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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 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 | 1129 ratings
OMMADAWN
Oldfield, Mike
4.32 | 1358 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 1730 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1162 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.22 | 1546 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 864 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 747 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 897 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 484 ratings
~
iamthemorning
4.18 | 747 ratings
SNOWTORCH
Phideaux
4.36 | 119 ratings
RETURN TO OMMADAWN
Oldfield, Mike
4.17 | 692 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.17 | 642 ratings
THE UNDERFALL YARD
Big Big Train
4.13 | 705 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.13 | 526 ratings
NIGHT
Gazpacho
4.35 | 83 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.23 | 142 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.08 | 991 ratings
TUBULAR BELLS
Oldfield, Mike
4.13 | 312 ratings
SPIRIT OF EDEN
Talk Talk
4.20 | 153 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

PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof
BROKEN CHINA
Wright, Richard
2. (ODCIEń CISZY)
Wozniak, Tadeusz
GLOSSOLALIA
Walsh, Steve

Latest Crossover Prog Music Reviews


 The Jester's Quest in the City of Glass by LYRIAN album cover Studio Album, 2016
3.76 | 21 ratings

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The Jester's Quest in the City of Glass
Lyrian Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars Lyrian is a dedicated medieval-prog influenced group that certainly carves their own destination, uncaring of any slight and that bodes very well for another mind-blowing adventure, as presented her on their third album, "The Jester's Quest in the City of Glass". I was very impressed with the band's debut album "Nightingale Hall", as there is a definite Tolkien-esque feel to their music, combining modern electronic keyboards with more medieval structures and inspiration. The eccentric guitar musings are heavily reminiscent of vintage Steve Hackett, what with all those glittering sustained notes played by John Blake, who supplies the narratives and at times, shrill, high-pitched lead vocals that owe more to castle troubadours than anything more modern. Tightly allied with a rhythmic tandem that blends in natural sounds as well as programming, there is a constant clash or interweaving of musical eras, harpsichord one moment and synthesizers the next. Whilst not adorned with the most glittering production or seeking to follow the line to success, these musicians are very intent on creating their own little universe, musical story-telling that was once, long ago, the 'raison d'etre' for the court minstrels, the troubadours and the jongleurs. Old world fantasy blended with new world technology.

"The Jester's Quest in the City of Glass" is functionally narrated, as any epic concept should be, a fictional adventure in a fictional world of fragile existence, generally as a spoken introduction to the tune to come. An opener like "A Million Stars" certainly sets the tone with some rather vibrant sonic extravagances, adorned by liquid synthesizer flurries and slippery electric guitar spells, all bundled up in massive melodic swirls that really hit home. Both following tracks, "Ancient Spirals" and "The Scented Chamber" evoke both a grandiose sense of bombast as well as profound lamentation. It's precisely this contrast between hard and soft, old and new that is so beguiling. The middle section gets a wider, more progressive berth, a series of longer pieces that have been lovingly crafted, such as the daring "Here Lies a Mermaid" with its initial acoustic drama that showcases the band's ability to articulate a fine yarn, excruciatingly delicate , sounding like Gabriel in a non-angry mood! Definitely one of the highlight tracks. The colossal "The Fall of the Cards" infuses a Trespass-era organ that haunts adoringly, Blake's oddball and very English vocals busy recounting the tale, part Ian Anderson, part Fish and a dash of insanity. There is a blaring synth blast that really shakes the ramparts, Blake's voice may take getting used to for the uninitiated but it's the correct, squeaky and baying tone one would expect from some unhinged modern minstrel. The sweeping synth is more Ultravox than, say Emerman /Wakeson but it really drills nicely into the storyline. On the equally epic, nearly 10 minute "Flight of the Enchanter", the keyboard maelstrom gets some serious added cavalry from the glassy guitar, the arrangement veering into multi-voiced melodrama, like a gentler Gentle Giant, quite a daring enterprise. And the voyage meanders further with more epic long tracks like "The Humours of the Grave" (7.56) and its woodwind sounds as well as the lengthiest piece here, the masterful "Mister Silver", clocking in at 10.16, welcoming the jester's arrival into the city with a long Hackett-ish guitar foray, arching far and wide into the skies, adding bombastic keyboard and drum structures in a highly medieval context, a very original style indeed. Adding modern accouterments like vocoder and synthesized snippets makes the whole banquet even more palatable. Lots of rhythmic twists and melodic turns, careening in various directions, the voice remaining strident and slightly demented. Another enjoying highlight, "I Trespass in the Kingdom of the Black Doll" is another acoustic ditty, aided by a haunting mellotron choir egging on a clear melody that woos the ear from the get go. The narration appears midway and it's squarely bizarre, fans of the obscure will adore. The recorder plays a massive role here, front and center, in full armor if you will. Great piece of complex music that sets the bar. "The Ship of Jesters" kills this mad dragon off, a fantasy finale in the making, booming drums from Edgar Wilde (a perfect Brit name, no?) and what sounds like an accordion , could 'the city of glass' be perhaps slightly Paris? The high-pitched plea keeps on giving, a sorrowful lament and a sad beat , waving a magical goodbye and hoping for another future adventure with 'wizards, mermaids and moons'.

