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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 04/26/2015

Tom (Roland113)
Evolver (Scott)
tszirmay (Thomas)
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 | 1173 ratings
CRIME OF THE CENTURY
Supertramp
4.33 | 953 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1381 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.31 | 554 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.24 | 780 ratings
DOOMSDAY AFTERNOON
Phideaux
4.21 | 1303 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 666 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.22 | 399 ratings
~
iamthemorning
4.19 | 769 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.18 | 685 ratings
SNOWTORCH
Phideaux
4.18 | 568 ratings
THE UNDERFALL YARD
Big Big Train
4.15 | 592 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.14 | 480 ratings
NIGHT
Gazpacho
4.11 | 606 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.23 | 127 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.17 | 186 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.06 | 846 ratings
TUBULAR BELLS
Oldfield, Mike
4.14 | 216 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.10 | 334 ratings
PASSION
Gabriel, Peter
4.19 | 140 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers

Crossover Prog overlooked and obscure gems albums new


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

CONQUISTA
Alux Nahual
GENERAL WINTER'S SECRET MUSEUM
Tea Club, The
ONE OF SEVERAL POSSIBLE MUSIKS
Livgren, Kerry
NARROW-CASTER
3RDegree

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Latest Crossover Prog Music Reviews


 Overflow by CIRCA album cover Boxset/Compilation, 2009
3.00 | 1 ratings

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Overflow
Circa Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

— First review of this album —
3 stars Information overload, communications overflow

Overflow is a collection of leftover songs from the recordings of previous Circa studio albums. It was first released as a standalone, download only album, but was later included together with the album And So On in a two-in-one album package (with alternative, more appealing cover art). This set is now the best way to get hold of this little collection.

Given that these seven songs were left off the band's regular albums, the natural expectation would be that these would be of lower quality and/or in a style that would not have fitted on those albums. But both of these expectations turned out not to be accurate as what we have here is songs that would indeed have fitted well on the band's albums. Some of the songs included here are even better than some of the tracks that made in onto the self-titled debut album or the follow-up HQ.

If you like Circa's three studio albums and would like to hear some more songs in the same vein, then Overflow is a nice addition to your collection. It is by no means essential listening, but it is a surprisingly enjoyable set of "extra" songs that would not have been out of place on those albums.

 HFMC by FRÖBERG MUSICAL COMPANION, HASSE album cover Studio Album, 2015
3.98 | 61 ratings

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HFMC
Hasse Fröberg Musical Companion Crossover Prog

Review by Angelo
Special Collaborator Honorary Collaborator / Retired Admin

4 stars If you know The Flower Kings, you also know Hasse Fr'berg. A fine hard rock singer and guitarist in the 80s, the man ended up in one of the biggest progressive rock acts of the 21st century - and together with four equally skilled musicians, he even has found the time to release a new (by now the third one) album under the name Hasse Fr'bergs Musical Companion.

An album with a slightly uninspired title (HFMC), but after listening to it on and off for 6 weeks, I can only conclude that the inspiration has instead gone into the music. Music that is introduced by a ticking clock on Seconds, which is soon replaced by a short keyboard piece by Kjell Haraldsson that flows seamlessly into the whirling keyboard and guitar opening of Can't Stop the Clock. This is the first real song on the album and it starts full of energy, reminding of Images & Words era Dream Theater and 2015 Franck Carducci at the same time. This track is varied in style, as well as in tempo and key (which the band already announced on their web site when it was released as a preview video. It contains metal and hard rock, but also mellower parts - in short, it rocks.

Less varied, and totally different is the the follow up Everything Can Change, which has a jazzy feel to it in various places, when the piano is the lead instrument, but in other places it also feels like a 60s rock song with synths and guitar added to make it more complex. On this one, Hasse Fr'berg's slightly hoarse voice really works very well.

