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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 | 1624 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.32 | 1305 ratings
CRIME OF THE CENTURY
Supertramp
4.32 | 1057 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1040 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.23 | 838 ratings
DOOMSDAY AFTERNOON
Phideaux
4.21 | 1466 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 865 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 730 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.21 | 462 ratings
~
iamthemorning
4.18 | 729 ratings
SNOWTORCH
Phideaux
4.17 | 618 ratings
THE UNDERFALL YARD
Big Big Train
4.16 | 659 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.13 | 678 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.16 | 288 ratings
ONES & ZEROS: VOL. 1
3RDegree
4.12 | 516 ratings
NIGHT
Gazpacho
4.23 | 138 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.27 | 112 ratings
SHINY EYED BABIES
Bent Knee
4.21 | 147 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.07 | 934 ratings
TUBULAR BELLS
Oldfield, Mike
4.11 | 335 ratings
HOUNDS OF LOVE
Bush, Kate
4.12 | 295 ratings
SPIRIT OF EDEN
Talk Talk
4.13 | 226 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.09 | 355 ratings
PASSION (MUSIC FROM THE LAST TEMPTATION OF CHRIST)
Gabriel, Peter
4.10 | 310 ratings
CORVUS STONE II
Corvus Stone
4.12 | 226 ratings
FOLKLORE
Big Big Train
4.08 | 361 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.38 | 59 ratings
TIME
Time
4.18 | 133 ratings
GRAPPLING
Tea Club, The
4.06 | 475 ratings
AMAROK
Oldfield, Mike
4.07 | 321 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.10 | 218 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.21 | 101 ratings
MODRA RIJEKA
Indexi
4.03 | 835 ratings
OK COMPUTER
Radiohead
4.04 | 565 ratings
TALES OF MYSTERY AND IMAGINATION - EDGAR ALLAN POE
Parsons Project, The Alan
4.27 | 75 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.08 | 229 ratings
THE DREAMING
Bush, Kate
4.13 | 143 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.06 | 298 ratings
PAMPERED MENIAL
Pavlov's Dog
4.09 | 196 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.04 | 451 ratings
TICK TOCK
Gazpacho
4.05 | 312 ratings
LUNATIC SOUL
Lunatic Soul
4.07 | 238 ratings
EL CIELO
Dredg
4.09 | 185 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.30 | 61 ratings
EGO, GEORGIUS
Antczak, Jerzy
4.06 | 259 ratings
SHINE ON BRIGHTLY
Procol Harum
4.02 | 492 ratings
NUMBER SEVEN
Phideaux
4.18 | 96 ratings
THE GNOMON
Sunchild
4.06 | 234 ratings
GHOSTS
Frequency Drift
4.05 | 237 ratings
ROXY MUSIC
Roxy Music
4.04 | 240 ratings
FOR YOUR PLEASURE
Roxy Music
4.08 | 157 ratings
A MOON SHAPED POOL
Radiohead
4.06 | 184 ratings
CORVUS STONE UNSCREWED
Corvus Stone
4.34 | 48 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
3.99 | 483 ratings
UP
Gabriel, Peter
3.99 | 376 ratings
MARCH OF GHOSTS
Gazpacho
4.04 | 197 ratings
THE LONG DIVISION
3RDegree
4.06 | 151 ratings
CINEMATIC
Lebowski
4.02 | 215 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.34 | 44 ratings
CHROMIUM
Talisma
4.05 | 144 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
3.96 | 494 ratings
EVEN IN THE QUIETEST MOMENTS....
Supertramp
3.98 | 307 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
4.01 | 205 ratings
ACT IV: REBIRTH IN REPRISE
Dear Hunter, The
4.01 | 203 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
3.94 | 667 ratings
KID A
Radiohead
4.02 | 157 ratings
LIGHTHOUSE
iamthemorning
4.15 | 70 ratings
BLUE JAYS
Hayward & Lodge
3.93 | 597 ratings
BREAKFAST IN AMERICA
Supertramp
4.24 | 51 ratings
BURNT BELIEF
Edwin and Jon Durant, Colin
4.07 | 102 ratings
AND THE GLASS HANDED KITES
Mew
3.94 | 467 ratings
HERGEST RIDGE
Oldfield, Mike
3.95 | 364 ratings
AMUSED TO DEATH
Waters, Roger
4.01 | 143 ratings
THE IMPERIAL HOTEL
Samurai of Prog, The
4.02 | 131 ratings
SANCTUARY
Reed, Robert
3.99 | 184 ratings
NEW WORLD (DELUXE EDITION)
Kerzner, Dave
4.24 | 48 ratings
SELECTIVE MEMORY
Témpano
3.97 | 211 ratings
LAUGHING STOCK
Talk Talk
3.99 | 167 ratings
BROKEN CHINA
Wright, Richard
4.04 | 107 ratings
NO TENGAS MIEDO
Kant Freud Kafka
4.53 | 25 ratings
PEVNINA DETSTVA
Ursiny, Dezo
3.92 | 503 ratings
PETER GABRIEL 4 [AKA: MASK OR SECURITY]
Gabriel, Peter
3.96 | 222 ratings
NEVER FOR EVER
Bush, Kate
4.11 | 70 ratings
HOPE FOR A MOURNING
Mice On Stilts
4.30 | 37 ratings
AUTOGRAPH / Автограф
Autograph (Avtograf)
3.98 | 148 ratings
AS YOUR MIND FLIES BY
Rare Bird
3.92 | 355 ratings
INCANTATIONS
Oldfield, Mike
4.02 | 107 ratings
KAYAK II
Kayak
3.93 | 246 ratings
THE KICK INSIDE
Bush, Kate
4.14 | 57 ratings
THE PATH OF LEAST EXISTENCE
Jet Black Sea
3.99 | 120 ratings
VESPERTINE
Björk
4.18 | 49 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
3.94 | 199 ratings
MOMENTS
IOEarth
4.08 | 69 ratings
ANCHOR DROPS
Umphrey's McGee
3.93 | 223 ratings
SYNAESTHESIA
Synaesthesia / Kyros
3.99 | 119 ratings
THE ANCIENT TALE
Fatal Fusion
3.98 | 123 ratings
THE END IS BEGUN
Three
3.91 | 300 ratings
BELIGHTED
iamthemorning
4.21 | 43 ratings
EL FIN DE LA INFANCIA (CHILDHOOD'S END)
Témpano
3.98 | 126 ratings
RETURN TO MINGULAY
Oceans 5
3.96 | 147 ratings
II
Perfect Beings

