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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 7/1/2022
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

4.32 | 1814 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 2350 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1516 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1758 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.22 | 1067 ratings
DOOMSDAY AFTERNOON
Phideaux
4.21 | 1925 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 1126 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.21 | 887 ratings
SNOWTORCH
Phideaux
4.21 | 995 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.20 | 943 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.19 | 836 ratings
THE UNDERFALL YARD
Big Big Train
4.18 | 527 ratings
HOUNDS OF LOVE
Bush, Kate
4.33 | 120 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.14 | 1348 ratings
TUBULAR BELLS
Oldfield, Mike
4.17 | 458 ratings
SPIRIT OF EDEN
Talk Talk
4.17 | 371 ratings
FOR YOUR PLEASURE
Roxy Music
4.13 | 660 ratings
NIGHT
Gazpacho
4.13 | 580 ratings
~
Iamthemorning
4.21 | 187 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.23 | 158 ratings
SON
Obiymy Doschu

Crossover Prog overlooked and obscure gems albums new


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

THE LOST ART OF TIME TRAVEL
Presto Ballet
TADEUSZ WOźNIAK [AKA: ODCIEń CISZY]
Wozniak, Tadeusz
GENERAL WINTER'S SECRET MUSEUM
Tea Club, The
BLACK DOG THERE
Box, The

Latest Crossover Prog Music Reviews


 The Maze by CELESTIAL BURST album cover Singles/EPs/Fan Club/Promo, 2020
3.71 | 5 ratings

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The Maze
Celestial Burst Crossover Prog

Review by alainPP

4 stars "Obedience" therefore launches this EP with the duration of a conventional CD with the Gilmourian sound and the voice of Kenza for a melancholic ballad with well-delivered spleen; rise of the guitars and the voice, a little gravelly at times like Chrissie HYNDE, already hypnotic title, reverberated notes and imposing solo. "The Maze" for the title of the album with prog-rock, verses, chorus and strong instrumental spaces with clean drums and nervous riff, sparkling solo break, synth then flute and again this hard riff; the intro to THE GATHERING even if Anneke is not on it, country touch and cozy, captivating atmosphere; title just available on platforms with Kenza on vocals.

"First Flight" and its soaring intro giving way to a Gathering sound from the "Nightime Birds" period, powerful sound with its double pedal and some progressive digressions bordering on psychedelic; a musical maelstrom and a remarkable voice, the most beautiful track of the EP. "The Place Where I'm Supposed To Be" starts with an Arabic atmosphere, spleen, room for introspection, a long crescendo again to magnify the symphonic style; a piece with an unstoppable riff married to a warm and captivating voice, a moment of Floydian musical pleasure, intense rock and vibrant sounds, the overwhelming end with just the right notes placed where they need to be.

"Anna" for the melancholy ballad with Anneke, not yet but you might think so, a jazzy tune with typical drums and country solo sliding like a waterfall. "The Maze" to end with Anneke for a remake, the opportunity to realize a familiar tune around the 5 minute mark and that we no longer have to worry that a certain Valérie could have sung; in short, a piece with everything you need and without getting bored, what more could you ask for!

CELESTIAL BURST therefore offers atmospheric progressive rock tinged with metal notes.(4.5)

 The Grey Line by ATRAVAN album cover Studio Album, 2021
3.89 | 9 ratings

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The Grey Line
Atravan Crossover Prog

Review by alainPP

4 stars Pink Floyd, Soen, Antimatter, Paradise Lost, with progressive Floydian sounds.

"The Pendulum": magnificent spatial, moving, ambient intro, filled with serenity and spleen on a Floydian variation, gives way to "The Perfect Stranger", with Carpenter-style synths, then it starts with a good melodic prog metal with the Masoud's singular, scratchy voice; mix of warm vocals, hypnotic melodic metal with heavy rhythm, double pedal and languorous synths, Soen-style air for the progressive instrumental flight in the second part. "My Wrecked House": more heavy melodious rock, vocals bordering on growl which is a pleasure on this track, slowness on variations of Antimatter, Marjan's synth very bold and present, atmospheric doom and an intense spleen guitar on a final tune of "I saw" by Niagara, good greasy atmospheric prog metal. "Vertigo": on a soaring synth intro, then atmospheric air, sadness, intensity, creation, a gripping song leading to an inventive synth solo and a soft, crystalline ending filled with emotion.

"Dancing On A Wire": languorous prog metal title bordering on a dreamlike and contemplative melancholic romantic ballad; here the synth amplifies the feeling of sadness, of sidereal spleen and the guitar pulls out even more broken notes; ambient mixed with prog metal. "The Gray Line": on a stereo synth input, a voice taken from an oriental liturgy, then it increases in intensity helped by the drums, the voice and the captivating guitar riff; gothic break, intimate military percussion, the tune is dark, heavy, greasy and finally explodes into a long solo by Shayan. A sign: the nine minutes pass very quickly; personally a bit of Tool, Therapy?, Paradise Lost. "Uncertain Future" and the Pink Floyd-style outro, yes on the "Shine on you crazy diamond" in boosted version, a soaring, heady, metallic instrumental with omnipresent guitars, intoxicating synths and invigorating drums.

Spatial at times, ethereal at other times, often melodious, rhythmic, energetic and striking.

 Mysterious Traveler by GLORIOUS WOLF album cover Studio Album, 2023
3.92 | 5 ratings

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Mysterious Traveler
Glorious Wolf Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars Back in 2019, I had reviewed his preceding album "Zodiac", which I had enjoyed as it contained a vast amount of interesting progressive influences, mostly in the instrumental displays, a non-vocal area that I suggested he continue to focus on. Ruud returns with this offering, garnished with another splendid cover from Ed Unitsky and a seven worthy tracks that set the bar higher than ever before. Ruud handles pretty much all the instruments, various keyboards (mostly synths and mellotron), a strong bass underpinning as well as rather impressive guitar skills, both on electric and acoustic versions. He is aided by drummer Kike Paglia throughout the release.