With Pages, we move into longer songs, over 10 minutes. The opening is a quick crescendo of guitar and keyboards, followed by a more melodic keyboard piece. In a way, the music reminds of Yes, and later on also Genesis, but never too strongly. The vocals of Hasse remind me of a more emotional version of Grobschnitt's Wildschwein. The highlight of this song is a guitar solo by Anton Linsj', which I put in my review notes as "it's not Gilmour, it's not Stolt, it's that guy from HFMC'. After this solo, a well done vocal part (with piano and acoustic guitar) leads into an outro that is as bombastic as the intro. Circle closed.

With Genius, a more ballad like track, the listener gets some rest before moving into the net long track, In the Warmth of the Evening. A varied track, like Can't Stop the Clock, but 4 minutes longer and without the strong metal influences - although in the second half the keys become really bombastic, before a closing guitar solo with a lot of feeling in it - like some great blues guitarists also could, but here no blues is involved.

On Something Worth Dying For, the band moves slightly into Hasse's past as a hard rock musician. This one has guitar leads, and riffs accompanied by a strong drum work (lots of cymbals too) by drummer Ola Strandberg, and matching bass work by Thomas Thomsson.

The last track of the album Someone Else's Fault brings us back to the world of symphonic rock, with vocal choirs and keyboards that remind of Yes and Genesis. But when Hasse sings alone, over a dancing keyboard tune, it becomes almost soulful, something Jon Anderson never did. Half way, the music changes into bluesy hard rock, with yet another very well executed guitar solo - before going back to symphonic land at the end. I put the words 'soulful', 'bluesy hardrock' and 'Yes' in my review notes - only to find out later that apparently Hasse Fr'berg described this track as a mix between Yes, Stevie Wonder and AC/DC. Well - I guess he got that more or less right.

After this, all that remains is the ticking of a clock, on Minutes, which makes the album go full circle. And full circle it may go - as some other albums that I reviewed, I have no problem putting this one on repeat. In the second half of 2015, the band will be playing gigs in various countries, and I already spotted my chance to see them in The Netherlands. Get your chance as well, or just get the album, or do both... you catch my drift.

 Synesthesia by SUNCHILD album cover Studio Album, 2015
3.80 | 17 ratings

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Synesthesia
Sunchild Crossover Prog

Review by robbob

3 stars Well. I have read many good reviews for this work. So in my taste and opinion I was a little surprised...a little disappointed ... I liked more their prior albums... This is a not original modern prog rock work ,light prog rock with touches of post rock album... in the vein of Pineapple Thief.. Yes songs are not bad...but for a fan of really prog rock...this album is a little aside ..near to prog related....pleasant light rock songs ..very faraway to a masterpiece of progressive rock. So may be is a thing of taste....in what a I consider real prog rock(symphonic and neo prog)this is difficult to de valued. 3 stars
 Ego, Georgius by ANTCZAK, JERZY album cover Studio Album, 2014
4.81 | 7 ratings

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Ego, Georgius
Jerzy Antczak Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars Jerzy Antczak has been leading Polish neo-prog band Albion for quite some time now (1994) , part and parcel of the rather imposing prog scene in Poland that has given us Collage, Satellite, Millenium, Abraxas, Believe, Soma White, State Urge, Corral and many more. On this his first solo outing, Jerzy plots for a much denser sound, perhaps closer to electronica-infused soundtrack music , something compatriots Lebowski do rather well, albeit in a punchier manner. Surrounded by Albion stalwarts Anna Batko on vocals and Rafal Paszcz on drums, as well as adding Millenium bassist Krzysztof Wyrwa, with a few others, Jerzy Antczak really handles most of the splendid guitar work and all the keys, creating an exhilarating electro-tornado that has really caught my attention and certainly deserves to ensnare yours. The music is meant to be listened in one continuous effort, far from any song by song catalog.