Definitely a rebellious and idiosyncratic oddity that should please those fans who tire from any kind of formulaic prog. Some will love, some will hate and many will just enjoy. And so it goes in the City of Glass, everything being so utterly fragile.

4 minstrel treks

 The Illusion's Reckoning by MANTRA VEGA album cover Studio Album, 2016
3.94 | 98 ratings

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The Illusion's Reckoning
Mantra Vega Crossover Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars It's all well and good to jump up and down with excitement at the prospects of the likes of Jon Anderson and Roine Stolt, i.e progressive music icons of a higher status and popularity, teaming up for a new project, but to a great many listeners of a wider (and lesser known) range of progressive music, other partnerships can hold even just as many thrills. Case in point is the new collaboration Mantra Vega that boasts singer Heather Findlay and multi-instrumentalist David Kerzner, with Dave Kilminster, Chris Johnson, Stu Fletcher and other notable guests from a diverse range of projects such as Sound of Contact, Mostly Autumn, Ayreon/Star One, Odin Dragonfly, Halo Blind and Steven Wilson/Roger Waters' touring groups, and their debut album `The Illusion's Reckoning' is one of the most sumptuous and highly melodic rock albums that fuses reigned-in prog arrangements with exquisite male and female vocal melodies, sublime harmonies and strong-songwriting.

After a striking pristine piano and spoken word introduction, `Island' is a classy mid-tempo soft rocker that delicately calls to mind the pop era of Fleetwood Mac (not a slight in any way!) with both Dave Kerzner and Heather offering a smooth lead vocal and delivering a silken wistful chorus. `Veil Of Ghosts' climbs in tension with a pleading and intensely heavy chorus weaving around seductive piano, sleek synth rises and droning guitar strains with a wilder dangerous finale where Dave Kilminster really lets rip, and `Lake Sunday' is a dreamy acoustic ballad with lovely sighing harmonies and a gentle ambient caress to close on. `Mountain Spring' is a tough folk piece (yes, that CAN be a thing!) laced with lightly bluesy flavours, with wistful recorder and spirited acoustic guitars strumming stridently alongside symphonic Mellotron reaches, perhaps making it the closest the disc comes to Heather's previous band Mostly Autumn.

`In A Dream' is an elegant ballad with sweeping orchestral-like synths and a powerfully embracing and uplifting finale, `Learning To Be Light' an infectious and sophisticated introspective soft pop-rocker with great bluesy guitar soloing from Chris Johnson, and `I've Seen Your Star' an exotic haunting ballad with the prettiest vocal. After an interlude reprise of the earlier `Island', the album is closed with the almost ten-minute title track, and `The Illusion's Reckoning' is the grandest moment of the disc, a masterclass example of slow-build drama and refinement. Carried by Heather's luxurious voice, it's also full of soaring group backing harmonies, whirling synth soloing and an epic guitar solo from guest Arjen Lucassen in the climax that truly takes flight that will leave captivated listeners craving more.

