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CROSSOVER PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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

4.32 | 1161 ratings
OMMADAWN
Oldfield, Mike
4.31 | 1401 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1774 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.28 | 1221 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.21 | 1584 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 882 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 928 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 761 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.21 | 490 ratings
~
iamthemorning
4.18 | 757 ratings
SNOWTORCH
Phideaux
4.18 | 663 ratings
THE UNDERFALL YARD
Big Big Train
4.17 | 705 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.22 | 234 ratings
GRIMSPOUND
Big Big Train
4.13 | 735 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.13 | 535 ratings
NIGHT
Gazpacho
4.36 | 83 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.09 | 1021 ratings
TUBULAR BELLS
Oldfield, Mike
4.22 | 145 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.13 | 318 ratings
SPIRIT OF EDEN
Talk Talk
4.20 | 153 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.11 | 360 ratings
HOUNDS OF LOVE
Bush, Kate
4.12 | 316 ratings
ONES & ZEROS: VOL. 1
3RDegree
4.13 | 234 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.19 | 143 ratings
SHINY EYED BABIES
Bent Knee
4.14 | 199 ratings
HAIR IN A G-STRING (UNFINISHED BUT SWEET)
Tench Project, Colin
4.14 | 209 ratings
RETURN TO OMMADAWN
Oldfield, Mike
4.09 | 338 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.08 | 376 ratings
PASSION - MUSIC FROM THE LAST TEMPTATION OF CHRIST
Gabriel, Peter
4.06 | 521 ratings
AMAROK
Oldfield, Mike
4.08 | 371 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.04 | 878 ratings
OK COMPUTER
Radiohead
4.08 | 327 ratings
CORVUS STONE II
Corvus Stone
4.10 | 252 ratings
THE DREAMING
Bush, Kate
4.21 | 106 ratings
MODRA RIJEKA
Indexi
4.09 | 241 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.14 | 157 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.07 | 320 ratings
PAMPERED MENIAL
Pavlov's Dog
4.34 | 63 ratings
TIME
Time
4.04 | 592 ratings
TALES OF MYSTERY AND IMAGINATION
Parsons Project, The Alan
4.09 | 231 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.04 | 465 ratings
TICK TOCK
Gazpacho
4.06 | 283 ratings
SHINE ON BRIGHTLY
Procol Harum
4.07 | 251 ratings
EL CIELO
Dredg
4.04 | 331 ratings
LUNATIC SOUL
Lunatic Soul
4.02 | 506 ratings
NUMBER SEVEN
Phideaux
4.23 | 79 ratings
ON HER JOURNEY TO THE SUN
Gungfly
4.04 | 254 ratings
ROXY MUSIC
Roxy Music
4.04 | 246 ratings
GHOSTS
Frequency Drift
4.04 | 257 ratings
FOR YOUR PLEASURE
Roxy Music
4.04 | 249 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.08 | 169 ratings
GRAPPLING
Tea Club, The
4.16 | 99 ratings
THE GNOMON
Sunchild
4.18 | 84 ratings
EGO, GEORGIUS
Antczak, Jerzy
4.05 | 193 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.23 | 69 ratings
ON WE SAIL
Samurai of Prog, The
3.99 | 509 ratings
UP
Gabriel, Peter
4.30 | 54 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
3.99 | 429 ratings
FOLKLORE
Big Big Train
4.03 | 206 ratings
THE LONG DIVISION
3RDegree
3.99 | 389 ratings
MARCH OF GHOSTS
Gazpacho
3.99 | 337 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
4.05 | 163 ratings
CINEMATIC
Lebowski
3.96 | 522 ratings
EVEN IN THE QUIETEST MOMENTS ...
Supertramp
4.02 | 203 ratings
CORVUS STONE UNSCREWED
Corvus Stone
4.05 | 152 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
3.99 | 263 ratings
ACT IV: REBIRTH IN REPRISE
Dear Hunter, The
4.29 | 49 ratings
CHROMIUM
Talisma
4.53 | 29 ratings
PEVNINA DETSTVA
Ursiny, Dezo
3.99 | 244 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
3.94 | 699 ratings
KID A
Radiohead
4.26 | 51 ratings
SELECTIVE MEMORY
Témpano
3.94 | 634 ratings
BREAKFAST IN AMERICA
Supertramp
4.15 | 74 ratings
BLUE JAYS
Hayward & Lodge
3.99 | 230 ratings
LAUGHING STOCK
Talk Talk
4.67 | 23 ratings
APOCALYPSE OF THE MERCY
Bad Dreams
4.05 | 123 ratings
STRANGER HEADS PREVAIL
Thank You Scientist
3.95 | 422 ratings
AMUSED TO DEATH
Waters, Roger
4.14 | 73 ratings
ANCHOR DROPS
Umphrey's McGee
3.97 | 253 ratings
LIGHTHOUSE
iamthemorning
3.93 | 521 ratings
HERGEST RIDGE
Oldfield, Mike
3.96 | 283 ratings
A MOON SHAPED POOL
Radiohead
3.96 | 238 ratings
NEVER FOR EVER
Bush, Kate
3.99 | 174 ratings
BROKEN CHINA
Wright, Richard
4.05 | 106 ratings
AND THE GLASS HANDED KITES
Mew
4.27 | 44 ratings
AUTOGRAPH / Автограф
Autograph (Avtograf)
4.03 | 124 ratings
NO TENGAS MIEDO
Kant Freud Kafka
3.93 | 400 ratings
INCANTATIONS
Oldfield, Mike
3.92 | 527 ratings
PETER GABRIEL 4 [AKA: MASK OR SECURITY]
Gabriel, Peter
4.03 | 119 ratings
KAYAK II [AKA: ALIBI]
Kayak
4.15 | 60 ratings
BURNT BELIEF
Burnt Belief
3.94 | 269 ratings
THE KICK INSIDE
Bush, Kate
3.96 | 202 ratings
NEW WORLD (DELUXE EDITION)
Kerzner, Dave
3.97 | 162 ratings
THE IMPERIAL HOTEL
Samurai of Prog, The
3.98 | 158 ratings
AS YOUR MIND FLIES BY
Rare Bird
4.20 | 49 ratings
EL FIN DE LA INFANCIA (CHILDHOOD'S END)
Témpano
4.00 | 123 ratings
VESPERTINE
Björk
4.07 | 76 ratings
AN OCEAN HELD ME
Mice On Stilts
4.17 | 51 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
3.98 | 130 ratings
LULLABIES IN A CAR CRASH
Riis, Bjřrn
3.91 | 292 ratings
PROCOL HARUM [AKA: A WHITER SHADE OF PALE]
Procol Harum