An immediate gentle immersion is in order on the opener "Naďve", a nearly Oriental koto-like feel that permeates the soul, soothing and yet somewhat a tad eerie, as if something is lurking not too far away, in the shadows. Appropriately 'naďve' vocals collide in sorrow, encapsulated by metallic percussives that hint at John Foxx-like electronica, a modern dirge that spins, whirls and soars on sublime synthesized propellers. This bleeds right into the guitar tempest that is "Bloody George", the same theme just catapulted onto a higher plane, the voice more urgent, the beat firm and the howling backing voices giving the necessary depth with Wyrwa's rumbling undertow flashing the road ahead.

After a fluffy microelectronic intermezzo, "Heaven" unleashes some sequenced horizons that are closer to classic Tangerine Dream, ethereal sounds and melodious motifs that show a gentler side , only to be confronted by some serious rumble on the fantastic bass slap driven "Nebayilhaye", sandstorm of furious sonic frenzy, female Arabic voices whirling amid the male English voiced rage. This is serious progressive rock with quite a bite and a toothy Doberman snarl.

Keeping the foot squarely on the harder pedal, "Don't Need You" sounds almost like Floyd's "Run Like Hell" but snarkier as the bass and drums pack a wallop, only to be crested by a sweeping voodoo guitar solo that prickles nastily, showing Antczak's rather considerable technique. Pooling electro grit, delicate piano and unspecified angst is display on the half-minute "Bottom of My Soul" before the arrival of the colossal 9 minute and 40 second "The Gods of Our Planet", a space/electronic voyage that is deliberately operatic with the pleading vocal, caressed along by forlorn synths and extremely modern and futuristic in scope. Again, the grumbling bass is a terrific feature, moaning like some sycophantic praetorian guard looking to the stars. Sequencers ablaze, thick symphonics and tectonic binary drum rolls, this is simply intoxicating. Jerzy unbridles a blistering axe solo that blasts the speakers far into the celestial galaxy, tense and speedy, emotionally sound.

Hard to believe after so many good pieces that the best is yet to come. "Mermaid's Song" is perhaps the absolute show stopper here, an almost Celtic melodious chant, melopoeia in Latin that winks at Oldfield or Iona in terms of adventurism, as if some Norse drakkar was fording into some misty firth, gulls screeching their fear as they swirl overhead. The fretboard solo is nervy, intricate and most expressive. A truly terrific tune! The wee "Big Deal" emits aromas of a Floyd gone by, especially vocally, before blooming into the rash "Humid Tube" (a great name for a band BTW) which sizzles, fizzles and drizzles brilliantly, as drummer Paszcz manhandles his kit.

The elegant "Waltz" shuts this tremendous work down with a majestic 7 minute epic, all emotion and genuine class, sparkling tiny details reflecting off the gentle waves of sound, an insistent synth egging on an urgent vocal that truly shudders in feeling. The scintillating guitar solo is simply intense and glorious, full of bravado and intent, technique melding with inner love, a true genial finale. I just cannot believe how fabulous this album turned out to be. Just the right amounts of dream and reality.

The artwork gives off a Gothic gleam that instills the perfect image of humility and genius at work here. This is magic. My Polish friends/brothers never cease to amaze me.

5 Gorgeous self-images

 And So On by CIRCA album cover Studio Album, 2011
3.74 | 20 ratings

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And So On
Circa Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

4 stars "There's no stopping true progress!"

Billy Sherwood and Tony Kaye, both previous members of Yes (Sherwood in the 90's and Kaye in the late 60's/early 70's and then again in the 80's to the mid 90's), have done it again. And So On is Circa's third studio disc and once again they have outdone themselves - this is their best album yet!

The sound of this album is dominated by Billy's Chris Squire-like bass lines, Tony's powerful organ, Steve Howe-like guitar licks, and strong lead and harmony vocals. Compared to previous Circa albums, And So On rocks harder and has more energy. The set of melodies is the strongest coming from the band and the songs kept growing on me with further listens. Crossover Prog is absolutely the right subgenre designation and this should appeal to fans of that subgenre.

