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CROSSOVER PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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

4.32 | 1145 ratings
OMMADAWN
Oldfield, Mike
4.32 | 1370 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1735 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1175 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.21 | 1551 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 871 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 750 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 902 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 485 ratings
~
iamthemorning
4.18 | 751 ratings
SNOWTORCH
Phideaux
4.17 | 697 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.17 | 646 ratings
THE UNDERFALL YARD
Big Big Train
4.24 | 164 ratings
RETURN TO OMMADAWN
Oldfield, Mike
4.12 | 712 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.13 | 529 ratings
NIGHT
Gazpacho
4.35 | 83 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.23 | 144 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.09 | 1009 ratings
TUBULAR BELLS
Oldfield, Mike
4.20 | 153 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.12 | 356 ratings
HOUNDS OF LOVE
Bush, Kate

Crossover Prog overlooked and obscure gems albums new


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

STANDING STONE
Oliver
BROKEN CHINA
Wright, Richard
VOICE
Capability Brown
CONQUISTA
Alux Nahual

Latest Crossover Prog Music Reviews


 Novum by PROCOL HARUM album cover Studio Album, 2017
3.27 | 13 ratings

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Novum
Procol Harum Crossover Prog

Review by SteveG

3 stars This was an album I had some reservations about as I had heard that Gary Brooker's voice was deteriorating over the last few years. At 72 year's old, it has. And that creates a dilemma as Brooker's voice was also Procol's sixth instrument which he used generally, while singing with a lack of diction with a pitch shifting change between the lyric's syllables.

To compensate, this latest incarnation of Procol Harum have ramped up their playing as they were always a bit measured and reserved in the past. Guitarist Geoff Whitehorn really shines as he is able to jump from Richie Blackmore like riffing to Eddie Van Halen like flourish's. New organist/synth player Josh Phillips stays away from the old Procol sound of Bach or Handel flourishes and is more in a supporting role. Bassist Matt Pegg and new drummer Geoff Dunn really click and set off some driving rhythms in the harder rocking songs like "I Told You", "Business Man" and especially on "You Can't Say That".

Brooker struggles with the ballads on the album as his voice can just barely cover the range of this material and generally sounds scratchy. The exception being the stellar "I Am The Only One", one of those magically emotive Procol songs that would even by good if it was sung by Tom Waits.

The production on this album is top notch and sounds quite warm, almost analog, and dynamic. The key to Novum is if one can accept Brooker's aging vocals and enjoy the music for what it is, or dismiss the album out of hand. I'm on the fence at the moment, but I suspect I'll fall off after a few more listens. 3 stars for band's great effort to deliver something of value fifty yeas after recording their first album.

 Celestial Fire Live in the UK by BAINBRIDGE, DAVE album cover Live, 2017
5.00 | 1 ratings

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Celestial Fire Live in the UK
Dave Bainbridge Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

— First review of this album —
5 stars This review will be a long one but rest assured, it will be a good one.

Being a long-time fan of Celtic prog stalwarts Iona and deeply impressed by guitarist Dave Bainbridge's releases as well, I was looking forward to this new start for the mercurial multi-instrumentalist, as Iona has sadly put their career on hold, after the rather disappointing "Another Realm" album. Both 2004's stunning "Veil of Gossamer" and 2014's delirious "Celestial Fire" got perfect marks for me, exhilarating works that conjure profound images of time and space, with numerous examples of technical prowess and emotional expression. Throughout the latter, Dave's exemplary guitar work shines like no other, adding luxuriant keyboards to the mix but more importantly a colossal amount of energy and passion, features that went often missing on most of that "Another Realm" album. It was only fitting then that Iona members went their separate ways, presumably for the time being, recharging their batteries and concentrating on solo projects.

Dave has put together a new touring band named Celestial Fire and presented live them in the UK, going through some of his solo material, a few classic Yes covers as well as some rarely played Iona classics. Replacing Iona vocalist Joanna Hogg was not going to be easy but Sally Minnear (yes, you read right, Gentle Giant keyboard maestro is her dad) does a lovely job indeed, albeit in a different tone than the legendary Northern Irish vocalist. Fellow Iona colleague Frank van Essen supplies his usual dual punch of drums and violin (how often do you see that?) and two newcomers are added on bass and Chapman Stick in Simon Fitzpatrick (Carl Palmer's Legacy) as well as secondary guitarist Dave Brons. There are 2 CDs worth of music as well as a concert DVD and bonus material, which is the coolest idea ever for a reviewer as one can see who plays what and how well and intense they express themselves. A radiant package to say the least, recorded at Fibbers, York on October 1st 2015. Celestial Fire begins the concert on explosive and optimistic notes, waiting little time in sizzling the crowd with heavenly music and emotional release. The title track weaves into Roger Dean-inspired images of divine glows of infinite space, dense instrumental technique from all players and a bombastic approach that speaks volumes of their craft. Again, we have Yes music played by non-Yes musicians and doing it sublimely. Simon Fitzpatrick's bruising bass drone hits the speakers with a vengeance, always a great platform to permit melodies to thrive and expand. Van Essen is a polyrhythmic octopus, driving, pushing and propelling the arrangement with undeniable gusto, so it comes as no surprise that the blistering Bainbridge guitar feels free to roam, soar and scour unabated. Guitarist Brons shuffles some delectable slide guitar that is straight out of the Steve Howe book, showing some slippery licks and smiling widely in the process. The lovely Sally Minnear uses her angelic voice with feminine delicacy, a true treat to behold. Well-oiled machine right from the get-go. Impressive!

