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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 04/26/2015

Tom (Roland113)
Evolver (Scott)
tszirmay (Thomas)
rogerthat (Madan)

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 | 1634 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.32 | 1313 ratings
CRIME OF THE CENTURY
Supertramp
4.32 | 1066 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1056 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.23 | 844 ratings
DOOMSDAY AFTERNOON
Phideaux
4.21 | 1476 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 732 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 870 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.21 | 464 ratings
~
iamthemorning
4.18 | 733 ratings
SNOWTORCH
Phideaux
4.17 | 621 ratings
THE UNDERFALL YARD
Big Big Train
4.16 | 662 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.13 | 680 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.12 | 516 ratings
NIGHT
Gazpacho
4.38 | 75 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.15 | 292 ratings
ONES & ZEROS: VOL. 1
3RDegree
4.23 | 138 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.26 | 116 ratings
SHINY EYED BABIES
Bent Knee
4.21 | 148 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.07 | 941 ratings
TUBULAR BELLS
Oldfield, Mike

Crossover Prog overlooked and obscure gems albums new


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

CORPUS
Talisma
2. (ODCIEń CISZY)
Wozniak, Tadeusz
BROKEN CHINA
Wright, Richard
CONQUISTA
Alux Nahual

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Latest Crossover Prog Music Reviews


 All Burn by RECEIVER, THE album cover Studio Album, 2015
4.00 | 1 ratings

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All Burn
The Receiver Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars US band THE RECEIVER was formed ten years ago by brothers Casey and Jesse Cooper, and they released their debut album "Decades" the following year, followed by "Length of Arms" in 2009. Following an active period were the band focused more on live performances and other non-recording matters, they returned with their third album "All Burn" in 2015, released through UK label Kscope.

The band's style of music appears to most commonly be placed inside the dream pop segment, and there's undeniably an element of the dream-laden in their material. While that may well be a fairly appropriate description of their music, personally I think synth pop might be just as warranted as far as general style is concerned. The synths does dominate, and the music is undeniably closer to pop than it is to rock music.

A key feature throughout this album is a mood and atmosphere that appears to have a central foundation in feelings of longing and melancholy, explored as from a distance and with a certain emotional chill to it. Music I'd describe as distanced and slightly detached, where the emotions comes across as frail and delicate. Music of the kind that I'd imagine would appeal to the intellectual introvert if you like, as the emotions are at a distance and shy away from being overblown, dramatic and overpowering.

The lead vocals lead the way here, in a manner that might remind of Radiohead's Thom Yorke on an extremely controlled day: Frail, brittle, light toned but unlike the aforementioned Yorke without any of the dramatic, emotional touches that gives his voice such an edge. Dream-laden if you like, and to draw the Radiohead comparison further I'd point to their song Karma Police as one fairly similar in mood and atmosphere to the landscapes explored by The Receiver.

Musically we're dealing with a somewhat different entity altogether though. Careful, gliding keyboard textures and surging synthesizer effects dominated, with steady and sometimes vibrant basslines in support and steady ongoing drum patterns. The piano comes in occasionally to good effect, more often than not to add an additional delicate touch to the proceedings. These elements are combined in different manners of course, from slow, dream-laden melancholic affairs that resides straight in the heartland of dream pop to more vibrant, energetic affairs that gave me some associations to old synth pop band Erasure and their monster hit Chorus from some years back. I kind of guess that the brothers Cooper have some interests in music a wee bit beyond the fields of dream pop and synth pop though, as there were some details occasionally applied here and there that might have been borrowed from both Kraftwerk and Tangerine Dream, and some of the more richly layered arrangements does indicate that this is a band with a musical taste for material of a more sophisticated nature as well.

Sporting impeccable mix and production, The Receiver's third album "All Burn" comes across as a good album to investigate for those with an interest in careful, dream-laden synth pop, as well as a creation that should hit home with the greater majority of people that has an interest in artists described as dream pop. A well made production all in all, fairly sophisticated at times too, and a CD I would imagine to have a fairly broad appeal if given that rare opportunity called mainstream FM radio play.

 Say So by BENT KNEE album cover Studio Album, 2016
4.21 | 46 ratings

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Say So
Bent Knee Crossover Prog

Review by Nogbad_The_Bad
Special Collaborator RIO/Avant/Zeuhl Team

5 stars Bent Knee are from Boston so I've had the distinct pleasure of seeing them numerous times over the last two years. Having made a significant step forward from their debut to Shiny Eyed Babies there was a distinct worry that this third album may suffer from comparison to what was one of my favorite albums of 2014. Fortunately that is not the case. I heard most of the the material on Say So performed live before the release and while excellent live it has come on leaps and bounds when executed in the studio. This is again collection of wonky edgy pop with a heavy emphasis on Courtney Swain's vocals which have a dynamic range a strength that continue to surprise and most remind me of Moorea Dickason of MoeTar. The beauty of Bent Knee is that all the music is group compositions and give room to all the instruments without feeling forced. It would be easy to make the band a showcase for Courtney's vocals & Ben Levin's manic guitar work but the rhythm section of Gavin Wallace-Ailsworth (drums) & Jessica Kion (bass) are tight and dynamic adding twists and turns throughout. The violin of Chris Baum is a subtler contributor but vital to the overall sound. The production from Vince Welch gives a real depth and vigor to the sound while maintaining clarity. A great signing to the Cuneiform label and a strong candidate for album of the year.
 Bottled Out Of Eden by KNIFEWORLD album cover Studio Album, 2016
4.46 | 18 ratings

