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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 | 1156 ratings
CRIME OF THE CENTURY
Supertramp
4.34 | 943 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1324 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.33 | 388 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.24 | 761 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 1265 ratings
GRACE FOR DROWNING
Wilson, Steven
4.24 | 400 ratings
~
iamthemorning
4.20 | 652 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.18 | 765 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 680 ratings
SNOWTORCH
Phideaux
4.18 | 556 ratings
THE UNDERFALL YARD
Big Big Train
4.14 | 581 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.15 | 471 ratings
NIGHT
Gazpacho
4.11 | 590 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.23 | 126 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.17 | 185 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.15 | 210 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.21 | 134 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.11 | 326 ratings
PASSION
Gabriel, Peter
4.06 | 837 ratings
TUBULAR BELLS
Oldfield, Mike

Crossover Prog overlooked and obscure gems albums new


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

GLOSSOLALIA
Walsh, Steve
PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof
CORPUS
Talisma
BLACK DOG THERE
Box, The

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Latest Crossover Prog Music Reviews


 A Third of a Lifetime by THREE MAN ARMY album cover Studio Album, 1971
3.80 | 6 ratings

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A Third of a Lifetime
Three Man Army Crossover Prog

Review by AEProgman

4 stars An Overlooked Power Trio with Some Proggy and Psych Elements!

Thanks to a new co-worker, I have been rediscovering some great stuff from the past, Three Man Army being one of them. The Gurvitz brothers (Adrian and Paul) are the core of the trio and are excellent musicians. They were/are veterans from the British rock scene in the 60s and 70s. Their previous endeavor was in a band called Gun which had some mild success, this was their next project.

The music on "A Third of a Lifetime" features some accomplished drummers of the day, Carmine Appice, Buddy Miles, and Mike Kellie. Without getting into a track by track review, the style of the music is of the hard rock nature of that period. As another reviewer mentioned, fans of Cream and Cactus will like this. But there are some instrumental, acoustic, and orchestra mixed in as well, plus some Hendrix style psychedelic elements that makes this more interesting. Adrian's vocals are very pleasant and add to the music. His guitar playing and writing skills are also top notch.

Later the Gurvitz brothers would be drafted by drum wiz Ginger Baker into the Baker Gurvitz Army. I thought this band and album deserved some love as it seems they were under appreciated in my book.

Four stars in the crossover genre.

 The Last Man In Europe by NUOVA DIVISIONE album cover Studio Album, 2014
3.00 | 1 ratings

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The Last Man In Europe
Nuova Divisione Crossover Prog

Review by andrea
Prog Reviewer

— First review of this album —
3 stars Nuova Divisione began life in 2009 in Avezzano, a town in the province of L'Aquila, in an area called Marsica. After a still immature work self-released in 2012, Once Upon a Time, in 2014 they self-released an ambitious and more refined sophomore album titled The Last Man In Europe, with a line up featuring Daniele Mari (drums, percussion), Alessandro Rivolta (bass, synthesizers, piano, vocals), Simone Salucci (piano, organ, synthesizers, Mellotron, vocals) and Francesco Mezzoprete (guitars). Despite the Italian name, the main influences of the band come from across the Channel and range from The Beatles to Pink Floyd and Genesis. The result is an interesting mix of psychedelia and progressive rock with a vast array of vintage sounds and a strong leaning to melody. The Last Man In Europe's music and lyrics (in English) tell of a man overwhelmed by his ego while the artwork and a surreal short story (in Italian) that you can find in the booklet try to help you to understand better the subject matter: in fact, here images and words are like the layers of a bad dream, just hanging memories that you can hardly define in the morning...

The opener "Here's The Light" starts softly with a spacey, mysterious atmosphere, then the rhythm rises and the story begins, the story of a man who dared to challenge gods, fate and fears. There's a beggar at your door and he looks like you... The following "Have You Ever Wondered Why?" recalls Genesis and raises some questions that could lead to an existential crisis, but beware! The road is dangerous and you could run into a wall just waiting for the final cut... "Mind Your Steps" is a short instrumental track that could recall EL&P with a pinch of Jethro Tull, the tension is high but after a while the rhythm calms down...