Crossover Prog overlooked and obscure gems albums new


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

NARROW-CASTER
3RDegree
PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof
ABBANDONO DEL TEMPO E DELLE FORME
J'Accuse..!
VOICE
Capability Brown

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Latest Crossover Prog Music Reviews


 Folklore by BIG BIG TRAIN album cover Studio Album, 2016
4.13 | 224 ratings

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Folklore
Big Big Train Crossover Prog

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

4 stars While carrying forward some of the bombast of the previous four releases, I find my self greatly appreciative of the more laid back songs on this album. Dave Longdon's vocal approach to the delivery of these lyrics is also, in my opinion, an improvement over some of the previous releases. There is no disputing that he has a wonderful, powerful, and exciting voice but, as I've said in the past, I find quite a disconnect in the way he chooses to sing/deliver the lyrical content with the meaning/message of the lyrics: Exactly how or why does one choose to get so emotional--and loud--when singing about these characters and scenes from English history? I love the presence of violin on almost every song (kudos, Andy, Greg and RACHEL HALL!), as well as that of strings and horns on many of the songs. Really nice fit with your music. Maestro Nick D'Virgilio is flawless as always and Dave Gregory lays down several of my favorite tracks I've ever heard from him. And of course, a big shout out to founders Andy Poole and Greg Spawton: your perseverance and passion has truly paid off! BBT is a force!

1. "Folklore" (7:30) the sounds of folk instruments gives the album's opening some promise but then the orotund vocal and anthemic background chorale I don't know why these songs and lyrics always have to sound so overpowering--as if they're trying to create rock anthems. (8/10)

2. "London Plane" (10:10) What?! After what I just wrote here they go and turn in a 180 degree turnaround. Tender, delicate, gentle slow pacing, tasteful (as opposed to pretentious) solos make this song a very welcome experience. Do I detect a Richie HAVENS quality to Dave's voice? Awesome! The revved up middle section for instrumental show is okay--unnecessary but notably restrained. Then the finale is sheer prog heaven--with one of my all-time favorite Dave LONGDON vocal sections in the ninth and tenth minutes. (9/10)