Drawing on all the different eras of Yes from the 60's to the 90's, Circa produce a sound that is similar to that well-known band yet also is something a bit of their own. Alan White, who was part of Circa from the beginning, is no longer with them, and neither is Jimmy Haun. The new drummer is Scott Connor and the guitarist is Johnny Bruhns both of which do a great job here.

If you are a strict purist who only likes the 1972-1977 period of Yes, the music of Circa may not be for you. But if you enjoy all the different eras of Yes, including those that involved Kaye and Sherwood, then you should really give Circa a chance, and there is no better place to start then with And So On. It is a shame that Circa are not more popular around here, they deserve more recognition.

 Synesthesia by SUNCHILD album cover Studio Album, 2015
3.80 | 17 ratings

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Synesthesia
Sunchild Crossover Prog

Review by CAERLLYSI

4 stars The AKP project Sunchild is alive and kicking, The political unrest in the Ukraine may have delayed the recording of this album but as always Kalugin delivers.

Synesthesia is a powerful, melodic magnificent collection of songs that will brighten up your summer, it's the perfect musical tonic. There are two tracks available to listen on bandcamp which have ensured the anticipation for this album is now greater than ever as music lovers know Antony doesn't disappoint.

Kalugin never rests on his laurels and he once again is fearless in his pursuit of the ultimate song, boasting one of the best back catalogues in the business, Kalugin is looking now for that wider audience that will ensure the music remains alive and kicking for many years to come.

So come on board - you must not let this album pass you by!

Will : Caerllysi Music

 Loving On Standby by ISOS album cover Studio Album, 2014
4.56 | 7 ratings

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Loving On Standby
Isos Crossover Prog

Review by PH

5 stars What originally started out as a solo project by multi-instrumentalist Vincent Leboeuf Gadreau from Canadian band Inner Odyssey, expanded into a collaboration involving the mastermind (acoustic and electric guitars, bass, lead singing, keyboards, samples), Etienne Doyon (drums, percussion), Mathieu Chamberland (piano, additional keys), Dominique Plante (Rhodes and strings), Marie Demers (backing vocals). Their first album 'Loving on Standby' is a passionate exploration of identity, amazing release full of musical depth and sonic variety. As a whole, ISOS sounds quite Floydian, but there're heavier fragments that have a vibe to can remind of Porcupine Tree. The effect is hypnotic and, at times, pretty potent. It unfolds into a challenging yet accessible listening experience. Filled with intelligent, diverse, compelling playing and memorable voice, CD 'Loving on Standby' can jostle for elbow-space with the finest records of 2014 thus far!!! Anybody whose tastes run to atmospheric, melodic mid-tempo prog should embrace this newcomer who knocks down the door and is right there in your face with all its musical awesomeness. HIGHLY RECOMMENDED!
 Whose Dream? by BUNCHAKEZE album cover Studio Album, 2010
3.78 | 117 ratings

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Whose Dream?
BunChakeze Crossover Prog

Review by Angelo
Special Collaborator Honorary Collaborator / Retired Admin

4 stars Imagine an album being recorded in 1985, and being released only 25 years later, in 2010. Sounds crazy? Well, this is exactly what happened with BunChakeze album Whose Dream?. The four people involved were Odin of London members Colin Tench (guitar, synthesizer and vocals), Gary Derrick (bass), Cliff Deighton (drums) and Joey Lugassy (vocals). The former three founded the band, helped build a studio in exchange for recording time and then hired the Lugassy to fill in the role of the until then missing vocalist. Studio owner Alex Foulcer fulfilled a guest role on piano.

After recording the album, the four disbanded. In 1992, they the album was remixed, but only in 2010, Colin Tench took the lead in releasing the album on CD, encouraged by Pasi Koivu, with whom he later founded Corvus Stone.

