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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 | 1169 ratings
OMMADAWN
Oldfield, Mike
4.31 | 1406 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1799 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.28 | 1247 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.21 | 1601 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 885 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 935 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 766 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.20 | 491 ratings
~
iamthemorning
4.18 | 758 ratings
SNOWTORCH
Phideaux
4.18 | 668 ratings
THE UNDERFALL YARD
Big Big Train
4.17 | 710 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.12 | 744 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.13 | 535 ratings
NIGHT
Gazpacho
4.09 | 1029 ratings
TUBULAR BELLS
Oldfield, Mike
4.35 | 83 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.15 | 268 ratings
GRIMSPOUND
Big Big Train
4.22 | 148 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.13 | 321 ratings
SPIRIT OF EDEN
Talk Talk
4.12 | 365 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

ABBANDONO DEL TEMPO E DELLE FORME
J'Accuse..!
ONE OF SEVERAL POSSIBLE MUSIKS
Livgren, Kerry
THE LOST ART OF TIME TRAVEL
Presto Ballet
VOICE
Capability Brown

Latest Crossover Prog Music Reviews


 Trust by SAGA album cover Studio Album, 2006
3.80 | 151 ratings

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Trust
Saga Crossover Prog

Review by martindavey87

4 stars 2006's 'Trust' was my introduction to Saga, coming across the album cheap, and having heard of the band before, I thought it'd be worth checking them out.

I'm glad I did.

From the opening moments of the first song, I knew this band were something slightly different. Best described as some kind of hybrid between progressive rock and AOR (adult-oriented rock... oldies stuff), Saga have a very interesting sound, which relies heavily upon the synergy between guitarist Ian Crichton and keyboardist Jim Gilmour. Both men complimenting each other perfectly to create something which is better than the sum total of its parts.

The album is well-produced, with a clear sound that gives everyone ample space to shine. Vocalist Michael Sadler's warm voice cuts through perfectly without sounding strained or out of its element. His is a voice perfectly suited to this style of music. And a thumping bass gives the music plenty of groove.

'Trust' was released after a string of albums that failed to please critics, and while they didn't really stray from anything they'd done before, something clicked with this record that started to give the band their second wind, almost 30 years into their career! Songs like 'That's As Far As I'll Go', 'Back to the Shadows', 'It's Your Life', 'Ice in the Rain' and 'Footsteps in the Hall' all go to show that Saga aren't ready to be counted out yet.

 Endless Mystery by SIIILK album cover Studio Album, 2017
4.30 | 27 ratings

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Endless Mystery
Siiilk Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars

There are times when one comes across an album that is perfect in just so many ways that it is hard to quite know what to say about it, or how to describe it so as to give it justice, and that is what I am faced with right now. Siiilk are back with their second album, following on from the highly-rated debut 'Way To Lhassa' and I have no issue at all with saying that this is superior. It is a songs-based album, built around the vocals and acoustic guitar of Richard Pick, but what provides the depth is the quality of all the musicians involved and how they all know how to best utilise both space and dynamics.

It is a dreamy, reflective album, bringing together elements of Pink Floyd, Seventies Barclay James Harvest, Camel, Caravan, and so much more. This is music that takes the listener to a place that only exists between the ears, music to get lost in, music to be transported by. There are times when the full band are involved, (and they also bring a couple of guests to add some additional nuances with clarinet and Indian tablas), and it is the arrangements that make all the difference as often there will only be one or two others involved besides Richard, with everyone knowing their place and how their contribution reflects overall. Catherine Pick has a beautiful voice, sometimes taking the lead, but often providing sympathetic backing and the restraint and control demonstrated throughout the album is considerable. This is simply stunning and essential to anyone who enjoys this style of progressive rock.

 Encore: Live In Concert by ARGENT album cover Live, 1974
3.47 | 25 ratings

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Encore: Live In Concert
Argent Crossover Prog

Review by SteveG

3 stars After reading an excellent review from ExittheLemming, I decided to dust off this celebrated live recording from Argent and give it a fresh spin after being away from it for some 30 years. The two biggest gripes that people had with the proceeding Argent studio albums was their louder than loud production and musically schizoid musical styles, with Rod Argent penning the proggier songs and the rock and rollers penned by Russ Ballard. The latter aspect of the group's albums never bothered me, and even an album recorded at Abbey Road Studios using former Beatles' recording engineers made it hard for Argent, and co producer Chris White, to completely sabotage it's sound production.

