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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)

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Crossover Prog Top Albums


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

4.36 | 674 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.34 | 1204 ratings
CRIME OF THE CENTURY
Supertramp
4.33 | 967 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1412 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.48 | 117 ratings
ONES & ZEROS: VOL. 1
3RDegree
4.24 | 794 ratings
DOOMSDAY AFTERNOON
Phideaux
4.21 | 1333 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 675 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.22 | 404 ratings
~
iamthemorning
4.19 | 791 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.16 | 692 ratings
SNOWTORCH
Phideaux
4.17 | 567 ratings
THE UNDERFALL YARD
Big Big Train
4.15 | 614 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.12 | 484 ratings
NIGHT
Gazpacho
4.11 | 609 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.22 | 137 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.23 | 129 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.11 | 304 ratings
HOUNDS OF LOVE
Bush, Kate
4.06 | 861 ratings
TUBULAR BELLS
Oldfield, Mike
4.09 | 336 ratings
PASSION
Gabriel, Peter

Crossover Prog overlooked and obscure gems albums new


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

BROKEN CHINA
Wright, Richard
FOLKLORE
Pez
ONE OF SEVERAL POSSIBLE MUSIKS
Livgren, Kerry
VOICE
Capability Brown

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Latest Crossover Prog Music Reviews


 Hand. Cannot. Erase. by WILSON, STEVEN album cover Studio Album, 2015
4.36 | 674 ratings

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Hand. Cannot. Erase.
Steven Wilson Crossover Prog

Review by lazland
Prog Reviewer

5 stars How do you follow up the sheer brilliance of The Raven That Refused To Sing? How on earth do you give us a rich and satisfying work based upon the impossibly tragic story of a lady who lay dead for three whole years, utterly unnoticed, and not, apparently, missed at all?

Well, it is a bit of a cliche to state that only the finest artists are capable of managing such a feat. Cliches can be true, you know, and it is absolutely a truism in modern progressive rock that one of the few, possibly the only, artists capable of giving us such a rich, song based, piece of art which satisfies, enriches, takes us on a massive emotional musical trip, is one Steven Wilson.

I know that there are many people reading this review who pine endlessly for a Porcupine Tree reunion. There are others who, with some justification, compare Mr Wilson with one David Gilmour of Floyd fame. I will go one better. I compare him with the other colossus of that band, namely Roger Waters. Not musically, as such, but in terms of an incredible song writer, organiser, producer, and emotional lyricist who has been absolutely freed from the shackles of a collective which had, quite clearly, run its course, free to surround himself with illuminati of rock music, and, make no mistake, Beggs, Govan, Minneman, Holzman ( just listen to that solo on Regret #9, quite incredible), and Travis qualify as this, and simply express himself. The fact that the end result of all of this has been wildly commercially successful is, to my mind, simply a bonus.

I have listened to this album many times prior to putting hands to keyboard to write a review. One of the issues I have found has been the Prog Archives rating system. Masterpiece, excellent, good, with knobs on?

Actually, with repeated listens I have realised the best way to review and rate is simply to allow the music to wash over one, in waves, appreciate this for what it is, that is a concept absolutely drenched in emotion, backed by some of the finest soundscapes it is possible to hear. Transience is one such example. A quite lovely Wilson vocal, with dreamy acoustic guitar, and dark wall of sound behind, provides us with a sad piece of beauty.

One of the reasons for this, by the way, is the staggeringly beautiful performance provided by Ninet Tayeb. Her vocalisation of the "heroine" ( subject is, perhaps, a better description) written and sung about is quite simply one of the finest ever put to record. She has a feel for the subject, with a lovely voice to accompany, and Wilson, once again demonstrating his intelligence, allows her more than sufficient space with which to express herself. The pair of them, with some deceptively simple rhythms backing, produce a simply staggeringly gorgeous piece of music on Perfect Life, which says more in just short of five minutes, than many a twenty minute epic. A wall of sound to equal no other in recent times.

Thence to Routine, which, again, highlights the points I make above. A song rooted completely in ordinary life, and bringing out the emotion inherent in such a life. As in life, the emotions swing wildly, and the band is allowed to shine. The exquisite Beggs bass line, followed by a delicious Guthrie riff, is a joy to listen to. Tayeb is utterly haunting in her recital. The denouement of the vocal duet is simply beautiful.

