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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 12/24/14

Evolver (Scott)
kev rowland (Kevin)
tszirmay (Thomas)
ProgShine (Diego)
rogerthat (Madan)

Crossover Prog Top Albums


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

4.34 | 1119 ratings
CRIME OF THE CENTURY
Supertramp
4.34 | 915 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1223 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.25 | 742 ratings
DOOMSDAY AFTERNOON
Phideaux
4.25 | 382 ratings
~
iamthemorning
4.19 | 1202 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 638 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.18 | 745 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 671 ratings
SNOWTORCH
Phideaux
4.17 | 548 ratings
THE UNDERFALL YARD
Big Big Train
4.14 | 559 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.15 | 461 ratings
NIGHT
Gazpacho
4.11 | 570 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.24 | 122 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.18 | 174 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.15 | 204 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.21 | 128 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.11 | 320 ratings
PASSION
Gabriel, Peter
4.06 | 817 ratings
TUBULAR BELLS
Oldfield, Mike
4.10 | 339 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean

Crossover Prog overlooked and obscure gems albums new


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

PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof
BROKEN CHINA
Wright, Richard
GLOSSOLALIA
Walsh, Steve
BLACK DOG THERE
Box, The

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Latest Crossover Prog Music Reviews


 Perfect Beings by PERFECT BEINGS album cover Studio Album, 2014
4.01 | 317 ratings

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Perfect Beings
Perfect Beings Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars US band PERFECT BEINGS was formed at the tail end of 2012, instigated by Johannes Luley (guitars) and Ryan Hurtgen (vocals). When the music and lyrics had been noted down, Dicki Fliszar (drums), Jesse Nason (keyboards) and Chris Tristram (bass) joined the band who started rehearsing the material, concluding in a three week long recording session. The end result was the album "Perfect Beings", which was released in early 2014.

I have to admit that I'm impressed by this production, and on a number of different levels too. Here you have a progressive rock band that appears to deliberately focus on the lead vocalist for starters, that creates material that showcase the strengths of a high quality singer and choose to dampen the instrumental escapades for just about every vocal section, unless the instruments are used to create specific effects. In terms of creating progressive rock with a stronger commercial appeal this is brilliant. That this may lead to some purists writing the band off as pop prog is probably an easy pill to swallow if it shifts a few hundred more copies and makes an impact beyond the relatively confined waters of the hardcore progressive rock crowd.

But while this aspect of the album does make it more accessible, these guys haven't forgotten some of the key features of progressive rock. The compositions tend to twist and turn, themes are explored and repeated and given variations on a subtle and not so subtle level, and tose with a keen interest in instrument details will have a plethora of themes and motifs to enjoy, especially underlying instrument motifs supporting or contrasting the main dominating one is rather bountiful here unless my ears deceive me a lot in the late evening hour I'm writing this down. Organ, keyboards and guitars in particular impress by way of variation, subtle alterations and smooth, dramatic shifts taken in stride. And while the sound is modern and there's a certain emphasis on the lead vocals, unlike most progressive rock bands of note, my main impression is that the spirit and approach of the classic bands from the 70's is distinctly present. In keyboard, guitar and bass sounds and performances, as well as in how drummer Fliszar will toss in some jazz-tinged drum details here and there.

I'll also note down that this album is a clever one. Yes is stated as a direct influence by Perfect Beings, and there are plenty of nods in that direction by way of firm bass guitar, keyboard details and especially vocal harmonies, but there are plenty of references to other bands incorporated here as well, by accident or by design. Fans of Genesis, and at least to some extent Camel and Pink Floyd too, should find the overall sound of this production vaguely familiar due to that. At some point what sounds like a direct nod in the direction of Focus appears, and certain guitar details here and there also brought bands like Rush and even Hawkwind to mind. If this is due to clever design or merely an accidental feature I don't know, but a direct result is that this album will have a subtly familiar feel to it from a fairly widespread crowd amongst the progressive rock audience. Which will lead to direct results in form of sales, and as this album is about a year old now I guess I should write presumably have lead to an increase in sales I guess.

