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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 | 1499 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 1251 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1372 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.28 | 1939 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.22 | 936 ratings
DOOMSDAY AFTERNOON
Phideaux
4.19 | 1691 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 825 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 794 ratings
SNOWTORCH
Phideaux
4.17 | 979 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 764 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.17 | 707 ratings
THE UNDERFALL YARD
Big Big Train
4.17 | 518 ratings
~
Iamthemorning
4.20 | 192 ratings
ONES & ZEROS - VOLUME 0
3RDegree
4.10 | 1088 ratings
TUBULAR BELLS
Oldfield, Mike
4.29 | 104 ratings
SON
Obiymy Doschu
4.14 | 354 ratings
SPIRIT OF EDEN
Talk Talk
4.12 | 404 ratings
HOUNDS OF LOVE
Bush, Kate
4.11 | 573 ratings
NIGHT
Gazpacho
4.20 | 162 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.30 | 92 ratings
THE EDGES OF TWILIGHT
Tea Party, The

Crossover Prog overlooked and obscure gems albums new


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

VOICE
Capability Brown
FOLKLORE
Pez
THE LOST ART OF TIME TRAVEL
Presto Ballet
2. (ODCIEń CISZY)
Wozniak, Tadeusz

Latest Crossover Prog Music Reviews


 Scholars by BUKE AND GASE album cover Studio Album, 2019
4.00 | 1 ratings

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Scholars
Buke and Gase Crossover Prog

Review by TCat
Prog Reviewer

— First review of this album —
4 stars Arone Dyer and Aron Sanchez are the two-some that make up the band 'Buke and Gaze', an interesting collaboration from two musicians who were part of a post-punk band called 'Hominid'. Buke and Gase formed in 2007 and have released several EPs and 2 LPs during this time. Their main instruments were invented by themselves and is what the band is named after. The Buke, played by Dyer, is a modified baritone ukulele, while the Gase, played by Sanchez, is a guitar-bass combination. Originally, these were the two original instruments, but they have since incorporated other interesting instruments into their music, including something called an Arx which is a self designed multi-instrumental electronic control system. Then they throw in percussion mostly generated from a foot-operated percussion system.

'Scholars', released early in 2019, is their 3rd full length album. When recording, they typically improvise and then take the best, memorable parts out of their improvisations and craft some very original and quirky songs out of them. The best description of their music is eclectic, experimental, alternative pop. The final output is a set of really great and interesting songs that you won't hear the like of anywhere else. The music is definitely much more challenging than your usual pop music, that is for sure. I can tell you if 'pop' music was more like this, I would be more interested in it. I am periodically reminded of Bjork, but not because of the vocals, but because of the artsy and original style, which is completely unique to Buke and Gase.

Dyer performs the vocals, and she has a sweet voice that convinces you to come into her strange world of harmonic intervals unlike what most singers could tackle. Her range is amazing, sometimes singing in a high pitched songbird-style voice and others hitting low notes that most female singers would shirk at. The rhythms are usually heavy with almost prehistoric sounding drums thumping along and keeping the odd time signatures and rhythms in order to tie the odd musical patterns together, keeping everything somewhat anchored, yet not really.

Crossover Prog is a good place to put this music, as art rock is placed under that genre, and this is the highest quality pop style art rock that is current. You get the odd stylings of 'Pink Boots' with its quirky rhythms, the strange, alien-sounding processed vocals of 'Temporary', the robotic mood of 'Grips' which recalls something between Kraftwerk and Devo, but odder, and the perfect harmonies in the chorus of 'Flock'. The music has got that deconstructed sound to it in that there is no music in there that shouldn't be there, it is basic, yet complicated at the same time. There are a few times, unfortunately, when the auto tune is used to extensively, but then they use that to a very good advantage on some harmonic passages which ends up working towards their unique sound. The uniqueness of their sound really comes through with their home- made instruments on some of the tracks like 'Eternity', which is a good example of their quasi-acoustic sound, yet they tastefully add just enough electronics to keep things from being your typical 'beard rock', not to mention the fact that in the middle of that track, they go way off into left field avant-prog style craziness. Just when you think you have their sound nailed down, you find out you are completely wrong.

