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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 15/1/2021

Scott (Evolver)
Keishiro (DamoXt7942)
Cristi
Ken (progaardvark)

Crossover Prog Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Crossover Prog | More Top Prog lists and filters

4.31 | 1691 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1420 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1626 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.28 | 2193 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.23 | 1024 ratings
DOOMSDAY AFTERNOON
Phideaux
4.19 | 1828 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 922 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 1077 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 861 ratings
SNOWTORCH
Phideaux
4.19 | 882 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.17 | 786 ratings
THE UNDERFALL YARD
Big Big Train
4.17 | 477 ratings
HOUNDS OF LOVE
Bush, Kate
4.13 | 1239 ratings
TUBULAR BELLS
Oldfield, Mike
4.14 | 564 ratings
~
Iamthemorning
4.16 | 412 ratings
SPIRIT OF EDEN
Talk Talk
4.12 | 631 ratings
NIGHT
Gazpacho
4.10 | 857 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.20 | 176 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.28 | 106 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.17 | 200 ratings
SHINY EYED BABIES
Bent Knee

Crossover Prog overlooked and obscure gems albums new


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

NARROW-CASTER
3RDegree
GLOSSOLALIA
Walsh, Steve
CORPUS
Talisma
VOICE
Capability Brown

Latest Crossover Prog Music Reviews


 Chaptersend by MOGADOR album cover Studio Album, 2017
3.61 | 19 ratings

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Chaptersend
Mogador Crossover Prog

Review by andrea
Prog Reviewer

4 stars "Chaptersend" is the fourth studio album by Mogador, an interesting prog band from Como, Lombardy. It was released in 2017 with a renewed line up featuring Richard George Allen (drums, vocals, percussion), Luca Briccola (guitars, keyboards, bass, flute, backing vocals), Salvatore Battello (bass, guitars, backing vocals), Samuele Dotti (keyboards, backing vocals) and Marco Terzaghi (vocals) plus some guests such as Jon Davison (vocals), Ida Di Vita (violin) and Elisa Salvaterra (flute). According to the liner notes in the booklet, this work represents "a sort of end and beginning at the same time". The band evolved from a simple studio project to a real band playing live on stage and took the chance to refresh their early repertoire reshaping in an effective way same old pieces...

The lively opener 'Summer Sun' is a celebration of the sun and of its sparkling force in a summer day. The music every now and again could recall PFM while the lyrics are taken from a poem by Robert Louis Stevenson of the same title included in the 1885 collection 'A Children's Garden of Verses'.

Next comes the powerful 'The Escapologist', a beautiful piece inspired by the life and death of Harry Houdini (1874-1926), a world-wide famous Hungarian-born American escape artist, illusionist and stunt performer. For a trick of the fate, the death-defying man of mystery who performed at least three variations on a buried alive stunt during his career eventually ends up in a box from where there's no way to come out... His coffin!

'Deep Blue Steps' is beautiful track that tells of a suggestive descent into the subconscious and of desires you can't control. It's linked to the following 'Still Alone', a new interpretation of Edgar Allan Poe's poem 'Alone', where the poet describes the tragedy of not being part of the crowd. This new version is very different from the one from their previous album "Absinthe Tales Of Romantic Visions", more complex and refined...

'Josephine's Regrets' features the backing vocals of the guest Jon Davison and is a lovely emotional portrait in music and words of Napoleon's wife Joséphine de Beauharnais, a patron of arts whose Chateau de Malmaison was best known for its rose garden, which she supervised closely...

'Breaking Day' is a colourful musical tableau where the music and words depict a hill landscape before the storm. It leads to the dramatic 'Gentleman John', a piece dedicated to the memory of Anthony John Morgan (1959-2000), an English writer and expert on etiquette best remembered for his column in London based daily newspaper The Times...

The new version of 'Tell Me Smiling Child', a folksy ballad with lyrics taken from a poem by Emily Bronte, introduces the long, complex 'Fundamental Elements Suite', divided into five parts: The Tide's Undertow, The Salamander, Floating In The Void, Mammon's Greed: Eternity's Gift and Mammon's Greed: Infinity's Price. The band here deconstructed and rebuilt some pieces from their 2009 debut eponymous album giving them a more coherent, convincing form. The music and lyrics deal with environmental issues, passions, fears, greediness, freedom, respect for Mother Nature... A great finale!

