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CROSSOVER PROG

A Progressive Rock Sub-genre


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Crossover Prog definition

Crossover Prog contains progressive rock music that, though 100% progressive, may have a musical connection to popular music-- whether it be the lack of emphasis on extended compositions, or an influence from mainstream music in addition to classical, jazz and folk. Compositions, however, still exhibit a high degree of sophistication, sometimes outright complexity, and the musicianship and virtuosity is often on a par with established Prog acts. Much like their kin in the established prog sub-genres, these groups will incorporate many major parts of what defines prog rock: the fusing of rock with the structures and discipline of more traditional musics, the use of syntheisizers and new technologies, intelligent thematics, and the expansion of the form.

The defining characteristics of Crossover Prog are a pop music influence that is largely vacant in typical prog rock. Songs tend toward shorter, more concise presentations though still reach beyond the typical verse, bridge, chorus pattern. The harmonic, melodic, and rhythmic structures may be more easily digested in Crossover while not losing the musical integrity that a prog listener expects. Whereas Prog Related bands are generally commercial groups with certain prog elements or players that were involved in prog acts, Crossover Prog artists are predominantly progressive with elements of popular music.

The most representative examples for this genre include The MOODY BLUES, SUPERTRAMP, DREDG, CINEMA SHOW, RADIOHEAD.

- written by micky (Michael) and Chus (Jesus)

Current Team Members as at 01/22/2017

kev rowland (Kev)
Evolver (Scott)
tszirmay (Thomas)

Crossover Prog Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Crossover Prog | More Top Prog lists and filters