But this live concert recording eliminates the producer's flights of fancy and helps to place the focus solely on the songs and the band's performance. Starting off with the prog infused instrumental "The Coming Of Kohoutek", in which Argent discovered the merits of the Moog synthesizer and jumped squarely on the Emerson/Wakeman train and stole the handle. Not a favorite of mine as it's sounds as derivative as anything concocted by Emerson, including his synth tones. If there was one thing that set seventies synth wizards apart, it was a personally unique synth sound, but that's a minor quibble. "Kohoutek" is the best song you will here on this album until Russ Ballard sings his lovely ballad that he had written especially for former Zombies' front man Colin Blunstone titled "I Don't Believe In Miracles." Ballard's emotive and reserved vocal on this stripped down version of the song, along with Argent providing touching mellotron strings, is absolutely beautiful and far surpasses the myriad versions recorded and re-recorded by Blunstone either solo or with the revamped Zombies. So much for slamming the group for eclectic song styles.

But what of the songs in the middle? Well, Russ Ballard's "It's Only Money" parts 1 and 2 lacks anything like a musical or vocal hook, and his semi celebrated "God Give Rock and Roll Too You" tries too hard to sound like a drunken beer hall sing-a-long. Let's face it, when a group like Kiss can take someone's best song (at the time) and make it sound better, something is desperately wrong. "Thunder And Lightning" somehow keeps me awake while "Music of the Spheres" does just the opposite. And that was real the problem with Argent. Not the loud stereo panning studio album productions or their eclectic song styles. It was simply poor songwriting or poor song arrangements and singing that resulted in a majority of their material just coming up short. And unfortunately, that is also brought into sharp focus on Encore.

But all is not lost. What also works works well on Encore is "I Am The Dance Of Ages" which shakes off it's Spinal Tap vibe found on the studio album All Together Now and really rocks out. What doesn't rock is a sped up version of "Hold You Head Up" with Argent injecting boring improvised (I hope) melodies from his new synthesizer which is no match for his original organ solos. A raged version of "Time Of the Season" is the album's actual encore and I'm quite glad that they didn't do another. Can you imagine "Tell Her No'" done in 5/4 time with a synth solo? I didn't think so. 3 stars out of 5, which seems quite apropos for a band that was always stuck between extremes.

 Return to Mingulay by OCEANS 5 album cover Studio Album, 2013
3.93 | 132 ratings

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Return to Mingulay
Oceans 5 Crossover Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars For me, one of the more illuminating aspects of this "supergroup" release is learning that ROD STEWART/SUTHERLAND BROTHERS essentially ripped off the "Mingulay Boatsong" for one of his many mega hits, "Sailing". The meter and most of the melody of his arrangement is more than influenced by that 200 year old shanty.

I don't mean to diminish this enthusiastic release by implying that I'm otherwise unimpressed, but this is really singer songwriter folk with full rock backing and massed oft repeated choruses. Apart from Colin Tench's guitar style, at times, and the presence of a vocal member of AUSTRALIAN PINK FLOYD, I don't really get the FLOYD comparisons, but agree that fans of certain aspects of STRAWBS and JETHRO TULL might enjoy what's on offer. here. The strummed acoustic guitar style, Andy John Bradford's vocal inflections, and the general song structures put me in mind of STRAWBS circa "Bursting at the Seams", but without its dark Goth side and, paradoxically, without its chart ready hits. The over busyness of some of the arrangements bring to mind TULL, but more the arty "War Child" style than "Heavy Horses". Other occasional points of comparison could be MOTT THE HOOPLE (on "Six Thousand Friends",Bradford goes "All the Young Dudes" on us) and RUNRIG, particularly their nautical proclivities. All to say that this is an enjoyable listen but far from challenging even in comparison to the less complex works of the aforementioned.