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Bottled Out Of Eden
Knifeworld Crossover Prog

Review by Nogbad_The_Bad
Special Collaborator RIO/Avant/Zeuhl Team

5 stars Knifeworld now release their third full length album that continues their development from 2014's Unravelling. They have now established themselves at the forefront of modern progressive music. Whereas The Unravelling was a band execution of Kavus Torabi's ideas this is much more of a band effort. It still playfully bounces between wonky pop, avant-garde and krautrockish psychedelia. The major instrumentation is Kavus' guitar but he leaves plenty of space for keyboards and bassoon to be major contributors. Kavus has most of the vocal duties though Melanie Woods vocals are probably a significant benefit to the overall impact. A strong candidate for album of the year. Expertly mastered by Bob Drake in the Pyrenees.
 A Moon Shaped Pool by RADIOHEAD album cover Studio Album, 2016
4.03 | 181 ratings

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A Moon Shaped Pool
Radiohead Crossover Prog

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars I am not a Radiohead fan. I have never been able to pick up on the supposed genius and innovation that the band has bestowed upon the fortunate world. But they have had a few songs that at least have got me interested enough to listen to their music. "Subterranean Homesick Alien," "Optimistic," "Everything in Its Right Place," and "Arpeggios/Weird Fishes" are all great songs. Still, seeing the positive reviews pouring in when A Moon Shaped Pool was released got me interested enough to buy the album. It's taken me some time to get to know and judge the album. A Moon Shaped Pool is definitely an appropriate title--incorporating two references that I find quite appropriate: the all-pervasive murky, underwater rendering of many of the instruments in the way that Harold Budd and Brian Eno once pioneered on albums like Discreet Music, Plateaux of Mirror, The Pearl, and others as well as the pseudonym chosen by Budd and Cocteau Twins' Robin Guthrie for their THE MOON AND THE MELODIES collaboration.

1. "Burn The Witch" (3:40) a perky, almost frenetic and driving beat beneath the vocals here makes this one engaging and yet almost annoying. (8/10)

2. "Daydreaming" (6:24) is a gentle song with lots of headphones-pleasing subtleties and pitch-bent sounds flitting in and out of the soundscape. I really enjoy this one. Another 'under water'-like listening experience. One of my top three songs from the album. (9/10)

3. "Decks Dark" (4:41) weird treated piano sound manipulations with distant drum machine open this song before Thom and real-time piano bring in the melody and lyric. At 1:25 the band joins in--as do some eery background female vocals and electric guitar--which almost drown Thom's vocal out! (Interesting engineering choice!) The song may want to sound dark and eery but the lasting effect is once again to make the listener feel as though they're minds are being messed with--as if our reality is being distorted. Interesting. (8/10)

4. "Desert Island Disk" (3:44) acoustic guitar played with finger pads opens this song. More eery background (left channel) heavily treated and pitchbent sounds play--(with equally spacey distorted guitar appearing intermittently in the right channel). All the while Thom Yorke sings dreamily over the top. An acid/psychedelic folk song? (8/10)

5. "Ful Stop" (6:07) opens with a two-note bass line, fast bass drum beat, and heavily treated snare beat swimming within the horn-like synths floating around beneath left and above right. Thom's vocals are a little higher pitched and sound a little more affected than usual here. Then at 3:25 he begins repeating in a tow falsettos "truth will mess you up" and "all the good times, one over the other in layered channels. Interestingly effective--much in the same way I find "Arpeggio/Weird Fishes" so hypnotic. (9/10)

6. "Glass Eyes" (2:52) opens with more heavily, heavily treated piano accompanied beautifully by the strings of the London Contemporary Orchestra. Thom's sedate vocal is present very front and forward, even a little below us, as he sings as if the long night of drinking has left him alone and philosophical. One of my top three--probably my favorite song on the album. (10/10)

7. "Identikit" (4:26) opens with one of the band's sparse and seemingly simple rhythms, bass, drums and guitar, before layers of Thom Yorke voices fill much of the soundscape--as if different parts of Thom are singing each in different dimensions. Then at 2:05 the voices unify into one direct voice front and center singing about broken hearts making it rain--which is then repeated by the female choir of the London Contemporary Orchestra. The multi-dimensional voices return as reggae-like bass and lead guitar take increasing prominence to the end. Pretty cool song--worth multiple visits. (8/10)

8. "The Numbers" (5:45) opens like a combination of 1960's opening to John Coltrane's "A Love Supreme" and the morph into a CROSBY, STILLS, NASH & YOUNG psych folk anthem. Could be a great song from Sweden's THE AMAZING. Acoustic guitar, piano, treated piano, electric guitar, busy bass, and background snare-dominated drums populate the soundscape as Thom sings within the psychedelia. Very cool sound. At 3:33 orchestra strings join in providing a very effective BEATLES-like presence. Finale with choir and strings supporting Thom and the pianos. Another tope three song for me. (I'm just a sucker for that CSN&Y sound.) (9/10)

9. "Present Tense" (5:06) opens with a basso nova-like rhythm and Thom's "ooo"s. An interesting choice of music to accompany Thom's plaintive, despondent vocal about the overabundance of human-inflicted violence on our planet (or is it about the breakup of a relationship of his?). Okay song. Probably my least favorite on the album. (7/10)