Crossover Prog overlooked and obscure gems albums new


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

BROKEN CHINA
Wright, Richard
NARROW-CASTER
3RDegree
PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof
2. (ODCIEń CISZY)
Wozniak, Tadeusz

Latest Crossover Prog Music Reviews


 Goodbye To The Age Of Steam by BIG BIG TRAIN album cover Studio Album, 1994
3.37 | 151 ratings

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Goodbye To The Age Of Steam
Big Big Train Crossover Prog

Review by The Crow
Prog Reviewer

3 stars After two interesting demos, Big Big Train released their first full length album back in 1994. And the project started good!

I must say that the production of the album sounds professional. The only problem I find in terms of sound is the dated and unfitting sound of the keyboards in some songs. I think for their attempt to create a melancholic neo-prog approach to music the keys are too strident and too much early 80's oriented. And while in other acts like Pendragon or Arena that's not a big deal, in the music of Big Big Train sounds just incorrect.

Nevertheless, Wind Distorted Pioneers introduces correctly the style of the band, despite its dubious initial guitar melody. Melancholic melodies, piano-based sections and some folk elements. Pure Big Big Train! And typical is also Head Hit the Pillow, which starts with a long instrumental introduction with old-sounding keyboards. After that, at 2:28 we can hear an excellent chorus and good bass playing. Fine song!

Edge of the Known World is not so good, because the more rocking tracks of the album are curiously also the worst. Despite the good and complex initial riff and the neo-prog elements, this song is not remarkable. Landfall's start is also very neo-prog at the beginning, especially in the keyboards. After that we can find a beautiful song dominated by the excellent voice of Martin Read and acoustic guitars. The keyboard is a bit annoying in the chorus, but the inspiring guitar solo accompanied by a fine piano melody compensates that.

Dragon Bone Hill is a dreamy instrumental tune played with Spanish guitar and delicate keyboards, and it gives way to Blow the House Down. This song starts very beautifully, just voice and keys in the first two minutes. After that the track becomes a bit more conventional, but very good nevertheless. The instrumental progression is remarkable, and the great melody of bass and keyboards which appear at 4:09 too.

Expecting Snow is another harmless instrumental with Spanish guitar, but this time with drums and bass and some acoustic chords. Not really special. Blue Silver Red is also a bit irregular, with great sections like the one which starts with the words 'So sorry'', and others which are not so good, specially the rockier ones. Nevertheless, this song has another mature and intense instrumental work. This band was good since the very beginning!

Losing Your Way starts with an epic keyboard, and even more epic guitar melody, which leads to another good song. The fans of Marillion will be specially delighted with this one! The acoustic guitar solo is the top of the track, which ended the album in its first edition.

Because Far Distant thing is an extra song added in the remastered edition, obtained from the demo The Infant Hercules. Not a bad one, but pales in comparison with the rest of the album despite the good electrical guitar works which contains. And Expecting Dragons is a new track made specially for this re-edition with the actual line-up. Is a mixture between Dragon Bone Hill and Expecting Snow, adding Big Big Train's modern elements like flutes, strings, better production and D'Virgilio.

This reissue contains also a longer version of Losing Your Way, but I honestly prefer the original.

