingdom
ILLUSIVE LIGHT Germany
ILUZJON Poland
IMMUNE United Kingdom
IN CONTINUUM United States
IN LIMBO France
INDELIBLE Norway
INDEXI Yugoslavia
INFICTIONS United Kingdom
INFINITE MONOPOLY United States
INFINITE ORCHESTRA United States
INFUSION KAMACHUI Argentina
INNER PROSPEKT Italy
INNERSPACE Canada
INSPIRATIONAL CORNER Austria
INTENTIONS Netherlands
INTERGALACTIC TOURING BAND Multi-National
INTO THE PRESENCE United States
THE INVISIBLE PRESENCE Multi-National
IO EARTH United Kingdom
ION United Kingdom
IRRGARTEN Canada
ISLANDS Canada
ISOS Canada
ISZIL Chile
IT BITES United Kingdom
J'ACCUSE..! Italy
J21 Spain
JAÉN KIEF Colombia
JANA DRAKA Italy
JANUS United Kingdom
JARGON Greece
JÄRVET Finland
JASPER WRATH United States
JAUGERNAUT (A.D.) United States
JAZ France
JB FAIRFIELD Australia
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