3. "Along the Ridgeway" (6:06) opens quite beautifully, piano and horns interplaying over bass and drums. Dave's vocal starts out a little less bombastic than usual, almost delicately--as do the conjoining background vocals. The second section with its staccato beat is just as engaging, though brief, giving way to a new layer of a weave of strings and picked electric guitar over which Dave and background vocals continue their singing. This is a great song--far more understated and less showy than their other stuff. At the 3:00 mark a nice instrumental section with GENESIS-like time signature ensues in which a Roger McGUINN (THE BYRDS)-like electric 12-string guitar solo, electric violin, and organ take turns soloing. At 3:48 the full soundscape continues in support of Dave's vocal return. Then at 4:15 things quite down in the background into a kind of jazzy soundscape before the full strings and horn sections join in briefly. My favorite song on the album. I could see this one being doubled in length. (9/10)

4. "Salisbury Giant" (3:36) is an odd little duck in that it opens with a feeling as if it is meant to be an instrumental interlude as full band with organ, slide guitar, and strings plod their way through an interesting GENESIS/BEATLES conglomeration. The song kind of twists and turns, never truly establish its identity, until Dave Longdon's vocals enter for the final 90 seconds. (8/10)

5. "The Transit of Venus Across the Sun" (7:18) opens with Christmas in the park sounding horn ensemble (which is then joined by violin and more horns) in a Pachelbel-Yule-ish weave. Then, at the 1:35, cymbol crescendo closes the door on the classical instruments and introduces 12-string guitars, piano, bass and drums in order to support Dave Longdon while he sings us along a RICHIE HAVENS-like celestial journey. The third section of the song that begins at the 4:11 mark notes the introduction of a chorus of what sounds like Latin chanting. This shifts into English at 4:45 as the accompanying instrumental support builds. Then, just as quickly, everything fades at 5:20 to leave us with finger-picked 12-string guitar and tuned percussion before everyone rejoins for Dave's final vocal and an symphony-supported electric guitar solo from Dave Gregory. Nice song. A top three for me. (9/10)

6. "Wassail" (6:47) takes a kind of bombastic approach to medieval troubadour song. THE STRAWBS were able to do this in the 70s. For my ears and mind this one is just a little too over the top--especially the chorus and the lead vocal overall. The instrumental foundation is awesome, it just gets too powerful in the chorus sections. (8/10)

7. "Winkie" (8:26) I think this one is intended to tell a war hero story in a kind of KATE BUSH-JETHRO TULL way. This one takes me back to 2004's World War II-oriented Gathering Speed. Good song with nice bass play throughout. (8/10)

8. "Brooklands" (12:38) opens in what feels and sounds like a very typical (formulaic) BBT way. Nice pace with batterie master Nick D'Virgilo's typically syncopated drumming, Dave Longdon's typcially impassioned vocals, and Dave Gregory's distinctive guitar sound. Again, not being a lyrically-oriented music listener, I wonder how much of the music is lost on me because I take no joy or meaning from the words; vocals are merely another instrumental melody line added into the music. There are some nice sections to this song--like the "lucky man" section of the sixth minute and the ensuing GENESIS-like instrumental section (which is pretty amazing--especially Nick's work). But overall, once again, full engagement and full impact are lost on me. (8/10)

9. "Telling the Bees" (6:03) offers a nice shift in sound for first 40 seconds--a kind of early ERIC CLAPTON or STEVE WINWOOD sound and style. Plus, it's a love song. And a good one at that! Great pedal steel guitar solo! My final top three song from the album. (9/10)

Not a masterpiece but a solid four star album: Excellent addition to any prog rock music collection.

 Milesago by SPECTRUM album cover Studio Album, 1971
3.78 | 21 ratings

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Milesago
Spectrum Crossover Prog

Review by Warthur
Prog Reviewer

3 stars A double album havering between sophisticated progressive music and bluesy psychedelic pop, Spectrum's Milesago isn't some sort of wildly avant-garde cutting-edge thing; it's more like the product of a band who've listened to the Beatles' last few albums an awful lot and decided to see where they could go by mashing up that sort of compositional approach with early 1970s soft rock and pop developments. From the opening of the album, the vocal harmonies in particular feel like they have a certain Beatles touch to them. The other majorly Beatles-y aspect of the album is that, like the White Album, it's a bit of a sprawling album which can be a little inconsistent and is a bit much to listen through all at once, though it's fun enough in its own way.
 A Moon Shaped Pool by RADIOHEAD album cover Studio Album, 2016
4.10 | 155 ratings