Conclusion: a good album from a very talented band! The true personality of the band is here, despite being their first official full lenght. So, the melancholic mixture of neo-prog, folk, pop and symphonic prog will surely delight not only the fans of Big Big Train, but also to curious listeners desiring to know the origins of this gifted group of musicians. In my opinion is also not a bad place to start with them!

The unfitting keyboard sound which ruins some sections, alongside some repetitiveness prevent this album to receive four stars. But It's a good album, even very good sometimes, and it has a great singer who sings very catchy vocal lines and a very versatile and delightful guitar work.

I'm willing to hear more of this band!

Best Tracks: Head Hit the Pillow, Landfall, Blow the House Down, Losing Your Way (short version)

My Rating: ***

 Black Science by MACHINES DREAM album cover Studio Album, 2017
4.70 | 15 ratings

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Black Science
Machines Dream Crossover Prog

Review by mitarai_panda

5 stars Wow, this is the best album I've heard this year, the dark atmosphere, plus the thought-provoking lyrics, every song is great and they do the best! I do not know why this album is very little attention, but it really impeccable, I think it must be my favorite album of this year. Try it, it will not let you down. I have heard a lot of times, with Pink Floyd, King Crimson and Porcupine Tree taste, inherited their glorious tradition, but very modern. The best is undoubtedly the keyboard, the bass is also very powerful, the voice is also great My favorite album theme: against war. The first seven songs are for the twentieth century, the last one is that our confidence in the epoch, the information was in power control, this is another war. There is no doubt that five stars recommended.
 Black Science by MACHINES DREAM album cover Studio Album, 2017
4.70 | 15 ratings

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Black Science
Machines Dream Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars Machines Dream is my new Canadian prog love interest, a band that enthused me with their debut album and finally, the band sent me their 'Immunity' album as well as their most recent opus 'Black Science'. They set the tone with a dark, powerful style that evokes past giants like Pink Floyd, King Crimson and Genesis with dashes of Porcupine Tree, Marillion, Nine Stones Close and other modern stalwarts. They do have their own musical image that seems to be expertly led by Brian Holmes delicate keyboard artistry as well as lead singer and bassist Craig West's powerful presence.

In the true prog tradition, Machines Dream concentrate on telling stories that encompass historical events, craving a soundtrack that would only amplify the tale. On 'Black Science', the focus is on the 20th century, a wildly tumultuous slice of progression via regression, leaping forward at great cost in devastating suffering and human lives. As a military historian, I always refer to the monstrous tragedy that vehiculated unabated from WW1 to WW2 and after, as the face of Europe was marred by a massive spasm of destruction, only to return to its almost original form, at the cost of 100 million dead! What a colossal waste! Walk along the Franco-Belgian border and witness the endless military cemeteries, where many million young soldiers have perished for no apparent conclusive reason, other than human folly. It certainly erases any sense of entitlement one may have living the 'good' life and yet still complaining! Dwight Eisenhower warned us publicly of the industrial military complex that de facto rules the world and he was correct, as reprised on the track 'The Cannons Cry''. This sad reality continues today, the lessons still not learned. Finally a work of musical art that devotes itself to this horror that befell the world, twice!

First block of tracks reflect the end of WW1 with a mighty intro 'Armistice Day' (1918) when the world shuddered to a very badly managed halt of hostilities that sadly only prepared the next cataclysm. The epic 11 minute 'Weimar' reflects the growing pains of post-monarchic anarchy, puerile republican aims fueled by greed and power, fascist propaganda and Leninist revolution colliding in competition, yet equal in horror. Throw on top a great depression, millions starving in unison, thus forming the slavery concept that binds the human weakness. The piece is a masterpiece of mood and atmosphere, the sophisticated piano wrestling with rash guitars and a marshaling beat. 'Welcome to winds of prostitution' sings Craig West convincingly, shrouded in deep melancholia and imminent despair. The sudden appearance of a wild harpsichord section only preps for the multiple collisions with a tough riff, a carving bass and a bad-ass drum flurry. Lead guitarist Rob Coleman unleashes a luxuriant but disturbing solo, as West describes 'the night of the long knives', and a 'he's screaming: we need a new war' , historically recalling the beginning of the 'Ein F'hrer, ein Volk, ein Reich' fallacy that will lead to 60 million dead. Brilliance.

The gruesome 'The Cannons Cry' sheds light on the rise of Italian, German, Japanese, Spanish and Soviet military fascism, dictatorships fueled by big money and racist nationalism, control devices to muzzle the masses, in the guise of Gestapo, NKVD, Kempeitai, Balilla, SA and SS. The steamroller guitar romp, the pounding goose-stepping drum beat and the unwavering assault on sanity, only highlights the stormy lyrics that are spot on and lethal. Blackshirts in fashion, thankfully stamped out and ultimately destroyed. Amazing track.

