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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

4.31 | 1487 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 1240 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1918 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1353 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.22 | 927 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 1683 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 818 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 789 ratings
SNOWTORCH
Phideaux
4.17 | 973 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 759 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.17 | 702 ratings
THE UNDERFALL YARD
Big Big Train
4.18 | 516 ratings
~
Iamthemorning
4.13 | 568 ratings
NIGHT
Gazpacho
4.33 | 90 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.30 | 101 ratings
SON
Obiymy Doschu
4.24 | 139 ratings
INFERNAL
Phideaux
4.10 | 1082 ratings
TUBULAR BELLS
Oldfield, Mike
4.13 | 398 ratings
HOUNDS OF LOVE
Bush, Kate
4.21 | 160 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.13 | 348 ratings
SPIRIT OF EDEN
Talk Talk

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
FOLKLORE
Pez
PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof
VOICE
Capability Brown

Latest Crossover Prog Music Reviews


 Sisyphus by TEN JINN album cover Studio Album, 2017
4.23 | 22 ratings

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Sisyphus
Ten Jinn Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

5 stars Formed in 1991, many progheads became fully aware of Ten Jinn with their second album, 1999's 'On A Darkling Plain'. Lead singer/keyboard player John Strauss moved to Sweden in 2001, and although Ten Jinn released their third album 'Alone', in 2003, that was also the year of their final live show at Draken Theater in Stockholm. John returned to the States in 2004, but then undertook a Master's degree program for music theory/composition, and it took a long time for Ten Jinn to become operational again. But, in 2017, a mere 14 years on from their last album, Ten Jinn were back. Joining Strauss was drummer/bassist Mark Wickliffe, and guitarists Ken Skoglund and Mike Matier, so three of the quartet have been there since the debut while Skoglund was in the band for the previous album so this is very much a continuation as opposed to a brand new band trading under an old name.

'Sisyphus' is an eight-part programmatic work that tells the story of the founder and King of Corinth after whom it is named. Because of affronts to the gods while alive, Sisyphus was condemned in death to spend eternity in Hades rolling a boulder to the top of a mountain, only to have it roll back down each time he completed the task. It was originally conceived as a classical work (for string orchestra and piano), and was then reworked to include rock instrumentation and vocals so that it tied in with earlier albums. The band then started working on shorter songs to get it all up to album length, when the idea was mooted to undertake an instrumental mix which would be more indicative of the original concept. So the album contains just two songs, 26 minutes long each, with one being the instrumental version of the other.

Many bands have attempted, with lesser or greater success, to combine orchestra with rock music, but generally these are approached from the rock side first, with orchestra then added to it. Here the reverse is true, as it was originally a classical piece with rock added. There is no doubt that of all rock bands, the one they have most in common with is The Enid, but there is less pomp, more piano. Also, the vocals are very strong indeed, and the result is something that is modern classical, progressive rock, singer songwriter, symphonic metal, all these things and so much more. For all its complexity, it is also an incredibly accessible album, one that feels wonderfully light even when though there is a great deal happening within it. Strange to think that there were 14 years between this album and the previous one as the band are tight, focussed, moving through multiple styles and facets with ease.

Since this release the band have produced the wonderful 'Ziggy Blackstar' album, which is a tribute to Bowie, and John tells me that he has almost completed writing "Worlds: the Four Worlds of the Hopi Cosmology" which is in four movements (worlds) total running time about 60 minutes. Whether they soon get back into the studio, or hit the festival circuit, is a matter of current debate. Whatever happens, Ten Jinn are back, and very much making up for lost time.

 Up by GABRIEL, PETER album cover Studio Album, 2002
4.00 | 543 ratings

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Up
Peter Gabriel Crossover Prog

Review by TCat
Prog Reviewer

5 stars Peter Gabriel's 7th studio album, named simply 'Up', is still my favorite album by the artist, mainly for its originality and extreme use of dynamics. The album was actually reported to be near completion in 1998, but it didn't see the light of day until 2002. At the time of its release, I managed a multi-media store and I was excited to hear this new album. But, I immediately fell in love with it because it was so different from anything else, even his own albums. A lot of customers and employees complained about it and didn't seem to like it, but I loved it then and love it now. Where 'Us' was mostly unemotional and commercial sounding, 'Up' was the polar opposite.