4.32 | 1136 ratings
OMMADAWN
Oldfield, Mike
4.32 | 1365 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1732 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1168 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.22 | 1548 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 867 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 747 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 901 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 484 ratings
~
iamthemorning
4.18 | 749 ratings
SNOWTORCH
Phideaux
4.17 | 697 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.17 | 645 ratings
THE UNDERFALL YARD
Big Big Train
4.28 | 144 ratings
RETURN TO OMMADAWN
Oldfield, Mike
4.12 | 710 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.13 | 528 ratings
NIGHT
Gazpacho
4.35 | 83 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.23 | 144 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.08 | 1001 ratings
TUBULAR BELLS
Oldfield, Mike
4.12 | 354 ratings
HOUNDS OF LOVE
Bush, Kate
4.20 | 153 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.12 | 312 ratings
ONES & ZEROS: VOL. 1
3RDegree
4.12 | 313 ratings
SPIRIT OF EDEN
Talk Talk
4.17 | 177 ratings
HAIR IN A G-STRING (UNFINISHED BUT SWEET)
Tench Project, Colin
4.20 | 134 ratings
SHINY EYED BABIES
Bent Knee
4.13 | 229 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.09 | 332 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.08 | 368 ratings
PASSION - MUSIC FROM THE LAST TEMPTATION OF CHRIST
Gabriel, Peter
4.38 | 60 ratings
TIME
Time
4.06 | 510 ratings
AMAROK
Oldfield, Mike
4.08 | 368 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.08 | 322 ratings
CORVUS STONE II
Corvus Stone
4.04 | 863 ratings
OK COMPUTER
Radiohead
4.10 | 248 ratings
THE DREAMING
Bush, Kate
4.21 | 101 ratings
MODRA RIJEKA
Indexi
4.04 | 581 ratings
TALES OF MYSTERY AND IMAGINATION
Parsons Project, The Alan
4.09 | 231 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.07 | 315 ratings
PAMPERED MENIAL
Pavlov's Dog
4.09 | 233 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.13 | 152 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.05 | 376 ratings
FOLKLORE
Big Big Train
4.04 | 460 ratings
TICK TOCK
Gazpacho
4.07 | 248 ratings
EL CIELO
Dredg
4.06 | 270 ratings
SHINE ON BRIGHTLY
Procol Harum
4.02 | 500 ratings
NUMBER SEVEN
Phideaux
4.04 | 328 ratings
LUNATIC SOUL
Lunatic Soul
4.09 | 164 ratings
GRAPPLING
Tea Club, The
4.17 | 98 ratings
THE GNOMON
Sunchild
4.05 | 250 ratings
ROXY MUSIC
Roxy Music
4.04 | 254 ratings
FOR YOUR PLEASURE
Roxy Music
4.04 | 241 ratings
GHOSTS
Frequency Drift
4.03 | 240 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.05 | 193 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
3.99 | 497 ratings
UP
Gabriel, Peter
4.18 | 78 ratings
EGO, GEORGIUS
Antczak, Jerzy
4.03 | 204 ratings
THE LONG DIVISION
3RDegree
4.30 | 51 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
3.99 | 386 ratings
MARCH OF GHOSTS
Gazpacho
4.32 | 47 ratings
CHROMIUM
Talisma
4.05 | 155 ratings
CINEMATIC
Lebowski
3.97 | 511 ratings
EVEN IN THE QUIETEST MOMENTS ...
Supertramp
4.05 | 152 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
4.02 | 199 ratings
CORVUS STONE UNSCREWED
Corvus Stone
4.00 | 253 ratings
ACT IV: REBIRTH IN REPRISE
Dear Hunter, The
4.54 | 28 ratings
PEVNINA DETSTVA
Ursiny, Dezo
3.97 | 328 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
3.94 | 688 ratings
KID A
Radiohead
3.99 | 234 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
3.99 | 225 ratings
LAUGHING STOCK
Talk Talk
4.26 | 49 ratings
SELECTIVE MEMORY
Témpano
3.94 | 619 ratings
BREAKFAST IN AMERICA
Supertramp
4.15 | 72 ratings
BLUE JAYS
Hayward & Lodge
3.94 | 506 ratings
HERGEST RIDGE
Oldfield, Mike
4.14 | 73 ratings
ANCHOR DROPS
Umphrey's McGee
3.95 | 376 ratings
AMUSED TO DEATH
Waters, Roger
4.30 | 42 ratings
AUTOGRAPH / Автограф
Autograph (Avtograf)
4.06 | 104 ratings
AND THE GLASS HANDED KITES
Mew
3.97 | 231 ratings
LIGHTHOUSE
iamthemorning
3.97 | 237 ratings
NEVER FOR EVER
Bush, Kate
3.96 | 263 ratings
A MOON SHAPED POOL
Radiohead
3.99 | 171 ratings
BROKEN CHINA
Wright, Richard
3.92 | 517 ratings
PETER GABRIEL 4 [AKA: MASK OR SECURITY]
Gabriel, Peter
3.95 | 264 ratings
THE KICK INSIDE
Bush, Kate
4.15 | 60 ratings
BURNT BELIEF
Burnt Belief
4.02 | 117 ratings
KAYAK II
Kayak
4.05 | 94 ratings
STRANGER HEADS PREVAIL
Thank You Scientist
3.99 | 156 ratings
THE IMPERIAL HOTEL
Samurai of Prog, The
3.92 | 389 ratings
INCANTATIONS
Oldfield, Mike
3.96 | 199 ratings
NEW WORLD (DELUXE EDITION)
Kerzner, Dave
3.98 | 156 ratings
ACT V: HYMNS WITH THE DEVIL IN CONFESSIONAL
Dear Hunter, The
3.98 | 155 ratings
AS YOUR MIND FLIES BY
Rare Bird
4.01 | 115 ratings
NO TENGAS MIEDO
Kant Freud Kafka
4.03 | 101 ratings
THE BURDEN OF PARADISE
Different Light
4.20 | 47 ratings
EL FIN DE LA INFANCIA (CHILDHOOD'S END)
Témpano
4.00 | 122 ratings
VESPERTINE
Björk
4.08 | 75 ratings
AN OCEAN HELD ME
Mice On Stilts
4.00 | 119 ratings
LULLABIES IN A CAR CRASH
Riis, Bjřrn
3.97 | 158 ratings
YOUR WILDERNESS
Pineapple Thief
4.17 | 50 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
4.06 | 77 ratings
FABLES FROM A MAYFLY: WHAT I TELL YOU THREE TIMES IS TRUE
Fair To Midland
3.93 | 205 ratings
MOMENTS
IOEarth

Crossover Prog overlooked and obscure gems albums new


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

CORPUS
Talisma
GENERAL WINTER'S SECRET MUSEUM
Tea Club, The
GLOSSOLALIA
Walsh, Steve
THE LOST ART OF TIME TRAVEL
Presto Ballet

Latest Crossover Prog Music Reviews


 Return To Ommadawn by OLDFIELD, MIKE album cover Studio Album, 2017
4.28 | 144 ratings

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Return To Ommadawn
Mike Oldfield Crossover Prog