"The Contract" is a nice, light track that recalls The Beatles and describes the deal with a mysterious character who can give you anything you want, all you have to do is signing the contract with a blood drop. Next comes "I Don't Care" that takes you to the land of consumerism and egoism. You can go everywhere, so why not having breakfast in America, for instance? No need of explanations, time is worthless, there's no need to care about other people, now your ego is the only religion... Then, on the melodic "If You Want it" you can hear here, there and everywhere the singing sirens of desire, the tempting sound of a pied piper and you let it be...

"A Creature Of Reality (a.k.a. The Egosystem)" begins by a marching beat and drum rolls. You're losing control, you get lost in a nightmare but there's no time for pain, the spirits all around you are cold and you can see a shiny glow... Then comes the psychedelic "Remember The Future" full of dark visions and obscure omens and the mellow, yellow "Stop Your Mind" where thoughts keep on swirling all around and your damned ego begins to play bad tricks tearing you down. On "Here's The Night" the mood is even darker while the nightmare gets worse and worse. You gaze regretfully at the bloody contract while the walls around you turn into mirrors reflecting your immeasurable ego...

The long, complex suite "The Last Man In Europe" concludes the album. It's divided into three parts (Abomination Of Desolation - It Was A Fake Moustache - A Storm In A Teacup) and depicts a surreal landscape. Your ego was so big that there was no room for anyone else, now you're alone! You're the only inhabitant of a brand new world, and you're feeling terribly sad and desperate... Is this really what you call life?

On the whole a good album, even if it doesn't shine for originality. All the members of the band are still young but they're all skilled musicians and I'm sure that they will do better in the future. Anyway, have a try and judge by yourselves... You can listen to the complete album in streaming on YT

 Phideaux & Mogon Promotional Issue by PHIDEAUX album cover Singles/EPs/Fan Club/Promo, 2012
4.13 | 38 ratings

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Phideaux & Mogon Promotional Issue
Phideaux Crossover Prog

Review by Jordan677778

4 stars I actually saw this on prog archives and dismissed it initially because I couldn't find it anywhere. Then later by accident I found it, digital only, on Phideaux's bandcamp site.

As someone else stated, it's not exactly fitting to give something that isn't an album a masterpiece rating, but this collection truly houses some amazing tracks and is nearly worthy of that rating. Tempest of Mutiny, Strange Cloud, and Out of the Angry Planet are all faster paced lively rock songs comparable in sound to some of the album Number 7. The two previously released tracks, Chupacabras and Thank you for the Evil, are both newly modified versions and definitely worth a listen. The lyrics and style of 'Snuff' make me feel like it is part of the Doomsday trilogy, even though I know it isn't. The Wind Never Dies reminds me a bit of Infinite Supply from Number 7, just because it's mainly Phideaux's voice accompanied by piano playing. While this does give an idea of what to expect, the comparisons I mentioned are only a rough basis. This collection is in no way extinct from new ideas as I sometimes see happening with bands towards their later releases. If you're eager for Infernal to be released, then this should be more than enough to tide you over. Highly recommend this for fans of Phideaux.

 Living As Ghosts With Buildings As Teeth by RISHLOO album cover Studio Album, 2014
4.21 | 20 ratings

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Living As Ghosts With Buildings As Teeth
Rishloo Crossover Prog

Review by Gentlegiantprog

5 stars Living As Ghosts With Buildings As Teeth is the crowd-funded reunion album from the incredible Seattle Progressive band Rishloo. Its their fourth full-length album overall and sees the band back together now that singer Andrew Mailloux has returned to the fold and the other bandmembers changed their separate crowd-funded new instrumental band The Ghost Apparatus back into Rishloo. Its been an interesting wait as a fan, but I won't bury the lead? that wait was well worth it!

Consisting of just eight tracks with no intros, outros or hidden bonuses, this is the bands most succinct and concise offering to date, but you can file that under fat-free and lean rather than skimping on extras.

Stylistically; if you haven't heard the band before, they are often compared to bands like Tool, A Perfect Circle, Coheed & Cambria, The Mars Volta, Porcupine Tree, Soen, Dredg, Fair To Midland, Jurojin, Cog, Karnivool, Circe, The Mayan Factor and others. No single comparison there really does justice to what you can actually expect, but if you understand the sort of common theme between all of those bands you can at least expect the right ballpark. On top of that, Rishloo are also constantly developing and evolving, and no two of their albums sound that much alike because they progress and change over time (while always retaining a certain core identity where you can still tell its them straight away) so even their own catalogue doesn't necessarily train you for what to expect here. This album is stylistically a million miles from their 2004 debut Terras Fames, but in a way that makes sense and feels logical.