Historically speaking, the atom bomb was being developed by both the Allies (Manhattan Project) and the Nazis (Kaiser Wilhelm Institut), while pioneer Nils Bohr was sitting pretty in Copenhagen, undeterred by both belligerents. 'Heavy Water' refers to the Norsk Hydro plant in occupied Norway that was successfully damaged by the BSC but here the onus is more specifically on the Hiroshima and Nagasaki bombings. Typical of our ability to venture from humanity to inhumanity, those two events came with two unheeded warnings, as the Emperor and Tojo refused to believe the existence of a Weapon of Mass Destruction. The second explosion remains the last time the BOMB was ever used, and like it or not has kept the idiot politicians at bay. The music has a slight Oriental tinge, laced with deep apprehension and mushroomed by a massive Floydian vibe. West rages like the engines of the B-27 bomber, nicknamed the Enola Gay that seared our petty universe for the first time. 'Ashes fall like snow' refers to both the victims of racist holocaust as well as the atomic version, offering pale forgiveness and doomed repentance, painted by 'the colors of hell' and the pain of eternal guilt. Coleman goes on quite a rant, thrashing, rippling, sizzling and contorting like radiation gone awry. Tremendous music.

After such dramatic turbulence, a lighter moment of humanity is found on 'Airfield on Sunwick (song for Wojtek)', a heartfelt story about a brown bear mascot named Wojtek who accompanied a heroic Polish fighting unit during WW2. While war is an appalling example of human frailty and folly, it must be stated that the fight against Hitler was a just campaign, amid all the terror and slaughter, as the valiant cause was a salvation for some kind of civilized epiphany. Maze of Sound vocalist Jakub Olejnik does a Polish vocal section that adds conviction to the upbeat piece.

The 8 minute title track sums up the whole album with the following liner notes: Looking back at the 20th century as a whole, and feeling that some of the worst things stand out more than the best. Serial killers, selfishness, neoliberal economics, the worship of money, sensational fact free news (my pet peeve and why I chose history), the destruction of the environment, apartheid, and wars on a scale unlike anything before ' . Indeed, the use and abuse of gas warfare, of total war, of genocide, of carpet bombing with phosphorus, of the mass murder of civilians (a somewhat rare event further back in time, as armies met on the battlefield and involved comparatively little civilian loss) is a repulsive reminder of how low we human animals can sink to. And then you have those sly liars who dare deny that it ever happened! In terms of performance, there is a more bombastic approach to the arrangement, Craig West's pugnacious bass pushing forward like a main battle tank, the synths grandiose and the moody rhythmic cannonade. The pace is deliberate and despondent, a funeral hymn for the victims, with the sombre sax coming in to do some serious emotional damage and further the desolation of history repeated over and over again. Are we that dumb? YES.

'UXB' recounts the maddening injustice of the 'troubles' , the northern Irish war pitting Catholics and Protestants, republicans and monarchists, led by hypocrite idiots like Rev. Ian Paisley (a man of god? right!) and the IRA assassins led by Martin McGuinness. All in the name of the same God and the same prophet. Bull[&*!#]! Bloody Sunday, Grand Brighton Hotel, Crossmaglen, Enniskillen, Shankill Road, Loughinisland, Docklands in London, Omagh, and countless other useless tragedies, only to find Paisley and McGuinness sharing power and shaking hands. Gruesome. Musically , the twirling bass guitar sets up a harsh barrage of doom and gloom, an explosive hush of 'danger creeping from all sides', and a raging, spewing and eruptive venom from West's lungs , 'without cause, without voice' . The style is modern prog, slippery synths and strident guitar that tortures nastily. A gentle piano announces a return to peace, a completely unexpected event that was one of the rare times when money was thrown at a problem and somewhat solved (Thank you Bombardier).

We finally arrive to the 21st century with 'Noise to Signal' and history is being repeated once again, lessons never learned and hence, the calamities of the past seem unable to disappear and vanish. Economic, social and spiritual values have been taken over by sly politicians and billions of internet pundits who slice and dice their preferred slogans in the most mystifying way. That the word 'fascist' and 'commie' are still bandied about today is reprehensible. These are historically proven outright failed institutions! Is there a leader on our planet who is trustworthy? Is there a media source that is reliable? Where is the truth? 'Shut down the noise, become the signal 'bellows the beleaguered West, sax egging him along in confusing apprehension. The track is an absolute cracker, deeply resonating and passionate, lyrically and musically.

If I ever would have the talent to make an album, it would undoubtedly resemble this masterful piece of progressive rock, with a source subject that I have studied for over 50 years. Machines Dream has made an album that should be in every rock collection, not just for the music but the message as well. There will be a salvation, a new beginning, a just golden age. Just please remember the past or else we are all doomed.