All in all "Perfect Beings" comes across as a solid product. Clever, charming and intelligent, in a manner that will give it an appeal beyond the regular progressive rock crowd but maintaining enough of the spirit and approach from the heyday of this type of music to have a strong appeal even to veteran progressive rock fans. A well made album that is easily recommended to fans of both the golden age bands of progressive rock as well as to those with an interest in a more contemporary sounding project, although I suspect that at least a certain fascination for the giants of old will be needed to truly enjoy this production.

 The Sound of a Galaxy Smashing by WHITEWATER album cover Studio Album, 2013
3.05 | 5 ratings

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The Sound of a Galaxy Smashing
Whitewater Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

2 stars UK project WHITEWATER was formed by Stuart Stephens and Paul Powell in 2013, following the conclusion of a cover band project they both were involved in. Stephens is the main composer of the band, and it was due to him needing a helping musical hand with his material that Whitewater was born. "The Sound of a Galaxy Smashing" is their debut album, and was self-released in 2013.

It would appear that the musical landscape explored by this project can be more or less described as a simplistic take on the more atmospheric side of Pink Floyd, possibly with some psychedelic rock details adding additional flavor to the proceedings. As far as progressive rock is concerned this is a production that relies totally on moods and atmospheres, those with an eager interest in experiencing musicians flaunting their technical abilities will have to look elsewhere. Much the same can be said about those that favor structurally challenging compositions, as the songs on this production are fairly predictable in nature as far as this aspect is concerned, and not all that advanced in the structural department as such really.

Whitewater tends to operate with a set number of different arrangements on this production. The greater majority revolves around frail, slow paced resonating guitar motifs, with or without drums supporting, and with a second plucked guitar motif or a guitar solo added on top when vocals aren't present. The main alternative are plucked guitars combined with hovering, smooth keyboards, and to a lesser degree we're also treated to harder edged guitar riff driven constructions and atmospheric laden, cinematic sequences, sometimes with more of a cosmic quality to them.

The main challenge when opting to explore material of this kind is to be able to create sounds interesting enough and compelling enough for the listener to continue listening. To be able to construct a stunning atmosphere, a truly strong performance that intrigue just as much on a technical level as the atmospheric one, or to be able to produce the music well enough for the audiophiles to become fascinated by the sheer audio quality. Unfortunately I don't think Whitewater manage to succeed on any of these levels.

I find the themes and motifs fairly pedestrian in nature. Pleasant enough, and with a certain beauty to them, but lacking in nerve, contrast and otherwise any details that makes them something truly special. The performance is adequate enough, but again without any bells and whistles that creates within me that urge or desire to stop and listen again. Adequate is probably a key word here. Still a pleasant enough production as far as the compositions and the performance part of it goes.

Mix and production is another chapter entirely however, and I'm afraid that this is in a negative understanding too. Lo-fi is a word that comes to mind, demo quality another. The drums are loud and often the sound of them breaks. The vocals sound like they were recorded in a big empty room, adding a cold echo effect that won't be to everybody's taste. And in the instances where guitar riffs are applied, they drown out the vocals almost entirely. I'm afraid that my perception of the mix and production of this album is one that concludes with the word inadequate, and for me and my experience as a listener and reviewer this aspect is seriously detrimental for the total and overall experience of this album.

From how I know musicians, the guys behind this project have invested a lot of heart and soul into this production. So I apologize for being relatively blunt and bluntly honest in my assessment, as I know that most creators of music will hurt emotionally to a lesser or greater degree when someone describes their art in such a manner.