In all, Dave proposes 3 pieces from the "Celestial Fire" album, namely the title track described above, "Love Remains" and "In the Moment". 2 are from "Veil of Gossamer", the breathtaking "Until the Tide Turns" featuring a spectacular vocal display as well as "Over the Waters". The Iona material is taken from the classic "the Kells" album, 3 pieces including the title track, "Revelation" and "Chi-Rho". "Beyond these Shores" provides the title track as well as "Today" and the 2 part "Brendan" suite ("Voyage" and "Return"). Lastly for the Iona set, a single track from the stupendous "Open Sky" album in the form of "Song of Ascent #2". The classic and the immediately recognizable arpeggio on "Roundabout" and "Soon" section of "Gates of Delirium" are the Yes covers. Done to perfection.

The folk insinuations of "Today", featuring a tortuous Minnear vocal and surprisingly including a short bass solo, some tectonic skins bashing from Van Essen and a genuine zeal from all involved. Throw in Dave's celebrated bouzouki and the deal is done. The glorious Celtic chant of "Kells Opening Theme" sounds like a classic piece that transcends time, musical swirling mists permeating the dew-drenched valleys that evoke the deepest sentiments. Its companion piece "Revelation" offers a towering vocal performance, charging guitars, Chapman Stick and nifty drumming. Dave's staggering guitar style is spotlighted on the reel-like instrumental blowout "The Storm", which is as Irish as it gets, with blistering finger work and seemingly effortless technique, the man is a first rate guitar slinger, a sultry synthesis of Howe, Hackett, Latimer and Holdsworth. He "needs a little rest after that one?", no kidding!

One of the outright glowing jewels from his first solo album Veil of Gossamer is the spectral "Until the Tide Has Turned", a gently romantic ballad expertly delivered by Minnear's impassioned vocals and carved underneath by Fitzpatrick's gorgeous bass loops, while Dave concentrates on the elegant piano. This is so poignant and crushingly beautiful. Gulp! When Dave stands up and shoots off a sizzling, arching guitar solo, I mean I am slayed. Plunging into razor-sharp semi-jazz fusion on "Love Remains", the piano work is dazzling, hints of Chick Corea while Brons streaks the sky with lightning blasts, the buildup is extraordinary in terms of mastery and feeling. Sally grasps the microphone and does quite a melodic interpretation, heartfelt and profound, before the boys slam headfirst into a bombastic symphonic explosion, led by a mad synthesizer folly and a moody mid-section that floats serenely. Then things get ecstatic: bubbly bass backflips, schizophrenic drum rolls, infused by a blooming vortex of Mach 5 notes from the guitars and synths that wink at classic The Flower Kings. Fast and furious, at breakneck speed and yet under complete control, the extended axe solo is beyond explanation. A flurry of ivory delight puts this love story to bed. Thus ends the first set.

The second set flings "Over the Waters" into high gear, like a speedy low flying drone, screaming over hills and valleys before veering into the tumultuous North Sea, waves crashing and whitecaps cresting majestically. This is quite the guitar fest, a long and extended solo that is highly melodic and yet audacious. Sally wails in whispered serenity, and then both join as one sound that soars above the aquatic expanse, evoking a plethora of images and impressions. The playing by all instrumentalists is sheer nirvana.

Always a perennial Iona concert favorite, "Chi-Rho" keeps the bustling electricity flowing, albeit in a more traditional folk setting, ringing and chiming guitars, mandolins and the voice front and center. Blustery then sedate, the piece travels up and down the spine, sizzling guitars pirouetting in the haze. This is the proverbial breezy moment, a gentle reminder of tradition and accessibility, Sally singing convincingly.

The classic Yes hit "Roundabout" is given a more homey coating, it is after all a live experience, so the overt symphonics are downplayed here in order to focus on the thrill of the moment, a bass solo spotlight of the finest order. Fitzpatrick shows off tremendous dexterity, which is what the piece is famous for, brawny muscle and subtle technique all rolled into one, molesting his 6 string bass monster like a true maestro, expertly navigating the low end parts as well as the famous tingling arpeggios . Audience participation adds to the thrill but this is quite a jazzy interpretation and a fun tribute. 'Open Sky' remains my favorite Iona album and "Song of Ascent Part 2" is the loftiest point to be discovered there, a nearly 10 minute festival of spiritual journey and unlimited freedom. The godly piano guides the way, shimmering and dreamy voice phrasings adding to the ultimate liberation. Van Essen's delicate percussion decorates the throb, as the drums kick in full force and the electric guitar signals the upward elevation towards the stars. Evocative, you think? When Van Essen's glorious violin duets with Dave's piano, thus exulting in the utmost sensations, the spiritual high so many seek but do not always find, finally arrives. This is progressive rock at its sharpest, a moment in time that is awe inspiring, Sally humming gently, what a thrill?. "Beyond These Shores" is a song of crushing beauty, a whopping melody and profound emotional exuberance. Intense atmospheric keyboards meander into the violin's shimmering path, blooming into a sublime vocal foray, tempting the soul with a panacea of sounds that highlight the serenity of discovery, "wherever I may go?".

A two-part suite that has been rarely played in concert, the fairy tale embossed "Brendan's Voyage" and "Brendan's Return" is quite the exploration, combining historical anecdote with mystical surrealism. Once again, the overall impression of escape into the past and revisit hallowed ground, makes this perhaps the most overt prog section of the set list, focused on slick electric guitar curls up and down the spine, Minnear's soaring scat singing and that darn piano and accompanying synths. Bainbridge shows off his considerable talents on the lead guitar, peeling off glittering notes with effortless zeal, switching speeds and carrying on with unfettered passion.