In that spirit, Living As Ghosts With Buildings As Teeth is no simple retreading of their back catalogue, nor any attempt to sound like someone else. On this album Rishloo sound like nobody but Rishloo. Even the previous Tool comparisons bounce limply off this album like wooden arrows off a tank. Hints is all you get, the rest is new. This record sees the band mix things up even more and explore different sounds, textures and combinations. Drew tries out new voices and styles he hasn't used before, such as the deranged sounding heavy vocals in the middle of 'Winslow.' There are guitar styles a past fan wouldn't expect. Things that only came up once on a previous album are given more time.

The rhythms are more disjointed and jarring. There's even more playing in uncommon time signatures and switching between tempos; opener 'The Great Rain Beatle' is particularly jagged, its unhinged and yet hypnotic like some psychedelic nightmare and makes Mars Volta comparisons more understandable? its like the most jagged parts of 'Scissorlips' made into an entire song. So too is the jazzier single 'Landmines' in its heavier sections. Although that being said, towards the end from the guitar solo onwards that kicks into some beautiful, straightforward head-banging energy.

There are also more hints of classic '70s Progressive Rock here than there have been on previous albums, to the point where (deep and hidden) you get feelings of almost Tales Of Topographic Oceans era Yes sounds at some stages (such as the middle of 'Dark Charade'), and the intro to 'Salutations' reminds me a little of Pink Floyd's 'Hey You' and 'Don't Leave Me Now' updated through some Radiohead and Deftones filters. There's also five-second bursts of King Crimson influence all over the place in spidery Fripp-esque guitar runs crammed in there every now and again by the underrated Dave Gillet. None of it is overt though, its subtle, bubbling under the surface. Hints.

Its difficult to pick album highlights in such a well-crafted, concise and consistent body of work; 'Dark Charade' for example has THAT riff, and afterwards kicks off into an exciting build-up that feels like the sequel to 'Downhill' off of the previous record and 'Dead Rope Machine' is just so unique, its like every song has its own identity and something completely singular to offer. Gun-to-my-head I'd have to recommend that you check out 'Winslow' (which people who followed the whole Ghost Apparatus period might recognize) and 'Just A Ride' as your tester-songs to see whether or not you'd like the album. Jesse's drums on those two are particularly excellent. 'Just A Ride' is the absolute perfect ending to this roller-coaster of an album and features the defining lyrics of this whole saga. That said, the whole thing works so well as a single journey that I almost feel bad picking favourites.

There are some things you can always count on Rishloo for; Firstly ? interesting, poetic, provocative, intriguing lyrics. Secondly ? powerful, emotional, evocative vocal performances. There's also always interesting, spiraling, unexpected music that will defy initial expectations but feel 'right' once you're used to it. Furthermore you can count on a certain arty air of mystique and most of all, quality songwriting depth that means you never get sick of the tracks, they just get better and better with each listen. Considering all these aspects, this new album is no exception to the rule, no misstep and no weak one in the set. This album has it all; whimsy, brooding, passion, intensity, subtlety, power, aggression, chilled out moments, virtuosic moments and scaled-back serve-the-song-not-the-player moments. Its got a strong sense of diversity yet feels like one cohesive whole throughout and a single journey (or 'ride') from start to glorious finish.

If you are a fan of the band then you unquestionably need this satisfying grower of an album. That may be a bit of a redundant sentiment but it's the absolute truth; I know that if you are an existing fan of the band then you probably crowd funded The Ghost Apparatus or pre-ordered the record already and got rewarded with early access downloads, so recommending it to you seems like preaching to the choir? but if you haven't checked out the band yet, or were waiting for the reviews then by all means please do give this a chance. This album is just as good as their previous work and if you give it enough spins to reveal its subtleties and hidden depths you will be greatly rewarded.

Oh, and if you enjoy it make sure to go back and check out the rest of their records too!

 Five Miles Out by OLDFIELD, MIKE album cover Studio Album, 1982
3.67 | 260 ratings

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Five Miles Out
Mike Oldfield Crossover Prog

Review by steelyhead

4 stars This CD doesn´t need all the bad press It has had all those years. It is a good one and I think Taurus II is one of the finest pieces of music He has ever written (I mean It).

So enough with the backlashing and I encourage you to buy this CD and listen for yourself the good music It has on It. There's even a collaboration with Carl Palmer (not a good one, but alas).