The journey begins with "Repentance", a raucous, wake-up call opening salvo with chunky riffs galore, reptilian guitar strokes that screech, bellow, and hassle as if kneeling at a shrine in atonement, with featured vocalist Frank van der Borg bellowing his inner pain. It's a nervous piece, full of piss and vinegar, with a choppy rhythm and an oblique guitar solo to finish of the remorseful outcry. The extended arrangement on the 8 minute + "Slow Down" initiates a slide guitar rant that might be greasy enough for some fried chicken and grits session with the local Louisianna sheriff, a cool Muscle Shoals influenced keyboard tag along, and a swampy drum beat. And then, it swings into a slow blues reflection that would make Gilmour blush with envy, as the bass and organ indicate a new horizon ahead, reducing speed and contemplating another hot afternoon under the blazing sun. Ruud excels at restraining his fretboard caress, highly evocative and deeply adventurous. Damn, the man can play. A final nod returns to the initial free for all, that had initiated this piece. Another extended composition, "The True Story" incorporates some simple yet pleasingly dissonant phrasings, some Celia van Onna harmony vocals in the background at first, before grasping the microphone in between ghostly fretless bass flurries, and letting her carry the swirling tune further. This is a track that would fit nicely into more 90s alternative rock sensibilities, not too far from the Cure, Portishead, or Peter Murphy feel, but armed with a more omnipresent lead guitar solo that goes on quite the tear. Another excellent tune.

Three gripping instrumentals follow in quick succession, and frankly, the real core of this release becomes most apparent. The nasty "Howling at the Moon" provides a more direct rock approach, complex and insistent rifferama not withstanding, it's a spiralling staircase of sound that also possesses a dense appreciation for sustained sonic pressure, a somewhat schizophrenic Stones meet Bauhaus feel. The title track settles into more cinematographic realms, a brooding soundtrack for some undefinable yet perilous excursion, unsure whether to choose introspective or extraverted scenarios. Slithering fretless bass runs a la Mick Karn (always my weakness!), tingling Asian intonations, thrilling percussives, and circuitous keyboard slivers, this could have been on an 80s Japan album, like Tin Drum! The third is the influential "Battlefield", suggesting a strong visual that meanders into sustained jazz-rock domains before skirting into heavier moods, looping axe runs, howling choir mellotron cascades and that unrelenting bass that just shoves this forward. Ruud experimentation is a true joy to behold, as his mastery of the electric guitar is unquestioned, unafraid to sizzle for extended periods as well as shifting the mood at will. Good show!

The nearly 9-minute finale "Beautifully Broken" settles the issue for me. Ruud is a master musician who does not necessarily need to rely on vocals, especially at the risk of deviating the interest away from his main focus. This was the case on previous albums but here it is smartly dosed as Celia does the final chapter absolute justice. Being a huge fan of female prog voices as they often, comparatively speaking, shine way brighter than the male counterparts. Don't start a fight here, there are exceptional masculine singers, and we all know who they are! But the ladies always seem to belt it out with sublime effect. This is definitely a more symphonic piece, contrasting glacial effects with a romantic warm mood, superb drumming for added corpulence and a heavenly, gut wrenching and emotional guitar solo that defines this artist to the fullest.

The third time is such a charm, Glorious Wolf becoming an act that has unquestionably arrived at its destination and is very deserving of having a much wider and appreciative audience.

4.5 Odd voyagers

 The Colour Of Spring by TALK TALK album cover Studio Album, 1986
3.90 | 270 ratings

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The Colour Of Spring
Talk Talk Crossover Prog

Review by Dapper~Blueberries
Prog Reviewer

5 stars The mid to late 80s delivered a plethora of amazing music to go around. I mean we got classic art pop beauties like Hounds Of Love, So, and Disintegration; some seriously fantastic prog stuff like On Land And In The Sea, Clutching At Straws, and Les Morts Vont Vite; excellent and heavy metal stuff like Master Of Puppets, Killing Technology, and No More Color. This era of music was a maturing act for many artists, with some slowly morphing their sound into new ways that changed the whole history of music entirely. One of the best bands to mature within this time frame of sounds and styles has to be Talk Talk.

Started in 1981 by the late Mark Hollis, Talk Talk was once your typical new wave group, creating rather catchy poppy hits. However, by their second record, It's My Life, they showed that they are more than capable of making more than the usual 80s affair of synthpop and new wave, and make more artistic statements that go against the commercial grain. Their third effort, two years after their sophomore wonder, projected the band's trajectory into a genre defining giant of rock and pop music, with The Colour Of Spring.

The Colour Of Spring is my personal favorite release from this band's discography. Sure, it may not be the lush and ambient Spirit of Eden, nor is it the highly defining post rock wonder that is Laughing Stock, but it has its own atmosphere that I think I enjoy much, much more.

The main take away from this album is the beauty. Every song, whether it is the more pastoral April 5th, to the more catchy Give It Up, gives this album a sort of mystical and seasonal energy that usually warms me up. It is strange, this album's whole thematics are based on the season of Spring, yet I find myself listening to this more in the fall and winter time, but I guess an album with such a lonely sound fits well with some more lonely seasons.

I find this album to contain some of Mark's best vocal performances. His voice has always reminded me of Phil Collins, but in a more deeper and sophisticated tone, similar to, say, Brian Wilson. The Beach Boys do feel like an inspiration to the more vibrant Talk Talk sound, especially if you compare this record to Surf's Up. Though, whereas Surf's Up is a rainy, somber record, Colour Of Spring definitely feels lighter, foggy, but still carries out the same sadness that could be found in that 1971 classic. If you like the more experimental side of that California band then certainly check if this album is up your alley.

Now for the 100 dollar question on why I believe this record to be a masterpiece. Simply, it has all to do with the final three tracks of Give It Up, Chameleon Day, and Time It's Time. Give It Up is this smooth, almost jazzy synthpop land of groovy hooks, drumlines, and impressive keyboard works. It is a 5 minute rendezvous of some of the best, more poppy music that Talk Talk has ever produced in my opinion, one that, while certainly a lot more accessible on this album, definitely still creates an aura of cold spring days.

Chameleon Day is a sheer contrast to Give It Up, something a lot more quiet, desolate, and reflective, oftentimes feeling mournful and grim. This is where Mark's vocals take a more front seat in the endeavor, creating a beautiful and melancholic work of art, one that I think truly gives him a particular edge to some of the best performers of the 80s, like Kate Bush, Peter Gabriel, and Elizabeth Fraser. His dramatic heights on this track in particular cause an almost emotional whirlwind to flow through me.