The powerful epic leviathan "In the Moment" is just as glorious as on the Celestial Fire album, as it encompasses within one track, all the attributes that makes Bainbridge's music so utterly appealing and eternal, constantly reigniting the original thrill, as if it never even faded away in the first place, like some universal flame burning deep inside. Evocative, genuinely spiritual, empowering, positive and comforting, this is the power of music, able to instill various sensations on numerous levels while still proposing a honed dedication to artistic feeling. Sally sings "wisdom can be found?". Indeed!

Arguably one of the most beautiful pieces of music ever created in any genre, "Soon" has always been a spectacular marvel, a melody of cosmic preciousness and a simple musical arrangement based around extraordinary guitar manipulations (effect pedal, slide and synthesized sheen) and thus a fitting encore finale. A stellar performance by a genius artist. Having served as a replacement keyboardist for John Hawken on the recent "Hero & Heroine" revisited tour, I can only shudder at the realization that Bainbridge is tugging at my heartstrings, in that mythical Strawbs album will accompany me to my Iona graveyard and resting place. So it has been written.

A masterful package that deserves a huge audience. Right on top of my 2017 list as we speak as this is my kind of gorgeous melodic prog and an invitation to further dream.

5 heavenly sparks

 (The System Of) Doctor Tarr And Professor Fether by PARSONS PROJECT, THE ALAN album cover Singles/EPs/Fan Club/Promo, 1976
4.00 | 1 ratings

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(The System Of) Doctor Tarr And Professor Fether
The Alan Parsons Project Crossover Prog

Review by Matti
Prog Reviewer

— First review of this album —
4 stars "Poe was preoccupied with entombment. Many of his characters have been incarcerated in some form or other - in coffins, brick walls or under floorboards. We came up with the 'taped' man - a mummy-like figure who is wrapped, not in bandages, but in 2" recording tape. (...) the 2" tape appropriately suggests that the album is done by a producer in a studio, as opposed to a band recording material they will play on stage. Although the clients were intrigued by this idea they did not desire a pictorial cover but preferred instead a precise graphic representation. The narrow strip of illustration shows a long shadow of the taped man." - Storm Thorgeson of Hipgnosis.

The taped man appears properly on the cover of this single, one of the three that were taken from the wonderful debut album Tales of Mystery and Imagination, in which all music is inspired by the horror tales and poems of Edgar Allan Poe. I'd say it's not only by far the best achievement of The Alan Parsons Project, but one of the finest rock albums of its time. '(The System of) Doctor Tarr and Professor Fether' is the most rocking song in it, sung by John Miles (my favourite A.P. Project vocalist, who also appears on 'Cask of Amontillado'). The story is set in a mental institution where the roles of the patients and the staff have been turned upside down. Due to the heaviness and a relatively repetitive structure the song is not among my personal faves, but it definitely works like hell on the album and increases the pure rock energy.

For the B-side was chosen the instrumental 'A Dream Within a Dream' that serves as a perfect opener for the album. Four stars must be given. As a separate release this single -- which reached No. 37 on the US Billboard Hot 100 and No. 62 in Canada -- is not strictly necessary, because one really has to get the whole album.

 Connections by RED BAZAR album cover Studio Album, 2008
3.92 | 4 ratings

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Connections
Red Bazar Crossover Prog

Review by maryes

4 stars Very good debut of this British band, although this musical main line style is a jazz-rock fusion you can hear another rock styles as for instance: heavy-prog in track 1 "The Meet" (something that reminds RUSH or TILES) ,a mellow soft jazz-ballad track 3 "Ride On A Wing" with some LARY CARLTON "flavor", a hard-rock "touch" in track 4 "Bass Tardo" with a Arabic acoustic guitar initial solo, the "sinuous" LIVING COLOR's heavy-metal funk main theme in track 6 "Walk the Millestone", the track 2 "Regards to..." and the last track "Connections" are the more eclectic songs in the album... mixing hard/heavy/jazz/ballad ! My rate is 4 stars !!!
 Degmesin... Yagli Boya by MANCO, BARIS album cover Studio Album, 1986
3.00 | 1 ratings

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Degmesin... Yagli Boya
Baris Manco Crossover Prog

Review by Bilek

— First review of this album —
3 stars I divide Barış Manço's music into several phases; as with all artists/band I enjoy listening to. Roughly, there's the beginning phase (with twist and then standard Rock'n'Roll songs, netween 1962 and 1968); the Psychedelic/Anatolian Rock phase (1968 to 1971); pure Anatolian Rock / Progressive phase (1972 to 1979); Eclectic Progressive phase (including still heavy Anatolian influences plus some poppy aspects, 1979 to 1985); and outright pop phase, from 1986 to his death in 1999. But without going into such detail, I consider anything he produced up to 1985 "good", and after 1985 "bad", with gradual deterioration, of course. That is, after 1985 his albums go in this order: "so-so" "not so good" "OMG, did he really do that?" and "avoid at all costs..." Anyway, you can read about them in their separate pages, if I ever review them (or someone else does, for that matter...) While I draw the line between 1985 and 1986 (something really happened those days, because I share the same sentiments for most other Turkish artists/bands, not necessarily prog, not even rock) I can say that the line is somewhat blurred, and there are some aspects I don't like about the 1985 album (mainly, the synth sound), and while I do not consider this album I'm reviewing a Barış Manço classic, it does have more than a few redeeming qualities, and I'm writing all these to tell about them. Roughly, we can consider Barış Manço's 1970-1985 period "progressive"; and post-1985 as not so progressive... In fact, anything he produced after this album are not remotely prog, in any sense of the word. So, to use an analogy from Genesis, if 1985's "24 Ayar Manço" is Barış Manço's "Duke" (I chose that one, because I actually like that album, even more than And There Were 3!), "Değmesin Yağlı Boya" is his Abacab... And after that everything goes downhill, with only a few concert recordings to save the day! (Sadly, Manço did not even produce his "Three Sides Live" or "The Way We Walk - The Longs"... all we have afterwards is "Invisible Touch" over and over again!)