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A Moon Shaped Pool
Radiohead Crossover Prog

Review by Warthur
Prog Reviewer

4 stars Emerging after a five-year period of post-King of Limbs dormancy, Radiohead evidently spent the downtime shifting gear yet again. Just as they'd shifted from grouchy, misanthropic indie rock to esoteric prog-tinged indie guitar symphonies between The Bends and OK Computer, and then shifted again to abrasive electronica for Kid A and the subsequent releases, this time around they've managed to pull off another surprise by shifting gear to their gentlest sound ever, with a sort of Radiohead-ified modernised Scott Walker narrative on the opening Burn the Witch setting the scene for what's going down from there on.

This progressive chamber pop sound presents a new musical frontier for Radiohead to occupy, and they manage to do it perfectly; it's perhaps the most accessible thing they've done since OK Computer, though equally I can see how they needed to go through all the electronic hinterlands they have explored since then in order to arrive at this sound.

 Homburg by PROCOL HARUM album cover Singles/EPs/Fan Club/Promo, 1968
4.00 | 4 ratings

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Homburg
Procol Harum Crossover Prog

Review by Matti
Prog Reviewer

4 stars To be exact, this was released in October 1967, as the second single of PROCOL HARUM, pretty soon after the huge success of 'A Whiter Shade of Pale'. The orientation towards the album format was yet to come in the pop business, and it wasn't unusual to release non-album singles. The British release of the "Procol Harum" LP excluded 'Whiter Shade' but -- not surprisingly -- the hit was included in the American version to boost the sales overseas. However, 'Homburg' wasn't in either of them. Nowadays it is among the best known PH songs and often indluded on 'The Best Of' compilations.

It's also among my favourite Procol songs, pleasantly melodic and slightly melancholic, with a rather slow tempo. The elegant arrangement gives the main role to Gary Brooker's piano and his vocals are in top form. Whereas 'Whiter Shade' has been covered by dozens of artists (for example the recordings of Annie Lennox or Sarah Brightman are quite beautiful in my opinion), I haven't heard many versions of 'Homburg': if I remember right, only an Italian-language cover and my countryman Pate Mustajärvi's powerful, Finnish-language cover called 'Tuhkaa', dating from 1984. (In comparison, 'Whiter Shade' has at least four different Finnish versions!)

The single's B side contains 'Good Captain Clack', a cheerful up-tempo song with both bluesy and cabaret-like flavours. It's only 1 and ˝ minutes long but musically hardly worth more than that. Not up to my taste at all. The British pressing of "Procol Harum" had it but not the American pressing.

[It's a bit tricky to rate a single. Definitely 'Homburg' is at least a four-star song, but without a good B-sider or cover art I give my four stars with hesitation.]

 Broken Barricades by PROCOL HARUM album cover Studio Album, 1971
3.29 | 120 ratings

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Broken Barricades
Procol Harum Crossover Prog

Review by SteveG

3 stars Broken Barricades is the fifth studio album released by Pocol Harum and is one of rock music's greatest "should have beens." As far from the twin keyboard sound of piano and Bach influenced organ that propelled the group to stardom four years earlier, Broken Barricades relies primarily on Gary Brooker's piano, BJ Wilson's drums, Robin Trower's blues based guitar riffs and Chris Copping's Jack Bruce inspired bass playing. Copping plays organ on only two songs and on one it's just on the song's coda (Simple Sister.)

This is most definitely Trower's defining statement in Procol Harum, with the band in a full-on blues rock mode that fits in stylistically with bands like Deep Purple, Led Zeppelin and even Black Sabbath at that juncture in time. The music performed on Broken Barricades is on par with some of the best from the afore mentioned, excluding a Stairway To Heaven copy. Perhaps Procol never toured with Spirit like Zeppelin did. But they did tour with the recently departed Jimi Hendrix, whose tone and styled was immediately taken up by Trower after his premature death.

Simple Sister and Memorial Drive are two of the Harum's hardest hitting and riff heavy songs and the title track is an elegant exercise in the magic of overlaying arpeggios (with a bit of Moog synthesizer snuck in.) The manic high speed Power Failure is even broken up by a deft drum and percussion solo by Wilson. Again, the music is balls out hard rock that really works. What doesn't work is Keith Reid's return to mumbo jumbo obtusely vague lyrics, which truly sinks this mighty ship.