`The Illusion's Reckoning' may not be some full-blown progressive-rock tour de force, but instead it places just as much emphasis on pin-point sharp song-writing and glorious vocal performances as it does lavish instrumentation. It makes for a sublime background listen or simply an undemanding yet richly performed and intelligent rock work, and is especially a winning showcase for Ms Findlay. If there was any justice in the current music world, the group would be rewarded with a proper crossover success here, such is the appeal `The Illusion's Reckoning' could potentially hold to even non-progressive rock audiences, for those that simply prize intelligent rock song-craft but have little or no interest in `proggy' showboating and drawn out soloing (as much as that's what a lot of us are here for!). Hopefully Heather, Dave and the rest of the musicians won't simply look on Mantra Vega as a fill-in stop-gap group between the `day jobs' of their own projects, because this debut is completely inspired and the band absolutely deserves to be made a priority again in the near future.

Karnataka, Magenta, Mostly Autumn, Touchstone - take note! Mantra Vega have instantly raised the bar for top-quality female fronted prog-related acts, and `The Illusion's Reckoning' is an essential purchase for melodic prog/rock fans!

Four and a half stars.

 Hair In A G-String (Unfinished But Sweet) by TENCH PROJECT, COLIN album cover Studio Album, 2016
4.18 | 167 ratings

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Hair In A G-String (Unfinished But Sweet)
Colin Tench Project Crossover Prog

Review by pawelm

5 stars I'm going to straight to the point. It is brilliant! Everytime Colin Tench is involved in something I got to have it. It is soooo refreshing to still be able to find music and musicians that have an ability to not take themselves 100% seriously. Except for the obvious talent for constructing "catchy" tunes Colin and Co. also are able to put in a huge chunk of humour. It shows that they are having fun making the album, which in turn makes it fun to listen to.

The album is very well paced and despite some of the compositions being quite lengthy, none of them overstay its welcome. Constant twists, loops and changes make you feel like you are on a crazy adventure that can lead you anywhere. That is something that i find difficult to find in most of modern music. That sense of discovery, surprise and excitement. This album has it by the loads.

Even though I enjoy the album and I would put it on some of the highest of my shelves I think there is still more where it came from. Can't wait for the next one, cause they just keep getting better and better. OH, and don't forget to sit through the wohle thing cause Part 4b Redux, although short, might be modern musics answer to Bethovens Opus 55: Symphony No. 3 in E-flat major ("Eroica") that we all have been waiting for!

Much love Pawel

 Grace For Drowning by WILSON, STEVEN album cover Studio Album, 2011
4.22 | 1546 ratings

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Grace For Drowning
Steven Wilson Crossover Prog

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars There's something about this Swilson solo outing. Where the others are much more facsimiles of older material both his and others, this one is fresher and more subtle about its '70's era influences. Whereas so much of his work is tight, overly perfectionist, and in more recent times rote, "Grace For Drowning" is looser, jazzier, and more eclectic. This is perhaps Steven Wilson's last truly great album, at least outside of Bass Communion.

Let's start about where it all ends up with "Raider II". Yeah, part of this sound hearkens back to pre-"Discipline" Crimson, if wonderfully since most of all it takes off of and pays tribute to "Lizard". It means great things since this kind of music was new for Wilson, and he never did it again. It's also a summation of his career, an epic suite bouncing between this new and sounds building off of Porcupine Tree, I.E.M., and Blackfield. And when I say that he builds his later work off of spare parts from earlier, I'm mainly talking about him disassembling this great success and using the creepy choirs for Storm Corrosion and "The Raven That Refused To Sing", and hollow approximations of the rest for the horrid "Hand. Cannot. Erase.". I guess "Raider II" is just that good, it had to be recorded a dozen times more.

Aside from that cut, and similarly longer and more fusion leaning cuts like the one-two punch of the title track and "Sectarian", there are of course the shorter ones. These fall into two categories; first, there are the macabre cuts that finish the shiny and new half of this record, with "Index" and "Track One" another mindblowing combo. Alongside these are tracks like "Deform To Form A Star" and "Like Dust I Have Cleared From My Eye", longform pop prog cuts that put Blackfield and HCE to complete shame. Altogether, great use was made of the space Wilson allotted himself with a double album.