First of all, this album is notable for being the last one (for a long time, at least) to have all the members of Kurtalan Ekspres playing. The reason for this, according to many Barış Manço biographies and reviews on the web, is that he wanted to explore TV producing further (indeed, after hosting short segments in several shows from time to time, he started his own show to air on Sunday mornings in 1988), so in this attempt he pushed band music behind. The band still continued to exist, but they only played in concerts, and after some time they started to show up in his TV shows as well. Starting with this album, Manço began working with Garo Mafyan, one of the renown arrangers and keyboard players of Turkish pop scene at the time, notable for his "assembly line" approach towards music. That is, he was involved with arrangements & production of about ten albums a year in late '80's and nineties, and those are what I was aware of! Using digital keyboards, sequencers and computer programmed drumming to create an entire album (other than singing) is not a good idea, at least as far as Turkish music is concerned. I mean, this Garo guy is no Edgar Froese or Klaus Schulze! But I digress... Luckily, In the first album he worked with Manço and Ekspres, his involvement is quite limited. he is credited with arrangement of only two tracks in the album, and though he played the keyboards, most of the music was still produced in a band approach, i.e. there was live bass, guitar was a melody instrument, not just used for 25 second solos in select tracks, and woodwinds still have a prominent role in this album. That's redeeming quality number one. Unfortunately, the double drumming rhythm section that was employed in Kurtalan Ekspres since its formation (which, most of the time, included two drummers and an assorted percussionist, making it actually triple fold) broke in this album, when the long-standing drummer Caner Bora left, and former percussionist Celal Güven took over drumming duties, which he performed with an electronic drumkit... Now, I'm not against the use of such equipment, but especially in the eighties that technology was still in development, and they didn't sound very lively. Or, people down here just didn't know how to make good use of them :) In the previous "24 Ayar Manço" album Bora played acoustic drumkit, while Güven played both assorted percussion (such as congas) and electronic drums, so the sound was quite tolerable, with all the ryhtmic sequences coming from "live drums" (as we call them), and electronic sounds only adding flavor. Now, here we have only Güven, playing the entire thing in digitalized form... Not your ideal Anatolian Rock, I would say.. Still, a tad better than the totally computerized rhythm section, that would infect (almost) all Manço albums from this point on!

The album starts with "S.O.S. Aman Hocam" which sounds like a modernized Rock'n'Roll number in the beginning, featuring a cheesy '80's sound with a digital keyboard melody and the electronic drumming I just mentiond, luckily augmented by rhythm guitar. Manço lists all the letters of Turkish alphabet, and with "z" the melody changes and the guitar starts playing a riff; while repeating the title in a rhythmic fashion, on the background Manço lists some seemingly unrelated high-school course subjects (as diverse as chemistry, geography, biology and logic...). This pattern repeats twice, and in the second part the alphabet section is kept shorter, and as soon as "S.O.S. Aman Hocam"s come in, the guitar starts playing a killer solo, unfortunately buried a little in the mix. It is one of Bahadır Akkuzu's finest moments, and the song certainly doesn't overstay its welcome in its 6 minute run. In fact, it leaves me asking for some more. (S.O.S. is obvious, while "Aman Hocam" means "O Teacher")

The second song is a regular pop song, with some adventurous keyboard arrangement. Manço tells the story of how his grandparents met ("Babaanne" meaning paternal grandmother). It was a hit when the album came out, and a video was produced for it (in fact, I remember seeing videos of at least 5 of the 9 songs. Manço was indeed into TV those days).

"Nerede" is a slow blues number, based on one of the themes used in the film "14 Numara" in 1985 (Manço composed the entire score for the movie, he also used some of the other themes for other songs later, such as 1989's "Darısı Başınıza," see my review of that album) I know this, because I watched the movie just to catch the Barış Manço themes :) I personally like the tunes, especially the way they were presented in the movie (I saw it in youtube just for this reason!) but the song is a bit cheesy.

"Düriye" is a pop-rock number, not unlike Süper Babaanne. The opening (and ongoing) bass and synth riff and the following funky guitar is interesting, but that's pretty much it. The lyrics are derived from traditional Turkish sayings, as was Manço's custom around the time. In fact, at least one such song is included in each album from 1979's "Yeni Bir Gün" to 1992's "Mega Manço"... With acoustic drums this song may have sounded better IMHO.

The opener of side B in vinyl and cassette editions is another redeeming quality, at least for me. The song has a simple but familiar Barış Manço melody, and the lyrics are again derived from Turkish proverbs. The title (second part of the famous saying by Suleiman the Magnificent, coupled with the actual first part) forms the refrain. The saying basically means "health is better than wealth". Literally: "There is nothing else as worthy as government (state) in the public; there is no such govenment as worthy as health in the whole world" ("devlet" in the saying might as well be a double entendre, meaning both state, govenment, and "luck" in other contexts). As I said, the melody, as well as the entire song is simple, not having intricate solos or changing time signatures, but I like it, probably because it reminds me of similar earlier Manço songs, such as "Kazma" from 1983's "Estağfurullah... Ne Haddimize!"