The album contains 9 tracks, which clearly show how these four men were influenced by late 1960s and early 1970s progressive rock . Music that was wanting air play and certainly of no commercial interest at the time of recording. However, times have changed again in the mean time, and this album is no misfit in the 21st century revival of progressive rock.

The opening track BunChakeze is an energetic, short instrumental with 'swirling' keyboards and matching guitar, to warm up for the rest of the album. Once this is done, the band slows down for the first part of title track Whose Dream? Keyboard and piano guide the fitting rock voice of Lugassy, in what sounds like a melancholic ballad until the guitar and drums come in to make it into a more powerful, almost marching track. The circle closes when we go back to the first line of the intro, which is also the last of the song, once again only accompanied by the piano: Whose dream are you dreaming?

Walk on Paradise then is a more guitar oriented track, although the synthesizer is quite present in the opening. Initially, this doesn't feel like paradise music at all - but when the rhythm becomes more stable and prominent, the feel becomes more positive. Briefly only though, the instrumental midsection removes the happiness again - in line with the lyrics ('I am a prisoner who lives alone, chains hanging from the walls'). After a quite heavy guitar solo the song takes a more melodramatic turn, in music as well as lyrics, as the main character is looking for a way out.

After this, the album gets to what I think are its four best tracks, starting with Handful of Rice. The music is carried by a staccato guitar riff (by some referred to as latin or hispanic, but I don't fully see that reference). This is haunting in a way, especially in the mid section where it is accompanied by a droning synth and metallic sounding drums. Near the end the track speeds up a bit, maybe signifying new hope? New hope that certainly belongs in the next track, Flight of the Phoenix, after all, a phoenix always rises from the ashes in which it perishes. This is a track that opens with wonderfully played acoustic guitar, accompanying a well performed vocal melody. It's not a happy tune, matching the darkness of the lyrics. Halfway, the electric guitar comes in and the song becomes melancholic. After a nice, melodic guitar solo, the music speeds up and when the phoenix rises, the 'Clock stops!' and so does the music.

After this, the band takes us to 19th century North America, with Midnight Skies, telling us about how the young United States dealt with the natives. On this track, which starts out with almost jazzy guitar and bass, the 1970s influences of the band really show. While the bass and guitar build a rhythm, the keyboards go into Genesis like patterns, and a Pink Floyd resembling guitar solo follows. All of this build up to the request to let the native Americans take back the prairies and run free under midnight skies....

With Long Distance Runner, the direction changes once again. With two vocals (both by Lugassy as far as I can tell), singing a sort of dialog, this track starts with a musical like feel. After this it speeds up gradually and a slightly staccato guitar seems to imply the runner is really running. The drums on this track are not continuous, in various places only fills and breaks are played, which really gives an unusual effect to the music. At the end, the piano comes in for an the music becomes a bit more. What keeps me wondering about this one is the question whether the line in the lyrics 'A Cinderella Boy becomes a Marathon Man' is a reference to Rush: they have Cinderella Man and released Power Windows including Marathon while BunChakeze were recording.

And then - it is time for The Deal, yet again a track in which the 1970s influences return. There is a guitar riff underneath this whole track that is so close to something (go hear for yourself) on Pink Floyd's The Wall that coincidence is impossible. It's not a rip off though, the track works perfectly by itself, and it may be the easiest one to get into on first listen. After this, all that's left is dessert, a short instrumental reprise of Whose Dream, which is mainly a slightly folky electric guitar tune.

I got this album almost 5 years after it was released, after missing it completely in 201o - and I'm happy to have it now. It's by no means perfect, certainly production wise a few things could be improved (hollow vocals here and there, slightly sharp drums), but given its history that is something I can live with. I really like the last four tracks (not including the far from bad Whose Dream reprise), even if they are not as original in style in 2010 or 2015 than they were in 1985 I guess. Recommended for checking out for sure - and added to the regular plays a while ago over here.