Where the rote part of Wilson's career begins, his golden age comes to a glorious end. This is a beautiful masterpiece, a lesson to himself in how to handle retro prog, crossover prog, and big darn concepts. If only he had taken his own advice...

 Before The Dawn by BUSH, KATE album cover Live, 2016
4.16 | 18 ratings

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Before The Dawn
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

3 stars I'm surprised to be only the second reviewer for this, considering the huge news value of Kate Bush having gone on stage again. One thing is sure: the fans are anxiously hoping and waiting for the DVD release of this three-act concert. (I've said this before, but I strongly prefer DVD's over live albums. And no, I didn't buy this 3-CD, just borrowed it from my library.) Even if Kate's vocals are in a good form and not notably aged, my initial reception was slightly disappointed. The first disc [39:34], or Act One, contains seven unrelated tracks from the albums Red Shoes, Aerial and Hounds of Love ('Never Be Mine' from The Sensual World was recorded when the show was being filmed without the audience). The selection is not very good IMHO, and it's sad that many great albums in her discography were totally excluded. The other reason for my negative feelings was the way the performances are mostly just uninspired replicas of the studio versions.

Act Two: an extended version of "The Ninth Wave" suite that originally formed the B side of the Hounds of Love album. I can imagine the spoken-oriented extensions increase the drama level on the concert when you are/were there (I wasn't, sadly), but on audio-only they become a mere nuisance. And for the music itself, the arrangement here follows very closely the original form, meaning that a lot of sounds and vocals are not real live at all. As a listening experience this theatre-oriented performance is a bit frustrating in several ways, hopelessly losing to the superb original without really adding new MUSICAL ideas. The happy final part, 'Morning Fog', offers the band a good opportunity to blow some extra life into the playing, but, even if it's the one that differs most clearly from the original, it sounds somewhat lame here. The line-up is top-notch: David Rhodes, John Giblin, Jon Carin, Omar Hakim, etc. After listening to two CD's I felt disillusioned.

Act Three: "A Sky of Honey", ie. the suite of the 2nd disc of the 2005 Aerial album. During this 73-minute disc my reception turned for the positive. Maybe it's because the music of this suite is airier, softer -- less "artificial" if you know what I mean -- , the live performance of it functions extremely well. Finally the band finds its real strength. Already the 'Prologue' part contains extensions that are musically inspired, and the suite becomes a cathartic listening experience, even more so than it was on the album. The new song 'Tawny Moon' is sung by Kate's son Bertie (whose name I fail to find from the booklet?) and it's a very good addition to the suite. From the 2011 album 50 Words for Snow comes 'Among Angels', a beautiful melancholic piano song of the purest Kate Bush touch. And the encore piece 'Cloudbusting' is gorgeous.

The weakest part is the first act, especially being a missed opportunity in a discographical sense. Act Two made me only crave for the visual side of the performance (the pictures reveal it's awesome). Act Three finally made an impression on me, but I guess I have to rate this with "only" three stars. Hopefully the DVD will be released some day.

 Days Of Future Passed by MOODY BLUES, THE album cover Studio Album, 1967
4.17 | 692 ratings

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Days Of Future Passed
The Moody Blues Crossover Prog

Review by Tapfret
Prog Reviewer

4 stars The lore surrounding the genesis of this concept album and foundation piece for progressive music has several different versions. The version I always heard was the record company approached The Moody Blues to record a rock n roll side of an album while an orchestra would record the other as a demonstration of a fancy new recording system. There is also the more common, and now seemingly refuted version, that the record company intended the album to be an adaptation of a Dvorak symphony....as a demonstration of a fancy new recording system. Whichever it was, it wasn't. Except for the fancy new recording system. The quality of the recording is absurdly clean for 1967. And before anyone asks, yes, I am familiar with the original pressings that occurred prior to the 1978 restoration. The transitions between The Moody's and the London Festival Orchestra appear seamless.