I know, I know It has Family Man on It but take as a little Disco amusement and try to dance at the rhythm.

3.5 stars rounded up to four. Live with It.

 Suiciety by METHEXIS album cover Studio Album, 2015
4.15 | 10 ratings

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Suiciety
Methexis Crossover Prog

Review by Guillermo
Prog Reviewer

4 stars I was kindly asked by Nikitas Kissonas to listen to this album and to write a review about it. He is the composer and guitarist in this album from the project called METHEXIS (I mean, it is not really a band, but it is more a solo project by Nikitas Kissonas, with collaborations from other musicians). This is the second album from the METHEXIS project. The first album, titled "The Fall of Bliss" from 2011 (for which I also wrote a review about it some years ago), has Kissonas playing all the instruments (and also doing all the vocals), except the drums (which were played by a drummer). In this second album, Kissonas has other very good musicians playing with him, and it seems that this album was even a more ambitious task.

This "Suiciety" album is a concept album which has as central ideas the influences of the outside world (from society, that is, family, friends, school, institutions, etc.) against the inside world and psychological resources of the individual persons. Kissonas`s opinion (as long as I could understand it from reading the lyrics and the explanation of the concept of the album in his Bandcamp web page) is that the influences of the "modern civilized world" are really against the healthy psychological development of the individuals. While I agree with him in some of these ideas, I really think that the individual person has to have some optimism to live in this world against the possible bad influences from society. The concept of this album is, in my opinion, somewhat influenced by the concepts of Roger Waters`s for PINK FLOYD`s "The Wall" album (not one of my favourites) and film (a very good film...but not one that I could want to watch again) . But, at least Kissonas really composed very good music in most parts for this album. The lyrical concept could seem pessimistic in some places, but the music acts as a contrast against that pessimism in some places. In fact, the best songs in this album for my taste are the optimistic "Prey`s Prayer" (an instrumental piece of music with very good guitars by Kissonas and very good keyboard parts by Linus Kĺse) and "Sunlight" (with lyrics about having some faith in life). I really don`t think that all the influences from society are "suIcidal" or "bad" for all the persons. Life is hard, yes, but not totally "bad" or "tragic", in my opinion. Anyway, it is valid to express in words and music all the ideas that the artists have...even if the reviewers don`t think in the same way.

The recording and mixing of this album is very good. There are some very good production ideas, and I think that the making of this album was really a hard work. I think that having several other musicians really helped Kissonas to develop the musical ideas better (he credits the other musicians for additional musical arrangements). The singer Joe Payne really sang very well, sometimes singing in a "dramatic" way, but his voice sounds very well in general.

As a whole this album musically is very good...even if I don`t agree very much with the concept.

 Further Down the Spiral by NINE INCH NAILS album cover Boxset/Compilation, 1995
3.26 | 19 ratings

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Further Down the Spiral
Nine Inch Nails Crossover Prog

Review by TCat
Prog Reviewer

3 stars This is yet another companion album to the highly successful "The Downward Spiral" album and serves as an E.P. even though it's duration is around an hour long. It mostly consists of remixes which further explore selected tracks from TDS. The huge hit song "Closer" is not one of the songs explored on this collection, but if you are interested in the remixes and very indepth exploration of this song, then get the other companion collection called "Closer to God" which has several remixes of that song with the addition of a few more selections. That is an excellent collection that, even though mostly centers around one song, is actually quite well done and not as repetitive as you think.

This collection though, is also very interesting, yet not quite as cohesive as the "Closer to God" collection. Several aritists like Coil, Aphex Twin and many others created these great remixes. There are a lot more mood changes in this album and the selected songs are explored quite well here. It is highly experimental, noisy at times and surprisingly ponderous in others. It starts out with "Piggy" (Nothing Can Stop Me Now)" which is a very industrial sounding remix and it is very recognizable, yet noticeably different from the original. It features the guitar parts from Dave Navarro (Jane's Addiction) and starts off the album quite well, even though it is somewhat straightforward, and it prepares the listener for more in-depth exploration which can take the listener a long way away from the original tracks to follow. Next is the first remix of "Mr. Self Destruct" called "The Art of Self Destruction Part 1". The vocals here are downplayed quite a bit reduced to whisperings of certain phrases from the original song and the feeling is more quiet. The main passage used in this remix is from the quieter bridge of the original song, and that attributes to the overall feeling of this quieter remix. Following this is another remix of the same track called "Self Destruction Part 2" and it is based around the main themes of the song and focuses on Adrian Belew's (King Crimson, Talking Heads) guitar work from the original, thus creating a louder remix. This remix is definitely a noisy one and it is quite enjoyable.