On the whole, an accomplished and mature work from a band that deserve credit!

 Anthology 2 (Groups and Collaborations) by HOWE, STEVE album cover Boxset/Compilation, 2017
3.00 | 1 ratings

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Anthology 2 (Groups and Collaborations)
Steve Howe Crossover Prog

Review by Matti
Prog Reviewer

— First review of this album —
3 stars In 2015 was released the 2-cd Steve Howe compilation Anthology, subtitled "A Solo Career Retrospective". Anthology 2 covers a much bigger portion of this extraordinary guitarist's diverse musical path: two discs are an absolute minimum to make a chronological run- through from Steve's first ever recording at the age of 16 (a Chuck Berry cover 'Maybelline' by The Syndicats) to the Yes album Heaven & Earth (2014).

The journey leads us through ten different bands! Let it be said right away that the best-loved era with YES, ie. the whole 70's, is represented with only three tracks ('Roundabout', the instrumental beauty 'Montreux's Theme' and 'Tempus Fugit' from Drama, 1980), "due to the high number of re-releases" as Howe says in his track-by-track liner notes. I think that's a wise decision, without which just two discs would have been painfully inadequate. I confess I spent very little time with the first half of CD 1, the sixties stuff. The Syndicats (the other track here also being a cover) was followed by r&b oriented The In Crowd featuring Keith West on vocals. "As if through metamorposis, we transformed into a psychedelic band": TOMORROW is represented with four songs. CANTO was a short-lived trio which evolved into BODAST when vocalist Clive Skinner joined in.

After the mentioned YES section comes four ASIA songs from the super group's early 80's era, one of them (Howe's composition 'Masquerade') being a previously unreleased instrumental. Disc 1 is finished with two songs from GTR, the equally commercial act led by Howe and his namesake Hackett.

For an acquainted listener of Yes, Asia and related, disc 2 in general is perhaps the least eye-opening or interesting part of this release. The albums represented are e.g. ABWH, Keys to Ascension 2, Open Your Eyes (the Anderson-Howe duet 'From the Balcony'), The Ladder and Magnification. Then comes two pieces of traditional guitar/organ/drums jazz of STEVE HOWE TRIO. The original ASIA quartet returned with Phoenix (2008) and continued with albums Omega and XXX. The Yes albums Fly From Here and Heaven & Earth are represented with one song each.

The third disc contains various collaborations and is IMHO the most rewarding part of this release. Here the majority of pieces were new to my ears, although there are legitimately 'Time and a Word' with FISH and 'Turn of the Century' with ANNIE HASLAM. Other collaborators include e.g. PAUL SUTIN, OLIVER WAKEMAN, KEITH WEST and MAX BACON (the vocalist in GTR). The music is mostly not very proggy but fairly pleasant pop/rock anyway. Three strong stars are well deserved due to the easy-to-follow and verbally commented representation.

 Generation 13 by SAGA album cover Studio Album, 1995
3.94 | 164 ratings

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Generation 13
Saga Crossover Prog

Review by friso
Prog Reviewer

4 stars In the second halve of the nineties modern neo-progressive rock was reinvented by bands like Pallas, Arena, IQ, Pallas ánd Saga. WIth 'Generation 13' Saga released a concept album that is quite sophisticated and progressive compared to their often more crossover prog style. The band leans on the work of Pink Floyd's The Wall when it comes to how varied and psychedelic a concept album should be. Furthermore, the band tries to portray it's own troubled generation here. The album has a slightly vague and dated production that does give it a very distinct neo-prog atmosphere. The guitars of Ian Crichton are great as usual and he plays some of his best riffs on this album (take for instance the main theme 'Generation 13'). Vocalist Michael Sadler sounds a bit less 'pumpin' on this album, more refined I would say. I can also hear some influences of nineties alternative rock on this album. This is the type of concept album that launches different styles of songs in quick succession (symphonic, rock, psychedelic, spacey, folky) and throws around some reprises as well. For instance; a song like 'Danger Whistle' starts like psychedelic folk song, changes into a spacey symphonic track and ends up in a horror-type of film music. It is followed by a psychedelic funky snippet before entering the neo-prog classic title song. There are strange vocal effects and spoken word snippets all over the place and I'm guessing some listeners aren't too happy about it. I must admit that at first I though this album had some great tracks hidden between quite a lot of semi- interesting psychedelic fluff, but the album can grown on you I found. Like most neo-prog it is distinctly hard to 'get into' if you are not already a great fan of the genre. 'Generation 13' is a sort of minor masterpiece of the neo-prog genre and a bold move that might just have inspired groups like IQ and Arena to start working on their own concept albums later in this decade. A remixed / remastered version of this on a double vinyl would be nice (hint to record industry)!
 To the Bone by WILSON, STEVEN album cover Studio Album, 2017
3.56 | 506 ratings