10. "Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief" (5:03) opens with old time tape his over cheesy sounding drum-machine beats and syncopated old-time electric piano chord hits. Thom soon enters and sings in his higher register voice (which, I just noticed, is quite similar to that of SIGUR RÓS's Jónsi). A lot of orchestral strings and female choir effects are added to the usual Radiohead electronically manipulated sounds making this an interesting representation of the human conundrum of living in our computer age. The song could have been further or better developed. (7/10)

11. "True Love Waits" (4:43) two and then three and four Harold Budd-like treated piano tracks support another higher register, but more plaintive Thom Yorke vocal. The deviation from single time signature to more polyrhythmic effect in the third minute gives the song a bit more interest--but almost to the distraction of the vocal. Plus, I'm not sure why, but the sound engineering has (I'm assuming) allowed some scratchy tape static and hiss to be present in the soundscape--which I happen to find a bit distracting and annoying. Otherwise, this might be considered a pretty ingenious little song. (9/10)

All in all I think the experimentation with sound engineering got away from Thom and the band a little on this one-- some of the "old" effects like hiss, static, scratches, whirl and wobble on this album are a bit annoying and distracting. Digital CD sound is not 'supposed' to sound like this! I'm totally clueless as to why a band would want this on their album, but it's here. The songs are mostly pleasant enough--and the incorporation of the London Contemporary Orchestra and Female Choir are powerful and quite welcome. And I do like and appreciate the sonic engineering the band incorporate into their soundscapes, but, it can get to be a bit much. Still, this is a very good album from a very good band. I'll recommend this one with a solid four stars.

 Grappling by TEA CLUB, THE album cover Studio Album, 2015
4.16 | 142 ratings

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Grappling
The Tea Club Crossover Prog

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars

THE TEA CLUB Grappling

It's taken me a long time to get around to this late arrival to the 2015 catalog as I was fully enmeshed in trying to keep up with the new releases of 2016 before I was able to acquire this one. But time has given me a good chance to get to know this album pretty well. I'd read many reviewers commenting on the "new direction" The Tea Club had apparently taken with this album. I see it--mostly in the form of a much more present and flashy drummer and keyboard player than the last album. (Welcome Tony and Reinhardt!)

1. "The Magnet" (6:07) is a vibrant, intricately arranged song with stellar performances from all band members-- especially the way the guitars and keyboards mimic and weave in and out of each other's shadows. I love the pace of this one. A pretty-near flawless song and my favorite on the album. (10/10)

2. "Remember Where You Were" (7:43). Though new keyboard player Reinhardt McGeddon shone on the opening song, this is the one which really puts on full display his tremendous talents--layers and layers worth. The pacing of this song is a bit slow and syncopated for my tastes--or perhaps I find it difficult to match the rhythm section's play with the vocal and keyboard play. (Are they playing on the same song?) It almost has a Lamb Lies Down on Broadway "In the Cage" feel to it. (8/10)

3. "Dr. Abraham" (8:11) opens with a full low end, drumming on full display, with organ and guitars diddling in the background. When the vocals enter things cohere and then the music shape-shifts beneath. Over the course of the first two minutes I am befuddled by the sudden and, to my ears, incongruous time and dynamic shifts. The story about some kind of Doctor Abraham is told with quite some emotion--and, in the fourth minute, with two separate vocal lines going on simultaneously. Meanwhile, the heavy rhythm section and noodling organ and synths continue to play as if they are oblivious to one another. One of those songs whose choices for musical and vocal expression mystify me. The slow build from 5:00 to 6:00 is cool. The drummer is very good, but maybe a little too busy--which is a distraction for me. The "lamination" finale is just weird. (7/10)

4. "The Fox in the Hole" (4:45) opens with violin and acoustic guitars weaving a kind of medieval tapestry. Vocals soon join in--later to be joined by bass and drums and other multiple other voices. Electric guitar and organ 7 synths fill in the weave as the scattered, layered multiple vocals play around the sound field. Interesting. Adventurous. A top three song for me. (9/10)

6. "Wasp in a Wig" (6:16) opens in standard rock form with a pleasant lower register singing voice singing a fairly normal, straightforward vocal. At 1:10 the music drops and bass chord play are all we are left with. Gradually, a jazzy kind of collaboration builds before the vocals resume for a bit. A very nice drum and keyboard/synth solo ensue into the fourth minute. The vocals rejoin and sing with feeling as they are harmonized by the borther's background voice. (I've never been able to pinpoint which of the McGowan brothers is which.) Another synth solo fills a chunk of the fifth minute before a GG three-way vocal weave takes over. The final minute recapitulates the 1:10 quiet section with gentle key chords, drums and vocalise. Another top three song. (9/10)

7. "The White Book" (9:57) is the longest album on the album. As the band are fond of doing, The Tea Club use this temporal expanse to patiently explore several tangents--one full of subtlety and delicacy, the other with bombast and layers woven into one. My fourth top three song. (9/10)

4.5 stars; a near-masterpiece of progressive rock music.