Probably the best tracks here are the Boat song itself and the heartfelt "5 O'Clock Line", but neither really awaken stirrings deep inside, and, while nothing is ghastly, the social commentary of "6 Thousand Friends" is a bit more simplistic and direct than even most folk singers might advise. So, "Return to Mingulay" is rounded up to 3 stars because admirers of the fusion of folk music and anthemic pop, or of Old Spice aftershave, might be rendered weak-kneed by its oceanicity.

 To The Bone by WILSON, STEVEN album cover Studio Album, 2017
3.61 | 221 ratings

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To The Bone
Steven Wilson Crossover Prog

Review by Mellotron Storm
Prog Reviewer

3 stars Nothing like a little controversy to draw some attention to yourself. Steven announces his new album and how it's in the poppier mode and well let the discussions begin, as they have. The album cover is so immature and I'm not sure of the reason for that other than it's more controversy. Lots to like though over the one hour of music here, and much of it sounds familiar reminding me of PORCUPINE TREE and past Wilson solo albums. It does feel like a re-hash of sorts but there's some new ideas here as well but unfortunately they don't save this album for me.

"To The Bone" opens with spoken female words giving us Steven's kool-aid. It suddenly turns powerful with plenty of atmosphere and harmonica too. It becomes more open sounding when the vocals arrive a minute in. It picks up as the vocals continue. Lots of beats in this one and an extended guitar solo during the instrumental section. It's okay. "Nowhere Now" has reserved vocals and piano before it turns powerful a minute in, then it picks up with vocals. Catchy stuff.

"Pariah" is easily my favourite thanks to Ninet Hayeb's gorgeous and moving vocals. And that's the thing with this song it really moves me. "The Same Asylum As Before" has these expressive guitar melodies and a beat as these really high pitched vocals from Steven arrive(haha). When he sings normally this song turns into something that's really good. Like something off of "Stupid Dream" or "Lightbulb Sun". I like when it turns powerful before 2 1/2 minutes. Back to the chorus 4 minutes in before kicking back hard late.

"Refuge" opens with piano and fragile vocals. There's those high pitched vocals Steven seems intent on doing on this album. Yikes! I like when it kicks into gear following this and check out the harmonica too. followed by a guitar solo. Reserved vocals and piano end it. "Permanating" is my least favourite song by far. A catchy beat with drums, piano and mono-toned vocals. When it kicks in Steven uses his newly found high voice. And this does not work here at all.

"Blank Tapes" is a short laid back piece that's pretty good. "People Who Eat Darkness" reminds me too much of "Arriving Somewhere But Not Here" once it kicks in after the "F" bomb in the intro. Yes this sounds amazing but it's too familiar. "Song Of I" has percussion and a dark mood as reserved vocals join in. An electronic vibe to this one, lots of atmosphere halfway through. Some ethreal female vocal melodies later.

"Detonation" is the longest track at almost 9 1/2 minutes but it's far from the best track. Electronics as relaxed vocals join in with plenty of atmosphere. It kicks in surprisingly hard before 2 1/2 minutes. The vocals return as it stays uptempo. Some nice guitar after 7 1/2 minutes during the catchy instrumental section. "Song Of Unborn" is the mellow closer in the Steven Wilson tradition and it's one of my favourites from the album. The chorus is beautiful with vocals, piano, a beat and atmosphere. It does turn more powerful which I really enjoy.

A good album but there's too many things that I don't enjoy to offer up that fourth star.

 To The Bone by WILSON, STEVEN album cover Studio Album, 2017
3.61 | 221 ratings

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To The Bone
Steven Wilson Crossover Prog