The last song is that of Time It's Time, the longest track on the album clocking in at over 8 minutes. This feels kind of like a combination of the last two tracks, featuring atmospheric dream pop workings with nice?groovy synth and drums works. It swirls through a series of varying pop degrees that whirl through emotions of peace, thought, and soon, happiness. This song can certainly warm anyone up, and perfectly encapsulates the feeling of waking up on the first day of Spring for me. The snow is almost all melted, the sun is a lot brighter and hotter, trees are starting to grow a bit more leaves, and a lot more life is starting to sprout and about. Really, this song feels like the inner workings of Mother Nature, morphing the winter snow into white and pink tulips, allowing deer and fauna to rise up out of hibernation. It is a beautiful ending to a beautiful album.

Certainly do check this record out if you haven't, as it is certainly one of the biggest achievements to ever come out of the world of pop music. With a multitude of great songs, scores, and emotions packed into this, it is a wonder how this isn't as talked about in the grand scheme of the 80s. Certainly deserves a bit of light.

 Apofenia by GIARDINO ONIRICO, IL album cover Studio Album, 2019
4.11 | 135 ratings

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Apofenia
Il Giardino Onirico Crossover Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nş 717

Il Giardino Onirico is an Italian progressive rock band that was formed in Civita Castellana in 2008 and it's based near Rome. The band was founded by keyboardist Emanuele "Vastitas" Telli from Consummatum Est doom metal band, guitarist Stefano Avigliana, bassist Ettore Mazzarin from Pioggia Sporca rock band and drummer Massimo Moscatelli ex-Anomal Essence member. Thus, the musical background of the band is really wide and varied as each member has preferences for different genres. So, each musician brought different backgrounds and ideas to the band. The spectrum of their music ranges from prog rock, prog metal, metal, doom, soundtracks, fusion, jazz, electronic and avant-garde.

The band started to develop the first demo composition named "Complesso K", released in 2010, which is a shifting suite filled with a variety of visions. After the release of "Complesso K", Il Giardino Onirico begins to compose new material and in 2012 they released their first full length work, "Perigeo", an ambitious heavy edged prog rock album that is suitable in order to reach for many fans worldwide. In 2013 they released their second full length work, "Complesso K ? MMXIII", which is no more than the re-work on the ideas of their demo "Complesso K". Finally in 2019, they released their third full length work, "Apofenia". So, seven years have passed between the releases of both full length works.

The line up on "Apofenia" is Stefano Avigliana (guitars), Emanuele "Vastitas" Telli (keyboards), Dariush Hakim (keyboards), Ettore Mazzarini (bass guitar) and Massimo Moscatelli (drums and percussion). "Apofenia" had also the participation of Alessandro Corvaglia (vocals), Jenny Sorrenti (vocals), Jenna "Sharm" Holdway (backing vocals), Fuori Dal Coro (chorus vocals), David Morucci (saxophone) and Claudio Braccio (saxophone), all as guest artists.

After the excellent results of "Perigeo" and "Complesso K", the band from Lazio reaffirms its epic and space oriented instrumental atmospheres. This is an album with many guests to embellish the album already full of fascinating sounds with modern prog symphonic atmospheres, at times pulsating and majestic, at times visionary and ethereal fed by the double keyboards by Emanuele Telli and Dariush Hakim. All this shows a talented band that makes a remarkable contribution to the great tradition and regeneration of the actual Italian prog rock scene. This is a forceful, melodic and emotional progressive rock work with epic prog instrumental atmospheres, space mattresses and plenty of symphonic, full of life and vigor and with the quota extra originality and drama that gives this album a very special tone of its own.

The opener "Onironauta" shows the band's preferences for long pieces. It's an atmospheric instrumental with a slightly Eastern mood and with some dark atmosphere. It has a spatial atmosphere that is gradually broken and that tension in crescendo stretches the song to the limits. "Scivolosa Simmetria" is a more technical and faster song where the time changes are continuous. The voice of Alessandro Corvaglia offers a good performance and guitar and keyboards create high level melodies and riffs, between the symphonic moments and the more technical evolutions. "Alétheia" is another instrumental with beautiful chorus arrangements and with a jazzy feel. With almost thirteen minutes of refined catchy music, here lies the secret of the music of Il Giardino Onirico. It has spatial arias and delicate rhythms that support the melodies with an excellent emotionality. "Mushin" is another long track that showcases the talent of one of the guest singers, this time the sister of Alan Sorrenti, Jenny. In ten minutes the track changes its connotations as the minutes pass touching different types of sounds from electronics to Math Rock. "Apogeo" has more ten minutes of instrumental music, always entrusted to the sustained guitars of Stefano Avigliana. It begins in an ambient before a full orchestra, metal guitars and rhythm changes appear, all with personality. "Un Nodo All'Anima" has again the malleable voice of Alessandro Corvaglia. The track has two phases, the first one is made in a soft ambient style and the second one is heavier with electric riffs and keyboards performing amazingly and vocals on point. "Lacrime Di Stelle" is a carefully constructed, evocative and dramatic long track. It's intoned beautifully by Jenna Sharm Holdway because there are no lyrics. The last and longest piece provides a majestic end to a beautiful album that every prog rock fan should listen to.

Conclusion: "Apofenia" is a very welcome return of this Italian prog band, which after seven years proposes a modern work with original sounds and very well arranged pieces. The symphonic basic direction of the album is lush and very colorful with occasional hints of drama, pathos and bombast. "Apofenia" is a fascinating album full of emotions, which still shows cinematic traits. The album is made up of very long but never repetitive pieces. The many guests also enrich a work that is already valid by itself. The saxophone contributions and the vocal parts support the album very well, especially the vocal work of Alessandro Corvaglia whose rough voice fits perfectly well into the concept and Jenny Sorrenti's beautiful voice. "Apofenia" is an album that I would recommend for the freshness and quality of its sound.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Gone To Earth by BARCLAY JAMES  HARVEST album cover Studio Album, 1977
3.41 | 215 ratings

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Gone To Earth
Barclay James Harvest Crossover Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nş 716

"Gone To Earth" is the eighth studio album of Barclay James Harvest and was released in 1977. The album's name has a curious and interesting signification. The album's title, "Gone To Earth", refers to the fox hunter's cry used to indicate that the quarry has returned to its lair. It was a big successful album, their most successful and popular album, and it was housed in one of the most beautiful die-cut covers ever. It became the band's largest selling album until today, eventually selling more than a million copies worldwide. On "Gone To Earth", Barclay James Harvest dropped all ambitions about being complex as they never were the band for that anyway. Instead, they were focused on what they did best, writing sweet, symphonic and strongly melodic tunes without any interrupting elements or unnecessary turns.