Instantly, from the first track 'Darkness' you get a good example of the extremities of the dynamics in the first minute. The track starts soft and ambient and then scares the life right out of you with a sudden sound explosion and does this throughout the track. There is no sense of traditional song structure in this track, which shows Gabriel's ingenuity.

'Growing Up' is more like the older Gabriel music, not too unlike 'Kiss that Frog' on the surface, but not as commercial with a better use of dynamics. It has that unsettling feeling that is prevalent through this album, but in a more upbeat version and a more traditional structure than the previous track. At one point, two countermelodies play off of each other, which we have heard from Gabriel before. Even after only 2 tracks, you hear a much better album which is more prog oriented, less commercial and many times more original than the previous album 'Us'.

'Sky Blue' starts out ambient again, with some great atmospheric textures and Gabriel's vocals. The music builds little by little as it goes on. Soon, a tribal-inspired rhythm starts, as the main melody repeats with added musical accompaniment and vocal layers. This is a beautiful and emotional track that took Gabriel 10 years to perfect.

'No Way Out' builds off of a nice bass melody and has a subdued rhythm and, even though the overall theme of the album is death, it is the first track to deal solely with the subject. It is kind of a combination of the subtleties 'Mercy Street' and the driving sound of 'In Your Eyes', though more by style and not sound.

Gabriel has later dedicated 'I Grieve' to those who had family in New York on the day of the 9/11 attacks, even though the track was written and performed before the attacks. He suffered through not being able to contact his daughters who lived in New York on that day. This track is quite subdued and quiet, but is very heartfelt, pensive and the vocals even sound grief stricken. At 5 minutes, percussion fades in and a rhythm is established as life is breathed into the grieving process in that life has to carry on. But someone who has to grieve about losing a loved one will always have to return to grief no matter how much time has passed.

'The Barry Williams Show' starts out immediately more upbeat and much fuller. It has some jazz leanings with a brass section and occasional jazz harmonics. The topic of this track is day-time talk shows like Jerry Springer or Montel Williams, etc. The chorus is quite catchy and there are some cool effects throughout.

'My Head Sounds Like That' goes back to an ambient start with a piano and Gabriel's amazing vocals with a very subdued beat in the background. A brass section also appears later. The slight builds suddenly drops off for the bridge as Gabriel sings and then a sudden dissonant and noisy eruption and then back to the main theme again and then a atmospheric ending.

'More than This' is more upbeat again, but the rhythm is not as apparent as you think it should be and even drops off all together at times. The stress is kept on the vocals up until 4:30, when the background builds to bring the song to a glitch-y close.

'Signal to Noise' is my favorite Peter Gabriel tune and one of my all time favorites anywhere. It has beautiful and emotional orchestration alone with Gabriel's vocals and guest vocals from Nusrat Fateh Ali Khan, who died before the track was completely finalized. The instrumentation is absolutely genius and excellent on this one creating tension and drama, the guest vocals are simply amazing. The song builds slowly in a slow burn with vocals pushing the song forward. All of this is done with very little percussion until a sudden explosion at around 4:30 and then the strings begin to get extremely passionate building to a dramatic ending. I absolutely love this track!

'The Drop' is a simple song that ends the album. It is only Gabriel singing with a solo grand piano. It's a very effective ending to this album, quiet and simple.

I know a lot of people disagree with me on this, but I find this to be Peter Gabriel's best album which utilizes dynamics better than most popular music out there. It is many steps above the last album, and I am happy that he still had this amazing music in him. I don't understand why most people look down on this album, other than the fact that it is not commercial like the last one, but to me, that is its biggest strength. I consider it an essential album which shows just how passionate progressive rock can be and still be so innovative. Easily 5 stars.

 The Circle & the Blue Door by PURSON album cover Studio Album, 2013
3.94 | 60 ratings

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The Circle & the Blue Door
Purson Crossover Prog

Review by Warthur
Prog Reviewer

5 stars Purson is one of those bands which is essentially the vehicle for the creative vision of a particular purson - er, I mean person. That purson - sorry, person - is singer-guitarist Rosalie Cunningham, the band's only constant member, and she's set her aesthetic sights firmly on the heavy prog-psych sound of the early 1970s.