It's understandable that Procol could never write lyrics fit for songs like Whole Lotta Love or Iron Man, but the dark esoteric and existential lyrics that fueled Procol's last album from 1970, titled Home, would have worked just as well or better with this type of harder material. A great opportunity lost, as even in a 2002 interview, Brooker couldn't tell if the title track was about a failed love affair or a tragic war story. If he didn't know, how was the public supposed to react to this crunching vagueness? Fortunately, Reid's great lyric writing would become more literal and accessible on later Porcol albums like Grand Hotel.

Trower is again in a class of his own with a homage to Hendrix titled Song To A Dreamer and the great bluesy album closer Poor Mohammad. But Trower was bursting at the seems and would go on to great solo success a few months after Broken Barricades was released.

Four stars for the incredible music and playing, particularly by Trower and Wilson, who seemed to be dueling for honors, with two stars for Reid's duff lyrics. That makes an average of three stars. So, three stars renders this album as merely average. What a pity.

 Walking On an Earthlike Planet by ALPHA LIGHTING SYSTEM album cover Studio Album, 2015
4.00 | 1 ratings

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Walking On an Earthlike Planet
Alpha Lighting System Crossover Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Review originally written for: www.therocktologist.com

It is amazing how a band this young has created such a big album!

Alpha Lighting System is a new Mexican band which I discovered last year while looking for some albums in a store, I saw their album and feel attracted by its cover art, but mainly by a sticker which mentioned that the album had been produced by the same Billy Sherwood, so I did not hesitate and bought it and man, my first reaction while listening to it was "whaaaat?, this is wonderful", so I contacted the band via Facebook and later attended to one of their shows, a show that left me speechless because it was clear that the musicians are equally good as composers and as performers.

This trio of really young guys is composed by Alam Hernández, Jaco Jácome and Joshua San Martin, complemented in their live shows by Juan Gabriel Hernández (Alam's father) who is also a great musician and person. They managed to contact Billy Sherwood, sharing him their sound and concept and as far as I know, he said yes without blinking and participated in the production of Walking on an Earhtlike Planet, their album debut, released on August 2015, which features six songs and a total time of 55 minutes, a progressive rock album that blends its symphonic, space and metal sides, with a concept behind the music, a futuristic concept that talks about a man named Brian Nicole who was chosen to be part of Project 8, a project that collects the most intelligent people in the world and takes them to a planet called Suspiria. So please, besides enjoying the amazing music, pay attention to the lyrics and enjoy this musical sci-fi novel.

The album starts with "Polar Shifts Due to the Change of the Gravitational Pull of the Sun", what a title. A song that soon become one of my preferred here because it is the introduction to the story, and also because since the first moments I could notice that this trio has exquisite talent that I am sure will lead them to further places and successful moments. What first caught my attention was the sound of keyboards, totally in the progressive rock vein, sometimes reminding me of some Neo Prog acts and sometimes some metal oriented ones. The song has also great guitar solos and wonderful bass notes that are always greatly complemented by the drums. Complex, intelligent, challenging, a wonderful song without a doubt.

"A Place Like Home" has a catchier sound, however what I love from this track is that the lyrics are divided in two voices: first The Narrator and later Brian Nicole (the main character), however I must be honest and say that I discovered it until I read the lyrics on the booklet, because actually the two voices are sung by the same main singer, Alam, so maybe a different main singer for a different character would have been better. The song has a softer sound, friendlier and catchy as I've already said, however with the minutes it becomes more and more interesting as well as more complex and addictive. "Blaring Space" is the shortest song with only four minutes. It is like an intermission, a visual track whose spacey sounds will immediately make put images on your mind, it is like a dream, like the same Brian Nicole says.

"The Arrival" is an excellent track, it is crucial on the history and musically it brings one of the most wonderful guitar solos of the albums (minute 5), made of course by Joshua San Martin. Another think I love of Alpha Lighting System is that they get better and better while the minutes pass; for instance in this track the first part did not make me fall in love immediately, but from that solo until the very end I felt trapped under a salad of sounds and floating on a musical universe full of addictive particles.