As far as a recommended audience goes, a prerequisite to be able to enjoy this production is that you're accustomed to and generally tends to enjoy productions of a lo-fi mix and production quality. Those who found demo tapes to be more honest and interesting than label releases back in the 1980's an example af a perfect crowd for this album. If you have recognize yourself in such a description, and also tend to enjoy atmospheric laden, relatively uncomplicated music that appears to orient itself towards the most atmospheric material from bands Pink Floyd in terms of general style, then this album is one that merits a check. Especially if you also favor music with a subtle psychedelic coating.

 1974 & The Battle For The Lazer Fortress by 1974 album cover Studio Album, 2011
3.00 | 1 ratings

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1974 & The Battle For The Lazer Fortress
1974 Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

— First review of this album —
3 stars Hailing from Newington, Connecticut this American group begun life at the fall of 2007, featuring Mike Forgette and Adam Clymer on guitars, Tim Moore on drums, Gary Dionne on bass and Angela Rhea Piccoli on keyboards with all members besides Clymer contributing on vocals.Four years later they debuted with ''1974 & The battle for the lazer fortress'', which was launched on bandcamp for free, anyone willing to pay a small amount of bucks though could purchase a physical CD copy of the album.

A totally independent creation with the band being also responsible for the production of the album, ''1974 & The battle for the lazer fortress'' is a decent trip into Prog Rock's heavier territories.Has this 1974 name something to do with the past?I'd rather say that the band sounds more modern than retro, but there are still plenty of nostalgic injections in this effort, Angela Rhea Piccoli and her powerful organ being the main reason for the fact.The band would introduce itself with an opening 16-min. instrumental madness titled ''Overture'', which sums up what 1974 is all about: Heavy Prog Rock and even some Hard Rock thrown in with punchy guitars and effective organ, complemented by a solid rhythm section and occasional pinches of acoustic and electric piano.Time signatures, rhythm assaults, atmospheric breaks and lots, I mean lots, of angular riffs in the process.Rreckless and confident performance.Split this track into its different sections and you'll have the rest of the album in your hands plus you should count the addition of vocals.Straight Hard Rock tunes, Retro/Heavy Prog vibes with organ in evidence, some smoother sections with discreet jazzy elements or acoustic interludes and even some borderline Alternative/Prog Rock akin to compatriots NO MORE PAIN.Not that efficiernt as the opening piece, still containing plenty of interesting moments, like the epic electroacoustic atmosphere of ''Wait'' or the surprising and positive meld of Fusion and Heavy Rock with the superb introductive electric piano of ''Guide our hands''.

A band to keep an eye on.Serious attempt on modern Heavy Prog with constant references to the 70's, nice keyboard work, clean vocals, complex themes and a true guitar fest of riffs inside.Recommended.

 Act I: The Lake South, The River North by DEAR HUNTER, THE album cover Studio Album, 2006
4.11 | 164 ratings

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Act I: The Lake South, The River North
The Dear Hunter Crossover Prog

Review by petrica

4 stars "Battesimo Del Fuoco" is actually a very good way to start the album. It's a voice only song with multiple voices interluding one each other. Then we have a second short song which is catchy and symphonic. Together with the first one makes a perfect intro.

The first things that strikes you after this introductory part is the way the third song is starting in a very aggressive way, similar to The Mars Volta especially when we talk about the rhythmic section but also the voice. The melodic line is easy to remember and this is probably one of their finest songs. Definitely the highlight on this rather short album(under 40 minutes) .

After this unexpected introduction the things get settled with "The Inquiry of Ms. Terri". The song is simply continuing the story behind this conceptual album. The bass line from the end is absolutely amazing and the disruptive and strange sound from the end are remembering again about The Mars Volta strange sound trips.

If the approach would have continued in the same manner I would have easily give 5 stars. But somehow the inspiration and originality were lost. Don't get me wrong, the remaining songs are also good. But there is a visible difference in comparison with the first part. This makes it a bit inconsistent.