 Unrepentant Geraldines by AMOS, TORI album cover Studio Album, 2014
3.81 | 31 ratings

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Unrepentant Geraldines
Tori Amos Crossover Prog

Review by surrogate people

4 stars "Return to form" albums are one of rock`s most beloved cliches, something that fits perfectly in this era of ageing rockers. The veteran artist that after years or decades of releasing relatively minor works suddenly finds the inspiration to match his or her "golden years" is as popular as Hollywood`s retired pilot/football player/fireman/whatever that must return to prove that he still can do it for one last time. Every time that the Rolling Stones have released a new album in the last 30 years the critics hailed it as "their best since It`s only Rock and roll".. Well. I must admit that most of the times the results don`t really match the expectations (although there are some exceptions, of course) In this case, however things get a little more complicated. Tori`s two previous opuses hadn`t been exactly poor, I actually consider them both masterpieces, but we should bear in mind that they actually contained no new music, and were recorded with classical orchestras.On the other hand, her rock albums after The Beekeper seemed to have lost part of that "something" that made Tori´s music so special for quite a few people. (of course, more than 20 years listening to her albums also help to lose that element of surprise that makes new music attractive). So, .are we back in the "pretty good years" or are we in for a total bluff? Mmmm....somewhere in the middle, I think, but a little more towards the former option. While is true that I find Unrepentant Geraldines better than anything Tori released (in the rock field) since Scarlett`s Walk , I must admit that it has its weak points, and the real magical moments are not that many. But then again, I will never be in my twenties again (unless those cyclical cosmologies are right), so maybe it`s all about me. Who knows. The production, as usual is awesome, Tori´s voice sounds incredible, the instruments are crystal clear, even though I miss Jon Evan´s masterful bass lines (why not get a proper bass player?). The album starts with the folky America, that along with second song Trouble´s Lament are reminiscent of Scarlet´s Walk album. Both very good songs, even if I could do without that interlude in America. After that promising start the albums decays a little bit with the standard ballad "Wild Ways" and the 6/8 "Wedding day" (I admit I quite like the chorus on that last one, though). Next comes the breathtaking "Wheaterman", a delicate beautiful ballad that bears Tori`s signature and will surely please old fans. The voice`s reverb is amazing in the chorus , 100% guaranteed to bring goosebumps!.Unfortunately "60 Shades of Blue" represents a sudden drop in quality, and is one to skip. "Maids of Elfen-Mere"is yet another piano led ballad, not particulary good or bad. The next piece "Promise" is ...well...a piano led ballad, but a really pleasant one this time. Tori is accompained here by her daughter, whose voice seems to have matured since Night of Hunters, she really shows promise. "Giant`s Rolling Pin" comes then and i must say that it´s probably the worst song Tori ever included on an album, something even embarrasing to listen to. I wonder what was she thinking of...the kind of songs that make me feel sorry for having lost my cd player´s remote control. Compared to that one, "Selkie" sounds almost like a masterpiece...but is not, really. Just another solo piano ballad, that´s it. The title song is a little more uptempo, a well crafted pop song, that includes some brilliant piano arpeggios that are the most interesting part (even if a little too short).The second part of the song finds Tori again alone with her piano, and has nothing to do musically with the first one, really could heve been a separate song (I actually thought it was a different song on first listening, since the CD booklet doesn´t specify song order or duration, and the lyrics to that second part are not printed). "Oysters" another piano/voice one (Well, if you don´t like that kind of songs you´d better stay away from Tori. A good one, with her characteristic falsettos and all. "Rose Dover" doesn´t cath my attention, surely below average. And the uptempo parts are plain bad . "Invisible Boy"is a beautiful piano ballad that could have been on Under the Pink or Boys for Pele, is almost that good. Then the album (I have the special edition with DVD) finishes with "Forest of Glass", and I must say that this is the song I liked better in the whole album, as it contains all the elements that made Tori`s music so unique: haunting melodies, emotional but flawless singing and playing...Just Tori and nothing else. All in all a good album that won´t dissapoint old fans, except the ones that expect something as good as the classic albums. As I said, there are some unispired songs, but you can always skip them. I must admit that I hardly find myself in the mood to listen to "Giant`s Rolling Pin" alongside "Weatherman" or "Forest of Glass". But then , there are enough minutes of beautiful music here to warrant four stars.
 Counterpoint by CIRCULINE album cover Studio Album, 2016
3.93 | 8 ratings

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Counterpoint
Circuline Crossover Prog

Review by rogerthat
Collaborator Crossover Team

3 stars Like the other American prog rock band, 3RD Degree, that had requested me to review their album, Circuline is short on releases but long on experience. Some of its lineup have already been performing for 25-30 years. Unfortunately, it shows.

The musicianship is consistently top notch, often outstanding. The music is also very authentically prog; it's not pop/rock with a few time signature changes thrown in in a couple of tracks. The problem, from my perspective, is not a lot of it sounds very new.

Maybe the problem is me as I am almost heretical when it comes to retro-prog (and my idea of retro-prog is a little different from what is commonly understood; if it's Queensryche-like and it's 2016, it's still retro prog to me). From the beginning, I felt like I had been transported to the beginnings of prog metal in the mid-late 80s. When bright guitar leads, heavily influenced by the ace shredders that were a huge part of that decade's rock music, abounded. When powerful, pounding drums were favoured over the busy subtlety of the 70s. Case in point: the shred-coda of Hollow, the album's obligatory 10 minute plus mini epic.

It is certainly technically very impressive but at this point, it takes a lot for this kind of music to draw me in (colour me jaded but it is what it is). Outstanding vocals might help. I don't really hear that on this album with all due respect to Billy Spillane's resume. The vocals are competent and fairly typical of what I'd expect to hear on a prog album, nothing more, nothing less.