At this point, I consider it a sad thing that this band isn't more popular here in the archives. The music is definitely unique and progressive. It veers off into some interesting territory several times through the album, and even approaches avant-prog without any hesitancy. The musicianship is excellent, the singing is great, and it is totally unpredictable. Even with its ties to pop music, you shouldn't be afraid of this album thinking that it is weak. The ties are the same ties that you would find in more eclectic music like a combination of Portishead and Bjork, but much more organic. I highly recommend this album, and even though I give it 4 stars today, I really believe that as I listen to it, I will come to like it even more. This album is excellent!

 Roxy Music by ROXY MUSIC album cover Studio Album, 1972
4.06 | 288 ratings

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Roxy Music
Roxy Music Crossover Prog

Review by jamesbaldwin

5 stars Roxy Music debut with the eponymous album was epochal. There had never been any pop songs with such a rate of artistic sophistication. The art-rock was born, which today we consider crossover prog. The band was a breeding ground of talent, as in the tradition of prog was composed by virtuosos: Bryan Ferry invented a decadent dandy singing, then taken up by the vocalists of glam rock and new wave groups, and he was an excellent pianist, as well as the composer of all the tracks. Brian Eno was an electronics pioneer. Phil Manzanera was a brilliant and extravagant guitarist. Andy Mackay was a real virtuos. Graham Simpson and Paul Thompson were a perfect rhythm session.

"Roxy Music" starts with "Re-Make/Re-Model" (vote 8,5/9), a manifesto song: it's a rave up with whimsical rhythm, where the singer and every instrumentalist are singing or playing as if they were soloists. One of the most striking incipits in the history of rock. The second song "Ladytron" (vote 7,5) continues with the sustained rhythm of the first, but in a more classical way: by ascending the instrumental incursions alternating with those of the singing.

The third, "If There Is Something" (vote 9+) touches one of the peaks of the music of 1972. It is an absolute masterpiece. Part like a catchy pop song, sung with mocking joy, and gradually becomes more and more melancholy and mournful thanks to instrumental solos (Mackay divine), and in fact the singing of Ferry gradually transforms, becomes an increasingly neurotic crooning and suffered. Absolute masterpiece that is worth, with its six and a half minutes, much more in terms of pure inspiration, creativity and pathos (I don't say in terms of compositional effort), of all or almost the suites of the great or minor prog rock band of 1972 (includes "Close To the Edge" and "Supper's Ready"). "Virginia Plain" (absent in the UK version, vote 8) is an experimental electronic song, where Eno shows his creativity as an electronic pioneer. But let's not forget to praise Bryan Ferry, who is the creator of all these pieces: he is the Roxy Music factotum, and he is an extremely gifted musician, who is often underestimated as an author and singer. "Virginia Plain" in its brevity is a brilliant and innovative song, due to the collaboration between Ferry and Eno. "2HB", which ends the first side of the album, is a more relaxed, almost resigned ballad (vote 7), which has its best moments in the instrumental parts. End a first side by applause.

Side B opens with "The Bob [medley]", almost six minutes: another experimental song (vote 8) with strange sound, rumours of war, cacophony. Then comes a catchy melody, to the rhythm of rave up, as in the first song, then the anguish returns. Cerebral song. The second track ("Chance Meeting", three minutes, vote 7+) immediately appears heartbreaking, poignant, and Ferry singing is imposed as one of the most characteristic of an era. The arrangement is minimal but very effective in emphasizing the pathos. Short but well-made song. There comes "Would You Believe" (vote 7,5) a happy and disengaged rhythm (I wonder, in fact: until Roxy Music manage to maintain such a high quality level?) which then unleashes another raveful rhythm, and the party starts again.