It all leads up to the tour de force that is Ancestral. This is just about the finest slab of progressive rock one will hear. The deceptively quiet intro leads us into a supreme Govan solo, and, from then, a band absolutely in tune with each other. Beggs is utterly monstrous, and is, to these ears, now vying strongly with Pete Trewavas as the bass exponent of our times. The emotional roller coaster this track takes us on takes the breath and mind away, and it is, perhaps, as heavy and thunderous as Wilson has been heard in more than a few years. It competes strongly, in parts, with the King Crimson Red era as perfect hard rock in progressive clothing, combined with emotionality. I have not had such a feeling since I first listened to Red, or Starless, all those years ago.

We try our best, after this, to come down on Happy Returns and Ascendent Here On... The former brings a tear to my eye. Just a lovely Wilson lyric, backed by piano, guitars, building up to a band in utter harmony. How does he do this.......? How are they so good......?

So, how to rate such an album? Is it worthwhile to simply reduce such a work to a number of stars?

For what it is worth from a personal perspective, I find something new in each and every listen. You know, when you still listen to those beloved classics from the glory years of prog, you still wonder at a particular Hackett lick, Squire note, Bruford pattern, or Fripp invention, to name but a few? This has that. A chill down the spine at a particular passage, and a different one, at that, on each listen. The power to move you each time that you concentrate. An album which, you know, will be played for as long as you are still on this earth, and, hopefully, beyond.

It is timeless. It is brilliant. It is, put simply, a masterpiece. That gives it five stars, as if it needed such a mark.

This is the epitome of modern classic commercial progressive rock (yes, commercial, because he is selling shed loads of albums), and it is rather difficult to imagine a prog rock world without Mr Wilson. He is a genius, and he has added a huge sum to my happiness in life.

 Hand. Cannot. Erase. by WILSON, STEVEN album cover Studio Album, 2015
4.36 | 674 ratings

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Hand. Cannot. Erase.
Steven Wilson Crossover Prog

Review by Sweetheart

4 stars Wilson and T introduced me to progressive rock. I really like Steve Wilson's way of creating atmosphere a lot. On the other hand, sometimes a few more breaks and twists would be required to maintain interest for the whole duration. But sure this is criticism on a high high level. The production is wonderful, and though I think it would do the music good to have a more prolific singer, this is not really a minus for the cd. I am very thankful for the music being a bit pop-like. Else I would never have found out about this "genre" at all! In the end, this counts for a lot, although it might be a minus with reference to being "progressive ". Or maybe it really isn't?
 Shiny Eyed Babies by BENT KNEE album cover Studio Album, 2014
4.92 | 5 ratings

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Shiny Eyed Babies
Bent Knee Crossover Prog

Review by Mellotron Storm
Prog Reviewer

5 stars BENT KNEE out of Boston were formed in 2009 at the Berklee College Of Music. This is their second studio album and this five piece band has 13 guests helping out on a variety of horns and strings. While the singer Courtney Swain is certainly the focus this band is simply "lights out" when it comes to the instrumental work. I've never heard anything like this to be honest, it's one moment melodic and almost poppy then it turns very powerful and intense in an experimental manner the next moment. Some call it Avant Pop or Experimental Pop but that's far from the whole story here. Talk about dynamic, innovative and adventerous! And the lyrics are extremely meaningful and so well done. Back to Courney's vocals, what can I say? She has suddenly become my favourite female vocalist. The absolute sheer power that comes out of her mouth is incredible, but she's doing gymnastics when it comes to vocals, seemingly to be able to sing in any style with perfection.

Up first is "Shiny Eyed Babies" a short piano/ vocal track where she sings about having a baby out of wed-lock and kissing her baby hello while kissing her now ex goodbye and singing about the judgement directed at her. "Way Too Long" is maybe my favourite. A heavy duty intro as passionate vocals come in. "I've has a secret for way too long" is a line she sings and man she can sing. Check out the vocal melody 3 minutes in! Oh my! The instrumental work that joins in kicks some serious ass. I'm laughing out loud at this point in disbelief. The final 30 seconds are spacey.