It would be one thing if this material was all put together in the 80s and it never left the nest until now. Perhaps, that was the case too; but the band describe themselves as modern prog. Maybe to some extent it is an accurate description given that a lot of modern prog pays homage to sounds from bygone eras. But when I hear the word modern, I expect a little more 21st century. This album is not completely devoid of 21st century sounds but you have to kind of search for them in the midst of largely 80s sounding music (including 80s keyboard tones, I kid you not).

Although much of the above may sound harsh, I did enjoy listening to the album while it lasted. It's just not engrossing enough for me to return for more listens. There are moments of brilliance, like a piano break in Hollow just before the guitar shred ending. As said before, this is one talented, accomplished band and at times there is a spark that shines bright and makes me go wow. I just wish I had had more of these wow moments.

I am tempted to go with four stars just to reward the excellence in musicianship and production (the recording sounds beautiful). But from a prog perspective, it's not excellent, at least not as a studio album. Would I love hearing this live in a concert? Without a doubt. So, three stars it will have to be but a strong three star effort.

 Pirana by PIRANA album cover Studio Album, 1971
3.58 | 11 ratings

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Pirana
Pirana Crossover Prog

Review by stefro
Prog Reviewer

4 stars Part of the surprisingly awesome Australasian scene, Pirana were an energetic Sydney-based quartet who first appeared in 1971, issuing two albums on the Harvest imprint before the usual lack of success truncated their all-too- brief career. For the interested, both of their albums are easily attainable on CD, yet, rather annoyingly, original vinyl copies of each are now worth a small fortune - around $400.00 as of 2016 - and they don't pop up very often.

Despite it's proximity to the rest of the world, Australia, and latterly New Zealand, did manage to cultivate a small scene of psychedelic and progressive groups, mainly gathered around the clubs and bars of Sydney, Auckland and Melbourne. The likes of Spectrum, Rainbow Theatre, Bakery, Ticket, Mantis, Sebastian Hardie, Band of Light, Ayers Rock, Tamam Shud and Tully showcased a vibrant selection of styles, whether it be acid-licked blues-rock or jazz- influenced symphonic rock, and much like Pirana, original vinyl copies of most of the above are now worth ridiculous sums of money(as of writing, their is a single copy of Memento's 1972 effort 'Bakery' for sale on Discogs for just under $2,000).

With a sound influenced by latin rock outfits Santana and Chango, Jimi Hendrix, British prog and late-sixties garage- rock, Pirana's debut is all heavy guitar-and-organ interplay and colourful instrumental flourishes, though multiple listens also reveal a debt to such non-prog luminaries as Chicago and even early Blood, Sweat & Tears.

Featuring a line-up comprising Tony Hamilton(guitar, vocals), Stan White(keyboards, vocals), Graeme Thomson(bass) and Jim Yonge(drums), the first album is arguably the stronger of the two, yet truth be told the difference is minimal. The same line-up would begin work on 'Pirana II' in 1972, but just a few days into recording keyboardist Stan White was replaced by Keith Greig, which goes some way to explaining the second album's guitar-heavy sound.

Unfortunately, despite backing from EMI, neither of Pirana's albums made much of a mark on the Australian charts, or anywhere else for that matter, and following the lukewarm reception of 'Pirana II' and the constant struggle to find gigs and make a resonable living, the band split in early 1973.

The Australian scene may have been small, and very far away, yet it produced a remarkable number of excellent albums in a very short space of time. Pirana, with their spicy organ runs, busy guitars and energetic jamming make for an excellent entry point for those wanting to take the plunge, and both their albums are highly recommended.

STEFAN TURNER, STOKE NEWINGTON, 2016

 Fall by FREEDOM TO GLIDE album cover Studio Album, 2016
4.45 | 13 ratings

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Fall
Freedom to Glide Crossover Prog