Next is the remix of the title track of the original album and it is called "The Downward Spiral (The Bottom)". This one is harder to recognize as it uses a repetitive processed sound that sounds like something bubbling over. This is a processed loop of the guitar part of the original, yet it sounds like a keyboard producing the sound. Sounds very nice at first, but tends to be too repetitive. "Hurt (Quiet)" is the next remix from the original album. It is very recognizable and cleans up the original quite nicely, getting rid of a lot of the background noise that was evident on the original. The guitar build up is still present, but less noticeable and also a cleaner sound up until the explosive climax which echoes on for some time. This one is just as good if not better than the original and accentuates the lyrics better.

The following track is the first remix of "Eraser" and is titled "Eraser (Denial; Realization)" It works to build up quite well from the previous track and samples various phrases from the original song in a slowed down format so it becomes hard to recognize. The music builds back up and becomes more industrial sounding as it continues, bringing us back from the quietness of the previous track. Next comes an original instrumental track created for this collection by Aphex Twin called "At the Heart of it All". This one is a techno-industrial sounding song with a softer edge than normal, almost radio-friendly, but not quite. It incorporates a metallic drum loop as a base and later utilizes a horn section that grows and fades throughout the song. The next track is another version of "Eraser" called "Eraser (Polite)" which is a very short remix that repeats short phrases of the original and stays quite laidback and soothing, yet dark and foreboding.

Another remix of "Mr. Self Destruct" follows called "Self Destruction Final" which is a 9 minute remix that once again focuses on Adrian Belew's guitar passage from the original and also incorporates samples from David Bowie's "Time". It is very industrial and loud as you would expect from NINs. After this, another partly original track follows called "The Beauty of Being Numb" which starts out playing a backwards version of "Mr. Self Destruct" which actually sounds a lot better than you would think and is slightly ambient. This grows in intensity, but doesn't overwhelm and eventually becomes an original composition by Aphex Twin. The final track is the last remix of "Eraser" called "Erased, Over, Out" which samples synthesized sounds and thus ends the album on a slightly softer, yet still industrial note.

Overall, this contains some great highlights, but is still somewhat repetitive. The song explorations are great and I find that listening to the album is enjoyable except for the repetitive sections. Not as good as the "Closer to God" compilation or the original album, it is still a good album, it just isn't essential unless you love remixes and song manipulation. 3 stars.

 Perfect Beings by PERFECT BEINGS album cover Studio Album, 2014
3.99 | 359 ratings

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Perfect Beings
Perfect Beings Crossover Prog

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. It was the constant praise for this American band last year that caught my attention and I finally picked this up a few months ago. The music is fairly laid back with a dreamy Pop atmosphere bringing to mind early PORCUPINE TREE at times. I found myself really enjoying a few of these songs but I also felt that this album runs out of steam by track eight. Lots to like though so lets check it out.

"The Canyon Hill" is light and whimsical with processed vocals. A change though after 1 1/2 minutes when it turns fuller with normal vocals. "Helicopter" is another short track, this time with swirling keys and a cool chorus(I like the vocals). It settles after 1 1/2 minutes. "Bees And Wasps" opens with the sounds of bees before it kicks into gear with vocals. I like the guitar after 3 1/2 minutes during this brief instrumental section. Processed vocals follow then back to the main theme. "Walkabout" opens with the sounds of birds singing as acoustic guitar and reflective vocals take over. It's fuller before a minute then it becomes somewhat psychedelic 2 minutes in before some welcomed heaviness with chunky bass arrives. It changes again 4 1/2 minutes in to an instrumental dreamy state as some random drum patterns come and go. Vocals return late.

"Removal Of The Identity Chip" reminds me of PINEAPPLE THIEF early on at least the vocals do. I like how dreamy this tune is, such a good mood to it, very relaxed. Love the spacey sounds before 4 1/2 minutes. "Program Kid" is my favourite. We get light vocals with keys to start as bass and percussion join in after a minute. I adore those melancholic synths sounding like GENESIS' self titled release or "Permanent Waves" by RUSH. It then kicks into gear. "Remnants Of Shields" has strummed guitar and a blissful atmosphere as reserved vocals join in. Very enjoyable. "Fictions" is one that i'm not into with the multi-vocal intro although it does settle back with vocals later. "Primary Colors" is piano, vocal and guitar led for the most part and it's another feel good piece. "One Of Your Kind" is led by vocals and piano early on then we get an instrumental calm 2 1/2 minutes in that lasts about a minute. It then turns fuller before settling right back down with vocals. It's okay.