There is a kind of energetic approach when I'm thinking about this first release from The Dear Hunter and from time to time there are some kind of musical explosions manifesting a kind of accumulated frustration and misunderstood. I belive the guys managed to transmit in a fantastic manner their intention about the story behind. The music makes the transmitted feelings almost organic.

 The Lost Art of Time Travel by PRESTO BALLET album cover Studio Album, 2008
3.56 | 73 ratings

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The Lost Art of Time Travel
Presto Ballet Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars For their second album Presto Ballet found a new home on Shawn Gordon's ProgRock Records.''The lost art of time travel'' presents a vastly different line-up compared to the debut of the band, Ryan McPherson was responsible for the keyboard and piano parts, Bill Raymond was the new drummer and Israel Rehaume the new bassist.Brian Cokeley appears only on backing vocals and Caitlin Moats guests on flute.The album came out in 2008.

Presto Ballet continue on the succesful path of their debut, but the new album sounds a bit more mature and memorable with impressive riffs and solos during the powerful electric bursts and a very good keyboard work by McPherson.RUSH, KANSAS and STYX are still the main influences of the band, which swirls around the basics of 70's Heavy and Hard Rock/Prog, but there are too many elaborate themes and complicated orchestrations to be found on this work, from the quirky piano themes and the grandiose Mellotrons to the vintage organ and the flexible thematic changes.Synthesizers are mostly used to provide an extra spark on a nonetheless very emphatic and dynamic sound, but symphonic references are not absent either.They kind of remind me of SPOCK'S BEARD or TRANSATLANTIC's heavier rhythms and pieces.Scott Albright's vocals is definitely suitable to such an energetic approach, a natural-born rockin' voice.It's great to see Kurdt Vanderhoof & co. making an attempt on long, progressive tracks (three of them are close or over 10 minutes long) and still keep the gears up, at the same time the strong rhythmic parts are showered by excellent keyboard twists and tempo changes with the Retro Prog vibes waiting in every corner.

Solid Heavy Prog, solid arrangements and tunes and a high energy level.These guys can rock and still provide the listener with progressive components.Strongly recommended...3.5 stars.

 Corvus Stone II by CORVUS STONE album cover Studio Album, 2014
4.08 | 219 ratings

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Corvus Stone II
Corvus Stone Crossover Prog

Review by Philly

5 stars I write here because I am surprised by this CD. It is the most fun album I have stumbled upon in a long time. It isn't a technical masterpiece or even 100% progressive. That is probably why it is so good. I only realized that this is their second album by the fact it is called Corvus Stone II. I never heard of most of the band members before. Phil Naro I do know of and he is, as usual, a brilliant singer. There are so many singers on here and they are all completely different but somehow you don't even realize that is happening as it is 50% an instrumental album. Everything and everyone fits and take me on a journey of surprises and fabulous musical turns. I read a Spanish review that says this is one of the most important progressive albums in history and it probably is! Why? I have no idea but it is just "one of those albums". I hope this makes sense.
 Feet of CLay by BURNING SIDEWAYS album cover Studio Album, 2011
4.00 | 1 ratings

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Feet of CLay
Burning Sideways Crossover Prog

Review by Second Life Syndrome
Collaborator Post/Math Rock Team

— First review of this album —
4 stars Prog doesn't get much more modern than this. Burning Sideways is a side project from Frank Sacramone, keyboardist for the upcoming band Earthside (debut album incoming). He partnered together with singer Nick Segura (Head With Wings) to create an album that mixes prog rock, electronic music, and even a bit of metal.

Sure, there are some obvious influences here. I think I can detect Porcupine Tree and Muse in the alternative-edged guitars and vocals, Karnivool in the more technical moments, and maybe Katatonia or Opeth in some of the darker pieces.. Yet, just when you think you have this album figured out, a dubstep track of epic proportions throws you off the scent again. In addition, "Feet of Clay" features highly cinematic, somewhat ambient tracks that will send shivers down your spine. In other words, this album is a roller coaster of various styles and textures.