"Sea Breezes" (seven minutes) is a slow piece, absorbed, with excellent solos of Manzanera, a very raised bass, a more meditative development. It does not reach the peaks of the first side (vote 8+) but is more than good. The final "Bitter's End" (two minutes) is a goodbye song in chorus, as at a party, with the saxophone in evidence. A touch of lightness (vote 6,5).

The second side is slightly inferior to the first, and contains songs that hit less at first listen, on the whole more painful and sought. However, overall the album remains a must for its beauty and for its historical reach. The progressive has moved both in the direction of symphonic music (the suites) and in the direction of writing high-class pop songs, where, and this for me counts, the rate of theatricality, vocal interpretation, arrangements, helps to create deep emotions: like in this case.

Masterpiece. Medium quality of the songs (without Bitter's End): 7,94. Vote album: 9+. Rating: Five Stars.

 In Flight by DAMANEK album cover Studio Album, 2018
4.13 | 101 ratings

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In Flight
Damanek Crossover Prog

Review by The Jester

4 stars Review # 102. The 2nd studio album of the English band Damanek was a very pleasant surprise to me. I had no idea about this band until I discovered this wonderful album.

The "moving force" behind the band is Guy Manning, a very talented multi-instrumentalist, singer and composer, who has participated in a number of bands and projects. There are many musicians participating here, further than the band members, playing a rather good variety of instruments, including, sax, mandolin, bouzouki, and violin. Also, there is a choir in a couple of tracks. The style of the album is a rather rhythmic and uplifting Prog Rock with many Jazz elements in it. Although Jazz is not a music that I like, the way that these guys are mixing Prog with Jazz is very interesting and definitely enjoyable for the listener.

Almost all the songs are really good, the band's technical skills are at a very high level, and the final outcome is excellent! Also, the album's closing song, the -almost-30-minute-long suite Big Eastern is really something! This is a very good and enjoyable album. I only wish that the band will continue like this. My Rating 4.0 stars

 Three by ESP album cover Singles/EPs/Fan Club/Promo, 2019
3.05 | 2 ratings

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Three
ESP Crossover Prog

Review by TCat
Prog Reviewer

3 stars ESP is a musical project started by Tony Lowe, who has played in the past for "Fripp & Cross", "Simon Townsend", and "Bram Stoker". He has released 2 LPs and several EPs since 2015 with differing band lineups, or guests. This time around, he has released a 4 track EP that has a duration of just over 30 minutes. Each track lasts around 7 - 8 minutes. Tony has said this EP is released in advance of a new album that will be released hopefully this autumn (2019). Joining Tony, who plays keyboards and guitars, is vocalist Damien Child, Greg Pringle on drums, and bassist Pete Clark.

"Before the Fall" starts off the EP with some lush keyboards and a nice mid-tempo song. Damien's vocals start quickly, and he has a full, emotional voice which reminds me a little bit of Tim Bowness from "No-man". The keyboards are quite prominent on this track supported with guitars adding atmosphere. There is a symphonic edge to the music. Later, a passage led by guitars give things a slight Floydian feel.

"All the Way to Heaven" feels a bit darker, but continues with the overall lushness of the first track. The chorus is a bit brighter and more solid feeling and this alternates with the soft, darkness of the verses. A nice bass break leads the way for a atmospheric guitar solo followed by fluttering synths. But, even at 7 minutes, nothing really stands out.

"Wings to Fly" has that Alan Parsons vibe to it, pop/progressive, but the melody doesn't lend itself to anything catchy or emotional until it gets to the bridge at which point it starts to soar and is followed up with a much better guitar solo, but things don't build off of that as it loses it's steam with a somewhat meaningless section that goes nowhere other than to add time to the track. Even when things slow and the drums and bass drop off signaling what could have been an emotional guitar solo, we only get a substandard solo and then more pointless wandering. The guitar acts like it wants to go somewhere, but it doesn't.