I can appreciate why many rate this so highly, it's very melodic and enjoyable for the most part, but for me it's not 4 star worthy.

 Hauras Silta by PAIDARION album cover Studio Album, 2009
3.03 | 10 ratings

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Hauras Silta
Paidarion Crossover Prog

Review by Matti
Collaborator Neo-Prog Team

3 stars I'm glad of the opportunity to see this band live next month in their hometown Hämeenlinna. They went considerably proggier on their next album Behind the Curtains, with some line-up changes and prog personalities guesting, but also this one is a wonderful listen for certain moods, when in need of soothing, melodic, mellow, fresh and comforting music. The reviews by Apps79 and b_olariu already capture the music's nature very well, but at least I can better deal with the lyrics that are in Finnish. Having found the CD from the Gospel section in a library, it's interesting to estimate the spiritual level in lyrics. Well, perhaps it wouldn't be a terrible problem if they were about God and Jesus etc, but happily they aren't directly religious. In fact they're quite good, thoughtful and methaphorical.

The opening title track starts beautifully with a soft flute melody (which in fact reminds me of an old Finnish nursery song about the Sandman: "Nukku-Matti, Nukku-Matti lasten..."). The arrangement of this slightly melancholic song is wonderfully balanced between folky serenity and a rock flavour made by drums and guitar, and the clear vocals of Kristina Johnson are lovely. The jazzier instrumental section improves the track even further. Worth mentioning is Paidarion's blood-relation to the Fusion group MIST SEASON. The final lines of this song mean "even a fragile bridge is strong and beautiful, and it rises up to heaven". That's spiritual, all right. 'Polku' (= Path) is mellower and closer to typical, soft Gospel Pop, both in music and lyrics. A nice, soothing song nevertheless.

The album continues in dreamy mellowness. 'Eksynyt' contains a cool synth solo and pretty flute melodies. When an album is so much oriented to mellowness, there comes a moment where you begin to wish some more spice into it. 'Kultapallo' (= Golden Ball) is a relaxed, uplifting song in a peaceful tempo. Again the soft flute is an essential part in the sound. The tempo increases in the instrumental section that stretches the track length into roughly 8 minutes. The beginning of 'Tuulensuoja' shows how wonderful bassist Jan-Olof Strandberg is. The vocals start halfway in this fine song. 'Hauras silta II' returns to the beginning, fulfilling the circle. The light melancholy fits into this music perfectly, I wish there were more of it. And that flute... sooo beautiful!

Since this album is only slightly leaning toward prog and for sure would be all too soft for many readers here (as it is for me too sometimes), three stars will do, but an imaginary fourth star goes for the rare beauty.

 New World (Deluxe Edition) by KERZNER, DAVE album cover Studio Album, 2015
3.96 | 68 ratings

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New World (Deluxe Edition)
Dave Kerzner Crossover Prog

Review by Kevman28

5 stars Your thoughts on this album will really depend on how you approach it. If you are likely to get frustrated by the obvious influences from past bands, then you should steer clear. On the other hand, if you begin by accepting that this album is paying homage to a golden era, you will find it to be the most satisfying listen in years.

Parts of this album (including Dave Kerzner's voice which is classic Gilmour) give you a glimpse of what Pink Floyd would probably sound like now had they carried on, and is the nearest you could ever get to a full new Pink Floyd album. Indeed, if the Floyd had released this last year it would probably be a huge success. I must add however, that this is also a great album in it's own right. A taste of everything I love from the history of Prog, plus so much more. The 2cd edition takes you on a wonderful journey, and although listening to both discs in one sitting may be a little taxing (over 70mins each!), it really is an amazing output. If you love Pink Floyd - (both Dark Side & Wall era's), a bit of ELO, some Tull, all wrapped up in a Sound of Contact package, then this will be your Viagra!

This really is a masterpiece. Not in the sense of a unique piece of classic work, but by being 140 minutes of prog bliss. Please do not be put off by the Floyd influence, but instead embrace it, and let yourself drift away on the best nostalgia trip possible.

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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
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