(also published on my blog - www.hulshout.nl/rfm)

 The Beginnings of the Enz by SPLIT ENZ album cover Boxset/Compilation, 1979
3.43 | 8 ratings

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The Beginnings of the Enz
Split Enz Crossover Prog

Review by sl75

3 stars A collection of early singles, mostly predating the recording of Mental Notes, I bought this expecting an insight into their early development as a band that was initially considered progressive. Given that it consists entirely of singles, it is somewhat limited and not really representative of their most progressive side, since the single format demands shorter songs designed to catch the ears of radio programmers. It would be somewhat unfair to judge their progressive credentials based on this - after all, how many of the great prog titans would come out looking great if all we ever heard were their singles? eg Yes, ELP, Floyd etc

To start with, Split Enz favoured acoustic instruments, including flute and violin, and made music with a distinct folk edge. At it's best (such as on their first single and my personal favourite track, "For You"), it resembles prog folk groups such as Comus (without the bloodshed), Spirogyra, or the acoustic side of Jethro Tull. However, there was also a side to their early writing that leaned toward jug-band ragtime, as though they were attempting to be New Zealand's answer to the Captain Matchbox Whoopee Band; and although the two sides coexist in the best tracks, the raggy side seems to dominate here. That songwriting approach continues into the later recordings, even as the sound of the band changes, becoming more electric and keyboard-led - in that timbral context, the songs take on the character of zany, arty pop. Which is exactly the direction Split Enz ulimately followed (though with gradually decreasing levels of zaniness and artiness). Aside from "For You", the proggiest track here is the re-recorded version of "Spellbound", with it's more symphonic keyboard textures - nevertheless, it's a much more smoothed out and radio-friendly version of that song, compared to the much more edgy version on Mental Notes.

 New World by KERZNER, DAVE album cover Studio Album, 2014
4.08 | 41 ratings

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New World
Dave Kerzner Crossover Prog

Review by Tony R
Special Collaborator Honorary Collaborator / Retired Admin

4 stars Any Colour You Like (as long as it is Pink)

Tremendously entertaining Prog album from Kerzner, a sort of Alan Parsons for the new millenium. It is impossible to get away from the Pink Floyd influences painted with broad brush strokes across every inch of the album so if that is going to irritate you then steer clear. There is very little originality in terms of the music but sonically Kerzner is a wizard at finding interesting ways to elevate the (relatively) mundane into a neat set piece or tour de force. There's also a who's who of Prog luminaries involved including the ubiquitous Steve Hackett and Francis Dunnery plus cameos by Keith Emerson and Colin Edwin. It's an unabashed slice of Prog popcorn and should appeal to anyone who can get over the fact that it wallows joyfully in its influences.

Normally I would give 3 stars to this kind of thing but it's done so well and sounds so good that it gets the 4 star salute here.

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
3 United Kingdom
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
AARDVARK United Kingdom
AARDVARK' Finland
THE AARON CLIFT EXPERIMENT United States
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
THE AMAZING Sweden
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
JERZY ANTCZAK Poland
ANUBIS SPIRE United States
ANYWHERE United States
APATHEIA Czech Republic
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARID GARDEN Italy
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIOCRACY Multi-National
THE AURORA OBSERVATORY United States
AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
AUTUMN ABOVE United States
AUTUMN CHORUS United Kingdom
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
AUXFORD Russia
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
DAVID AXELROD United States
AZURETH Multi-National
BACKHAND Venezuela
BADWATER FIRE COMPANY United States
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
NICKLAS BARKER Sweden
BARNUM'S FREAK Italy
BARON 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
BITTERTOWN Netherlands
BJÖRK Iceland
BLACK CAT BONES United Kingdom
BLACK MOTH SUPER RAINBOW United States
BLACK MOUNTAIN Canada
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
THE BODY POLITIC Canada
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
VICTOR BRADY United States
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
BRIGHT BROWN United States
THE BRIMSTONE SOLAR RADIATION BAND Norway
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIERE France
DUNCAN BROWNE United Kingdom
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
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