5 Obscure learnings

 The Second Brightest Star by BIG BIG TRAIN album cover Studio Album, 2017
3.89 | 91 ratings

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The Second Brightest Star
Big Big Train Crossover Prog

Review by The Jester

3 stars The Second Brighter Star is the 11th studio album of the English Prog Rock band Big Big Train, that followed the release of their previous album Grimspound, with only two months difference. Grimspound was released at the end April, and 'Brighter Star' at the end of June. That was a little weird, and caught many people (including me), by surprise. As far as I understood (and read), in 'Brighter Star' the band decided to include songs that were not included in their two previous albums, together with a few older songs that have been rearranged. The original versions of those songs can be found in Folklore and Grimspound. In the review I wrote about Folklore, I mentioned that after the release of the two excellent albums English Electric Pt.1 & 2, the band went a step back with Folklore. Grimspound that followed, was a good album, better than Folklore in my opinion, but I'm afraid I can't say the same for this last one. The Second Brighter Star is not a bad album, but is nothing special either. Yes, the usual melodic and melancholic style of Big Big Train is present once more, but the compositions as less inspired and less interesting. (Always in my opinion). The sound is rich, including many instruments and the production is very good, but that's not enough I'm afraid. The best moments here are: The Second Bright Star (the album's opening track), followed by the very interesting rearranged versions of London Plane and Brooklands. This is an album that I could recommend to the fans of Big Big Train, who I can guess that already bought it. As for those who are not fans of BBT, you can try it of course, but I do not recommend it. Better try English Electric Pt.1 & 2, and Grimspound. I don't think I can give more than 3.0 stars here.
 The War Of The Worlds - The New Generation by WAYNE, JEFF album cover Studio Album, 2012
3.87 | 18 ratings

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The War Of The Worlds - The New Generation
Jeff Wayne Crossover Prog

Review by martindavey87

4 stars Jeff Wayne's musical version of 'The War of the Worlds' is a timeless classic, which tells the story of H.G. Wells' popular 1987 science fiction novel, following various characters such as a journalist, a soldier, a parson, and others, as the Earth is invaded by Martians. Originally released in 1978, 'The New Generation' is a 2012 re-recording, which brings us a whole new cast, added compositions and better production.

I may be in the minority here, but I prefer this version to the original.

Some of the music here I'd been familiar with since childhood, thanks to my parents, though it wasn't until I played guitar for a string of 2016 amateur theatre performances that I had to really give the album the attention it deserves, and with that, I came to enjoy what the updated version had to offer.

I've seen complaints over how "lifeless" the vocalists all sound, or how the programmed drums sound robotic, but none of this really matters to me. I like the vocal work. I love Maverick Sabre's eccentric performance as Parson Nathaniel, and Ricky Wilson's energetic offering as the Artilleryman. Sure, there's a few goofy parts in there. Such as when the character Beth sounds excited informing Nathaniel that "they're not devils, they're Martians", but I find this just adds to the quirky charm of the album. Admittedly, Liam Neeson as the Journalist is a bit laughable at times too, but then, I'm not one to talk ill of Liam Neeson! He'll look for me, he will find me, and he will kill me!!!

The music is exciting and the story is compelling and easy to follow. There's a vast smorgasbord of various instruments, sounds and effects, a combination of singing and spoken dialogue, with a crisp and clear production that gives the whole album a lush and vibrant sound. Honestly, I'm a sucker for polished studio albums, and the 1978 original, as good as it is, just sounds too dated and primitive for my liking.

'The Spirit of Man', 'Brave New World', 'The Artilleryman and the Fighting Machine', 'Horsall Common and the Heat Ray', 'Forever Autumn'... it's impossible to really pick out any highlights, as the entire record flows effortlessly and is a joy to listen to. Jeff Wayne did a great job of not only writing this incredible concept album, but revisiting it and improving upon it so many years later.

Fans of the original may hold that version close and dear to their hearts, but if you've never heard 'War of the Worlds' yet, then I'd definitely recommend diving in with the new generation.

Ullaaaaa!!!!

 On Her Journey To The Sun by GUNGFLY album cover Studio Album, 2017
4.23 | 79 ratings

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On Her Journey To The Sun
Gungfly Crossover Prog

Review by spatter9999

5 stars [Review originally posted on RockAtNight.com on May 22, 2017]

Rikard Sjöblom's Gungfly ? On Her Journey to the Sun: Eclectic prog's most underappreciated songwriter delivers another stunning success By Kris McCoy, Rock At Night Contributor

Never fear, Beardfish fans.  All is not lost.

If you are a fan of finely shaped progressive rock, with strong vintage 70s sounds, you should be familiar with Rikard Sjöblom. As the multi-instrumentalist madman behind the microphone of the now-legendary Beardfish, he sang about everything from personal loss to dreams of sneaking into the backstreets of some sleazy '70s disco club. Wielding his keyboard like an 88-key progressive rock machine gun and a shoulder-slung guitar much in the same manner, Sjöblom truly was the face of the band. During his run with Beardfish, Rikard also produced two albums under the name Gungfly.  The Gungfly side project served as Rikard's outlet for his less proggy, singer-songwriter soul rock ideas that didn't fit the Beardfish catalog.

"Gungfly was born out of necessity," Sjöblom comments. "The songs came to life whenever there was downtime with Beardfish or if a song didn't quite fit within Beardfish's (otherwise quite broad and eclectic) frame of styles. I basically started recording songs, mainly pop-oriented material, but being the type of songwriter and musician I am some prog slipped through under the radar as well. The name Gungfly is a Swedish word meaning 'Unsecure ground', it came from a novel I read where it was used to describe that someone didn't have grounds to back up their statements, so I liked it and chose to call the project that."