The Circle and the Blue Door is an occult-tinged visit to a time when heavy metal, psychedelic rock, and prog hadn't quite diverged into three entirely distinct musical streams yet - an era where it made absolute sense for a label like Vertigo to have acts as diverse as Catapila, Affinity, and Black Sabbath on it and describe them all as "progressive rock".

As time passed the meaning of that term evolved, moved on, and was redefined, as the prog scene focused more on technical wizardry and compositional complexity and the proto-metal scene got shaken up by acts like Budgie or Judas Priest injecting more speed and aggression into the style. Cunningham, however, clearly knows her musical history and understands that there was a time when a heavy psych album could skip its way through early proto-prog/proto- metal territory as the whim took it.

We've seen this before, of course - Blood Ceremony base their entire schtick on it - but this debut album delivers this style in masterful fashion. There's an ugly tendency, especially in prog or metal circles, to question the credentials of frontwomen and to attribute most of the musical and compositional proficiency of a band to male band members, but it's absolutely clear from her guitar's prominence and from her lead role in the songwriting that Cunningham isn't just there for aesthetic reasons.

No, this is clearly music she believes in passionately, and by the time you're done listening you'll be a believer too. With those drum rolls, fuzzy guitar, and production touches, you might even believe that Purson were right there in 1971 opening for Jethro Tull or Black Widow.

 Dial by SHINEBACK album cover Studio Album, 2018
4.00 | 8 ratings

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Dial
Shineback Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars Is it really five years since Simon Godfrey (Tinyfish, Valdez) presented us with the debut Shineback album? Unlike the debut this isn't a concept, but is very much a progression in terms of ideas and approach. "We humans do a marvellous job of failing to communicate with one another, often when it matters most", says Simon. "All the songs on 'Dial' carry that as an underlying theme. Musically, very much like the debut album and last year's 'Minotaur' EP, the new record seeks to hop the fences between genres, just to enjoy the process of getting dirty while in the hunt for buried sonic treasures". Alongside Simon's regular writing partner (and label mate) Robert Ramsay, guests returning from 'Rise Up Forgotten...' include Matt Stevens (The Fierce & The Dead), Dec Burke (Frost*, AudioPlastik, Darwin's Radio), Hywel Bennett (Dec Burke Band) and Henry Rogers (Touchstone, Mostly Autumn). New collaborators Tom Slatter, Daniel Zambas (We Are Kin), Karl Eisenhart (Pinnacle) and Simon's bandmates in Valdez Joe Cardillo and Tom Hyatt are also involved. There are quite a few people taking part, but normally this is just for one song (not all on the same one), so while there are five guest guitarists adding to proceedings, Matt and Karl combine on 'Kill Devil Hills', while Tom Slatter is just on 'Here I Am' and Hywel is on the title track, while Dec allows himself some real attack on 'Consider Her Ways' so it isn't really a guitar fest.

What really makes this work is the deftness and lightness of approach, with Simon using plenty of keyboards to create an environment for his vocals and ideas to really shine. There are times when the music is very much in a light, high register with virtually no bottom end, but this contrasts against a rocky approach, with the feeling that we are back in the early Eighties and synth-based power pop is the order of the day. Just listen to 'Consider Her Ways' and I can guarantee that you will soon be singing along with the chorus and petitioning Chief Elephant to get this released as a single. This is an album which is just plain fun to listen to, and Simon firmly nails his prog credentials to the wall by closing the album with one song that is more than twenty-six minutes long, and one that goes past thirteen.

In many ways it is a very modern album, also looking back into the Eighties and Nineties, bringing together multiple commercial styles with pop and prog to create something that is a load of fun, and never takes itself too seriously. The delicate emotional piano of the title song counterpoints what has gone before, and if ever an album deserves multiple plays it is this one as every time I have listened to it I have gained something else. When the debut album was released, BEM was very much in its infancy, but now is easily one of the most important prog labels around, so let's hope that this release gains the kudos and publicity it deserves, as this is a delight.