Review by The Jester

3 stars Before anything else, I think I should write that I consider myself as a 'fan' of Porcupine Tree, but not Steven Wilson as a solo artist. I have all the albums he released either with Porcupine Tree or Blackfield and his solo releases as well. When I heard the first rumours about his new album To the Bone, I must say that I was surprised. Steven Wilson will be releasing a Pop album? How is that even possible? Well, everything is possible you know, especially when some gifted and talented musician is fed up, and wants to try something different. That's not bad in my opinion, especially since he keeps his usual high quality standards intact. Many people rushed to 'bury' him, but I don't understand why. David Bowie for example, was praised by doing the same thing. He never stood still, and for that reason he was called the 'chameleon' of Rock music. He played many different styles, he changed his image I don't know how many times, and he was worshiped for that. So, why are you accusing Steve Wilson for trying to do something like that? (I am not trying to compare these two musicians, I am trying to set an example). So, To the Bone is it really a Pop album? The answer is no! Is it a Prog album? Again, no! This time Steven Wilson tried to combine many different music styles, including Pop, Rock, Prog, etc. And the result is this really enjoyable album, easy to listen to, which includes some really fine moments. There are songs here, that will remind you his days with Porcupine Tree, some others that sound like Blackfield, and some others that doesn't sound like anything Steven Wilson did before. But they do sound like Peter Gabriel of the 80's for example, or even Abba! As you can probably understand, To the Bone is a music 'salad' which is including some fine ingredients in it. A very enjoyable album in my opinion, but not recommended to the 'devoted' Progressive Rock fans. All the others will definitely find something(s) that they will like in it. Favourite songs: To the Bone, Pariah, Blank Tapes, and Song of Unborn. My rating 3.5 stars (but I will rate it with 3.0, since I can't rate it with 3.5)

 To The Bone by WILSON, STEVEN album cover Studio Album, 2017
3.61 | 221 ratings

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To The Bone
Steven Wilson Crossover Prog

Review by muggle68

4 stars Selected thoughts about selected songs

To the Bone: Interesting sounds sometimes, engaging enough and well-produced, has its moments but a bit repetitive; microcosm of this album in some ways.

Permanating: fun to listen to and surprisingly hasn't gotten old yet. Hope though this is a one-off experiment with a new sound and not a first ode to commercialism and mass appeal a la Asia and Genesis at their worst.

Detonation: and the progarchives community sighs a collective sigh of relief; ah yes there is one truly hard-hitting and progressive song on this sometimes hard-to-categorize album. Hard to describe the moment of surprise and release when the prog-metal-esque riff takes off like a starter's pistol has been fired, letting up for only a few brief respites for the rest of the runtime. Plays out as a series of engaging variations and undulations on that one core riff for an overall effect that, although lighter and less daring than Ancestral and similar unforgettable career peaks, still resolves into a unique jazzy smoothness this track can call all its own.

Song of Unborn: had to listen to this one a few times but it really grew on me and now hits me hard every time I listen to it. Unquestionably the most beautiful song on this album, capping everything off finally with an incredibly hopeful and moving sound and message, building and building in a series of choruses that become more ornate and more heartfelt as the song goes on, and as you listen to it again and again.

 Neighbours by SO DOES YOUR MOTHER album cover Studio Album, 2015
4.00 | 3 ratings

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Neighbours
So Does Your Mother Crossover Prog

Review by andrea
Prog Reviewer

4 stars So Does Your Mother come from Rome and have been active on the local scene since 2009. The aim of the band is mixing the complexity of progressive rock with the simpler rhythms and glamorous atmospheres of disco music. In 2013, after many line up changes, So Does Your Mother self released a studio EP entitled Fac(e)ing the Animals and in 2015, after a long, hard work with producer Marco Molteni, they finally released their first full length album, Neighbours. The line up features Lorenzo Sidoti (guitar), Vladimiro Sbacco (keyboards), Gian Maria Camponeschi (bass), Alessio Zappa (drums), Francesco Antonini (flute, vocals), Letizia Lenzi (clarinet), Carmine Di Lauro (sax), Francesca Faraglia (vocals), Domitilla Masi (vocals) and Maria Onori (vocals) but during the recording session they were helped also by some guests such as Isaac "Ike" Willis, an American vocalist and guitarist who was a regular member of Frank Zappa's studio and touring bands from 1978 to 1988, and vocalist Ghita Casadei. The artwork by the well-known street artist Mr. Thoms describes in some way the theatrical and ironic musical approach of the band...

The opener, "Mitile Milite" is a lively track with surreal lyrics sung in ancient Latin. It starts softly, with the dark notes of a clarinet, then the rhythm rises and the mood changes mixing funk and folksy flute passages ŕ la Jethro Tull. Then comes the sarcastic "M.D." (festuring the guest Ike Willis) that depicts in music and words a greedy, unscrupulous manager exploiting new bands trying to make them play for free.