In 2016, Beardfish sadly called its quits.  In the wake of this announcement, Rikard embarked on a short North American tour in support of his remarkable solo album "The Unbendable Sleep".  His band consisted of brothers Petter and Rasmus Diamant, who had also performed on prior Gungfly material. During these shows, four new compositions were presented along with the announcement that an album was forthcoming.  These new songs were performed in a 3-piece, straightforward rock arrangement.  Did this mean the new album would also be a simplified guitar/bass/drum rock album?

Well, that new album is finally here, and, no, it's far from straightforward arrangements.  This album brings an abundance of progressive rock complexity in the form of an emotional an often inspiring musical collage.  Some could argue that it fits nicely within the Beardfish catalog as a follow-up to 2015's "+4626-COMFORTZONE".

"On Her Journey to the Sun" features 11 tracks.  The Diamant brothers return on bass and drums but are joined by David Zackrisson (Beardfish guitarist).   Sverker Magnusson and Martin Borgh round out the line-up by providing additional keyboard support.  Rachel Hall (Big Big Train) offers a beautiful guest violin spot in "Over My Eyes". The main attraction, however, remains Rikard Sjöblom's soulful vocals, gripping guitars, mischievous organ work, and well-balanced songwriting.

The album offers everything that we've come to love and expect from his ever-evolving musical mind.  While I'm not certain that it should be labeled a concept album, lyrical themes surface throughout.  The vocal performance extends from confident, aggressive lower/mid ranges to a vulnerable and sincere upper register.  Meanwhile, his signature sense of complex-yet-catchy keyboard melodies and guitar work that spans the spectrum of folksy to downright face melting are all over the tracks.

Musically, we are again treated to a full array of styles.  The 10 minutes long opener "Of the Orb" grabs your attention with its delicious synth and guitar harmonies topped off by Sjöblom's unique falsetto begging 'Stay with me, care for me, I will be yours.'  Further down "If You Fall, Pt. 1" is a short, somber offering based around a singular organ melody, offering a heavy contrast to the previous track, the upbeat, high-energy, bass-heavy rocker "My Hero".

Gungfly is, however, most intriguing in the Gentle Giant-inspired instrumental breakdowns that overflow with imaginative, Seussian whimsy.  If that's what draws you to Rikard's work, you will immediately fall in love with the effervescent melodies in the nearly 12-minute instrumental "Polymixia". Also, I would be remiss if I didn't mention the other instrumental "Keith".  The smooth, chill vibe on this jazz tune tenders an astounding level of maturity and restraint reminiscent of guitar legend Eric Johnson.

The album production and mix is superb.  Each listen will reveal new layers you hadn't previously observed.  After casually running through about 10 times, I listened again through headphones on a quiet night and couldn't believe the nuances that lay beneath the surface.  I can't wait to see what I discover next.

Fans of playful yet intricately-crafted, thought-provoking guitar and organ-driven prog-rock should take note of this album immediately. Rikard and the gang should be proud. Though the distance to the sun is considerable, I highly recommend you to embark on this journey.

[About the special edition with bonus disc] The special edition also features a Best of Gungfly bonus disc containing tracks from Please Be Quiet (2009) and Lamentations (2011).  This material is a great addition for those unfamiliar with Gungfly's previous work, but serious Rikard/Beardfish fans will want to pick up the entire Gungfly catalog if they haven't already done so.

 Folklore by BIG BIG TRAIN album cover Studio Album, 2016
3.99 | 429 ratings

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Folklore
Big Big Train Crossover Prog

Review by The Crow
Prog Reviewer

3 stars This is the first I hear of Big Big Train, and therefore also my first review of this band!

When I first listened this album some weeks ago I was blown away. Maybe because this good band was unknown to me till recently and it was one hell of a surprise. But after a few listens this euphoria dismissed a little, although I still think this album is pretty good. The splendid production is also remarkable, despite the loud D'Virgilio drums.

But let's talk about the songs!

The album starts with Folklore, a very appropriate title for a track which mixes wisely symphonic prog, neo-prog and folk elements. The chorus is not so good, but the rest of the song is pure enjoyment with its two splendid guitar solos, being the last answered by another catchy keyboard solo. With this first track I was aware that this band is plenty consolidated and good assembled. Every instrument has its moments and they sound is coherent and cohesive. Very good!

London Plane is a flute-introduced slow piece with beautiful lyrics about this city and an outstanding instrumental section with a lot of jazz influences, perfect for the keyboardist to show off... OK, and D'Virgilio. Along the Ridgeway is also a bit slow. I think the album needed a bit power at this point, but this track doesn't deliver. It has nevertheless fine choirs in the Spock's Beard style and another great instrumental section witch strings and another good keyboard solo.