"Coming Back" is the last track, and it has a heavy plodding beat with solidness in both the guitar and keys. Damien returns to the Tim Bowness feel again and you get a more emotional delivery here. There is a longer instrumental break here, with some guitar passages that seem to want to rise above the overall average-ness of the songs, but nothing really pays off here. It's all stuff we've heard many times before.

The songs here pretty much come across as being mostly average. Many times they threaten to become something greater, but seem to be restrained keeping them from advancing to being what they aspire to be. Everytime you think you are building up to something, nothing much happens. The music is pleasant enough, but doesn't really rise above anything other than being symphonic-lite, making sure it stays accessible and mediocre.

 When You Were Living Here by SLUG COMPARISON album cover Studio Album, 2019
3.65 | 3 ratings

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When You Were Living Here
Slug Comparison Crossover Prog

Review by TCat
Prog Reviewer

3 stars Slug Comparison is the name of the project from Doug Harrison who is from the black metal band "Fen". At this point, there has only been one other full length album and an EP both released in 2014. On this, the 2nd album, called "When You Were Living Here", Doug is joined by several additional musicians, the core of which are some who are also in the band "Fen", but also other guest musicians, and also a shout choir on one of the tracks. The core band consists of drummer Randall Stoll, bassist Mike Young (who has also played for Devin Townsend), Sam Levin on guitar and string arrangements, and Jeff Caron on bass on certain tracks.

"Exactly What to Do" starts with an upbeat and heavy track which serves as a great opener. It's a great track, but is mostly a standard heavy rocker. Doug is a decent vocalist for the style of music and there are some good harmonics too. "Hyperslump" is a less heavy track, but still quite upbeat, and with a slight jazz edge to it and a couple of good guitar solos. "Let Some Light" leans more towards an acoustic guitar led track with a mid-tempo pop/rock beat and a bit of an increase in intensity on the bridge. Nice jam during the instrumental break between the electric and acoustic guitars. It's the lyrics that are most important on this track as Doug shows off his great songwriting skills, but with a lot of interesting support in the instruments.

"Fine With It" is a more thoughtful track, with some stellar and emotional vocals. The track is much more laid back and ballad- like with no percussion. Again, we get a lovely guitar solo on the break. Doug also shows off his vocal range as he hits his high register for a short passage. Beautiful song, but still light on the prog. "Thoughts" returns to the straightforward rock sound this time with a heavier bottom end, but remaining very accessible with a strong beat. "When You Were Living Here" is a pensive and slow track with airy vocals, soft guitar and some processed strings. Slow percussion comes in later as the vocals become more emotional. The melody is a bit more complex and dramatic this time, as the idea here is much more involved. Once again, we have another lovely ballad that builds in intensity until it is almost in the same vein as a slow track from "Anathema" or "Opeth" at their softest.

"Becoming" is a mid-tempo, mostly acoustic track. It is almost folk-ish in nature, at least in the independent neo-folk music style. "So Ya Got a Great Guitar" is the track with the shout choir. Instantly, we have a heavier song with a hard driving beat. The melody is a little more complex again, approaching a prog-metal-lite feel, but with way too much restraint placed upon the entire performance to keep things accessible. The choir is not utilized as well as you would hope only coming in at the last minute. "Hold of You" is another slow acoustic led ballad with some nice "Opeth-style" harmonics.

"Beings Far Away" begins with a pensive, acoustic led vocal about a lonely alien (?) or is it about a young person with an over- active imagination, I'm not sure. There is a nice acoustic solo backed by a slow rhythm on the break. Light synths add to the atmosphere of the track later and things turn spacey for a short time at the end. "Purple Monkey" stay in the slow, pensive feeling of the last couple tracks with vocals supported by an acoustic pattern. I think this was supposed to be a slow, dark section of the album, but the darkness was missed because of the attempt to keep things mostly accessible. So you don't get the "Porcupine Tree" element they may have been shooting for. Instead it's just pleasant ballads, that start to feel a little washed out after a while. The last track, "One More Step", ends the album with a heavier track with a bit more complexity, but still mostly straightforward.