"Dry" opens in such a cool way instrumentally as reserved vocals join in. Soon she's bringing it hard vocally including those amazing vocal melodies that warble here. The horns before 4 minutes are adventerous then it kicks back in. Some nice violin in this one too. Check out the killer instrumental work late, it's quite experimental. "In God We Trust" opens with picked violin as vocals join in. As it picks up i'm feeling emotion as it starts to groove. Backing vocals here as well. It settles back and again i'm moved. It's building as she repeats certain lines over and over. Great track! "I'm Still Here" opens with a spacey organ-like sound as laid back vocals and a lot of atmosphere join in. Vocals and keyboards 2 minutes in then it becomes fuller. A moving section a minute later with piano, vocals and violin standing out. It's building late as she sings "I'm still here" over and over.

"Dead Horse" has pulsating piano to open as vocals join in and electronics come and go. It settles into a fuller sound before 2 minutes with some excellent violin. I love the spacey calm later after 4 minutes reminding me of Klause Schulze. "Battle Creek" has such a unique soundscape early on with the synths, keyboards, picked violin and spacey vocals. She starts to sing with passion and the instrumental work follows suit. So good! We get a powerful instrumental section 3 minutes in followed by a calm with violin melodies. Gorgeous. The violin adds emotion after 4 minutes as vocal melodies continue then she's singing again late. "Untitled" is a short vocal/ piano piece with lyrics like "Please won't you just raise your voice, I need to know i'm worth an ounce of pain". "Sunshine" is a cover of that old song and it seems fairly normal until she sings in a disturbing way after 3 1/2 minutes and my hair is standing up 5 minutes in as she sings in anger.

"Democratic Chorale" is a short piece with sampled spoken words in the background as the piano plays in a laid back manner. "Skin" has slicing violin as the drums kick in with power and vocals follow. The drums are out in front here. Catchy stuff as the focus becomes the vocals 1 1/2 minutes in. Themes are repeated. It becomes instrumental with honking horns and more and then it turns dark and creepy. Man this is good. Piano only follows before 5 minutes to the end.

"Being Human" is the song that got me into this band, as someone posted a video of them doing it live and it blew me away. It's so pleasant and beautiful early on and this will be contrasted with powerful instrumental jazzy sections. Punchy sounds come and go before 3 minutes as vocal melodies join in. Check out the heaviness before 4 minutes! A spacey calm ends it. Incredible! "Toothsmile" ends the album and synths and vocals lead the way early on. Violin 2 minutes in. A calm then a powerful sound 4 minutes in. It then starts to slow down like a train late but it's still powerful. Love the way it ends.

Man this will be near the top of my fav albums for 2014 for sure. You have to hear this band!

 Ones & Zeros: vol. 1 by 3RDEGREE album cover Studio Album, 2015
4.48 | 117 ratings

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Ones & Zeros: vol. 1
3RDegree Crossover Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

5 stars Back in 2012, an election year here in the U.S., 3RDegree released one of the finest albums of that year, "The Long Division", a scathing critique of the political system, and the way the corporate news outlets portray the process. The album blew me away in it's concept and execution. I really had might doubts that any band could improve upon such an effort. But with "Ones & Zeros: Volume 1", they have accomplished that task.

The concept here is a not too distant, nor unthinkable future, where our present obsession with immortalization through our many electronic gadgets has led to the ability to (if you can afford it) digitize your consciousness, ensuring virtual immortality. This process is overseen by a corporate entity called "Valhalla", that controls these "people" with a mechanical logic. I don't want to give much away, but the story is told with a clever and sophisticated humor, reminding me more than a little of the wordplay of 10CC or XTC. Just the images from the song title [i]Circuit Court[/i] in this context should give a taste of this.

The music itself could best be describes as the vocal tonality of 10CC, with the inventive instrumentation of that same band, except with an underlying complexity reminiscent of Echolyn, with the hooks and power of Spock's Beard. But the mix of those styles brought together, makes the sound truly original 3RDegree music.

I received the album some weeks ago, yet still, every time I listen to it, I hear more and more inside each song. I cannot find anything at all to knock this down from a perfect rating.