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To the Bone
Steven Wilson Crossover Prog

Review by The Crow
Prog Reviewer

2 stars I still can't figure out how one of the brightest minds in progressive rock today released an album like To the Bone. Completely irrelevant, uninspired, and to top it all, overproduced!

In a way I can understand Steven Wilson's attempt to get out of his comfort zone. After three complex albums, very progressive and following a more or less homogeneous path, I understand that I would like to do something different.

But this collection of pop-rock songs with electronic glimpses leaves me very cold, except in some (rare) moments in which the genius that we all know that Steven Wilson carries within emerges.

A full-blown disappointment.

Best Tracks: Pariah (good vocal melodies), The Same Asylum as Before (although it contains a riff copied from the song Another Way by Savatage) and Detonation (intense instrumental interlude)

My Rating: **

 Argent  by ARGENT album cover Studio Album, 1969
3.10 | 78 ratings

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Argent
Argent Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars Frustrated by lack of commercial success with The Zombies and seeing the writing on the wall for the changing music tide of the late 1960s despite a few hit singles in both the band's native UK as well as across the pond in the US, Rod Argent grew exhausted from chasing all those psychedelic dreams of the 1960s and longed to jump on the bandwagon of the nascent progressive rock scene that was taking the world of rock and roll to the next level. Ironically The Zombies' final album "Odessey and Oracle" has gone down as one of the most important albums in rock history but that would take many decades to cement its classic status having been commercially unsuccessful upon its time of release.

With the initial intent of simply nudging The Zombies into hard rock / prog hybrid effect, after all was said and done, Rod Argent and Zombies vocalist Colin Blunstone decided to part ways which meant Argent had a stockpile of new material free for exploit. After recruiting his cousin and former Mike Cotton Sound bassist Jim Rodford along with drummer Bob Henrit and guitarist Russ Ballard (both formerly of The Roullettes and Unit 4 + 2), Rod Argent formed his new band with his last name ARGENT providing the moniker. This band enjoyed a bit more success than the previous Zombies with several top 40 singles manifesting in both the UK and US during the band's first half of its career. Argent himself handled keys, guitars and lead vocals.

ARGENT was basically the logical next step for where The Zombies would've headed had they stuck it out. This eponymously titled debut album was recorded and released in 1969 and crafted the blueprint for the style that would make ARGENT one of those typical sounding rock bands of the 1970s much like bands like Mott The Hoople, Deep Purple and Rainbow, that being highly melodic songwriting with a hard rock gusto accompanied by adventurous organ rolls which is the key element that added them some prog kudos in certain circles but despite a few progressive accouterments finding their way into the mix, ARGENT was really about writing instantly catchy hits graced by the Rod Argent's excellently emotive vocal style.

For true progheads, ARGENT's debut isn't the place to begin and they should fast forward to the 1974 album "Nexus" but if really good classic 70s rock appeals to you then ARGENT's earliest albums including this debut are decent albums. While not a major success quite yet, this debut caught the attention of Three Dog Night who covered the band's single "LIar" and took it to the top 10. This was an admirable beginning as ARGENT was just getting it's bearings after reemerging from the ashes of The Zombies but the following albums would get stronger however if you want to comprehend the progression of the band then this debut album is by no means a waste of time, just not as strong as what came next.