"Gone To Earth" has nine tracks. The first track "Hymn" written by John Lees is a religious song describing briefly the life of Christ. However, the meaning of the song is dubious and leaves for everyone the true meaning of the song. It's a very powerful song with great melody, incredible instrumental work and it has also a true incredible and luxurious arrangement. This is, without any doubt, a great song, one of their best, one of the most beloved songs by their fans and it's also one of the most performed live on their concerts. The second track "Love Is Like A Violin" written by John Lees is an extremely beautiful song with an ethereal melody that suddenly turns into a rock song. It's also a song with beautiful verses and nice chorus. It represents also one of the best musical moments on the album, indeed. The third track "Friend Of Mine" written by Les Holroyd is, in my opinion, a true surprising track. It shows a country rock side of the group, rarely seen on the band until now. It seems to me that this song reflects yet some influences of the American west coast sound, taken by them when they were in San Francisco. This had been much noticed on their studio album, "Time Honoured Ghosts". This is the weakest track on the album, until now. The fourth track "Poor Man's Moody Blues" written by John Lees is a song that contains two meanings. It's a personal homage of the group to The Moody Blues and their song "Nights In White Satin", and it's also, at the same time, an ironic song whose title song reflects the accusation made to the group, that for many years their music was considered very similar but inferior to The Moody Blues music. As "Hymn", it's also one of their best, one of the most beloved songs by their fans and it's also one of the most performed live on their concerts. It's interesting to note that if Justin Hayward's song is a masterpiece, this John Lees' version is also a great version. The fifth track "Hard Hearted Woman" written by Les Holroyd is a nice song. It's a pleasant song to hear with great bass work, performed by Les Holroyd. It's almost a funky and danceable song but sincerely it doesn't contain anything exciting enough to be considered a true great song. The sixth track "Sea Of Tranquillity" written by Woolly Wolstenholme represents one of the typical pieces of music of him. It's a very pretty piece of music, full of some great bombastic keyboard work and is very well accompanied by great vocal performance performed by him. It's a very progressive song, probably the only totally progressive song on the album. This song represents another high musical moment on the album and gives to it the progressive touch that it needed. The seventh track "Spirit On The Water" written by Les Holroyd is an environment protest song with some good lyrics. The vocal harmonies by the backing vocals are very beautiful and remind me Crosby, Stills, Nash & Young or the Eagles. Still, being a nice and pleasant song to hear, it hasn't, in reality, anything special to be considered a great song. The eighth track "Leper's Song" written by Jon Lees is a rocker song, the only truly rock song on the album. This is an interesting song with some nice guitar work. However, despite being a good and nice song of John Lees, it represents, without any doubt, his weakest contribution to this musical work. The ninth and last track "Taking Me Higher" written by Les Holroyd is a nice love song performed almost on piano and organ with tender and beautiful vocals that closes the album in a very soft and quiet way. It's a very calm and nice ballad that finishes the album nicely and harmoniously.

Conclusion: I know that lots of the fans list "Gone To Earth" as their favourite studio album of Barclay James Harvest, mainly because it contains two of the best and most beloved tracks from the band, "Hymn" and "Poor Man's Moody Blues". However, I'm convinced that there are better tracks on their other studio albums. Being "Gone To Earth" a very pleasant and accomplished album, it isn't, in my opinion, a very cohesive and balanced album. It has two great songs, "Hymn" and "Poor Man's Moody Blues", two very good songs "Love Is Like A Violin" and "Sea Of Tranquillity", but the rest is pretty much standard musical material from Barclay James Harvest, actually nothing truly noteworthy, especially the material composed by Les Holroyd is unusually bellow from the quality level in which we were used to. So, my rating of 4 stars is only because "Gone To Earth" has some of the best material ever composed by the band, indeed.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Odyssey 9999 by KRAMARSKI PROJECT, THE RYSZARD album cover Studio Album, 2023
4.24 | 21 ratings

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Odyssey 9999
The Ryszard Kramarski Project Crossover Prog

Review by BrufordFreak
Collaborator Heavy Prog & JR/F/Canterbury Teams

4 stars A Polish artist that I've only just become aware of despite the fact that he's been active in Prog World since the 1990s (as founder of both FRAMAURO, in 1996, and MILLENIUM in 1999), this is Ryszard's seventh studio release under the Project format since 2016!

1. "Twelve Spaceships" (7:20) intriguing opening: almost cinematic, but then it coagulates into what sounds like a clone of IQ (with some awkward compression of lead singer Stuart Nicholson (GALAHAD)'s voice); where's the magic? It drags! It's formulaic! And, where's the passion? the enthusiasm? The DAVE GILMOUR imitation guitar solo in the sixth minute is weak and the sax that follows feels second row (unimaginative). (12.75/15)

2. "Penelope" (4:40) delicate piano and shamisen (?) provide a pensive, emotional fabric upon which Ania Batko sings. It's a very powerful, very emotional vocal--one that starts out sounding very much like the delicate side of KATE BUSH but then becomes more PAT BENETAR-strong with the more forceful phrases. Fretless bass and drums join in while Ania amps up and then Ryszard delivers a top notch electric guitar solo. Ania closes out the song with a return to the delicate, soft, Kate Bush-like voice of the opening. A beautiful, almost perfect song. (9.5/10)

3. "Cyclops Cave" (5:30) opens with a nice even-keeled classic rock foundation over which guest Piotr Płonka (MILLENIUM) solos on an electric guitar for the first minute. Vocalist of Millenium lead vocalist and long-time contributor to Ryszard's solo project, Łukasz Gałęziowski, enters to sing in a standard 1980s classic rock voice. Hammond organ solo over piano and rock rhythm section before coming back for the singing motif. Łukasz' voice is strong but fairly locked into a one-note monotone for much of the song. Ryszard gets the guitar solo in the third instrumental passage--which pretty much closes out the song. (8.66667/10)