The next song "Unutamadım" (I couldn't forget you) is a pretty standard blues number. As much as I hate blues (except when Jimi Hendrix, Jim Morrison, or certain krautrock bands perform it!) the electronic drums make it worse! Even when the album first came out, and when I bought the cassete in 1990, it was my least favorite in the album, and time didn't treat it well according to my taste... Still, it doesn't keep me from singing it with screaming voice in Barış Manço memorial concerts held every year on February 2 :) (that's because it's a fan favorite)

Here comes the shining jewel of the album: "İşte Hendek İşte Deve (15 Yıl Sonra)"... It may have been the single redeeming quality of the album, which would prompt me to give 3 stars. It is the reason why I wrote the lengthy explanation in the releases information section. I repeat here: "İşte Hendek İşte Deve" is the 4th recorded studio version of the 1971 single. Parenthetical sub title means "15 years later." Saxophone solos near the end are variations of the solo played in the track "Kervan," first recorded in 1974 and released in the 1980 cassette-only album "Disco Manço" -- 15 years later obviously refers to the first recording/release date and the date of this recording, although in the meantime there was another rendition, in 1980's "Disco Manço." The version here is extended by another stanza, continuing the story told in the original song ("I have the same song in my lips, years later, today"). This my favorite version of the song, maybe along with the radio edit recorded around the same time with the original single version, but not publicly released until 1989. This makes the version here the fourth recorded, but third released version. Regardless, this is my favorite of all those versions :) The funky bass+keyboard+guitar riff opens the song, followed by a short woodwind section playing the main theme. Vocals come in, as with the Moğollar versions, and continues until the first interlude. The interludes are played by woodwinds instead of the guitar in the single version and distorted organ in the (then-unreleased) radio version. Then comes the second (newly-written) stanza, again followed by the same interludes, but this time variations with saxophones are played (based on the solos from "Kervan" as I mentioned above). As short as it lasts (about 25 seconds) it is my favorite part of the song, and in turn, favorite part of the album; also favorite part in all versions of the song! Following the solo, the closing stanza (actually, semi-stanza) of the original song is sung, and the song fades out, without singing the refrain once more (unlike the 1971 originals, which closes with the refrain; but then again, those versions had one and a half stanzas, and by this point in this version the refrains are already sung twice); which possibly makes this version better. The next (and final) recorded/released version (in 1999's Mançoloji) is based on this 15th year version, having the extra stanza, but not the new solos and the original half-stanza ending. and the interludes, played with guitar and organ in the 1971 originals and saxes here, are played with saz (bağlama) in that version. On a related note, the interlude melody is based on a traditional folk tune from Elazığ region of Turkey. Moğollar made use of that melody in a very eclectic instrumental single track they released in 1970 (commonly considered as the very first Anatolian Rock record), and when they started working with Manço the next year, it's no surprise they came up with an enhanced version of the melody. Too bad their collaboration didn't last, at least for another year or so.

Coming back to the album: the next song, "Osman" is one of the two songs arranged by Garo Mafyan (the other being "Düriye") but no big difference is felt with the other songs, presumably since he already exerted his influence on the driving instrument of the album, the keyboards. My friend Münir Tireli (munimonde) who writes experimental/progressive music reviews (both for Turkish and international scenes) describes the song as "epic", but I don't think this has anything to do with its length (with a very average 5 minutes, it is only the fifth longest track in the album; although 5 minutes is quite long considering Manço songs in general, and the entire Turkish pop/rock scene for that matter). The song tells the story of a forbidden love, touching very slightly upon the social injustice in Turkey. Music wise, it's a slow, blues-based, keyboard driven melody, with very few interesting moments. As such, I'm not a big fan. And I'm not fond of the tragic ending of the story, either... Probably the only thing appealing with the song that it is composed by the long-standing Ekspres member Celal Güven, who also happened to contribute to the composition of an all-time Barış Manço classic: Dönence (beware: don't expect any similarities, as the majority of Dönence is actually Nejat Tekdal's work...)

The album wraps with another band member Bahadır Akkuzu's composition, "Al Beni." It's a romantic song with a string-synth background and acoustic guitar riff. For years it had been my most loathed song from the album, so much so that even when I was cassette-bound I took time to fast forward the tape to the end, and either flip it to hear it from the beginning or move on to the next cassette... If I the CD had come out those days (and was accessible like the budget price CDs I bought in mid-nineties) I would've definitely skipped the track (i.e. stopped CD, since it's the last track). But for some reason, the song began to grow on me in recent years, so much so that I find myself humming it! Still, I don't think it's of interest to progheads. Add to this the fact that I find even the worst song by Barış Manço "listenable" and never change station when I chance upon any Manço song on radio.

I really want to rate this album 3 stars, because as much as it marks the turning point in Manço's musical career, where everything afterwards went totally downhill, it is also remarkably better than the first album I reviewed (1989's Darısı Başınıza, which I rated 2 stars) so it does deserve at least half a star more. In a Barış Manço site I probably would have rated this three and a half, a tad better than non-essential for Manço fans (still, not indispensible, but not to be totally overlooked either). Here, when the progressiveness is concerned, the album as a whole is definitely non-prog, with some progressive/experimental touches here and there, prog-related at best. If the ratings were over ten, I probably would've rate it 5. Manço fans should include it in their collection, of course, especially after collecting all the good stuff (all albums from 1975 to 1985, with a couple of essential compilations from the same period and earlier). This album provides a not-so-worthy, but not-hideous-either coda to that period. To make another analogy with a well known prog (related) band, if you like all '80's Alan Parsons albums (but all of them; not just Eye in the Sky; well, with the possible exception of Vulture Culture...) there's a chance you might find this one enjoyable... But first, go through everything before this, at least 5 or so albums...