3.5 rounded down

 Walking Up That Valley by NEEDLEPOINT album cover Studio Album, 2021
3.99 | 46 ratings

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Walking Up That Valley
Needlepoint Crossover Prog

Review by mental_hygiene

4 stars Walking Up That Valley is the new Needlepoint album, a band that is categorized as "crossover prog", but really should be considered canterbury scene. This seems to be their first album that's catching the attention of the prog community, but is their fifth overall. The most prominent influence throughout this album is Caravan, with Bjorn Klakegg's vocals sometimes verge on sounding just like Pye Hastings. However, I wouldn't reduce this band to just Caravan. The production sometimes reminds me of the softer King Gizzard records. That might be a stretch, but the point is that this is a very interesting blend of psychedelia and canterbury quirkiness in a rather lush and pastoral setting.

Rules of a Mad Man opens the album and quickly envelops your ears with the excellent blend of acoustic guitars, organ, piano, and the rather charming vocals. Their singer has a strong norwegian accent that might get on your nerves if you're in the wrong mood. I've come full circle, and I think I actually really enjoy it. I love how Rules of a Mad Man strips itself down to a quasi-drum solo section. It's things like this that really evoke the Canterbury sense of jazz while still being rooted in psych rock. I Offered You the Moon follows, another excellent track with a real gem of a synth solo halfway through. Overall, I really appreciate the dynamics on this album. It's refreshing to my ears to hear a 2021 album use so much space and atmosphere in a way that doesn't flood the record.

Web of Worry continues to tone down the record, featuring some excellent drumming that is simultaniously fast paced but atmospheric. I think they generally really nailed the sound of the drums on this record. So Far Away is definitely the most peaceful song on here. It's a very warm and well written ballad. There's even a bit of soul influence on the singing of this song. I cannot get enough of how smooth this album can sound.

Where the Ocean Meets the Sky picks the album back up in energy. While a lot of these songs blend together in atmosphere, it never gets to the point where I can't keep track of each song. The guitars switch often from atmospheric and reverb-drenched comping to orchestrated lines with some interplay with the keys. Carry Me Away continues down this path, this time actually evoking Gong to my ears. Or a less chaotic version of Gong. The choir on the chorus on this song is so beautiful, and I would say is the song that's stuck with me the most from this record. it also is the song that depicts the cover art in its lyrics.

Another Day, the penultimate track, continues with the lush vocal harmonies. The keys add a slight harpsichord-esque classical flair that really compliments the song. Walking Up That Valley, the title track, is an evocative and peaceful track that recounts the titular journey into the valley. The lyrics might be a bit cheesy, but I really appreciate this track regardless. It's the most prog-folk song on this record, driven by acoustic guitar and slowly adding soft percussion and bass as it (oh no I'm gonna say it) progresses. I really appreciate songs that take you on a journey and can pull it off. It's a well executed terminal climax. It sadly ends on a bad note, something I was really disappointed by. It closes on a guitar solo that just fades out, which is really bad because it sounds like the album was supposed to continue. It's a shame that the album doesn't properly close.

Overall, Walking Up That Valley is a very calm, refreshing, and beautiful collection of neo-canterbury songs. I think this is a very masterful record, there's so much detail in each song between the production, the mixing, and the orchestration of it all. I'm looking forward to listening to their earlier albums. Needlepoint is an excellent band, and I really hope that this album is their break into the prog community and hopefully broader.

 Act II: The Meaning Of, And All Things Regarding Ms. Leading by DEAR HUNTER, THE album cover Studio Album, 2007
4.05 | 296 ratings

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Act II: The Meaning Of, And All Things Regarding Ms. Leading
The Dear Hunter Crossover Prog

Review by Kempokid
Collaborator Prog Metal Team

4 stars The issue with the idea of making a 5 album long concept album is a twofold one. Not only does it become that much more crucial that each part is able to garner a strong positive reception, lest nobody actually cares and you've shot yourself in the foot with such lofty goals, but you've got to make sure that the music, but you also need to make sure that the music itself has merit even without the narrative aspect of it. The Dear Hunter proved to succeed in both of these areas with their debut, but would only end up outdoing their ambition with its 2nd act. Not only is this album double the length, but it also finds itself pulling from a broader range of influences and adding considerably more detail to the already busy sound they put on display. There might be some flawed bits in this one, especially with its length paving the way to some filler, but even so, Act II certainly pushed the band forward, even if it wasn't quite as good as what they'd become soon after.