"Building at 360 Mph" is the longest composition, reaching the 15-minute mark. As you can imagine, here the band delight us with a magnificent blend of elements, musical styles, atmospheres, nuances and textures. It is evident they have developed an own sound and have manage to give the listener an intelligent work of art , which means, at least to me, that they have the potential to become one of the most successful Mexican prog rock bands ever (I am not exaggerating, and I really hope they keep this amazing work). Well, returning to the song, I think with this track they reach the climax of greatness, making me feel terribly excited by the sound, the story and the high expectations I have on them. There are a lot of changes here, so be prepared to a rollercoaster of sounds and emotions made by a young promising band that will make some noise in the near future. You will remember these words.

Last but not least it comes "Side Effect" which believe me, is a superb composition. First class art-rock, progressive rock with a clear modern sound, a blend of symphonic rock with spacey atmospheres and some heavier, metal-oriented tunes. The band has a truly gifted sense of composition, there are no forced passages, all flow and progress naturally in spite of the countless changes in rhythm and mood. Musically they are excellent, each one in their respective instrument doing what they love, that's the formula to success, they complement each other and create a solid song that finishes a truly solid album from a (again) promising band.

This is a wonderful debut, maybe the vocals are their weakest side because I think none of them is a true singer, but well, it does not affect my listening pleasure, because I have been, am and will be happy with this album every single time I listen to it. Congratulations!

Enjoy it!

 Counterpoint by CIRCULINE album cover Studio Album, 2016
4.95 | 2 ratings

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Counterpoint
Circuline Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars After their thrilling 2015 debut "Return", Circuline wasted little time in returning (excuse the pun) with another chapter in their soon-to-be glorious career, a near future where more prog fans worldwide will hook up to this brilliant prog band. These seasoned musicians are a quite a crew, understanding the liberating musical panorama offered by progressive rock, with so many styles to choose from and incorporate them into something entirely unique yet comfortably prog. At this level of their craft, "Counterpoint" is not in any way an improvement over their debut but rather a consolidation of their musicianship, their unending quest is to entertain and delight by involving always zesty slivers of genius. This time around the core group of the incendiary Andrew Colyer on keys, drum maestro Darren Brannon and the dynamic vocal duo of Billy Spillane and Natalie Browne overcome the departure of Matt Dorsey on bass (though he still guests on guitar here) and guitarist extraordinaire Bill Shannon by incorporating new bassist Paul Ranieri of Shadow Eden as well as inviting a cast of brilliant characters on guitars: namely Doug Ott of Enchant, Alan Shikoh of Glass Hammer, Stan Whitaker (Happy the Man and Oblivion Sun) , the thrilling Ryche Chlanda of Fireballet and Renaissance fame, Randy McStine (The Fringe) and Alek Darson (Fright Pig).

On this release, the band decides to get into fleshing out further instrumentally their compositions, a great idea in lieu of the fact that some pieces on "Return" begged for continuance, the stunning "Soleil Noir" in particular left me hungering for more. There is also a noticeable depth to the sonic palette that thickens the lavish symphonics and highlights the contrasts between softer and harder passages. Case in point, the opener "New Day" blends straight into "Who I Am", forming a mini-suite that combines into nearly 14 minutes of progressive diversity. Conjuring various effects from a NASA website of space sounds, Randy McStine layers five guitar tracks to thicken the sauce while Ranieri does some low end magic on his bass. Dishevelling drum flattery adorns the bliss out space overture to great effect. The second is a classically arranged prog-rock extravaganza, clocking in over 8 minutes and featuring Enchant's Doug Ott on the axe. Nimble piano leads the question initially, blooming into a more typical prog workout, where bombastic riffs and tectonic drumming settle down to rule and govern accordingly. The band considers themselves as 'cinematographic prog', which is actually a correct self-assessment, the dual vocals are immediately impactful, taking the arrangement into storyland, with meaningful lyrical content and expert vocal delivery. The exit guitar solo is a whirlwind of notes and ecstasies.

The thrilling "Forbidden Planet" is a musical tribute to the famous sci-fi classic, featuring the incredible Leslie Nielsen, Roby the Robot and a masterful evil performance by Walter Pidgeon that stands the test of time. Here, the synthesizers carve out another space-rock adventure, a perfect platform for Bill Spillane to exalt on his cosmic microphone, delectable choir work in tow (Natalie does some real cool wailing) and finished up with manic electric guitar work from Alek Darson that sizzles amid the symphonic asteroids.