Review by PH

5 stars Wonderful FREEDOM TO GLIDE have come up with a second full-length release that neatly follows on from the critically-acclaimed CD 'Rain'. Totaling over 61 minutes of material, new record is comprised of 13 songs with a plethora of suggestive effects and soundscapes. It gives a truly kaleidoscopic gamut of the F2g's ethos to showcase the ideal combination between authentic Floyd-ism and intelligent rock music, resulting in holistic approach. From the evidence of 'Fall', Pete Riley and Andy Nixon continue to use 'anti-war concept' as the lyrical backbone, and I'm of admiration for this kind of enormous undertaking. The British duo makes people believe that progressive genre could actually give something special! Very few modern groups have managed to do such a feat. OK, let's order... The title track 'Fall' begins with a restrained piano and calm vocal, creating a vibe of dramatic tension. It serves like a good introduction to the enthralling album. Next up, 'Silent Code'. F2g lead us in their vision of a WWII soldier who's returning home from captivity. This composition is dedicated to Andy's grandfather. Musical entourage features a transparent beauty of guitar playing whilst the polished keyboards glide on the background. By surprise, the outro brings a memorabilia of PF legacy ('High Hopes'). Retaining the similar pace, 'Names In The Stone' follows then. Arguably, things get soaring on the fourth tune 'Toll', when awesome guitar licks take the center stage. Coupled with the piano flourishes, graceful harmonies provide an extra dimension for the final section. The next chapter 'Playing God' has the unobtrusive sonic palette. A much more sophisticated piece, 'Exit Wound' comes to incorporate the different characteristics. This serving has experimental nature, eclectic and innovative. The text is about post traumatic stress disorder in the present days... Although there are plenty of excellent themes and melodies on entire album, the composition that stands out for me is superlative 'Enigma' which gradually evolves from a gentle keyboard-line accompanied by heartfelt singing to the captivating musical attraction. Andy Nixon decorates this venture with a mind-blowing guitar performance - it would make even David Gilmour jealous. Successive 'The Middle Game' holds the interest. Compared to what we have heard thus far, 'Trough of War' is something peculiar. It bursts out in livelier tempo. And I think of The Beatles once in a while. Textually, the weapon dealers are accused here. Intended to throw off the intensity of tempo, amazing 'Solace' has a slow pitch which in turn gives way to elegy, 'Sleep Under The Flag'. This time, Pete Riley comes on proscenium, narrating the story about the repatriation of a dead soldier. Again, the keyboard figures are simply impeccable. Appropriated to make the transitions of mood and pace, 'Another Same" resembles a couple of smash-hits together ('More Than Words' by Extreme and 'Wild World' from Mr.Big). But maybe it's just the splash of surrealism in my mind?.. At the core of final track 'October' is a tight mixture of catchy vocals, melodic guitar work, the sustained keyboard chords and driving rhythm section. In proper place, the melodic route transforms to soft pattern, before gradually subsiding and fades away. Now you feel as though you have spent the past hour traveling on a time machine. All in all, immersive, remarkable CD 'Fall' is a high contender for ALBUM OF THE YEAR!..
 Shine On Brightly by PROCOL HARUM album cover Studio Album, 1968
4.06 | 261 ratings

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Shine On Brightly
Procol Harum Crossover Prog

Review by SteveG

4 stars It amazes me how such an influential album can be so overlooked in the prog world, but there are many valid reasons. The foremost that Procol Harum would be forever seen as a top ten hit song band instead of the musical trendsetters that they actually were. At least with their second album from 1968 titled Shine On Brightly. This is still the same lineup that recorded their eponymous first album, with organist Mathew Fisher oozing wonderful musical notes and cues that surround almost every song this album without smothering any of it. His calliope like swirls engulf the album's brilliant title track as guitarist Roibn Trower seems to send out siren like notes on his guitar by Morse code. My Moonbeams is magnificent prototypical heavy prog with Wish Me Well reflecting the ever present British Blues scene a well as referencing, musically, the late Jimi Hendrix. Naturally, Trower is superb with this material.

Incidentally, Jimi would be lyrically name checked in and the album's most celebrated track, which is the side 2 song suite In Held T'was In I, with it's magnificent lyrics from pen of Keith Reid and the powerfully commanding, questioning, searching and almost finding vocals from pianist Gary Brooker. The song's instrumental coda, subtitled The Grand Finale, is Fisher and Trower at their absolute best. If anyone likes Tommy by The Who, or the Beatles' Abby Road side 2 song suite, you can thank Porcol Harum for showing them the way. Procol's magnum opus may not hold up as well, but it's had to hold up far longer. Uber drummer BJ Wilson and bassist David Knights round out this album's classic line up of the Harum. 4 proto prog stars.