 Home Invasion : In Concert At THe Royal Albert Hall by WILSON, STEVEN album cover DVD/Video, 2018
4.97 | 8 ratings

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Home Invasion : In Concert At THe Royal Albert Hall
Steven Wilson Crossover Prog

Review by rdtprog
Special Collaborator RPI / Symphonic Prog Team

5 stars Steven hesitated to record a live concert with his last albums because of he had the feeling that his shows are meant to be seen live and that today everybody can see for free plenty of YouTube concerts. But when Eagle Rock approach him for the Bone tour, he finally accepts. He has chosen the legendary Royal Albert Hall in London to record this show of more than 2 hours and a half. He wanted to create more than your usual concert showing musicians playing on stage. He wanted to add a lot of animations to gives us the best visual experience. As the show goes on, the visuals aspect became more present to keep your attention until the end. For the audio, do I need to say that it's excellent? The new album is played completely, who can blame an artist to promote his album. By playing some proggy songs from Hands Cannot Erase album, I was able to compare the two albums, As good as is the new album, I prefer the previous album because the songs have a little more depth. The band played songs from the Porcupine Tree catalog to satisfy all his fans. The extras have some very professional recorded songs during rehearsals, and a 10 minutes interview with Steven. I gave 5 stars to the previous Steven DVD, so I can't go less than 5 stars again, because it's visually at least better.
 Us by GABRIEL, PETER album cover Studio Album, 1992
3.62 | 449 ratings

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Us
Peter Gabriel Crossover Prog

Review by TCat
Prog Reviewer

3 stars After a long 6 years after Peter Gabriel's excellent and extremely popular album "So", we finally got a new album: "Us". Many fans were waiting and expecting something as wonderful as "So" was, and many people were disappointed. It seems 6 years is what it took for the public to completely understand and fall in love with that album, and when, this album came out, everyone wanted a carbon copy. Even though Gabriel worked to perfect this album and utilized a lot of the same techniques, I think a lot of people didn't want to have to let this album "steep" as long as "So" did, and they gave up on it early.

That is, at least, the explanation I have for the general public in regards to "Us". As far as myself, I have a hard time with this album because Gabriel tried to hard with it. I find it too polished and perfected, and I find Gabriel's music works better when it is more spontaneous and unpolished. Everything just seems to be too careful. The album comes from a difficult time in Gabriel's life, and the lyrics in the album reflect that, but the perfection of a lot of the tracks don't reflect the emotion that is due.

Now that doesn't mean it isn't a good album. There is plenty of great music on this album, but it seems to be a little disconnected when it comes to being personal as "So" was. Gabriel uses the world music influences as with the afro-beats and African influences, but it seems to be pushed to the background more this time around. And, for the most part, the entire album is more subdued. The world beats were so appealing on "In Your Eyes" are too subdued on several tracks like "Come Talk to Me". This worked on the previous album on the beautiful "Mercy Street", but when he tries that formula on "Blood of Eden", it seems to be flat. On the other end of the spectrum, forward push of "Sledgehammer" tries to come forward on "Steam", but it ends up sounding more like a copy than a follow up. In fact, my wife heard that track playing and thought it was Huey Lewis. For me, "So" was the perfect album for a lot of reasons, especially for its originality. "Us" however, tries to become too much like that album, and ends up sounding less emotional and heartfelt.

Now, there are some more original songs here, and that is where the best part of this album lies. For example, "Washing of the Water" is a beautiful song and the first point of the album where Gabriel actually sounds like he feels connected to the music. His vocals are very emotional and the lyrics are extremely meaningful. "Digging in the Dirt" might be repetitive, but it also doesn't sound like a copy from the previous album. It is a great upbeat track, obviously meant to be a single, but it also sounds original and Gabriel even uses some great vocal calisthenics. "Kiss That Frog" is a good rocker about fellatio (it's amazing how the lyrics take on a whole new meaning when you know that), but it's a little too poppy for its own good. At least it doesn't copy anything from "So". "Secret World" is probably the strongest track on the album and feels like Gabriel in his natural element, unique and heartfelt and in no hurry to prove anything.

You do have to dig a little deeper to find the great parts of this album, and a lot of that is because the best parts are buried in the songs that are trying to hard to copy his past success. Fortuantely, "Up", the next album, would prove to be much better and more original, full of emotion and ingenuity. "Us" has always been a hard one for me to get through, but at least the better tracks were left more on the 2nd half of the album. It's just hard to get around the 1st half making this album good, but not great.