 A Life Within A Day by SQUACKETT album cover Studio Album, 2012
3.20 | 124 ratings

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A Life Within A Day
Squackett Crossover Prog

Review by Corcoranw687

4 stars I sort of left this one in the dreaded "pile", a box full of what I call "maybes and misses", but after being surprised by Steve Hackett on tour(in terms of how much I enjoyed it, although it is always a surprise to have a great show in Gatineau of all places) I decided to give everything of his that I owned another shot. This album has a lot to offer and now sits proudly and alphabetically sorted on the shelf! The vocals and lyrics aren't the strong point for sure (" A boy who loves his mam / Don't need to be a cynic / Happy at the clinic / Anyhow....") but Steve really gets to show off his incredible skill in a variety of ways, from the multiple solo sections in the title track to jazzier solos like in Can't Stop the Rain, or his trademark classical guitar sections like the tease in Tall Ships and the gorgeous Summer Backwards. Squire contributes as well, we hear him delivering unmistakable bass driving several songs, including Stormchaser (which wouldn't sound out of place on a Queens of the Stone Age album). He also contributes Aliens, which is kind of a cute song. I suggest giving this another shot of you wrote it off initially, we have more than a few flashes of brilliance from a bunch of great musicians. 4.0 stars
 Darisi Basiniza by MANCO, BARIS album cover Studio Album, 1989
2.00 | 1 ratings

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Darisi Basiniza
Baris Manco Crossover Prog

Review by Bilek

— First review of this album —
2 stars What I forgot to mention while adding the album is, that the last three tracks are all older compositions with newly written Turkish lyrics:

The music of "Güle Güle Oğlum" is one of the themes used in the film "14 Numara" in 1985 (Manço composed the entire score for the movie, he also used some of the other themes for other songs later) I know this, because I watched the movie just to catch the Barış Manço themes :) "Hatırlasana" is basically "Une Fille" from 1966, one of the French language songs Manço recorded (and released) with his then band Les Mistigris. And lastly, "Hayır" comes from his self-titled album from 1976. He wrote new Turkish lyrics over the melody of "Ride on Miranda" (which, interestingly, is also the album closer in the original LP).

Anybody who has collaborator privileges (thus, can edit album infos) please feel free to edit the tracklisting section, adding the info I gave above, in more standard words, and with better English than mine, if possible :)

The album as a whole, is of no interest to progheads, as there's hardly anything remotely progressive here. If you're into electronic music, you may like the extended instrumental intro of track 3, which was actually composed as the theme music of Barış Manço's then new TV show, "7'den 77'ye..." ("From 7 to 77"; as indicated by the title as well). He then apparently wrote lyrics over the theme and made into a separate song. In the official music video of "Delikanlı Gibi" the song started arouond 3:06 mark as in the CD, without the extended intro, as I mentioned in the tracklisting.

"Kara Sevda" is a standard hard rock song. It has an arguably better version in 1996's Live in Japan.

"Hayır" is one of the redeeming features of the album, the actual music hailing from 1976. Even with the heavy digital synth/computer programming backing track, it didn't lose much of its quality. Still, any proghead would prefer the original version, regardless of the lyrics.

The rest are uninteresting pop songs, I would say. "Günaydın Çocuklar" (Good Morning Children) is written for shildren, as the title suggests. There's an even a reggae song (track 2)! Even when it first came out and I gave it a spin in my cassette player every now and then (once a week, at least!), I didn't care much about side 2.

Being a big fan of Barış Manço, and even this album being the first one I bought, I don't care much about his post- 1985 music, which goes worse with each subsequent album. I admit enjoying this (and the two preceding albums) during early nineties when I didn't have much of his '60's and '70's material at hand, but as I gradually acquired those records (or tape recordings made from them) I gradually lost interest in his latter day material (I never really liked his '90's albums in the first place). With that in mind, I'd rate this album 3 stars in a Barış Manço site (or Turkish/Anatolian Rock site, for that matter), because of its historical value. But in a progressive music site, it would be surprising anyone would give it more than one star, and I will do it only because I'm a big fan of Manço's music in general. Hence the two stars...

 Heterotopia by SCHOOLTREE album cover Studio Album, 2017
4.69 | 8 ratings

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Heterotopia
Schooltree Crossover Prog

Review by Corcoranw687

5 stars This is the best, 5 stars easy! Right from the start of my first listen I knew this was going to rock, the Overture lets you know what to expect, a ton of piano and synth and a feeling that we are hearing familiar sounds in a very modern way. I was reminded of Phideaux, Supertramp, and Kate Bush as the songs continued, but don't be mistaken, this album doesn't sound like any of them overall. There is so much here I couldn't take it all apart, but a few highlights: Edge of a Dream has 2 or 3 different refrains that are stuck in my head all day. How cool is The Leitmaiden with the synth and glitched vocals, and similarly, You and I using the two to create a creepy atmosphere before turning around in the second half. The ending of the latter and Into Tomorrow have me suddenly reminded of Marillion, those 80s synth and overdriven guitar soloing, and again, what a chorus! Power of the Ghost is single-ready but also one of the best songs on the album. This album is my most pleasant surprise of 2017 so far, 99 minutes long and I listen to the whole thing each time. You just have to hear this if you are a fan of concept albums or any of the mentioned bands. I think a talented group of musicians put a lot of effort in and have created a classic.
 Whatever Tickles Your Mind by AQUA TALK album cover Studio Album, 2016
3.00 | 1 ratings

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Whatever Tickles Your Mind
Aqua Talk Crossover Prog

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

— First review of this album —
3 stars Sounds like The Grateful Dead meets one of Turkish rock legends Bunalim, at least for me. AQUA TALK are a promising Turkish rock trio founded at the end of 2015 that would have a enthusiasm for playing progressive rock based upon Western Culture, and obviously sorta cultural fusion of East and West can be heard via their debut creation "Whatever Tickled Your Mind". I guess in Turkey might be cultural or religious bridges here and there (forgive me if I'm not correct) and their musical mixture is quite acceptable and enjoyable indeed, although there is not enough 'innovative' passion.