So, whether it is the crashing alternative riffs, the feathery cinematic textures, or the throbbing electronics, "Feet of Clay" is an album that you should get your hands on asap. It's a shame that it didn't receive more attention when it released. And be sure to check out Earthside's debut when it releases (hopefully) this year. If Frank's aesthetic keyboards in this release are any indication, there are great things ahead for this musician.

 Le Charme Discret De La Bourgeoisie by NAMBA , HIROYUKI album cover Studio Album, 1985
3.00 | 1 ratings

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Le Charme Discret De La Bourgeoisie
Hiroyuki Namba Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

— First review of this album —
3 stars Heading to the mid-80's, the works of Namba were somewhat hard to categorize in terms of solo or band efforts.During the 1983-85 period he seems to have given emphasis to his regular efforts with Sense of Wonder, still he returned with the album ''Le charme discret de la bourgeoisie'' in 1985, released on the Air label under his own name.The main trio were again Kazuyuki Komuro on bass and Toru Soru on drums with no less than 7 musicians guesting on this one, among them was Jazz Fusion veteran Kazumi Watanabe, playing the acoustic guitar.

It appears that there was some fashion among Japanese Prog in the 80's bands to release works with epic or French titles (same thing happened with Mugen).Namba settled in a highly symphonic style with this album, which is still flavored by his love for poppy and romantic vocals, but stands out in terms of orchestrations and grandieur.We would like this work to be a bit more progressive, complex or bombastic, but even as it is ''Le charme discret de la bourgeoisie'' contains excellent moments of delicate, ethereal Symphonic Rock.Yes, it's fairly synth-driven with the supportive bass and drum parts, but this is not Neo Prog, it's more like a less emphatic version of MUGEN with an obvious Classical nature in the dreamy orchestral passages, there is even an appearance of Nakanishi Toshihiro's strings quartet in the album, which make the music come close to THE ENID's standards.Namba did not fully escape from the sound of his first few albums and certain tracks contain light Pop and AOR vibes, sounding too sweet overall.But his symphonic stuff is pretty excellent, just listen to ''Fantome d'opera'', which comes like a cross between GERARD and TERU'S SYMPHONIA, eventually some very bombastic Symph Prog with tremendous organ and synth twists and a few great guitar moves.The rest of these kind of pieces are rather melancholic/romantic arrangements, somewhere between MUGEN and DON AIREY's atmospheres, pretty cool and well-played.

Japanese Symphonic Rock from the mighty 80's, a bit stripped down to what prog fans are used to regarding bands from the country.Could be classified somewhere between THE ENID and DON AIREY.Nice, elegant and recommended music.

 New World by KERZNER, DAVE album cover Studio Album, 2014
3.93 | 8 ratings

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New World
Dave Kerzner Crossover Prog

Review by rdtprog
Special Collaborator Heavy Prog Team

4 stars From the first song "Stranted", we could easily ask our self if we are listening to David Gilmour, but then in the middle, here's the real Steve Hackett with a beautiful guitar solo taken from "Voyage of Acolyte". "Into the Sun" continue with more Floydish moody sound, then it gets heavier and faster, a simple song. In the song "The Lie", you can hear Yogi Lang of RPWL, but am I wrong, he is not really there as guest vocalist! The song "Under Control" brings some darker mood with a meaner voice from the perfect imitator Dave Kerzner. Nice atmosphere and chorus, it's easy too sing along. The song "Crossing of Fates" bring something new with the keyboards sound that take the Eloy's spacey sound and it's instrumental. The vocals are back with "My old friend", there is some acoustic guitar and some exotic chant in the background. In the song "Ocean of Stars", you won't resist to the irresistible melody. "Solitude" show the piano and the choir like it was almost a copy of Pink Floyd "Dark Side of the Moon". The song "Nothing" starts like a ELO's song, catchy song again with a Steve Howe guitar solo that take us back to "Relayer". The song "New World" is a throwback to the 70's and 80's, it's not progressive but very melodic and well done. And if it wasn't enough, the end of the album is a 17 minutes epic with Steve Hackett back with more RPWL influence, some cinematic passages and a display of many guests vocalists ending this beautiful tribute album to the progressive rock of the past. The only fault of this album is that it the music has been inspired by the great prog bands of the past. It's almost like as a profane you came across a painting and couldn't tell if it's a copy or the real thing, but you like it anyway.
 Oddity by CARDUCCI, FRANCK album cover Studio Album, 2011
3.43 | 56 ratings