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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
AGRABAH Argentina
EDUARDO AGUILLAR Brazil
AHOORA Iran
AKIN France
AKROPOLIS Denmark
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
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
AMPHETAMIN France
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
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
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
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
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 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
BADWATER FIRE COMPANY United States
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
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
BITTERTOWN Netherlands
BJÖRK Iceland
BLACK CAT BONES 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
THE BODY POLITIC Canada
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
BRIGHT BROWN United States
THE BRIMSTONE SOLAR RADIATION BAND Norway
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIERE France
DAVE BRONS United Kingdom
DUNCAN BROWNE United Kingdom
BUILT FOR THE FUTURE United States
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
CALIFORNIA GUITAR TRIO United States
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 Netherlands
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
GUILLAUME CAZENAVE France
CEILING UNLIMITED United States
CELL15 United States
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
CHEETO'S MAGAZINE Spain
CHILDREN IN PARADISE France
CHIMPAN A United Kingdom
CHOICE Germany
CHOKE THE WORD United States
CHROME HOOF United Kingdom
CHURN MILK JOAN Multi-National
CINEMA SHOW Brazil
CIRCA United States
CIRCA SURVIVE United States
CIRCULINE United States
CIRCUS PARANOIA Netherlands
CIRCUSFOLK Finland
CITADEL France
CLARION Italy
STEVE CLARK Australia
CLOUD ATLAS United Kingdom
CARY CLOUSER Canada
CLOVER SEEDS France
CLUB MERANO Finland
SUSAN CLYNES Belgium
STEVE COCHRANE Canada
COHEED AND CAMBRIA United States
COLLECTING SPACE United States
COLOR Hungary
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 REMEDY Multi-National
COSMOS DREAM France
ROB COTTINGHAM United Kingdom
COZHE Finland
BEN CRAVEN Australia
CRAZY WORLD Finland
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CROSS Sweden
BEPPE CROVELLA Italy
CRYPTEX Germany
CUAC! Spain
CUPRUM Czech Republic
PAUL CUSICK United Kingdom
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LAREN D'OR Hungary
NICK D'VIRGILIO United States
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DAYMOON Portugal
DDNZ Serbia
MARCO DE ANGELIS Italy
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DISTRICT 97 United States
DLGZ ROCK 5TET France
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
PASCAL VAN DEN DOOL Netherlands
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GEOFFREY DOWNES United Kingdom
DR FOLAMOUR France
DREAM THE ELECTRIC SLEEP United States
THE DREAMING TREE United Kingdom
DREDG United States
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
EATLIZ Israel
ECHO Romania
ECHOES OF GIANTS United States
ECLIPSE Canada
ECLIPSE SOL-AIR Multi-National
EDEL Multi-National
COLIN EDWIN AND JON DURANT Multi-National
EIDÔLON France
ELDBERG Iceland
ELECTRA Germany
ELECTRIC LIGHT ORCHESTRA United Kingdom
ELECTRIC SORCERY United States
ELECTRUM United States
ELEND France
ELIPHASZ Canada
ELORA France
ELYSIUM THEORY United States
KEITH EMERSON United Kingdom
GERT EMMENS Netherlands
EMPIRE United Kingdom
EMPIRICAL TIME Italy
AARON ENGLISH United States
ENNĎS TÓLA Australia
ENTITY PARADIGM Pakistan
ENTRANSIENT United States
EOS Chile
EPIICYCLE United States
ESAGIL Greece
ESFERA Portugal
ETHERS EDGE United Kingdom
EVELINE Italy
EVEN HORSES Germany
EVENT United States
EX-WISE HEADS United Kingdom
EXOVEX United States
EYEVORY Germany
FAINT SIGNAL United States
FAIR TO MIDLAND United States
FAIRY TALE Slovakia
ALESSANDRO FARINELLA Italy
FATAL FUSION Norway
LA FE Chile
ALI FERGUSON United Kingdom
FEROZ Mexico
FIBONACCI SEQUENCE United States
FIELD MUSIC United Kingdom
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
HEATHER FINDLAY United Kingdom
FIRE ON DAWSON Germany
FIREHORSE Germany
FISH ON FRIDAY Belgium
FLAUD LOGIC United States
FLICKER United Kingdom
FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
FLOWER FLESH Italy
FOBOS Argentina
FONTARABIE Canada
THE FORMER LIFE Italy
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
FREQUENCY DRIFT Germany
HASSE FRÖBERG & MUSICAL COMPANION Sweden
FROSKULL United States
FRXHO Mexico
FSB Bulgaria
FUCHS Germany
FULL CODE New Zealand
FUTURUM Czech Republic
GABRIEL BONDAGE United States
PETER GABRIEL United Kingdom
GALACTIC COWBOY ORCHESTRA United States
GALIJA Yugoslavia
GALLERY Norway
GANDALF Austria
GANDALF'S PROJECT Italy
GAP PARTY Italy
ANJA GARBAREK Norway
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
GHOST CIRCUS Multi-National
GIANNOTTI United States
IL GIARDINO ONIRICO Italy
KEVIN GILBERT United States
KRISTOFFER GILDENLÖW Sweden
GIRAFFE United States
GLASFROSCH Australia
GLASS KITES Canada
YIANNIS GLEZOS Greece
GLORIE United States
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GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
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GRAMONAUTUS Argentina
PHILIPPE GRANCHER France
THE GRAND SILENT SYSTEM Australia
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
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
HADDAD Brazil
HAGGARD Germany
THE HALLUCINANT TELEPHERIQUE United States
HALO BLIND United Kingdom
HATS OFF GENTLEMEN IT'S ADEQUATE United Kingdom
JASON HAVELOCK France
HAYWARD & LODGE United Kingdom
HEADS IN THE SKY Canada
HEARTSCORE Germany
HEATWAVE Italy
ROEL VAN HELDEN Netherlands
HELICOPRIA Multi-National
HELIOTH United States
LUC HENRION Belgium
HENRY FOOL United Kingdom
HERMETIC SCIENCE United States
HEYOKA United States
HIIDENSOINTI Finland