Overall, the album is very accessible with some sections getting more complex than others, but once you get to the end, you can feel the restraint put on the overall performance. There is, however, no doubt that Harrison is a great lyricist that can match great melodies to words. Harrison is also a great, emotional vocalist and guitarist. The album itself is mostly light on the progressivness, but a step above most standard rock/pop. With less restraint put on the music striving to keep things accessible, this album could have been much better, but for the most part, as it is, it struggles to rise above standard rock. There are other good aspects, such as the excellent tracks "Fine With It" and the title track, which prove that there is some great talent and potential here, but as an entire album, it doesn't rise to excellence, however it remains a good album worth a few listens.

 Stereotomy by PARSONS PROJECT, THE ALAN album cover Studio Album, 1985
2.74 | 201 ratings

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Stereotomy
The Alan Parsons Project Crossover Prog

Review by sgtpepper

2 stars Stereotomy is not more catchy and pop-oriented than "Vulture Culture"; it goes less into mainstream. However, songwriting crisis is inevitably to be heard here. The first long track looks promising with its 7:30 minutes, however there is not much beneath the surface apart from a good melody and a few instrumental ideas. "Urbania" is one of the best APP instrumental tracks with soaring guitar and keyboard "riffs", any progrock band would happily have such track in 1985. "Where is the walrus" stands by as another prime instrumental composition.

"Limelight" is a highlight sung by the great Procol Harum leader Gary Brooker. He gives another dimension to the decent melody and synth layers. "In the real world" is a non-distinguishable 80's throwaway track. Ballads are not particularly strong on this album "Limelight" and "Light of the world" are decent but not too memorable.

Despite more willingness to experiment, I can't give more than two stars to this record.

 Vulture Culture by PARSONS PROJECT, THE ALAN album cover Studio Album, 1984
2.30 | 197 ratings

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Vulture Culture
The Alan Parsons Project Crossover Prog

Review by sgtpepper

2 stars Downstream goes on! APP couldn't save going downhill on this record. Instead of waiting for better ideas to come, two more albums came out in a short time, Vulture Culture and Stereotomy. Out of two, Vulture Culture is inferior. "Talk about me" is only interesting because of yet another influence - the traces of Supertramp can be found here. "Separate lives" is an underdeveloped APP track with typical sound but not very strong invention. "Days are numbers" is a too generic 80's ballad unrecognizable from others. "Sooner or later" with Eric Woolfson borrows equally from Beatles and ELO - it is catchy and easy to chew but not with a large depth beneath. The title track belongs to the weakest ones on the album. At last "Hawkeye" and "The same old sun" save the album to deserve 2 stars.
 Ammonia Avenue by PARSONS PROJECT, THE ALAN album cover Studio Album, 1984
2.94 | 232 ratings

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Ammonia Avenue
The Alan Parsons Project Crossover Prog

Review by sgtpepper

2 stars Ammonia Avenue is a pleasant pop album with enough compositional quality from Alan Parson and Eric Woolfson. However, there is hardly any progressive element left even though the studio quality remains top.

Some tracks rock harder than in the 70's and keyboards are not always prominent as they used to be, which is suprising for this period of the 80's. Good pop tracks are "Prime time" and "One good reason". Great sentimental ballads include "Since last goodbye" and "Don't answer me" with its excellent saxophone solo. Another ballad, "Ammonia avenue" is an attempt at grandiose arrangements and the timing at the end of the album fits it. "You don't believe" is fully compliant to the New Wave movement with its electronic drums, bass and textures. The only instrumental track and a pretty average one, is "Pipeline" - it does not bring anything new in comparison to the old better ones. Certainly not one of the best ones from APP in the 80's.