Review by snelling

3 stars After several listens of "Return To Ommadawn", I am very surprised with the high level of positive reviews here. I don't think it is a bad album at all. The sound itself is excellent. The instruments are very well played. The classic Oldfield sound is definitely there. But what is missing to my ears is the unique haunting melodies that make up the first 3 albums. The tear inducing sections that I had hoped for are absent. Instead, this sounds to me like Mike Oldfield doing a beautiful production of... a Celtic New Age album. He doesn't change keys much at all, and I hear no real interesing or compelling chord changes. The parts named "Latin" and "Jazz" on TB2003, were strikingly both unique and beautiful, and there is nothing that comes close to that level of intrigue here. It is certainly a nice album nonetheless, with its celtic new age styled melodies, played very beautifully by a highly skilled musician, and his musicianship is not to be downplayed. And the fact of his doing a more acoustic based long form album, is makes me hopeful that he will venture deeper into intriguing and more unique melodies in the future.
 Christmas In My Heart by JEREMY album cover Studio Album, 2015
3.00 | 1 ratings

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Christmas In My Heart
Jeremy Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
3 stars

In many ways it is somewhat surprising that it took until 2015 for Jeremy to release a Christmas album, as at my last check he has released more than fifty albums in one musical form or another, and given that he is also a church minister it does make a sense to bring the two things together. Anyway, here it is, and regarding musical stylings this finds very much in the area of power pop as opposed to his progtastic releases. I found one review that likened his influences to The Beatles, The Byrds, Big Star, Pink Floyd, The Hollies, The Kinks, Teenage Fanclub and another that pointed to the Undertones and Phil Seymour, but while bits of all these bands do make sense, there is no single band that can be heard to be prevalent above the others.

This is psychedelic power pop that is taking everything that came out from 1967 ' 1970 and melding it together in a fashion that is both enjoyable and fun, and that makes for instantly accessible music. Some of the songs are more evangelical than others, but the one thing they jave in common is that they don't really sound like any other Christmas song you;ve come across before. My favourite, though, just has to be 'Here Comes Christmas' which use the Batman theme to great effect. It just has to be heard to be believed. Overall, yet another fine release from Jeremy Morris.

 Not Of This World by JEREMY album cover Studio Album, 2015
4.00 | 1 ratings

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Not Of This World
Jeremy Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
4 stars Before I started writing the review I thought I'd get the CD down from the shelf, so started looking through my collection of Jeremy CD's and it took a while to find it. A short count later and I realised that I have thirty of his albums on CD, plus another four from the days when he was releasing albums on cassette, and I don't actually have everything he's done by a long way! The album starts as if it is one of his power pop albums, with a more evangelical nature, but the lengthy 'Clouds Are Lifting' soon turns into something quite different, as mandolins are riffed and dramtically change the feel of the whole piece and then we are into delicate piano and the realisation that this is an album that is looking back to his classic 'Pilgrim's Journey' in many ways, as it is refusing to conform into any particuar style.

There are a few guest musicians helping out here and there, but for the most part this is Jeremy doing everything himself. The rhythm section of Dave Dietrich and Todd Borsch may only be involved on a couple of numbers, but they have dramatic input into 'I Am The Eye' which is driving rock number, again with many influences and stylistic switches and changes. There are strong hints of The Beatles in particular, moved and pulled in many different directions and styles.

There is a refusal to conform, so that the listener never really know what to expect or what is coming next, although this is never harsh or grating. The jangly Byrds-style guitar at the beginning of the title song leads into a pop melody that in turn is twisted into something that could have come out of Sgt. Pepper. Jeremy has really puished himself with this album, and it feels his most complete work for some time. This will appeal to those who enjoy both his progressive rock and power ppop works as here is stretches both and delivers them in a manner that is always enjoyable and entertaining. This is refreshing and uplifiting album which is well worth hearing.

 Tubular Bells by OLDFIELD, MIKE album cover Studio Album, 1973
4.08 | 1001 ratings

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Tubular Bells
Mike Oldfield Crossover Prog

Review by Rockriffs.com

5 stars You have to have been there in 1973 when this came out. It was an era of stark musical contrasts: Glam piss-Pop, late 60s Brit Rock leftovers; momentary super nova acts like Ziggy and Roxy shined before fug and a smattering of 'head grops' still high on 60's misplaced 'new' realism.

This appeared... >> IT WAS PRICED /SOLD FOR ONLY Ł1.00 !! <<

As such people gave it a spin and found that it was quite good for having a spliff too or just being on whilst clumsily exchanging body fluids on a bean bag in the corner of someone's bedsit!

Then your parents quite liked it and thought at last you were starting to grow up and leave all that awful music behind you. So it instantly created a dichotomy.