4. "The Curse of Circe" (6:10) a fairly steady musical form over which another Millenium singer, Marek Smelkowski sings. Marek has a more variable approach to singing than his bandmate Łukasz Gall--more rock and metal-flexible--but a slightly thinner voice. Still, he does a nice job on what turns out to be a solid yet uneventful song. (Words/lyrics don't click with me. Sorry!) (8.66667/10)

5. "The Killing Songs of Sirens" (6:50) Female vocalist Ania Batko graces us with her presence over this heavier yet equally-straightforward rock song. Ania's vocalise over the muted guitar chord play between verses is quite lovely--my favorite parts of the song. Unfortunately, the melody lines given to Ania's vocal are almost as dull and soporific as the music beneath. Yet another replication of a David Gilmour guitar solo in the sixth and seventh minutes only serves to rankle me. (13.125/15)

6. "Calypso Nymph" (5:15) another plodder given to Marek Smelkowski to sing over. Some nice extended bluesy guitar soloing in the third minute. Again, I wish word comprehension came more naturally to me (and these singers have excellent command of my own native English language!) In the end, it's just another set of nice, clear performances of what sounds like a 1980s rock ballad. (8.5/10)

7. "Ithaca" (5:00) Łukasz "Gall" is back for the lead vocal on this one. For some reason some of the instrumental sounds here (acoustic guitar, synths, Tony Levin-like bass, piano, sax) give this song a more delectable, interesting palette to my ears. Łukasz' voice sounds a little more vulnerable here--which feels good: gives him a more human element with which to connect. Hitting a higher range at the end of the some of the verses makes him sound as close to Peter Nicholls as Stuart Nicholson does. (Why is the IQ sound--and especially the Peter Nicholls voice sound--so attractive to so many bands?) (8.75/10)

8. "Odysseus" (7:04) Gently chord-played piano and strummed acoustic guitar are soon joined by the rhythm section and a bombastic saxophone solo. Entering in the second minute, Stu Nicholson's treated voice sounds a bit more vulnerable and interesting here than on "Twelve Spaceships" though he still tends to sing as if he comes from the PETER NICHOLLS school of NeoProg vocals: almost monotone. I resent the use of the melody lines (and musical chord progression to match) from Neil Young's "Cortez the Killer" for the lead singer's melody and phrasing during the verses. And then, to rub salt into the wound, Ryszard's guitar solo note choices are also borrowed from the same song (though here slipping and sliding into many of David Gilmour's sounds and tricks--especially from "Comfortably Numb"). (12.75/15)

Total Time 47:49

I mean, it's good, solid rock, but it's nothing new or exciting and often feels "borrowed" or perhaps (to give Ryszard some credit) bled over from rote muscle memory (from many years of knowing and practicing Dave Gilmour's music and guitar solos). B/four stars; I have no doubt that this would be a nice addition to any NeoProg lover's music collection.

 Anhedonia (Chelsea Wolfe & Emma Ruth Rundle) by WOLFE, CHELSEA album cover Singles/EPs/Fan Club/Promo, 2021
3.00 | 1 ratings

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Anhedonia (Chelsea Wolfe & Emma Ruth Rundle)
Chelsea Wolfe Crossover Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars Our context tells us that we must be happy, that we are here to smile and enjoy life, and though that might be a nice and romantic thought, people is more attached to depression or other types of mental issues.

There are moments where we can't even pretend to enjoy anything, and that is where the anhedonia appears, to shield us from pleasure, and that's terrible. This anhedonia happened to Chelsea Wolfe, so she wrote this song and after Covid-19 times, she shared it to fellow singer Emma Ruth Rundle, inviting her to collaborate with her voices and guitar.

And the result is great. Not sure if I ever though I would review Chelsea Wolfe's music here in Progarchives, but well, now her discography is included, it's nice to write a bit about her and share her talent to the prog rock community.

This is a sorrowful track, however, it is enchanted by both Wolfe and Rundle's alternate vocals. Deep lyrics, dark times, acoustic guitars and some atmospheric sounds made by synth, an extraordinary mix because the sound is so profound and will hit you in any moment. The best part to me is where the song reaches "Isolating, bridge withdrawing; isolated I can't take it", it is so deep, indeed.

Both artists have some similarities in their music, even in their voice a little bit, which is why I believe this collaboration is great, and also is not a bad gate to enter if you don't really know their music.

I love it, I hope you like it too.

 Odyssey 9999 by KRAMARSKI PROJECT, THE RYSZARD album cover Studio Album, 2023
4.24 | 21 ratings

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Odyssey 9999
The Ryszard Kramarski Project Crossover Prog

Review by KansasForEver2

5 stars The return of the RYSZARD KRAMARSKI PROJECT with this sixth album in six years (difficult to do better and this is reminiscent of the mid-seventies), inspired by the literary work of HOMERE the extremely famous "The Odyssey", a single change and not the least we are now in the year 9999.

After conquering the planet TROJA, ULYSSES undertakes a long journey to his native planet ITHAQUE to find PENELOPE, his beloved wife. Eight titles linked together for this remarkable conceptual disc, that goes without saying, nourished by the texts written as in previous albums by Zdzisław ZABIERZEWSKI and great novelty the vocal contributors come to us from diverse backgrounds. As for the musicians themselves, they all or almost all belong to what I will call the LYNX galaxy. Note that David LEWANDOWSKI and Karolina LESZKO are not among the vocalists present this time. Mr. MOONRISE, Kamil KONIECZAK was responsible for mixing the album, and what a mixing damn it! It's loud in the speakers.

Those who read me now know that I don't really like to sausage concept albums with possible notation, which becomes annoying because today we find more and more concept albums... On this " Odyssey 9999", Ryszard starts very strong with the "Twelve Spaceships" sung by a charismatic guest Stuart NICHOLSON (no need to introduce him I think?), a piece of fabulous symphonic progressive (10/10) further illuminated by the saxophone tenor of Lukasz PLATEK, the only one of the participants whom I did not know before, after research it appears that he is above all a jazz musician.