 Silence by JONO album cover Studio Album, 2015
4.00 | 3 ratings

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Silence
Jono Crossover Prog

Review by Rune2000
Special Collaborator Prog Metal Team

4 stars After showing the world just what Jono were capable of with Requiem, the band went on to expand on the same principles while adding more depth and grandiosity to their performance!

While Requiem was an excellent album, I felt that there was too much of a contrast between the faster melodically inclined material, the ballads and symphonic compositions that felt like they were performed by a completely different band. Even though I highly enjoy all sides of the band's repertoire, there was a lack of coherency between them. I am happy to announce that this is not the case with Silence where every single composition feels like it has been performed by the same collective. The album features a clear ambition to unify the many sides of the band, in some cases within one and the same performance.

I have been mesmerized by this band's ability to constantly create high quality melodically driven compositions boosted by equally skilled musicianship. Silence has quite a few of these moments scattered all throughout the album with Wasting Time, Your Bread and The One To Blame being the most obvious examples of instantly recognizable tracks that one just can't stop listening to. But even though these shorter and quirkier compositions manage to build the groundwork for an excellent album, it's actually some of the quiet moments that make this album a true gem for fans of progressively inclined rock music. I'm talking about tracks like magnificent Clear and the seven minute Opus which is a multi-suite in the great tradition of Bohemian Rhapsody. It took me quite a few spins in order to uncover the magic behind these two compositions so don't be impatient if you don't happen to enjoy them at first.

Jono manages to keep their unique sound throughout Silence but there are a few moments that sound as if their influences get the limelight, especially on Turn Around which sounds very influenced by ABBA while In My Life picks at Supertramp and Queen. Overall, these influences don't take away from my experience since the material and the performance make these compositions sound very original in their own right.

I highly recommend Silence to fans of art rock bands like Supertramp, 10cc, A.C.T and Queen. It will be interesting to see if Jono will be able to top this album in the future, especially considering that they have so far never managed to disappoint me with their material!

***** star songs: Wasting Time (2:49) Your Bread (3:38) In My Life (5:00) Clear (4:58) The One To Blame (3:03)

**** star songs: Man Of Misery (3:02) Can We Make It (4:17) Turn Around (4:56) Opus (7:09) Josefina (1:17)

 II by PERFECT BEINGS album cover Studio Album, 2015
4.00 | 1 ratings

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II
Perfect Beings Crossover Prog

Review by rdtprog
Special Collaborator Heavy Prog Team

— First review of this album —
4 stars After the well acclaimed first release, Perfect Beings had the task to continue on a high note with their follow up. Did they succeed? From the first song, the bass and the guitar are high in the mix, it's kind of heavy in the Cliffhanger style. The second track is very different with some lighter pop melody with piano, female and male voices. "The Love Inside" bring some heavy parts after some piano lines, but there's always that light music moment before a interesting instrumental break with some dynamic guitar and keyboard playing.In the song "Volcanic Streams" we can hear exotic sounds and some fuzzy guitar sound.that has a nice vocal harmonies break in the middle. "Go" start like a 80's style of Pop Rock that is followed with a Crimsonesque experimental moment ending with a impressive crescendo. "Cause and Eeffect" is back to the high bass sound and dark mood in a fast tempo. In conclusion, this is another very good CD form the band, maybe not quiet as strong as the first one, time will tell. If you like nice vocals harmonies, some Prog Pop Rock that flirt with the Yes sound, and that incorporate some more experimental sections, you will enjoy Perfect Beings. 3.6 stars
 Way Of The King by SUNRISE AURANAUT album cover Studio Album, 2013
2.38 | 9 ratings

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Way Of The King
Sunrise Auranaut Crossover Prog

Review by Quizzus

1 stars This sounds more like a demo or even sketches of an album/ The biggest gripe for me is guitar - instrument is constantly out of tune, playing is very sloppy and choice of notes is, to put it mildly, questionable. This is especially true for acoustic guitar, which is way out there. Drum machine is also all over the place, and again samples sound and overall balance are not very pleasing. Keyboard-related things are another story, this is done quite well. Compositions are not that bad too, some nice Camel-ish feeling. I understand that this is one man effort, but it MIGHT have been a nice album, but it just not there yet. Just skip it.
 One More Red Night: Live In Chicago (with John Wetton) by DISTRICT 97 album cover Live, 2014
3.04 | 7 ratings