One aspect that I feel Act II did particularly well is the way most of these tracks transition into each other cleanly and cohesively, almost making it all feel like one big suite, reinforcing the feeling of it all being one constantly progressing story arc. It not only provides some appeal for those who just want to listen to the album, as it's nothing intrusive and has some charm, especially with the way it can fall into reprises of those previous songs, but it further rewards those who have interest in the narrative components of the band's writing. The first couple of songs of the album reveal that despite some of the rawness being cut out of their sound in favour of more detailed symphonic arrangements and the like, that both the sense of melody and powerful intensity remain completely intact. The Lake and The River especially represents this with its gorgeous melodies and often upbeat instrumentation being paired with Casey's vocals being equal parts melancholic and passionate. Often even during the more subdued sections, you'll find the backing vocal arrangements carrying these more fierce qualities instead. This song all culminates in both aspects crashing together with some wonderfully distorted guitar to bring it all to a climactic close, with its little coda then acting as a perfect leadup to the next song.

The more progressive angle to the band also shines through quite a lot here, bringing forth a vast array of emotions that represent the tumultuous story that's being conveyed. So many of these songs even on their own end up effortlessly moving through so many ideas, whether it's The Church and the Dime's gradual shift from a sense of exploration and curiosity to desperation and sorrow, or the total stylistic 180 of The Bitter Suite I & II, Act II remembers to almost always keep the listener on their toes. Despite all the effort made to bring a much more refined sound to the table, there's also no doubt that The Dear Hunter still know how to have some fun with things. For every beautiful, heartfelt songs this has, such as The Bitter Suite III, you've usually got something far more upbeat waiting for you right after, such as Smiling Swine, a song that manages to sound so gleeful that it becomes borderline unhinged. This balance the album strikes is its strongest quality, keeping things varied in multiple ways and providing so much compelling contrast from song to song due to how tastefully both extremes are handled.

Unfortunately, even with so much done right, Act II still ends up being one of the band's weaker albums due to the way its flaws prevent this from being as enjoyable a full album experience as it by all rights should be. A lot of this comes down to the way the final few tracks fall rather flat for the most part. The aforementioned sense of balance that ties much of the album together falters by the end, with the multitude of more sombre, emotional songs becoming quite draining. This feels both because of the more homogenous sound this last stretch has as a result, combined with the length of the album beginning to be felt in these final few songs, turning a potentially minor misstep into something that feels far larger, and making it all a bit of a slog to get through. It's not really the end of the world by any means, mind you, the album's still great, but the drop in quality that rears its head by the end stops this from reaching its incredible potential.

Despite the issues I may find the album to have, I cannot deny the fact that this is an amazing album that improves almost everything great the band had already established while also feeling like its own distinct identity, rather than just a 2nd part of the same album. So much this album does highlights why The Dear Hunter are one of my favourite bands out there right now, with the progressive and indie rock core being elevated by a lot of theatrics and embellishments to nail that rock opera aesthetic in the best ways. Even with my complaints, I feel like this is a good entry point into the band's earlier sound, captures their intensity while demonstrating their more elegant, beautiful moments, giving the listener a good overview of the band while also showing them some of their best songs as well.

Best songs: The Lake and the River, The Oracles of Delphi Express, The Bitter Suite I & II, Smiling Swine

Weakest songs: Blood of the Rose, Where the Road Parts

 First in a Field of One by REED, ALAN album cover Studio Album, 2012
3.66 | 38 ratings

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First in a Field of One
Alan Reed Crossover Prog