 The Turn Of A Friendly Card by PARSONS PROJECT, THE ALAN album cover Studio Album, 1980
3.51 | 380 ratings

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The Turn Of A Friendly Card
The Alan Parsons Project Crossover Prog

Review by sgtpepper

4 stars "The turn of a friendly card" was a step forward after a misfit with "Eve". Not only is this one of the best APP albums but is belongs to the highlight of any art-pop music catalogue between 76-82. The tracks are well composed, structured and executed. The first poppy track "May be a price to pay" is a mixture of classic APP sound and Electric Light Orchestra influence. "Games people play" highlights a pleasant guitar solo towards the end of the song. "Time" is one of the most haunting ballands penned by APP, sung by who else then Mr. Woolfson who adds another dimension to it. "The gold bug" is a not very creative and laid-back instrumental track. The only standout is a saxophone solo. The one and only long epic composition a la second side of Abbey Road starts and lasts for over 16 minutes. What can we expect here? The two first parts are very catchy, followed by a symphonic and slightly progressive instrumental break. Eric Woolfson comes back with a reflective folkish number. Unusual hard guitar-based instrumental section that evokes the main motive follows. The remainder of the composition is characterised by repeating of the haunting melody that gains on its dynamics.

Overall, this is a very well crafted piece of music and albeit not very progressive, this might be exactly something for a girl of a proghead! The long 16-minute piece is fantastic regardless other tracks.

 Pyramid by PARSONS PROJECT, THE ALAN album cover Studio Album, 1978
3.40 | 349 ratings

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Pyramid
The Alan Parsons Project Crossover Prog

Review by sgtpepper

3 stars Each APP album went gradually more pop-oriented but remained at least a conceptual topic to be linked to. Pyramid is a decent album with a few progressive moments but it is foremost a catchy and pop-oriented record. The ability to compose tracks highly exceed the ability to create complex instrumental parts.

The start is promising and the second Beatles-oriented track does not expectations things down. "The eagle will rise again" is a typical APP ballad, powerful and effective. "One more river" goes a step closer to the late 70's prog-rock - instrumental changes, the break-up atmosphere. "In the lap of the gods" is the most complex track in terms of arrangements as it mixes strings, chorals and rhythm changes. Going through the next throwaway poppy track we come to one of the most famous instrumental APP tracks - "Hyper- Gamma-Spaces" - this one is the only progressive electronic echo on this record. As it became a habit on some APP records, the last song is dedicated to a melancholic heartbreaking ballad, this one could be even better than the "The eagle will rise again". Close your eyes and think of all your previous losses ;)

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
22 Norway
3 United Kingdom
3 United States
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
AARDVARK United Kingdom
AARDVARK' Finland
THE AARON CLIFT EXPERIMENT United States
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AGRABAH Argentina
EDUARDO AGUILLAR Brazil
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALEPH Australia
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALPHA LIGHTING SYSTEM Mexico
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
AMAZING MACHINE Norway
THE AMAZING Sweden
AMBERFIELD Germany
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
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
APPLESMELLCOLOUR Spain
AQUA TALK Turkey
AQUILA United Kingdom
ARCA PROGJET Italy
ARCHANGELICA Poland
ARCHIVE United Kingdom
ARCPELAGO Brazil
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARID GARDEN Italy
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
ARONORA Australia
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTIFICIAL HOME Latvia
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASIMÉTRICA Mexico
ASTRAL BAZAAR Finland
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
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
AMADEUS AWAD Lebanon
DAVID AXELROD United States
AZURETH Multi-National
BACKHAND Venezuela
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 BARDS OF ANTIQUITY United States
NICKLAS BARKER Sweden
BARNUM'S FREAK Italy
BARON United Kingdom
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
BEND SINISTER Canada
BENT KNEE United States
THE BENZENE RING United States
ROBERT BERRY United States
EMILY BEZAR United States
BIG BIG TRAIN United Kingdom
BIRZER BANDANA United Kingdom
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
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
BLURRED VISION Canada
THE BODY POLITIC Canada
BOMBER GOGGLES 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
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
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