 The Gnomon by SUNCHILD album cover Studio Album, 2008
4.03 | 110 ratings

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The Gnomon
Sunchild Crossover Prog

Review by Warthur
Prog Reviewer

3 stars Antony Kalugin's first album from his Sunchild project is essentially Kalugin and a wide range of guest collaborators taking us on a one and a half hour retro-prog journey, And that's exactly the problem - competently performed as it is, it's got the common problem of all too many 2000s-era retro-prog releases in the sense that it outstays its welcome. Sprawling over two discs, I feel like if it had trimmed away the filler and fat and presented us with the best 40-odd minutes of the material here it'd be far stronger.

In addition, Kalugin handles most of the vocals and unfortunately, his voice just isn't up to it. In particular, he's singing in English and it clearly isn't his first language; to be fair, his English is far better than my Ukrainian, but it's a rare vocalist who is able to sing as comfortably and naturally in a foreign language as they do in their own, and Kalugin's chops fall well short of that point.

 Haydenspark by OVERHEAD album cover Studio Album, 2018
4.06 | 9 ratings

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Haydenspark
Overhead Crossover Prog

Review by TenYearsAfter

4 stars "First review of this album"

"An exciting, dynamic and varied Heavy Prog album, but pretty overlooked"

The interesting and acclaimed Finnish formation Overhead has released five studio-albums, I am only famliar with their second effort entitled Metaepitome, from 2005. That one succeeded to generate a lot of excitement, and I noticed that Overhead did their best to create an own progressive sound. After my first Haydenspark listening session I conclude that this new album sounds harder-edged, and the keyboards are more on the background. The atmosphere on the nine compositions is very dynamic and energetic, with strong, good English vocals and often heavy guitar work (Steve Vai and Joe Satriani come to my mind). Also interesting are the lyrics about our endangered society and earth, and the fascinating artwork. My musical highlights.

A heavy and bombastic climate (like early Black Sabbath), metallish guitars, synthesizer flights and a thunderous rhythm-section in Last Generation.

A biting wah wah electric guitar and finally flamenco guitar runs ("wow", I say as an aficionado) in Count Your Blessings.

A captivating contrast between the sound of the flute traverse and heavy guitar in the exciting titletrack.

From dreamy vocals and tender acoustic guitar to blistering electric guitar in the alternating Across The nation.

Between Black Sabbath and Metallica with a lot of tension between the mellow and heavy parts, from classical keyboard orchestrations and acoustic guitar to sparkling flute and biting wah wah guitar, how exciting and varied!

And the wonderful ballad The Fall, first with fragile acoustic guitar runs and warm vocals, then more lush and dynamic with beautiful vocals and soaring keyboards.

Although the level on the compositions is very good, my absolute highlight is the final track Gone Too Far. In my opinion this one epitomizes how varied, dynamic, adventurous and, last but not least, progressive Overhead sounds! First a catchy rhythm with a sparkling flute traverse work (close to Ian Anderson), electronic inspired keyboards and heavy guitar riffs. Then a mid-tempo featuring powerful vocals and dynamic drums, followed by fat synthesizer flights. Halfway the sound turns into more heavy, the interplay between the flute traverse and heavy guitar evokes huge tension, fuelled by a propulsive rhythm-section.

Progressive rock in the true meaning of the word is alive, just listen to the new CD of this awesome Finnish prog band. These musicians have succeeded to blend elements from classic hardrock with a variety of other styles, loaded with surprising and adventurous musical ideas. I am looking forward to watch this exciting Heavy Prog band on stage!

The first edition of this review was recently published on Dutch progrock website Background Magazine.

 Black Riders Part 1 by HEARTSCORE album cover Studio Album, 2018
5.00 | 2 ratings

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Black Riders Part 1
Heartscore Crossover Prog

Review by Jan Scanulfsson

5 stars 'Black Riders Part 1' sees the return of heartscore, the recording project of Germany's Dirk Radloff, assisted by his lead vocalist of choice, known only as Chris. Some two and a half years have passed since his last album and, looking at the strikingly different presentation of 'Black Riders' it would appear a change in mood and attitude has occurred in the meantime. Highly stylised white-on-black graphic art depictions of what I can only describe as a rat-tailed demons adorn both the disc and digipak wallet.