Review by friso
Prog Reviewer

4 stars Alan Reed (known as the former lead singer of Pallas) returned to the progressive public with this release from 2012. This very well produced and great sounding record is a mixture neo prog and adult oriented eclectic poprock. The instrumentation is varied and has some prog sophistication, but atmospherically the album never gets very complex. Alan Reed has a beautiful voice and as a fan of Pallas you are almost certain to like his singing and songwriting on this record as well. The album doesn't have weak points and because of the musical variation it remains entertaining throughout. For instance, the opening track has modern folk influences (to the point of sounding a bit like a travelling commercial) and the last track sounds a like a jazzy cabaret song. Though I miss the seriousness of the full blown neo prog experience, the poppy moments of this record are quite nice. The guitars sound very epic on this record as well. 'First in a Field of One' is slightly more consistent than its follow-up. I'm going with a 3,5 star rating here.
 4 ˝ by WILSON, STEVEN album cover Studio Album, 2016
3.52 | 527 ratings

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4 ˝
Steven Wilson Crossover Prog

Review by The Crow
Prog Reviewer

3 stars In the time elapsed between the incredible Hand Cannot Erase and To the Bone, Steven Wilson released this compilation of previously unreleased songs recorded in the sessions of his two previous albums!

And while the record opens in an impressive way with My Book of Regrets, it is true that later it becomes something more conventional and of a more moderate quality.

However, Steven Wilson fans will have a great time with good songs like Happiness III, the touches of No-Man that Sunday Rain Sets In has, and Vermillioncore, which seems to be taken from the In Absentia sessions.

Nevertheless, I consider 4 ˝ a minor album in Wilson's career.

Best Tracks: My Book of Regrets and Vermillioncore.

My Rating: ***

 David Byrne & St. Vincent: Love This Giant by BYRNE, DAVID album cover Studio Album, 2012
4.10 | 12 ratings

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David Byrne & St. Vincent: Love This Giant
David Byrne Crossover Prog

Review by santisoux

5 stars This is probably the best music I've heard in 2012. All the tracks presented in this authentic album have turned the experieicne of listening to music to a completely new level. Despite the fact of not being per se a progressive rock album in the classic way, this production presents probably the best meloies and harmonies St.Vicncent has ever produced. Byrne has managed to crystalize things alredy approached by her in previous albums. And still the collaboration seems fresh, mindblowing and delightful. It's an entire journey of musical endeavours packed togehter as a sort of gift to the rest of us. The places we are all drawn to are catchy, full of twists and energetic vocals from both of them,. and the brass enssemble that joins them takes the harmonies to unexpected situations. I recommend this for any one who wants to hear something different, something that sets the colck in a different direction. Not recommended for people who consider prog as the only milestone in music.
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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
22 Norway
3 United Kingdom
3 United States
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
A2RK United Kingdom
AARDVARK United Kingdom
AARDVARK' Finland
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACCION ROCK BAND Spain
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AGRABAH Argentina
EDUARDO AGUILLAR Brazil
AHOORA Iran
AKACIS United States
AKENATHON Argentina
AKIN France
AKROPOLIS Denmark
ALEPH Australia
ALIAS Italy
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALPHA LIGHTING SYSTEM Mexico
ALPHAJORGE Brazil
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
AMARTIA France
AMAZING MACHINE Norway
THE AMAZING Sweden
AMBERFIELD Germany
AMBIGRAM Italy
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
APE AMPLITUDE Germany
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
APPLESMELLCOLOUR Spain
AQUA TALK Turkey
AQUACADIA United States
AQUILA United Kingdom
THE ARBORIST United States
ARC OF LIFE United States
ARCA PROGJET Italy
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
ASHES IN SAPPHIRE Venezuela
ASIDE BESIDE France
ASIMÉTRICA Mexico
ASSUAGE United States
ASTRAL BAZAAR Finland
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
ATRAVAN Iran
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
AVOCADO MOON EXPERIMENT Italy
AMADEUS AWAD Lebanon
DAVID AXELROD United States
AZURETH Multi-National
BABAL United Kingdom
BACKHAND Venezuela
BACKWARD RUNNERS Poland
BAD DREAMS Argentina
BADWATER FIRE COMPANY United States
JOE BAILEY United Kingdom
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
BALEIA Brazil
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
THE BARDIC DEPTHS United Kingdom
THE BARDS OF ANTIQUITY United States
NICKLAS BARKER Sweden
BARNUM'S FREAK Italy
BARON United Kingdom
BARON MUNCHAUSEN Multi-National
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