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One More Red Night: Live In Chicago (with John Wetton)
District 97 Crossover Prog

Review by Matti
Collaborator Neo-Prog Team

3 stars DISTRICT 97 is a young American band that has been praised by one or two musicians from the King Crimson camp, or so I've heard. This live album was my first acquaintance with the band. I certainly would have preferred it to be with their own material. The set is completely devoted to the songs of KING CRIMSON (the John Wetton era, plus '21st Century Schizoid Man' originating from the 1969 debut) and the vocals are by Wetton himself, so... For starters, there's no use of searching any notably new point of view to these classic prog songs, even if the band's own female vocalist Leslie Hunt can be heard a little, too. Too little.

The skillful musicians of District 97 do their job extremely well and very faithfully to the originals. Only in 'Starless' I miss the mighty Mellotron sound (there's a little hollow synth backing instead), and that song is somewhat watered down here also due to the abridged song version. Wetton is in good shape though.

I'm satisfied with 'The Night Watch' and 'Book of Saturday', two of my Wetton era Crimso favourites besides 'Starless'. And with 9 songs I suppose the song output of the era is being covered almost completely -- there aren't any instrumentals. But frankly, to me this kind of a CD is hardly nothing else than a curiosity, quite useless in practice. OK, now I know this band is an excellent cover act of King Crimson material. Apparently too blinded by the respect for both Wetton and the music, to bring their own material /personality /individuality as a group to the set. If it was a DVD it would be another case, much more justified as a release.

 Emergence by GODSTICKS album cover Studio Album, 2015
4.00 | 1 ratings

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Emergence
Godsticks Crossover Prog

Review by crashandridemusic

— First review of this album —
4 stars Hailing from South Wales, Godsticks are Darran Charles (vocals/guitar/keys), Steve Roberts (drums/keys), and Dan Nelson (bass). Despite their 'progressive' tag, they are much more than that, ranging even towards that grungy hard rock and metal sound reminiscent of great rock bands from the 90's and 00's like Soundgarden and Alice In Chains. This is easily evidenced in the opening track 'Below the Belt,' with those deep, chuggy chords in the verse that hit you below the belt, and with a bridge section similar to older Riverside material. But just because 'Emergence' contains such a deep sound doesn't mean it is universally low. 'All That Remains' is by far the softest song on this album, containing acoustic guitars, subdued drum beats, orchestral instruments, and even guest vocalist Kaysha Louvain. The lighter feel is inserted directly into the middle of this album, the perfect interlude for the second half of this aggressive album.

The keyboards in this album are so subtle, they almost go unnoticed. Contributed by Darran and Steve, there are plenty of moments where lighter and higher tones pass through the headphones, standing out from the low sound of the album if your listening for it. Take the intro to 'Ruin,' where the keyboards are at their most apparent. Even with the arrangement, the listener can't help but focus on the high hat and snare of the drum set. Songs like 'Exit Stage Right' and the instrumental 'Leave Or Be Left' have beautiful moments with the keyboards complementing groovy bass lines, something I'd like to see more of with their next album. I feel the presence of the keyboards are the perfect palate cleanser, considering the album would be repetitively and consistently boring with its bassy atmosphere.

I love to hear Darran's chromatic voice dancing around the scales used in every song. His delivery is very unique, residing somewhere between mellow and energetic. Despite having a relatively narrow range, his low- to-mid register voice perfectly blends with the naturally deep sound of the album. The quick paced and deeper voice of 'One Percent' perfectly complements the lyrical content, focusing on that 'one percent' we've all heard of in the news. My only criticism with his vocal style is it seems Darran is trying to get too many words out with too little time. Perhaps fewer words or longer verses would solve the problem, but I nonetheless enjoy hearing him sing.