Next comes "Swallow", a ferocious attack to the distorted use of social media where everyone can vomit words and trash online while the suggestive "Modern Seducer" is a surreal portrait of a stripper man under the lights of a discotheque, a very peculiar exotic dancer crawling almost naked on the floor for the amusement of women...

"Under the Roof" is a tense piece in seventies style. Here the atmosphere could recall the scene of a thriller film score where spiders and scorpions are moving under the roof... It leads to the funny, irreverent funk of "Your Mother". The following "Red Leaf" is a short, surreal track about the life of a very peculiar character watching TV on a bumble bee with sax and slapping bass lines in the forefront. "Modern Seducer Reprise" closes the album with a different, more relaxed version of the fourth track.

On the whole a funny, interesting album where the band showcase good musicianship and excellent song-writing skills.

 To The Bone by WILSON, STEVEN album cover Studio Album, 2017
3.61 | 221 ratings

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To The Bone
Steven Wilson Crossover Prog

Review by proghaven

1 stars ...and here's the next stage of personal evolution of Steven Wilson as a solo artist. From a boldly experimenting musician of widest creative range and full creative freedom - to a prudent, almost pre-programmed artist who knows very well what his audience expects from him, and does nothing but what's expected. Stage one, 2008: Insurgentes. Sounds somewhat bashful, as if the musician hadn't yet used to consider himself a solo artist and was constantly glancing behind his practice in Porcupine Tree. Stage two, 2011: Grace For Drowning. A masterpiece for all times, a true chef d'oeuvre, really an encyclopedic concept album of highest level and amazing diversity, maybe better than any Porcupine Tree release. Stage three, 2013: The Raven... is just an excellent album, not as profound and thrilling as Grace For Drowning, but an unquestionable achievement. Stage four, 2015: Hand. Cannot. Erase seems to be mostly pre-composed by Wilson's fans though has a few interesting and 'risky' moments (Perfect Life for example). Stage four-and-a-half, 2016: nice, nice, very nice. And nothing essential, nothing deserving a discussion. And finally, 2017: since To The Bone, no more risk that some day the artist will deceive his audience's expectations. Nothing is new, nothing is surprising, nothing is experimental and/or explorative, everything is self- repetitive and approbated in the previous releases (despite all attractive phrases about 'fusing futurist rock' and 'gloriously dynamic Modernist Pop' in the distributor's advert). Well, in brief - there's no genuine Steven Wilson in Steven Wilson's new work. Is the album To The Bone good? Yes it is. It's flawless. It's perfectly composed, built, arranged, performed, produced, engineered and recorded. Is the album bad? Yes it is! It's musically empty. It's withering. The only spring of fresh water in this harmonious desert is Permanating, not due to its musical merits but just because late 1970s disco tunes are not typical for Wilson. All the rest is... no, not silence of course, but if the current tendency in Wilson's career will continue, perhaps silence would be better.
 Live In Athens 1987 by GABRIEL, PETER album cover DVD/Video, 2013
4.39 | 30 ratings

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Live In Athens 1987
Peter Gabriel Crossover Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars This show called previously "P.O.V." has been restored and remix with the new technology. I can't compare this version with the first version. I can only appreciate the sharp picture quality. I have seen worst picture quality on recent high definition concerts, it just tells you how good it is. This was the "So" tour which was the album where I lost my attachment to Peter Gabriel music, but there are enough old songs to satisfy me like the great "San Jacinto" and "Family Snapshot". It surprises me that "Red Rain" didn't show up on this set list. The final 2 songs "In Your Eyes" and "Biko" are too long and kind of boring, but was a wise choice to put them at the end to get the crowd doing. It's always fun to hear Tony Levin on bass and naturally the voice of Peter Gabriel. The package contains second disks of Peter Gabriel videos. I have never been a fan of music videos, it is more a distraction for me, but here, the surround sound mixes by Daniel Lanois and Richard Chappell makes things worth it.
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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
3 United Kingdom
3 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
ALAIN BURO Belgium
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
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