Who else but Ania BATKO, the singer of ALBION, could replace Karolina LESZKO for "Pénélope" and "The Killing Songs of Sirens", let's say it bluntly, no one! (9/10) for the two, which make a pair. Marek SMELKOWSKI ephemeral singer of MILLENIUM in 2020 takes care of the vocals on tracks four "The Curse of Circe" the poisonous magician of the companions of ULYSSES and six "Calypso Nymph" the maritime nymph in love with ULYSSES and he gets away with it very honorably in either case. If we are looking for the little beast, the two tracks sung by Lukasz GALEZIOWSKI (GALL for those who have been following for more than a quarter of a century) namely the three "Cyclops Cave" and seven "Ithaca" are those which stand out the least from the rest although Piotr PLONKA's guitar solo in the Cyclops' cave...it's still something!

The two Grzegorz (FIEBER and BAUER), current and former drummers of MILLENIUM, brilliantly provide the tempi with the help of the inevitable Krzysztof WYRWA who stands out as often on the Fretless bass and whose arabesques dot several titles.

One of the essential records of the year 2023, will find a place among my sixty best progressive music albums of all time, that's saying something. Originally published at profilprog.com

 Kaimalkuu by MAAILMANPUU album cover Studio Album, 2023
4.05 | 2 ratings

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Kaimalkuu
Maailmanpuu Crossover Prog

Review by Matti
Prog Reviewer

4 stars The Finnish band Maailmanpuu recently released their third album, and like the previous one Kohti Valoa (2021) was an improvement over the eponymous debut, so feels this album even more solid as a work of contemporary, retro-oriented progressive rock sung in Finnish. The line-up remains the same and there are no notable changes in style either, but the band seems to have grown stronger as a unit. If there were some moments on previous albums where they felt a bit like singer-songwriter rooted indie rock, this one feels like a more balanced band effort, and thus the music perhaps has stronger ties to the Finnish prog's classic era of the seventies. Those who have enjoyed bands such as TABULA RASA, NOVA, FANTASIA and NIMBUS can easily feel at home here. But like other contemporary retro-ish prog bands such as MALADY, they also have an identifiable own sound instead of clearly copying any particular band(s).

Both sides of the vinyl edition start with a roughly 1˝-minute fast-paced instrumental, very much alike. Supposedly referring to large ringroads nearby Helsinki (Kehä I and Kehä III), they indeed have a hectic atmosphere of fast traffic, in a psychedelic space/stoner rock manner. Personally I'm not fond of them but they give some extra dynamics to the album whole -- needed or unnecessary, it's up to the listener. 'Rannalla' (= On shore) is the shortest of the four proper songs, and a very nice one as a naturally flowing, suitably streamlined composition with a vintage prog rock sound. Kimmo Villa's voice doesn't anymore remind me of the young Kauko Röyhkä, but now it's perhaps even more reminiscent of Pekka Streng from the early 70's. That's not a bad thing, since frankly he's more confident as a singer than Streng ever was.

The longest piece 'Uisko' (= Sailing Ship) has a mythological / folkloristic feel in its sparse lyrics and some sophisticated details in the arrangement. The electric guitar's lengthy, melancholic solo on the latter half sounds great. The title track (I actually had no idea the strange word kaimalkuu refers to the moon of February) is dynamically progressive; the slow, mystical intro is followed by a faster, Kalevala-inspired lyrics section, which in return is followed by a nearly hypnotic instrumental section, and so on. This 9˝-minute composition is among the strongest single pieces of contemporary Finnish prog. The equally long final piece is pretty ambitious too, but to my ears not quite as coherent.

Definitely four stars, no less. The cover art of Jarmo Roine is an excellent companion to the music.