The concept, lifetime in the stages of a day. Perhaps not original, even in 1967. But conveyed with undeniable sound and lyric allusory precision. Even the poetic intro and closing are strong elements to the story. I am not aware of the level of cooperation between the orchestra and band as far as the arrangements go, but the orchestral parts serve almost exclusively as transitional elements. The music is not flawless. In particular Peak Hour, the lunch time theme, which feels completely out of place. Capturing that frantic midday pace with something as groundbreaking as the remainder of the album is somewhat of a metaphor for the frantic pace at which music itself was changing in 1967. As the only real stinker of the album closes side A (for those of you following along on vinyl), the true beauty of the album unfolds on side B as the afternoon-night sections. Tuesday Afternoon, the second most popular single for the album, is permeated with Mike Pinder's mellotron. This fades to the haunting verses of the evening and Twilight Time. This section provides what is certainly the most fluid orchestral to rock transitions. The Sun Set in particular incorporates slow bongo and flute for a safari-like feel, conveying the daily vacation as the work day ends. Then we get to the most identifiable single in the Moody Blue's entire discography, Knights in White Satin. The beautiful lamentation that moves even the most stagnant soul. One could, and I'm guessing some have, write a philosophy dissertation on the meaning and gravity of the few short verses.

I've gone through different stages of finding more or less importance of this album personally, but its place in the history of progressive music is undeniable. It is not perfect, but it is amazing and borders on essential.

 Persona by MATOS, ALEJANDRO album cover Studio Album, 2006
3.22 | 18 ratings

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Persona
Alejandro Matos Crossover Prog

Review by Modrigue
Prog Reviewer

4 stars Heavy gothic prog

Third studio album by multi-instrumentalist Alejandro Matos, "Persona" is quite daring in the progressive rock landscape, as well as in the artist's discography. The record consists in various heavy, depressive, tortured prog songs, including a few instrumentals, but wearing the clothes of 80's gothic rock / cold-wave. Kind of KING CRIMSON and ANEKDOTEN meet THE CURE and CLAN OF XYMOX. In 2006.

Pretty original and uncommon, the result works very well, creating a special melancholic, somber and claustrophobic atmosphere. Furthermore, the quality of the compositions is homogeneous and the music remains accessible.

This particular ambiance can be perceived from the very beginning of the disc. "Dos mil ańos de tierra" is a gloomy gothic lament, powerful and touching. The slow "El camino de la mala suerte" and its sinister bass seems like suspended in time, while "La plaza equivocada" is a paranoid and melancholic heavy prog title. The atmosphere is slightly but constantly shifting: mystical cold wave with "La justificación de los nuevos dientes", supported by its saturated guitar and organ, and depression with the piano rock "Pecado de pecar" and its Spanish tone. Longest track of the album, the dark heavy progressive "Guerra de silencios" alternates tortured and calmer passages. Beautiful, but a bit lengthy. The scission between the two halves is made via the spacey ambient interlude "Fracasos bajo fianza", well suited for an horror movie.

The somber eerie "Estatuas de agua" is a nice cold wave ballad turning surprisingly raging. Great! Darkness stays again with the lament "Teléfonos de negro" and its crying guitars, whereas the little jazzy "Gritos de mańana" possesses strange flangered sonorities. Back now to THE CURE's "Pornography" days with the icy gothic "Dormir", one of the best songs of the disc, prolonged by the cold wave and depressive tortured rock of "Las buenas razones del error" and "Maldita persona". Pleasant but a bit repetitive. "Dos mil ańos menos" concludes the record with a nice 80's-esque heavy prog note and a touching guitar solo.

Despite a few lengthy moments, "Persona" offers a very convincing and uncommon mixture of genres, yet accessible, proving that the "progressive" adjective can be applied to styles of music other than those usually referred to, even if the guitar dominates. The inspiration is present, the atmosphere is unique and the interest remains constant after several listens. Therefore this third opus deserves more attention.

Don't miss it if you enjoy 80's gothic rock, cold wave, as well as dark, melancholic and depressive heavy prog!