The grandiloquent epic "Hollow" is a 10 minute romp that will blow the lid off your earphone-dominated head, incorporating multiple passages with mega thrills, truly captivating soloing and jaw-dropping vocalizations. Colyer's piano takes the front stage again, showing off his indisputable talents and reminding me a lot of Eddie Jobson's piano work with Curved Air, Natalie yanking the mike to her lips and beginning her painful lament. The effortless rhythmic work is complex, bruising and extremely clever. 'A call to action, a new distraction' warbles Spillane convincingly, amid a crest of sonic dynamics that elevate the piece to new heights, a contemplative mid-section that skirts the edges of ambient only to let Darson sparkle once again with inventive passages, rekindling the earlier raging fire. A sensational track.

The diminutive but effective "Erosion" adds more soundtrack-like depth, in a more subtle manner, blending electronic sweeps and a sense of crushing gloom. Colyer is having fun being creative with his keys. Changing the pace on a dime and crashing a champagne bottle on its bow, "Nautilus" floats off with a fluid bass guitar that may recall the legendary Mick Karn, wobbly and liquid bass bubbles that set the sail to an underwater adventure to the North Prog pole , slick little nods to Star Trek (yeah, my trusted sonar picked that bleep up), launching depth charge-like bashing from the drums, roiling organ crests, a slippery synth solo, waves of stormy guitars, courtesy of Ryche Chlanda and windswept vocal work of the highest order. The dual voices achieve another level of performance, conclusive and hyper professional. Another total scorcher.

The hard jazz of "Stay" (subtitled Peter Frankenstan) features some dervish pyrotechnics from the manic mind and fingers of Stan Whitaker, a truly Happy Man, there is also a distinct Peter Gabriel vibe (I was stunned to hear recently that Happy the man were supposed to start out as Gabriel's backing band , early in the Genesis man's solo career). The drums are straight out of the Jerry Marotta school of binary cymbal-less pounding, sounding very modern, even futuristic. Natalie sings like there is no tomorrow.

There is an eerie piano intro to "Inception", another movie soundtrackish concoction that has a definite Steve Wilson feel to it, a grandiose and dense, mellotron-laden osmosis of sound and fury, deeply disturbing and rhythmically despondent. The vocal work is once again exemplary, spooky choirs notwithstanding, and as Natalie starts her intense wailing, guitarist Alan Shikoh of Glass Hammer adds a tumultuous guitar pirouette that sets the piece to bed.

Yes the "Summit" is reached with another grandiose finale, a monster track that slams in the final nails in the coffin of doubt about this band's future legacy. Matt Dorsey (Sound of Contact, Kerzner) lays down some dreamy guitar escalades that shuffle between the rhythmic pulse, steered by drummer extraordinaire Brannon doing his best Pierre Moerlen (Gong) imitation. Breezy and airy on the fret board, the arrangement features Andrew on lead vocals, finding free hands to twiddle his synths with obvious trepidation. The mid-section unexpectedly features a dissonant tympani and piano dance that is straight out of a fusion of melody and rhythm. Definitely Downwind and Time is the Key.

Circuline has arrived, time for Progland to embrace them wholeheartedly. Easily one of the very best US bands in recent memory, I look already forward to their next masterpiece.

5 Kiosk tips

 Valley Of The Windmill by CIRCA album cover Studio Album, 2016
4.44 | 13 ratings

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Valley Of The Windmill
Circa Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

5 stars Big generator

Ever since the band's birth a decade ago this year, Circa has been moving from strength to strength with each new release. Their previous studio album - And So On, released in 2011 - was already an excellent album, but with the present one they have outdone themselves yet again. Valley Of The Windmill is Circa's fourth studio album and their first to be released on Frontiers records. The new album consist of only four tracks, two of which are of epic lengths (14 and 18 plus minutes respectively) and the other two being somewhat shorter (7 and 9 plus minutes). It is fair to say that this is their most progressive record.

The core of the band is still Billy Sherwood and Tony Kaye. Like always Billy handles lead vocals, but interestingly he has changed his instrument from bass to guitar for this record. For followers of Billy's solo career it will come as no surprise that he excels on both instruments. New member Rick Tierney takes over bass guitar duties and the drums are still pounded by Scott Connor. The whole band is in excellent form and they function perfectly together as a unit. I very much hope that Billy now being back full time with Yes will not stand in the way of Circa touring this new material and recording a live album and/or video. Frankly, I would rather see Circa live than the current line-up of Yes.