From the beginning of the first track "Dead Man's Dream" catchy folksy riffs like Dead in the mid 1970s are launched. Their soundscape could be called as pop / rock-based sound structural mixture methinks. Spacey psychedelia like Floyd, bluesy hard press like Bunalim ... various rock elements can be touched but basically of mainstream. Pop, delightful atmosphere are definitely around them. And simultaneously there are somehow tragic footprints. Wondering where they want to go whilst listening to this album ... and it's understandable they could share safe and sound all over the world, through such a fantastic opus. Do hope they will get much bigger in near future.

 The Veil is Broken IV: Decay by SAN MARTIN, RODRIGO album cover Singles/EPs/Fan Club/Promo, 2017
4.00 | 1 ratings

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The Veil is Broken IV: Decay
Rodrigo San Martin Crossover Prog

Review by Anesthetized

— First review of this album —
4 stars A few weeks ago Rodrigo San Martín released the last section of his multi release rock opera The Veil is Broken. Section four, titled "Decay", ends the story of failed fictional prog rocker Robin and his turn to the dark side: commercial music. He became an international superstar but payed the price too heavily and here we have an explicit description of his descent into oblivion.

The music and performances are top notch, like the rest of the Rock Opera, and the depressive feeling we are left is heartbreaking. It's a tragedy, there was no other way.

Stylistically this is a very diverse offering: from typical rock, to acoustic ballads, funky sections and symphonic metal tracks, all mixed together in the typical progressive style of Maestro San Martín.

1 - Lost: we start with a familiar feeling. This is the most "Rodrigo San Martín" sounding track on the album, genrewise. It's a short song (under 3 minutes), but features many elements that characterize the artist tyícal "sound": strong vocal melodies, nice motif development (from themes that appeared on the previous parts of this rock opera), great instrumental work (featuring electric guitar and a nice mellotron section), incisive lyrics and a contrast between soft and powerful sections. So many elements (this time compressed in under 3 minutes) make a great opener for this last part of The Veil is Broken.

2 - On the Road: at the end of The Veil is Broken III: Coming of Age we were left on the point where, Robin (our prog rocker protagonist) sold himself to the machine and became a pop sensation. Here we have a direct continuation of that: the lyrics tell us how immensly rich and famous he has became, how his insane life on the road is, what he has done with his fortune, etc

How is this topic presented musically? By a typical Arena rock song, with pre recorded crowd and drum solo included included, to simulate a live performance.

It's something completely different from anything we've heard on a Rodrigo San Martín album and it's actually quite good, if you have an open mind and want some diversity in your prog rock.

The lyrics also reveal that Robin is really unhappy and "empty inside" now that he has fulfilled his dreams of stardom.

3 - Summer: this is a beatiful acoustic piece with some very sad lyrics that deepen the existencial crisis our protagonist is in. It's curious the selection of Craig Kerley on vocals here, since he is prominently known for his powerful heavy metal vocals, but the result is fantastic.

The instrumental pallete is minimal: acoustic guitar, bass, flute and some tasteful mellotron.

4 - There's No Way Out: this is basically a Nightwish song on a Rodrigo San Martín album. Lyrical vocals are masterfully done by Canela Sol once more (like she did on Incomplete), with Charlie Giardina singing the chorus.

It is powerful, melodic, heavy and features stellar instrumentation. And it's not something you would expect on a Rodrigo San Martín album once again.

5 - Meant to Be: another small little acoustic ballad, this time sung by Giardina (and with beatiful backing vocals by Canela Sol on the chorus). Not prog by a million years. The lyrics start getting more upbeat on this one: it seems our protagonist has reconected with his lost love from his teenange years.

It may be a little bit too much on the cheesy-happy side for my taste, but on the depressive level the last few tracks were carrying this one feels like a cup of water on the desert.

6 - Unleashed: and things went badly for Robin once more. This one is almost a direct reprise from the "part 1" track Lost Out. It features piano much more prominently and features a killer solo from Mr. San Martín. Nice way to recall more familiar grounds, that immense chorus needed some exposure! (it couldn't just appear once on the whole album)

7 - Like There's No Tomorrow: this is a weird one. Is it some funk/heavy prog song? Is that even a thing?

Influences on this track appear to be Red Hot Chili Peppers, Jethro Tull, Metallica and Pink Floyd, all mixed together.

It's very good and it's the most progressive track on section 4: great work by drummer Mike Buenaventura Lima and amazing vocal performance by Osvaldo Mellace.

8 - Time to Realize You'll Never Open Your Eyes: the album closes with a small acoustic piece featuring both male a female singers. It's astonishingly sad and beautiful, but a little underwhelming considering it's the ending to a 2 hour long piece of conceptual prog rock.

I signed up on this site to review this immense conceptual work Rodrigo San Martin promised us. I've reviewed the four sections that comprise the rock opera but I feel my work is not complete.