 Return To Ommadawn by OLDFIELD, MIKE album cover Studio Album, 2017
4.37 | 118 ratings

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Return To Ommadawn
Mike Oldfield Crossover Prog

Review by The Jester

4 stars Mike Oldfield is back! You know, the extremely talented musician who recorded some real masterpieces in the past, like Tubular Bells, Hergest Ridge, Ommadawn, etc. So, after a series of rather unsuccessful albums, (that had nothing to offer really), he decided to surprise us with this new brilliant album! Return to Ommadawn includes two long suites, which brings to memory the vinyl days. One song for each side of the vinyl edition of the album. (Those who grew up with vinyl albums know perfectly well what I'm talking about). So, what we have here, are the two parts of the same suite, both instrumental and beautiful. Mike Oldfield is playing a big variety of instruments, including guitars, piano, bouzouki, banjo, accordion, mandolin, glockenspiel and percussions, among others. There is a strong "essence" of traditional English and Celtic music spread throughout the album, and that is something I think is wonderful, and improves the listening enjoyment. (Well, mine at least). The structure and the changing tunes and motives of these two songs give the impression of different songs, but the truth is that it is always the same song; which keeps coming back to the repeatable main theme every now and then. I don't know about you, but personally speaking I was kind of impressed. And although it is too early, I have the feeling that Return to Ommadawn is going to be one of the albums that will make the difference this year! To those that can appreciate this kind of music at least. If you want my advice, find/buy the album, put it on your device, (PC, CD, vinyl player, or whatever device you use), pour a glass of wine, sit comfortable, and get ready for a beautiful "travel", having Mike Olfield's music as the soundtrack. You will definitely enjoy it! 4.0 out of 5.0 stars.
 The Art of Mind by APOGEE album cover Studio Album, 2015
3.26 | 24 ratings

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The Art of Mind
Apogee Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

2 stars Apogee is a side project of Versus X singer, guitarist and composer, Arne Schafer, and here he provides everything except for drums, which are provided by Eberhard Graef. According to the press release this 2015 album revives the typical characteristics of the golden age of prog, and references Jethro Tull, Yes, Genesis, Gentle Giant, Rush, Zappa and UK. Hmm, I guess that means that the album I'm listening to isn't this one at all, as this is the type of album that gives prog a bad name. Normally, when I come across an album where the opening song is twenty minutes long, and the others are all eight minutes plus then I am singing the praises right off the bat. Here, not so much.

There are bits here and there that are quite pleasant, but just when I think it's just me there is another dire passage, or melody switch that doesn't make sense. It is almost as if he has taken those classic bands and has tried to pull together bits and pieces into a coherent whole, but if he was given a jigsaw puzzle there are pieces missing and he's lost the picture he is supposed to be recreating. I find it incredible that this is his eighth album, as in many this is reminiscent of so many tapes I was being sent more than twenty-five years ago, although in fairness the production is a lot better (and easily the best part). My last review of an Apogee album had me feeling rather the same way, that this is likely never to darken my player again.

 Return To Ommadawn by OLDFIELD, MIKE album cover Studio Album, 2017
4.37 | 118 ratings

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Return To Ommadawn
Mike Oldfield Crossover Prog

Review by TheCaptain

5 stars Mike you beautiful son of a gun. After all this time you come back and manage to create a strong contender for best album of the 2010s. "Return to Ommadawn" has got to be the most genuine, beautiful and passionate piece of music out there. Every few minutes is a different emotion, from hope to triumph to yearning, distilled into its purest form.

If you're familiar with Mike Oldfield then it's a return to form of his 70s classics + Amarok with a modern sound (well, 2017 modern anyway) and perhaps a touch more new agey stuff. If you have no idea what to expect from Mike Oldfield then it's instrumental progressive "world music" with a Celtic leaning, often propelled by powerful guitar and evoking a sense of nature.

The only issue I have is the beginning of Part 2 is too good. After the first five minutes are over, I chase that dragon and barely pay attention to the next few minutes. I got a little misty-eyed the first time I heard it, and it still moves me dozens of listens later. And yet, the album doesn't take itself too seriously; there are plenty of parts where Oldfield's obviously having fun.

5/5 stars without a doubt in my mind.

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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
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
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
ASTRONOMY United States
ASZENSION Canada
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