My expectations for this record were extremely high, and even though I liked it from the start I have to confess that, on the first few listens, the album did not quite meet them. But over further listens the album kept growing on me more and more. And now that it has been spinning in my player an impressive number of times, I consider Valley Of The Windmill to be not only Circa's best album, but one of the best albums Billy Sherwood has ever made and the best album that Tony Kaye has been involved in making since The Yes Album in 1971!

Hopefully, with Valley Of The Windmill Circa will finally get the recognition they deserve, not only among Yes fans but among progressive Rock fans in general.

Very highly recommended!

 Enter the Sentai by PSEUDO/SENTAI album cover Studio Album, 2016
3.05 | 2 ratings

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Enter the Sentai
Pseudo/Sentai Crossover Prog

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

3 stars Wondering where they want to go as a rock combo. This "Enter The Sentai" sounds like another creation that PSEUDO/SENTAI should have put their strength into. Indeed based upon pop / rock, colourful sound variations and melodic alterations can be heard via massive rock subgenres (metallic like Judas, tribal touch, psychedelic, or avantgarde), but their soundscape might have got remarkably influenced or have a massive inspiration by industrial grunge core or noise (like NINE INCH NAILS or Marilyn MANSON) and this musical phenomena confuse me definitely.

Each track is well composed and melody line is not so bad. There are two points I'd like to mention for them: first, we cannot get easily what they should have wanted to play in this album although plenty of musical elements they wanted to digest. It cannot be helped we assume they completed noisy pop tinged with progressive flavour. It's just pity they created such a powerful vibe. Second, eternal sound explosion could be expressed in this album I guess, but sadly Excessive digital effects for voices might spoil their musical goodness I'm afraid simultaneously.

Let me say this; their ability of creator is so good enough to make more simple, more sincere songs, even if not so complicated. Do believe they will get a definite progression and decision where they go.

 All The Colours Of Madness by ESFERA album cover Studio Album, 2016
3.91 | 3 ratings

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All The Colours Of Madness
Esfera Crossover Prog

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

4 stars From Portugal comes this excellent production of melodic Crossover Prog from ESFERA, All the Colours of Madness. Awesome clarity in all instruments and yet so well mixed as to have a very tight blend of really wonderful prog. With the excellent lead singing (in English), I found myself thinking of both TINYFISH and Bruce Sood's PINEAPPLE THIEF and even a little THE MARS VOLTA throughout this album.

Favorite tracks: 3. "Green" (4:33) (10/10); the gorgeous and emotional TMV-like, 5. "Red" (5:03) (9/10); 1. "Magnificence (part I) (3:54) (9/10); the ALANIS MORISSETTE-like 7. "Black" (5:20) (8/10), and; the VIENNA CIRCLE-like 6. "White" (5:01) (8/10).

A solid four star record; excellent addition to any prog lover's music collection.

Data cached

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
CRIMINAL CATERPILLAR Canada
CROSS Sweden
BEPPE CROVELLA Italy
CRYPTEX Germany
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
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JOE DENINZON United States
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DICE Germany
THE DIFFERENCE Slovakia
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DIGITAL CHEMISTRY United States
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DIRTY PROJECTORS United States
DISCONNECT United States
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DISTANT LIGHTS United States
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
GODSTICKS United Kingdom
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
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.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
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KAYAK Netherlands
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KEDAMA Switzerland
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KEL LOCH & GOLD United States
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DAVE KERZNER United States
KEVLAR RED United Kingdom
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KING RAT United Kingdom
KINO United States
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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
KUNDABUFFER Argentina
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
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LONELY ROBOT United Kingdom
LOONYPARK Poland
LOST WORLD Russia
JEAN-PIERRE LOUVETON France
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ARJEN ANTHONY LUCASSEN Netherlands
THE LUCK OF EDEN HALL United States
LUDUS United Kingdom
JOHANNES LULEY United States
LUNA ROSSA United Kingdom
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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
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BRUCE MAIN United States
MAJESTIC X United States
BARIS MANCO Turkey
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MANFRED MANN'S PLAINS MUSIC South Africa
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COLIN MASSON United Kingdom
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ALEJANDRO MATOS Argentina
MAVARA Iran
MAXIMUM INDIFFERENCE United States
THE MAYAN FACTOR United States
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JAMES (JIM) MCCARTY United Kingdom
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SIMON MCKECHNIE United Kingdom
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MEKHLIN Denmark
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STEVE MERLIN Netherlands
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