Salisbury Giant continues the end of the previous song, and Transit of Venus Across the Sun comes with an instrumental introduction of strings and wind instruments. Beautiful and with another great solo, Genesis-reminding guitar melodies but again too slow and a bit boring. This is the verification that this album lacks rhythm, or better structure. I think the songs are good, but they are not in the right order or maybe they are too long. I don't know... But sometimes I find Folklore just dull.

Luckily Wassail comes to rescue the ship with its good vocal melodies, lyrics with roots in the nature and landscapes, powerful drums and a keyboard towards the end which reminds me to Deep Purple! And Winkie follows this pleasant path with a funny text, great bass and good rhythm. The section which starts at 3'38'' is pure magic! My favorite song of the album.

And then comes Brooklands which is not a bad song, but at this point of the album it contributes not so much to its quality apart of giving minutes to the final duration. No surprises here. Nevertheless, its central section is pretty good with more jazzy instrumentation and very good drumming. The drums are maybe a bit loud, but it's impossible to deny the quality of D'Virgilio as a drummer.

Ok, Telling the Bees... This will be short: I can't understand how this band closed this good album with such a lousy and cheesy song. Completely forgettable.

Conclusion: Folklore is a stimulating mixture of symphonic prog with jazz influences, folk tunes, neo-prog and a bit of hard rock from a consolidated band which also delivers a very good sound and production. But it fails to offer a cohesive experience because a pair of dull tracks (Salibury Giant, Transit of Venus Across the Sun, Brooklands), and fairly bad one (Telling the Bees) and an bad tune order in my opinion.

Nevertheless, its good songs (Winkie, Wassail, Folklore, London Plane...) make this album a strong recommendation for modern prog lovers with lots of classic influences, despite not being excellent.

Best songs: Folklore, London Plane, Wassail, Winkie.

My rating: ***1/2, rounded down to three stars.

 Gentle Knife by GENTLE KNIFE album cover Studio Album, 2015
3.67 | 38 ratings

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Gentle Knife
Gentle Knife Crossover Prog

Review by maryes

3 stars I start my review about GENTLE KNIFE "Gentle Knife" talking with a little frustration, because after listen the two initial tracks my impression was very good. The first track " Eventide" a very well done mix of symphonic/psychedellic rock remembering GENESIS, VAN DER GRAAF and PINK FLOYD with an introduction and final theme with a clear KING CRIMSON influence .The second track "Our Quiet Footsteps" and this "cerimonial" heavy overture and main theme, recalling again KING CRIMSON (mainly) but at this time with GENTLE GIANT "hint", a very captivating track ! But the rest of album don't cause the same impression... Although the tracks 3, 4 , 5 and 6 aren't so bad, at the same time, in my point of view aren't to a pleasant audition. The two last tracks are both repetitive and boring ! Due this considerations and specially due the already mentioned quality of two initial tracks, my rate is 3 stars !!!
 The Village to the Vale by AUTUMN CHORUS album cover Studio Album, 2012
3.81 | 105 ratings

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The Village to the Vale
Autumn Chorus Crossover Prog

Review by Kingsnake

4 stars A wonderfully constructed album. The band combines classical music, folk, postrock and symphonic progressive rock. The singer has a classical approach wich really adds to the pastoral and nostalgic feel of the music.

I really enojoy this kind of music. No emphasis on guitarsolos and heavy drumming. Also the production is really warm and the music sounds really sympathetic. The band uses analog and old fashioned instruments, like trumpet and organ but also flute and glockenspiel. There are hints of Mike Oldfield aswell. The whole albums sounds like a movie. It's dreamy, warm and the band take their time to slowly build the songs. Really recommended for people who enjoy postrock with classical and folk influences.

 See See The Sun by KAYAK album cover Studio Album, 1973
3.84 | 120 ratings

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See See The Sun
Kayak Crossover Prog

Review by Matti
Prog Reviewer

4 stars (This review, like many others, is loosely based on a chapter of my prog book Aamunkoiton portit - soon on print again!) It seems that the Dutch band KAYAK aimed at an international fame right from the start, on the heels of Focus. On their earliest, more symphonic albums one can hear British prog influence, mainly from Yes and Genesis, but unfortunately the more commercial approach took over in the latter half of the seventies. My first acquaintance with Kayak was "The Best of" compilation, concentrating on the late 70's / early 80's period. Its music is rather sweet, highly accessible, melodic and often quite catchy too, not very far from the hits of The Alan Parsons Project, except with more emphasis on keyboards (and, of course, not quite that well produced). However, on their more recent albums they have again had more progressive ambitions. Now back to the beginning, for this is their debut.

When the band was founded in 1972, Ton Scherzenpeel, Pim Koopman and Max Werner were young music students in Hilversum. After Cees van Leeuwen joined on bass, Scherzenpeel (who had studied double bass as his major) concentrated on keyboards. He and Koopman had been writing songs already for five years. Kayak signed a contract with EMI, and the group entered a proper recording studio for the very first time. "We were like kids in a toy store as we were testing what we could do with the 16-track equipment", Scherzenpeel recalls in the CD liner notes. According to him, See See the Sun is an album full of ideas, not all of them being worked to perfection. After two weeks' studio sessions the tapes were taken to Abbey Road studios for Alan Parsons to mix. Dark Side of the Moon had made Parsons a hot name, so this was clearly a calculated move from EMI in order to increase the international appeal.