It's worth mentioning that the album is also available in a deluxe format which includes a large hardback book of lyrics with original illustrations by Alexander Stanton. If the music's to your taste and you favour the boxed set audio-visual experience then that's the route for you.

2016's eponymous album was an absorbing brew of rock, classical and tightly orchestrated jazz influences using Radloff's favoured approach of setting poems to music. Two years ago a selection of 19th and 20th Century American writers provided the texts whereas this time the focus is exclusively on the poetry of Stephen Crane.

At this point I have to confess to not being a particular fan of Crane, finding his terse and sorrowful verse lacking in hope or linguistic beauty. An obsessive monothematicism drove me away as a literature-loving teenager and I've never felt the desire to return. However, the economy of his proto-modernist free-verse and the relatively uncluttered language could make them ideal candidates for rock song lyrics, and there's more than enough angst, betrayal and exasperation on which to base a heavy metal album.

Yes, for 'Black Riders' is indeed a heavy metal opus, and not heavy metal in its 70s or 80s guise, but rather the more visceral 'death metal' variant hailing from the 90s and still going strong today.

Out with the disc, into the drawer, press play and here we go :

The first track, 'In The Desert' gets right down to business with a tight woofer stretching low-end from a combination of hard-edged synth bass and electronic drums, whilst the rhythm guitars adopt middle-eastern flavoured guitar riffs.

The production is modern, hard-hitting and loud and a quick check of the disc wallet sees Russell Sinfield credited with mastering. He's certainly taking no prisoners on this disc, whilst managing to control the stereo width and ferociously energetic rhythm section with aplomb.

Chris' familiar polished vocal delivery takes in some very challenging Arabic influenced melodic lines and all with impeccable clarity. I never thought about consulting a lyric sheet throughout the album's 60-odd minute playing duration. A guest saxophonist appears in the guise of Gdaily Garmiza, navigating something of a 'jump cut' tempo change and contributing an interesting modal-jazz solo through the outro.

The album consists of twenty tracks, varying in length from 1:52 to 6:01, and the predominant style is best described as a kind of thrash metal with treated 'industrial' electronic drums which reminded me of Ministry in the early 90s. However, Radloff's classical compositional chops mean there are plenty of surprises in store.

Listen to the third track 'There Was A Crimson Flash of War' which takes a kind of reimagined 'Immigrant Song' groove and creates a pulsating, crushing invasion force. One of the stronger songs which ends all too soon and which I feel could have been developed further

The electronic drums are defiantly synthetic sounding, rather than using samples of conventional acoustic kits, and we encounter an array of detuned and processed low-kicks and machine-gun snares. On more than one occasion I found the toms to be slightly disappointing with their triggered Jan Hammer 'Miami Vice' tone.

Track five, 'I Stood Upon a High Place', was another standout for me with a pseudo-morse code hook allied with edgy and slightly dissonant harmonies. As if Rush's YYZ was rewritten in collaboration with Birtwistle or another arch-modernist.

The title track is a great showcase for Radloff's compositional and arrangement skills as we take in sequenced synth figures, detuned metal guitars and clattering programmed beats before transitioning into a calmer arpeggiated interlude reminiscent of 70s Mahavishnu Orchestra or King Crimson.

The eighth song, 'Behold From a Land of the Further Suns', makes for a pleasant contrast with a bleeping synth sequence and electro-funk beats reminding me of Aphex Twin or Boards of Canada. The IDM mood is developed nicely before a multitracked Radloff choir is introduced, accompanied by antiphonal harmony guitars. Quality writing and a well timed mood change for the album.

The oasis of ( relative) calm continues with the ninth track, the aptly titled 'Once I Knew a Fine Song' , which pushes the drums back into the mix, dips the amplifier gain and allows the bandleader to contribute some sensitive and melodic violin lines.

Radloff's deft composer's touch prevents the industrial metal onslaught from becoming oppressive or overly intimidating. Listen to the wonderful word-painting change in the thirteenth song as Chris sings 'infinite beauty'. Marvellous, and one of the magic moments of the album for me.

Stylistic variety is also on display with the sixteenth track's hints of 80s rock, there's something 'Cult-ish' about the driving electro-rock of 'Gods', and also on my favourite song 'Place Among The Stars' where Dirk channels his inner John Barry to create a kind of mysterious 70s TV theme with imaginative string writing.