Rodrigo San Martín messed up: he should've released the whole thing as a whole, it's clear he composed it to be one two hour long piece of music (and if you add that the album was written to be played in random and have all the songs segue into each other in every possible order, more so).

I rate this last section four stars, but I think the four parts considered as a whole album, are undounteldly one of Argentina's finest prog offerings of the 21st century.

Data cached

Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 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
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
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
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
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
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 BROGUIERE France
DAVE BRONS United Kingdom
DUNCAN BROWNE United Kingdom
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
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
CAIRO United Kingdom
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
CAREWORN United Kingdom
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
GUILLAUME CAZENAVE France
CEILING UNLIMITED United States
CELL15 United States
CELLULOID WINTER United States
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
RANI CHATOORGOON Canada
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 United States
CIRCA SURVIVE United States
CIRCULINE United States
CIRCUS PARANOIA Netherlands
CIRCUSFOLK Finland
CITADEL France
CLARION Italy
STEVE CLARK Australia
CLOUD ATLAS United Kingdom
CARY CLOUSER Canada
CLOVER SEEDS France
CLUB MERANO Finland
SUSAN CLYNES Belgium
STEVE COCHRANE Canada
COHEED AND CAMBRIA United States
COLLECTING SPACE United States
COLOR Hungary
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 REMEDY Multi-National
COSMIC SINGULARITY Multi-National
COSMOS DREAM France
ROB COTTINGHAM United Kingdom
COZHE Finland
BEN CRAVEN Australia
CRAZY WORLD Finland
CRÉPUSCULE Germany
CRIMINAL CATERPILLAR Canada
CRIMSON STARS EYES Italy
CROSS Sweden
BEPPE CROVELLA Italy
CRYPTEX Germany
CRYSTALWOOD United States
CUAC! Spain
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
DAPHNE Italy
DAVID'S LODGERS Italy
DAYMOON Portugal
DDNZ Serbia
MARCO DE ANGELIS Italy
DEADWOOD FOREST United States
DEAMBRA United States
THE DEAR HUNTER United States
FRANCIS DECAMPS France
DEEP LIMBIC SYSTEM Mexico
DEERHOOF United States
DELIRIO SONORO Italy
DELIRIUM Mexico
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
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
PASCAL VAN DEN DOOL Netherlands
DOPING HORNETS Canada
GEOFFREY DOWNES United Kingdom
DR FOLAMOUR France
DREAM THE ELECTRIC SLEEP 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
EATLIZ Israel
ECHO Romania
ECHOES OF GIANTS United States
ECLIPSE Canada
ECLIPSE SOL-AIR Multi-National
EDEL Multi-National
EIDÔLON France
ELDBERG Iceland
ELECTRA Germany
ELECTRIC LIGHT ORCHESTRA United Kingdom
ELECTRIC SORCERY United States
ELECTRUM United States
ELEND France
ELIPHASZ Canada
ELORA France
ELYSIUM THEORY United States
KEITH EMERSON United Kingdom
GERT EMMENS Netherlands
EMPIRE United Kingdom
EMPIRICAL TIME Italy
AARON ENGLISH United States
ENNÏS TÓLA Australia
ENTITY PARADIGM Pakistan
ENTRANSIENT United States
EOS Chile
EPIICYCLE United States
ESAGIL Greece
ESFERA Portugal
ESP Multi-National
ETHERS EDGE United Kingdom
EVELINE Italy
EVEN HORSES Germany
EVENT United States
EX-WISE HEADS United Kingdom
EXOVEX United States
EYEVORY Germany
FACE THE DAY Czech Republic
FAINT SIGNAL United States
FAIR TO MIDLAND United States
FAIRY TALE Slovakia
ALESSANDRO FARINELLA Italy
FATAL FUSION Norway
LA FE Chile
ALI FERGUSON United Kingdom
FEROZ Mexico
FIBONACCI SEQUENCE United States
FIELD MUSIC United Kingdom
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
HEATHER FINDLAY United Kingdom
FIRE GARDEN United States
FIRE ON DAWSON Germany
FIREHORSE Germany
FISH ON FRIDAY Belgium
FLAUD LOGIC United States
FLICKER United Kingdom
FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
FLOWER FLESH Italy
JEREMY FLOWER United States
FOBOS Argentina
FONTARABIE Canada
THE FORMER LIFE Italy
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
FREQUENCY DRIFT Germany
HASSE FRÖBERG & MUSICAL COMPANION Sweden
FROSKULL United States
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
GALIJA Yugoslavia
GALLERY Norway
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
GHOST CIRCUS Multi-National
GIANNOTTI United States
IL GIARDINO ONIRICO Italy
KEVIN GILBERT United States
KRISTOFFER GILDENLÖW Sweden
GIRAFFE United States
GLASFROSCH Australia
GLASS KITES Canada
YIANNIS GLEZOS Greece
GLORIE United States
GODSTICKS United Kingdom
GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
GOTHIK SERPENT United States
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
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
HADDAD Brazil
HAGGARD Germany
THE HALLUCINANT TELEPHERIQUE United States
HALO BLIND United Kingdom
HATS OFF GENTLEMEN IT'S ADEQUATE United Kingdom
JASON HAVELOCK France
HAYWARD & LODGE United Kingdom
HEADS IN THE SKY Canada
HEARTSCORE Germany
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
STE VAN HOLM Denmark
HOLON Norway
THE HOME GUARD United Kingdom
HOMESICK FOR SPACE United States
HOT HEAD SHOW United Kingdom
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