The orchestrations of 'Emergence' are weirdly complex, since it took me a few listens to realize how sophisticated the album really is. When at first I heard the continually rough and fuzzy rhythm guitar, I was later corrected when focusing on the individual components themselves. Darran's guitar style, although primarily rhythm-centric, are clearly more melodic than they lead on. Intricate fills and harmonies are incorporated throughout the album, especially in the choruses and pre-verses in the song 'Much Sinister.' The same goes with 'One Percent,' a song containing plenty of lead guitar overlapping a strong rhythm. Its catchy riffs and unforgettable outro make this song the most striking off the album, and is a song I always look forward to when playing this album. Much of the guitar on this album follows suit, with seemingly simple structures, that is, until you sit down and hear them. The drums, on the other hand, come across as complex as they sound (at least to me). There are so many powerful drum moments on 'Emergence,' but I especially love Steve's presence on the title track. Powerful, technical, and beautiful.

Album closer 'Lack of Scrutiny' is an interesting track, being one of the most non-Godsticks sounding songs on the album. With its eastern-influenced scales (a la Between The Buried And Me), the incorporation of horn instruments, and the drawn-out instrumental intro, the song is the most unique track on 'Emergence.' For an album that utilizes a similar formula for every track, 'Lack of Scrutiny' throws that comfortable feeling out the window. Because of the track's length (lasting nearly seven minutes), Godsticks takes advantage of the time to experiment as much as they wanted. The result is truly a gift, as the listener experiences the most dazing guitar rhythm, most prominent bass guitar, and soaring vocals on the album. What a great way to close off an album!

A solid performance, I urge everyone to purchase Godsticks' 'Emergence,' which will be available on September 4th.

Taken from Crash And Ride Music

 Ones & Zeros: vol. 1 by 3RDEGREE album cover Studio Album, 2015
4.48 | 117 ratings

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Ones & Zeros: vol. 1
3RDegree Crossover Prog

Review by Subterranean Android

5 stars This is New Jersey-based band 3RDegree's fifth album, and each of their albums outdoes the previous effort. As it stands, Ones & Zeros: Vol.1 is their crowning achievement to date. On their last album, 2012's The Long Division, 3RDegree created a pseudo-concept album with political themes running throughout. It was apropos for the 2012 election year, and it still holds up as a fantastic album today. However, make no mistake with Ones & Zeros ? this is a full on concept album, dealing with weighty and complex moral issues such as life extension, the Ultra A.I., and the singularity. The band cleverly weaves the storyline by creating Valhalla Biotech, an all-encompassing mega-conglomorate. Think Apple merged with Google, who then merged with Facebook and Microsoft. Valhalla Biotech presents itself through a cheery, if not detached, computerized customer service rep, at times stating "We regret to inform you that your father has been deleted." It's as if the band has taken the inanity of today's ever increasing lack of human interaction, and notched it up a level in this dystopian future. Musically speaking, the band has always straddled the line between melodic, hook laden pop and prog complexity, and it seems as though they are doing it better than they ever have on Ones & Zeros. Now a 6 piece, 3RDegree sound fuller, more complete, and more mature than any of their previous releases. Lead singer George Dobbs is the finest amalgamation of Stevie Wonder, Peter Gabriel, Donald Fagan, and a host of other world-class singers. Underneath him are the multilayered vocal harmonies reminiscent of Queen, The Beatles, and Yes, and they have never sounded so good. What makes the rather disturbing scenario on this CD so palatable is that it is all disguised by their characteristic sunny melodies. The band has done a fantastic job telling a cautionaly tale (to quote a song title of theirs) and they do it with their signature tongue-in-cheek wit. And the best part of it is that this is only Volume 1, with Volume 2 set to be released in 2016. Thanks, guys, for finally not making me wait 4 years until your next release ;) Ones & Zeros Vol. 1 is firmly on my "Best of 2015" list. This is an excellent CD and highly recommended.
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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
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
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
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
JERZY ANTCZAK Poland
ANUBIS SPIRE United States
ANYWHERE United States
APATHEIA Czech Republic
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARID GARDEN Italy
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIOCRACY Multi-National
THE AURORA OBSERVATORY United States
AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
AUTUMN ABOVE United States
AUTUMN CHORUS United Kingdom
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
AUXFORD Russia
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
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