The finale, 'Heaven', doesn't disappoint as it builds and develops its opening 'space synth' phrase with more colourful harmony guitars and pulsing programmed rhythm section.

If I had to criticise this album then, as a non-metal aficionado, I feel it's around 15 minutes too long for a single sitting. There were times when the consecutive short tracks of battering, bludgeoning and lyrical bleakness began to overwhelm me and I found my concentration drifting as I thought ahead to the next calmer track. Of course, Radloff is working with preset texts and I think he captures the moods of Crane's God-forsaken realism perfectly.

Occasionally the vocal lines felt awkward or forced with one interval too many and I came away with the impression that a rock singer, if left to their own devices, would take a more direct melodic approach.

However, this is minor stuff in the context of this ambitious and innovative album from heartscore.

Writing music in this fragmented postmodernist era involves choices and conscious decision making. How do we relate to the past and its various cultural and artistic traditions in this 'access all eras' internet epoch ? Is it still possible to be original within the popular music idiom or can we only hope to combine elements of our influences with a little something of ourselves ?

Dirk Radloff through his heartscore project evidently believes that original and challenging combinations are still possible and with 'Black Riders' he's boldly galloping in new and exciting musical directions. Here's to Part Two.

Jan Scanulfsson - 12th November 2018

 Black Mountain by BLACK MOUNTAIN album cover Studio Album, 2005
2.94 | 25 ratings

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Black Mountain
Black Mountain Crossover Prog

Review by TCat
Prog Reviewer

3 stars This is the debut album from the band "Black Mountain", released in 2005. The band leader, Stephen McBean, came from a punk/noise rock background with leanings toward a stoner/psychedelic sound. As he grew in the music industry, his sound matured until he formed this band. The sound is a retro 70's style with alternative and later progressive leanings. The guitars are nice and heavy, the sound is a little dark, and the sound has a great unpolished feel, so it almost takes you back to the late 60's, early 70's era.

There is this really great interaction between the two lead singers, Stephen and Amber Weller, who sounds almost like Grace Slick, but with a unique sound of her own. The music does reflect back to Jefferson Airplane, especially in this first album, but it still feels unique. However, the vocals are at their best when the vocalists sing separately, but the interaction and balance between the singers, many times in the same song, is one of the band's strengths.

Also apparent is songs that are not standard format songs, but have quite a bit of ingenuity to them, keeping them away from the tired and worn out format of verse/chorus structure. The music both feels retro but also current at the same time. It is accessible for the most part, but keeps on the edge of psychedelic throughout the album. The unpolished feel also keeps things very realistic.

On this album, you can hear the beginnings of a really promising band, but it has some weak moments and some meandering sections that might drag a little, but these are things the band would improve on in future albums. They would end up strengthening their good traits, and tighten up their sound on their 2nd album. So, this album might not be the best place to start looking into their music, but it is one that you will want to come back to.

The best part of the album is in the longer, more developed tracks. The songs can be more complex than your standard fare, and that is one of the attractions. The unpolished sound is also one of the things that make the retro sound more believable, and if you didn't know, you would think you were listening to a promising band that never quite made it in the 70s. The highlights here are in the instrumental breaks, and the tracks "Don't Run Our Hearts Around", "Druganaut", "Faulty Times" and the very dynamic "Heart of Snow" which alternates from beautiful and peaceful to harsh and heavy. It is a great album, but with it's share of flaws, so, like I said, try one of their other albums first, then come back to this one.

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Crossover Prog bands/artists list

Bands/Artists Country
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1O1 United States
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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
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ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
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AFTER... Poland
AGATHORN Denmark
AGRABAH Argentina
EDUARDO AGUILLAR Brazil
AHOORA Iran
AKIN France
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ALEPH Australia
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ALL OVER EVERYWHERE United States
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AMBERFIELD Germany
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TORI AMOS United States
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ANDERSON PONTY BAND Multi-National
LAURIE ANDERSON United States
ANGULART Chile
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ANTARES Italy
JERZY ANTCZAK Poland
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ANYWHERE United States
APATHEIA Czech Republic
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APPLESEED Poland
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ARGENT United Kingdom
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