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Oddity
Franck Carducci Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Self-taught French multi-instrumentalist and singer, who was born and has grown up in Lyon, influenced initially by The Beatles and later by Pink Floyd, Genesis, Supertramp and Kansas.In 2008 he decided to follow his girlfriend in Amsterdam, giving him the chance to meet with some of his idols, like Steve Hackett at the backstage of the De Boerderij Festival.This discussion there encouraged him to record his first album ''Oddity'', moreover after opening for Hackett in one if his 2010 concerts, it was mainly a collection of old material plus one new song.The album was recorded in four different places worldwide, featuring a huge list of guest musicians, among them Steve Hackett's brother John appears on flute.It came out in 2011 on the French label Vocation.

Basically you can considered ''Oddity'' as the perfect definition of a modern Neo/Xover Prog album, which opens some branches to more symphonic territories, is often flavored by clever Art Pop vibes and at moments comes quite close to the sound of Carducci's heroes PINK FLOYD.But the overall atmosphere, the stylistical variety and the electroacoustic switches come closer to what STEVE HACKETT was producing in late-70's, some sort of pre-Neo Prog fashion with evident hints to the symphonic bands of the 70's and a certain eye to the future.What sets him apart though is the fact he decided to put some effort on long, multi-themed tracks instead of delivering shorter and more accesible pieces.Of course his music is filled with elaborate melodies and cathartic acoustic textures, but there are also lots of bombastic sections, epic atmospheres and symphonic grandieur to be found.Blending PINK FLOYD and IQ would make a pretty accurate result.Carducci's compositions are not outstanding or original, his Prog idols apparently inspired him to more than an average deegree, but his material is well-crafted and perfectly balanced with the old stylings (vintage-sounding organs) meeting modern fashion (synthesizers).Nonetheless the songs are pretty enjoyable with countless twists and variations and a decent prog depth.

A modern version of a young STEVE HACKETT in my opinion.Blend of Symphonic Rock, Neo Prog and Art Rock in equal doses and executed in lovely, long arrangements.Recommended.

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
3 United Kingdom
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
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
THE AMAZING Sweden
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
ANUBIS SPIRE United States
ANYWHERE United States
APATHEIA Czech Republic
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIOCRACY Multi-National
THE AURORA OBSERVATORY United States
AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
AUTUMN CHORUS United Kingdom
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
DAVID AXELROD United States
AZURETH Multi-National
BACKHAND Venezuela
BADWATER FIRE COMPANY United States
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
NICKLAS BARKER Sweden
BARON United Kingdom
BARROQUEJON Chile
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
BITTERTOWN Netherlands
BJÖRK Iceland
BLACK CAT BONES United Kingdom
BLACK MOTH SUPER RAINBOW United States
BLACK MOUNTAIN Canada
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
THE BODY POLITIC Canada
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
VICTOR BRADY United States
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
THE BRIMSTONE SOLAR RADIATION BAND Norway
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIERE France
DUNCAN BROWNE United Kingdom
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
CALIFORNIA GUITAR TRIO United States
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 Netherlands
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
CEILING UNLIMITED United States
CELL15 United States
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
CHEETO'S MAGAZINE Spain
CHILDREN IN PARADISE France
CHIMPAN A United Kingdom
CHOICE Germany
CHOKE THE WORD United States
CHROME HOOF United Kingdom
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