HIPGNOSIS Poland
STEVE HOGARTH United Kingdom
JOANNE HOGG United Kingdom
MARK HOLLIS United Kingdom
HOLLOW BRANCHES Multi-National
STE VAN HOLM Denmark
THE HOME GUARD United Kingdom
HOMESICK FOR SPACE United States
HOT HEAD SHOW United Kingdom
HOUR OF THE SHIPWRECK United States
STEVE HOWE United Kingdom
HYPNOMEN Finland
I AM THE MANIC WHALE United Kingdom
I.AB United States
IAMTHEMORNING Russia
IF / IFSOUNDS Italy
IGAYON Israel
IGNATIUS Spain
ILUZJON Poland
IMMUNE United Kingdom
IN LIMBO France
INDELIBLE Norway
INDEXI Yugoslavia
INFICTIONS United Kingdom
INFINITE MONOPOLY United States
INFINITE ORCHESTRA United States
INFUSION KAMACHUI Argentina
INNER PROSPEKT Italy
INNERSPACE Canada
INTENTIONS Netherlands
INTERGALACTIC TOURING BAND Multi-National
INTO THE PRESENCE United States
IOEARTH United Kingdom
ION United Kingdom
IRRGARTEN Canada
ISLANDS Canada
ISOS Canada
ISZIL Chile
IT BITES United Kingdom
J'ACCUSE..! Italy
J21 Spain
JAÉN KIEF Colombia
JANUS United Kingdom
JASPER WRATH United States
JAUGERNAUT (A.D.) United States
JAZ France
JEBEL United States
JEREMY United States
JEREMY IRONS AND THE RATGANG MALIBUS Sweden
JET BLACK SEA Netherlands
JHIMM United States
JODY GRIND United Kingdom
JONAS LINDBERG Sweden
JONO Sweden
JORM Sweden
KADDISFLY United States
KANT FREUD KAFKA Spain
KAOS MOON Canada
KARIBOW Germany
KASSINI United States
KASSIOPEIA Germany
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KAYAK Netherlands
KAZACHSTÁN Czech Republic
KEDAMA Switzerland
KEEP IT DEEP Belgium
KEL LOCH & GOLD United States
MIKE KERSHAW United Kingdom
KERYGMATIC PROJECT Italy
DAVE KERZNER United States
KEVLAR RED United Kingdom
KID COUSIN United States
KIMURA France
KING RAT United Kingdom
KINO United States
KINZOKU-EBISU Japan
KISS KISS United States
KNIFEWORLD United Kingdom
KOI Sweden
KOMPENDIUM United Kingdom
KOSKA Spain
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KRONER CIRKUS Poland
KRUNKELSTILTSKIN United States
DAVE KULJU United States
KUMM Romania
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KURKI Finland
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LA YNE Finland
LABORATOR France
LANDSCAPE Poland
YOGI LANG Germany
LANTINOR Russia
LISA LARUE United States
LAST TURION Germany
LAURA France
LAVIŔNTICA Italy
LAYRA Italy
LAZY DOLL France
GUY LEBLANC Canada
LEBOWSKI Poland
JOHN LEES United Kingdom
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LIFE Sweden
LIGHT Netherlands
THE LIGHT AFTERNOON United Kingdom
LIMPID GREEN United States
LING TOSITE SIGURE Japan
LION SHEPHERD Poland
A LIQUID LANDSCAPE Netherlands
LIRD VAN GOLES Switzerland
LITTLE TYBEE United States
LIVES AND TIMES United Kingdom
KERRY LIVGREN United States
LIVING STILTS Italy
THE LIVING Canada
LOBATE SCARP United States
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LONELY ROBOT United Kingdom
LOONYPARK Poland
LOST WORLD Russia
JEAN-PIERRE LOUVETON France
LOVE DE VICE Poland
ARJEN ANTHONY LUCASSEN Netherlands
THE LUCK OF EDEN HALL United States
LUDUS United Kingdom
JOHANNES LULEY United States
LUNA ROSSA United Kingdom
LUNATIC SOUL Poland
PHILIPPE LUTTUN France
LÜÜP Greece
WILLIAM LYALL United Kingdom
LYRIAN United Kingdom
MACARTHUR United States
MACHINES DREAM Canada
MADAME BLAVATSKY OVERDRIVE United States
THE MADCAP LAUGHS United Kingdom
MADRIGAL United States
MAID MYRIAD United States
BRUCE MAIN United States
MAJESTIC X United States
BARIS MANCO Turkey
MANDILLO Italy
MANDRAKE PROJECT United States
IL MANISCALCO MALDESTRO Italy
MANFRED MANN'S PLAINS MUSIC South Africa
MANSUN United Kingdom
MANTIS Canada
MANTRA VEGA Multi-National
MAOBI France
MARGARITAS ANTE PORCOS Latvia
LUC MARIANNI France
MARIANUS United States
MARQUETTE Germany
MARS HOLLOW United States
RHYS MARSH Norway
MARTINI HENRY United States
COLIN MASSON United Kingdom
MASTERS OF THE AIRWAVES United States
MATERIA GRIS Argentina
MATERYA Italy
ALEJANDRO MATOS Argentina
MAVARA Iran
MAXIMUM INDIFFERENCE United States
THE MAYAN FACTOR United States
MAYFAIR Austria
JAMES (JIM) MCCARTY United Kingdom
MCDONALD & GILES United Kingdom
SIMON MCKECHNIE United Kingdom
MECHANICAL BUTTERFLY Italy
MEKHLIN Denmark
MERGING CLUSTER Italy
STEVE MERLIN Netherlands
MERMAID KISS United Kingdom
MERRY GO ROUND Italy
MESEGLISE Italy
META United States
METACONCIENCIA Mexico
METHEXIS Greece
METRO EXPO Belgium
METUS Poland
MEW Denmark
MICE ON STILTS New Zealand
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MIGHT COULD United States
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LAS MIL DE ZAFIRO Argentina
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MARK MILLER United States
RICK MILLER Canada
MILLPLAT Japan
MIND United States
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MINDMOVIE Germany
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PERE MIRALLES Spain
MIRRELIA Canada
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VLADIMIR MISIK Czech Republic
KENNY MITCHELL United Kingdom
MODEST MIDGET Netherlands
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BARAK MOFFITT United States
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MONJOIE Italy
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MICHAEL MOORCOCK United Kingdom
MOPHO Brazil
PATRICK MORAZ Switzerland
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MOTAE United States
MOTHER SUPERIOR United Kingdom
MOTHER'S CAKE Austria
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MOVING MAZES Switzerland
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MY NAME IS JANET Multi-National
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HIROYUKI NAMBA Japan
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IAN NARCISI United States
NAVE Brazil
CHRIS NEAL Australia
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ŃU Spain
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OH. Greece
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OLIVER United Kingdom
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