Data cached

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
5TH SEASON Finland
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 IMAGES BLAZING Japan
ALL OVER EVERYWHERE United States
ALPHA LIGHTING SYSTEM Mexico
ALPHAJORGE Brazil
ALTA FORMA United Kingdom
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
AS YOU LIKE IT United Kingdom
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
MARTIN BARRE United Kingdom
BARROQUEJON Chile
SEBASTJAN BARTOL Slovenia
M.M. BARTULICA Bosnia and Herzegovina
COLIN BASS United Kingdom
BAT LENNY United States
BATISFERA Russia
BAUER Argentina
BE BOP DELUXE United Kingdom
BEAD GAME United States
BEAM-LIGHT Poland
DAVID BEDFORD United Kingdom
BEDUÍNOS A GASÓLEO Portugal
BELGRAD Poland
BELLING THE TIGER United States
BEND SINISTER Canada
BEND THE FUTURE France
BENJAMIN'S KITE Canada
RAY BENNETT United Kingdom
BENT KNEE United States
THE BENZENE RING United States
ROBERT BERRY United States
EMILY BEZAR United States
BIG BIG TRAIN United Kingdom
BIG SLEEP United Kingdom
BIRZER BANDANA United Kingdom
KENNY BISSETT United States
BITTERTOWN Netherlands
BJÖRK Iceland
BLACK CAT BONES United Kingdom
THE BLACK LIGHT United Kingdom
BLACK MOTH SUPER RAINBOW United States
BLACK MOUNTAIN Canada
THE BLACK OF SPACE United States
BLACK STRAT BAND Greece
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
THE BLUEMOON PROJECTS Greece
BLURRED VISION Canada
THE BODY POLITIC Canada
BOMBER GOGGLES United States
STEVE BONINO United States
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
THE BOY; THE BIRD & THE BEAST United States
VICTOR BRADY United States
BRAZEN Switzerland
BREATHING SPACE United Kingdom
PAUL BREMNER United States
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
BRIGHT BROWN United States
THE BRIMSTONE SOLAR RADIATION BAND Norway
TOM BRISLIN United States
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIČRE France
BROKEN PARACHUTE United Kingdom
DAVE BRONS United Kingdom
DUNCAN BROWNE United Kingdom
BRUTEUS United States
ANDERS BUAAS Norway
ROLAND BUHLMANN Switzerland
BUILT FOR THE FUTURE United States
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
BURNT BELIEF Multi-National
BURNTFIELD Multi-National
ALAIN BURO Belgium
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
C SIDES United Kingdom
CAIRO United Kingdom
CALIFORNIA GUITAR TRIO United States
CALIGONAUT Norway
CAMELION France
THE BEN CAMERON PROJECT Australia
CANAMII South Africa
CANNATA United States
CANTURBE Argentina
CAP OUTRUN Sweden
CAPABILITY BROWN United Kingdom
CAPTAIN MARRYAT United Kingdom
FRANCK CARDUCCI France
CAREWORN United Kingdom
MARC CARLTON United Kingdom
LEO CARNICELLA Germany
CARVED IN ASHES Finland
LAURA CASALE United States
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
GUILLAUME CAZENAVE France
CEILING UNLIMITED United States
CELESTIAL BURST France
CELL15 United States
CELLULOID WINTER United States
CHALIS United States
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASING THE MONSOON United Kingdom
CHASM Norway
RANI CHATOORGOON Canada
CHAYAN United Kingdom
CHEETO'S MAGAZINE Spain
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CHIMPAN A United Kingdom
CHOICE Germany
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CHURN MILK JOAN Multi-National
CINEMA SHOW Brazil
CIRCA SURVIVE United States
CIRCA: United States
CIRCULINE United States
CIRCUS PARANOIA Netherlands
CIRCUSFOLK Finland
CITADEL France
WOJCIECH CIURAJ Poland
CLARION Italy
STEVE CLARK Australia
STEWART CLARK United Kingdom
THE AARON CLIFT EXPERIMENT United States
CLOUD ATLAS United Kingdom
CARY CLOUSER Canada
CLOVER SEEDS France
CLUB MERANO Finland
SUSAN CLYNES Belgium
COATSWORTH-HAY United States
STEVE COCHRANE Canada
CODICE C Italy
COHEED AND CAMBRIA United States
COLLECTING SPACE United States
COLOR Hungary
COLOURATURA United States
COMA ROSSI India
CONSPIRACY United Kingdom
CONTRACTION Canada
THE COOPER TEMPLE CLAUSE United Kingdom
CORALSPIN United Kingdom
COREY & MAPLE Finland
CORRAL Poland
CORVUS STONE Multi-National
COSHISH India
THE COSMIC PUPPETS United Kingdom
THE COSMIC REMEDY Multi-National
COSMIC SINGULARITY Multi-National
COSMOS DREAM France
ROB COTTINGHAM United Kingdom
COZHE Finland
BEN CRAVEN Australia
CRAZY DUMBSAINT United States
CRAZY WORLD Finland
CRÉPUSCULE Germany
CRIMINAL CATERPILLAR Canada
CRIMSON STARS EYES Italy
CRONOFONÍA Mexico
CROSS Sweden
BEPPE CROVELLA Italy
CRYPTEX Germany
CRYSTALWOOD United States
CUAC! Spain
ROSALIE CUNNINGHAM United Kingdom
CUPRUM Czech Republic
PAUL CUSICK United Kingdom
THE CUSTODIAN United Kingdom
CYNOSURA Switzerland
CYRIL Germany
LAREN D'OR Hungary
NICK D'VIRGILIO United States
DAEMONIA Italy
DAMANEK United Kingdom
DANEFAE Denmark
DAPHNE Italy
DARK LIGHT India
DARWIN United Kingdom
DAVID'S LODGERS Italy
DAYMOON Portugal
DDNZ Serbia
MARCO DE ANGELIS Italy
DEADWOOD FOREST United States
DEAMBRA United States
THE DEAR HUNTER United States
DEAR MR. TIME United Kingdom
FRANCIS DÉCAMPS France
DEEP FEELING United Kingdom
DEEP LIMBIC SYSTEM Mexico
DEERHOOF United States
DEGEN HERB MROSZCZOK SCHLEICHER Germany
DELIRIO SONORO Italy
DELIRIUM Mexico
DELTA SLEEP United Kingdom
DELUSION SQUARED France
DEMIAN CLAV France
JOE DENINZON United States
DESTROY ALL PLANETS United States
A DEVIL'S DIN Canada
DIATESSARON Canada
DICE Germany
THE DIFFERENCE Slovakia
DIFFERENT LIGHT Czech Republic
DIGITAL CHEMISTRY United States
DIN WITHIN United States
DIRECT DIVIDE United States
DIRTY PROJECTORS United States
DISCONNECT United States
DISSONATI United States
DISTANT LIGHTS United States
DISTRICT 97 United States
DLGZ ROCK 5TET France
DOC'S FERMENT United States
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
DOPING HORNETS Canada
GEOFFREY DOWNES United Kingdom
DOWNRIVER DEAD MEN GO Netherlands
DR FOLAMOUR France
DREAM THE ELECTRIC SLEEP United States
DREAMING MADMEN United States
THE DREAMING TREE United Kingdom
DREDG United States
DROWNING STEPS Brazil
DRY RIVER Spain
MARK DUBERRY Ireland
FRANCIS DUNNERY United Kingdom
DW. DUNPHY United States
DUTCH UNCLES United Kingdom
DYNAMO BLISS Sweden
DYONISOS United States
DZEJBI Yugoslavia
EARTH MEET WORLD / EX PROJECTED TWIN Australia
EARTHKIND United States