The results may not be the most original prog of the time, but surely it's well produced and extremely convincing debut from young musicians. The opening track 'Reason for It All' has notable Yes flavours up to vocal harmonies and Wakemanesque harpsichord decoratings. Slightly oversugared song 'Lyrics' already hints at the later pop direction. Several compositions contain ambitious complexity without feeling very meaningful. Among my favourites is the lengthy and dreamy 'Lovely Luna', in which I sense a similarity in atmosphere to 'The Moon Is Down' by Gentle Giant. 'Ballet of the Cripple' is like a mixture of Mellotron-heavy Genesis and the more straight-forward Electric Light Orchestra. In the end they were at their most original on emotionally loaded songs such as 'Forever Is a Lonely Thought'.

The adventures in the British prog influences continued on the albums Kayak (1974) and Royal Bed Bouncer (1975), on which Ton Scherpenzeel's creative force was perhaps at its strongest. After fairly good The Last Encore (1976) there occurred some changes in both the line-up and musical style; the most commercial phase produced the albums Starlight Dancer (1977), Phantom of the Night (1979) and Periscope Life (1980). See See the Sun is warmly recommended for listeners of keyboard oriented light prog - and Supertramp, whose album Crime of the Century (1974) Kayak's bright sound has been compared to.

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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
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
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
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
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
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
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
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
TOM BRISLIN United States
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIERE France
DAVE BRONS United Kingdom
DUNCAN BROWNE United Kingdom
ROLAND BUHLMANN Switzerland
BUILT FOR THE FUTURE United States
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
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BURNT BELIEF Multi-National
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
CAIRO United Kingdom
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
CAREWORN United Kingdom
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
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CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
RANI CHATOORGOON Canada
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
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THE COOPER TEMPLE CLAUSE United Kingdom
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COREY & MAPLE Finland
CORRAL Poland
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ROB COTTINGHAM United Kingdom
COZHE Finland
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CRÉPUSCULE Germany
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CRIMSON STARS EYES Italy
CROSS Sweden
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CRYPTEX Germany
CRYSTALWOOD United States
CUAC! Spain
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
DAPHNE Italy
DAVID'S LODGERS Italy
DAYMOON Portugal
DDNZ Serbia
MARCO DE ANGELIS Italy
DEADWOOD FOREST United States
DEAMBRA United States
THE DEAR HUNTER United States
FRANCIS DECAMPS France
DEEP LIMBIC SYSTEM Mexico
DEERHOOF United States
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
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
PASCAL VAN DEN DOOL Netherlands
DOPING HORNETS Canada
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
EIDÔLON France
ELDBERG Iceland
ELECTRA Germany
ELECTRIC LIGHT ORCHESTRA United Kingdom
ELECTRIC SORCERY United States
ELECTRUM United States
ELEND France
ELEPHANT PLAZA Norway
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
ESP Multi-National
ETHERS EDGE United Kingdom
EVELINE Italy
EVEN HORSES Germany
EVENT United States
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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
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 GARDEN United States
FIRE ON DAWSON Germany
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FISH ON FRIDAY Belgium
FLAUD LOGIC United States
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FLOOD United Kingdom
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FLOWER FLESH Italy
JEREMY FLOWER United States
FOBOS Argentina
FONTARABIE Canada
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FOURTEEN TWENTYSIX Netherlands
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FRAGILE Estonia
FRANC ALBIR Spain
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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
GODSTICKS United Kingdom
GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
GOTHIK SERPENT United States
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
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
HERESY United States
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
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.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
KAUKASUS Norway
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
KINESIC Spain
KING RAT United Kingdom
KINO United States
KINZOKU-EBISU Japan
KISS KISS United States
KITSUNE NO YOMEIRI Japan
KNIFEWORLD United Kingdom
KOI Sweden
KOMPENDIUM United Kingdom
KOSKA Spain
KRÁSNÉ NOVÉ STROJE Czech Republic
KRONER CIRKUS Poland
KRUNKELSTILTSKIN United States
DAVE KULJU United States
KUMM Romania
KUNDABUFFER Argentina
KURKI Finland
KUUSUMUN PROFEETTA Finland
KVARTETTEN SOM SPRANGDE Sweden
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
THE LAZARUS TRIO United States
LAZY DOLL France
GUY LEBLANC Canada
LEBOWSKI Poland
JOHN LEES United Kingdom
LEVIATHAN United States
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
LOGAN DWIGHT Italy
LONELY ROBOT United Kingdom
LOONYPARK Poland
LOST WORLD BAND Russia
JEAN-PIERRE LOUVETON France
LOVE DE VICE Poland
ARJEN ANTHONY LUCASSEN Netherlands
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