EATLIZ Israel
ECHO Romania
ECHOES OF GIANTS United States
ECLIPSE Canada
ECLIPSE SOL-AIR Multi-National
ED ZERO Spain
EDEL Multi-National
EFFA LENTE Ireland
EIDÔLON France
ELDBERG Iceland
ELECTRA Germany
ELECTRIC LIGHT ORCHESTRA United Kingdom
ELECTRIC SORCERY United States
ELECTRO COMPULSIVE THERAPY Mexico
ELECTRUM United States
ELEND France
ELEPHANT PLAZA Norway
ELIPHASZ Canada
RYAN MARK ELLIOTT United States
ELORA France
ELYSIUM Switzerland
ELYSIUM THEORY United States
KEITH EMERSON United Kingdom
GERT EMMENS Netherlands
EMPEROR NORTON United Kingdom
EMPIRE United Kingdom
EMPIRICAL TIME Italy
AARON ENGLISH United States
ENINE Russia
ENNĎS TÓLA Australia
ENTITY PARADIGM Pakistan
ENTRANSIENT United States
ENVIZIBLE ORKESTRA United Kingdom
EOS Chile
EPHEMERAL Italy
EPIICYCLE United States
ESAGIL Greece
ESFERA Portugal
ESP Multi-National
ETHERS EDGE United Kingdom
EUZEN Multi-National
EVELINE Italy
EVEN HORSES Germany
EVENT United States
EX-WISE HEADS United Kingdom
EXISTENCE Canada
EXOVEX United States
EYEVORY Germany
FACE THE DAY Czech Republic
FAINT SIGNAL United States
FAIR TO MIDLAND United States
FAIRY TALE Slovakia
FALSTAFF France
ALESSANDRO FARINELLA Italy
FATAL FUSION Norway
LA FE Chile
FEARFUL SYMMETRY United Kingdom
FEED ME JACK United States
ALI FERGUSON United Kingdom
FEROZ Mexico
FERVENT MIND Norway
FIBONACCI SEQUENCE United States
FIELD MUSIC United Kingdom
FIELDS OF NĆCLUDA France
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
FINALLY GEORGE Germany
HEATHER FINDLAY United Kingdom
FIRE GARDEN United States
FIRE ON DAWSON Germany
FIREHORSE Germany
FISH ON FRIDAY Belgium
FLAMENCS Argentina
FLAUD LOGIC United States
FLEESH Brazil
FLICKER United Kingdom
FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
FLOWER FLESH Italy
JEREMY FLOWER United States
THE FLYING CARAVAN Spain
FM Canada
FOBOS Argentina
FONTARABIE Canada
FORMATIV Multi-National
THE FORMER LIFE Italy
LORENZO ESPOSITO FORNASARI Italy
FILIPPO FORTUNATO Brazil
FORWARD SHAPES United States
FOSSIL EVOLUTION Belgium
FOURTEEN TWENTYSIX Netherlands
FRACTAL MIRROR Netherlands
FRACTAL ROCK United States
FRAGILE Estonia
FRANC ALBIR Spain
FREDDEGREDDE Sweden
FREEDOM TO GLIDE United Kingdom
FREELIGHT United States
FRENCH LICK United States
FREQUENCY DRIFT Germany
HASSE FRÖBERG & MUSICAL COMPANION Sweden
FRONTECIELO Italy
FROSKULL United States
FRUTERIA TONI Spain
FRXHO Mexico
FSB Bulgaria
FUCHS Germany
FULL CODE New Zealand
FUTURUM Czech Republic
GABRIEL BONDAGE United States
PETER GABRIEL United Kingdom
GADADU United States
GALACTIC COWBOY ORCHESTRA United States
GALAXY-LIN Netherlands
GALERIA DE RAICES Argentina
GALIJA Yugoslavia
GALLERY Norway
GAMMA REPEATER United States
GANDALF Austria
GANDALF'S PROJECT Italy
GAP PARTY Italy
ANJA GARBAREK Norway
THE GARDENING CLUB Canada
GAZPACHO Norway
KEVIN GEIER United States
GEKKO PROJEKT United States
GIO GENTILE Italy
GENTLE KNIFE Norway
THE GENTLE STORM Netherlands
GENTLEMEN WITHOUT WEAPONS United Kingdom
GEPPETTO'S RETRIBUTION United States
THE GHAITANELLIS-TASSI PROJECT France
GHOST CIRCUS Multi-National
GHOST COMMUNITY United Kingdom
GIANNOTTI United States
GIANT SKY Norway
GIANT THE VINE Italy
IL GIARDINO ONIRICO Italy
GIDEON Canada
KEVIN GILBERT United States
KRISTOFFER GILDENLÖW Sweden
GINTONIC Spain
GIRAFFE United States
GIZMO United Kingdom
GLASFROSCH Australia
GLASS HARP United States
GLASS KITES Canada
GLASS OCEAN Australia
GLENCOE United Kingdom
YIANNIS GLEZOS Greece
GLORIE United States
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VICTOR GO Ukraine
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GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
GOTHIK SERPENT Singapore
GRAMONAUTUS Argentina
PHILIPPE GRANCHER France
THE GRAND SILENT SYSTEM Australia
GRANDVAL France
GRAVITY TREE United States
GREEN Italy
THE GREEN VIOLINIST Belgium
MARK GREEN United Kingdom
DAVE GREENSLADE United Kingdom
GREY EYE GLANCES United States
GREY LOTUS Netherlands
GRICE United Kingdom
GRILL Australia
GRIME France
GROUP 309 Russia
LA GUERRA DELLE FORMICHE Italy
ID GUINNESS Canada
GUITAR GARDEN United States
GUNGFLY Sweden
HA' ARNAV HA-LAVAN Israel
HABELARD2 Italy
HABITAT Argentina
JOHN HACKETT & NICK FLETCHER United Kingdom
HADDAD Brazil
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HÄLLAS Sweden
THE HALLUCINANT TELEPHERIQUE United States
HALO BLIND United Kingdom
HANLON'S RAZOR Netherlands
HATS OFF GENTLEMEN IT'S ADEQUATE United Kingdom
JASON HAVELOCK France
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HAYWARD & LODGE United Kingdom
HEADS IN THE SKY Canada
HEARTSCORE Germany
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ROEL VAN HELDEN Netherlands
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HELIOTH United States
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HIIDENSOINTI Finland
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STEVE HOGARTH United Kingdom
JOANNE HOGG United Kingdom
MARK HOLLIS United Kingdom
HOLLOW BRANCHES Multi-National
HOLLOW WATER United Kingdom
STE VAN HOLM Denmark
HOLON Norway
THE HOME GUARD United Kingdom
HOMESICK FOR SPACE United States
HOT HEAD SHOW United Kingdom
HOUR OF THE SHIPWRECK United States
HOUSE OF RABBITS United States
STEVE HOWE United Kingdom
HYPNOMEN Finland
I AM THE MANIC WHALE United Kingdom
I HEARD FROM LAVINIA Italy
I.AB United States
IAKO BEI Slovakia
IAMTHEMORNING Russia
ICONIC SKY United Kingdom
IFSOUNDS / EX IF Italy
IGAYON Israel
IGNATIUS Spain
ILLUMINAE United Kingdom
ILLUSIVE LIGHT Germany
ILUZJON Poland
IMMUNE United Kingdom
IN CONTINUUM United States
IN LIMBO France
INDELIBLE Norway
INDEXI Yugoslavia
INFICTIONS United Kingdom
INFINITE MONOPOLY United States
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INFUSION KAMACHUI Argentina
INNER PROSPEKT Italy
INNERSPACE Canada
INSPIRATIONAL CORNER Austria
INTENTIONS Netherlands
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INTO THE PRESENCE United States
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IO EARTH United Kingdom
ION United Kingdom
IRRGARTEN Canada
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ISZIL Chile
IT BITES United Kingdom
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