It made Richard Branson and felled Mike Oldfield, but it stands as an iconic snapshot of social change as the 70s became the excruciating polar opposite of the 60s lovefest. By 1973 The batons had all but been passed over, but this one dropped on the final leg.

 Futurama by BE BOP DELUXE album cover Studio Album, 1975
3.79 | 51 ratings

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Futurama
Be Bop Deluxe Crossover Prog

Review by Rockriffs.com

5 stars it was 1973/4 - I had had Ziggy and lost, I had had Roxy Mk1 and lost and was desperate to find another act that I could immerse myself in. Thank God for Radio1 staging late night sessions and Album reviews and I got to hear of Bill Nelson and his exquisite Gibson 345 fueled licks and riffs and a big side dollop of synthy keys.

I was a burgeoning young green-teen guitar player looking for any clues in the day before the net and DVD(!) - anyone who offered a glimmer was idolised and revered and Maid In Heaven was all it took. The opening wammy bar note sounded exactly as my Yamaha RD200 electric start did on power-up and as I swung my leg over to blast off onto the mid 1970s streets with this song in my head it made me feel vital and relevant.

The Album's soaring guitar deliveries created a life-long love of the classic Gibson Semi and I eventually got to own one too!

I may not have all the riffs and licks off to pat even now, but I have squared the circle. Hell I even got to discuss his technique and gear with him direct on his Dreamsville Inn Forum at billnelson.com - - Maid an ageing '16' year old feel In Heaven all over again!

Thanks Bill!

 Stranger Heads Prevail by THANK YOU SCIENTIST album cover Studio Album, 2016
4.05 | 94 ratings

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Stranger Heads Prevail
Thank You Scientist Crossover Prog

Review by baantacron

5 stars I first encountered Thank You Scientist when they were opening for Haken in Glendale, CA. I'd never heard of them, despite their growing acclaim. Their set is one of the best shows I've seen and going into it blind was an incredible experience. This review isn't about their set though, it's about the album, so I'll move along to that.

The standout quality to Stranger Heads Prevail, and all of TYS's music is something I find severely lacking from the modern progressive scene. Their music is fun, especially so on this album. We've seemed to have become so hostile to the idea of accidentally making a catchy tune, that musicians will try to avoid it at all costs. Steven Wilson even jokes about this when discussing the track "Sound of Muzak".

On Stranger Heads Prevail, TYS maintains a complex and dynamic sound that utilizes every bit of their seven piece band, but doesn't bog itself down trying to be overly meaningful or deep. In a seven piece it's easy for instruments to begin getting lost in the mix, not so in this case. Each instrument has its time in the forefront leading the melody and then phases back into harmonies in a way that flows wonderfully through each track. I must admit a certain bias as trumpet player myself, the inclusion of lots of clean and technical trumpet definitely makes it easy for me to love this music, but lets be fair, the music is just generally easy to love.

While it doesn't have the unbelievably complexity of much of modern progressive rock, I still think that Stranger Heads is one of the highlights of 2016 in progressive rock. A move back to music for the masses without sacrificing their progressive core.

 Samsara by CHATOORGOON, RANI album cover Studio Album, 2016
4.00 | 2 ratings

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Samsara
Rani Chatoorgoon Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Canadian composer and artist Rani CHATOORGOON is at this point a fairly unknown quantity. She launched her solo career back in 2009 with her debut album "Illusions of Loneliness", and have since issued a handful of singles and EPs. "Samsara" is her most recent full length production, and was self released in the early winter of 2016.

As one might suspect from the artist name as well as the title given to this production, Rani isn't the kind of person that can trace her cultural origins back ten generations in the Canadian territories. Her background appears to be a bit more colorful than that, and the music she creates most certainly incorporate a liberal amount of cultural elements not originating from Western culture. Therein lies the strength of this album as well, the manner in which it blends aspects of different cultural traditions.

The base foundation of most compositions appears to be what I'd describe as a hard but smooth and elegant variety of radio friendly hard rock. Firm riff cascades backed by solid rhythms is a staple in the greater majority of the compositions, fairly often with orchestration details appearing in key moments to add a grandiose, majestic tinge to the proceedings. With Rani's finely controlled, quality lead vocals this results in exemplary sequences of appealing music, albeit a bit too polished and anonymous if not a part of a greater totality.

It is when the compositions feature additional details that this album starts to soar to more compelling heights. First and foremost with violin, percussion and string instrument details based on Eastern and presumably Indian traditions are used more extensively throughout. A couple of cuts also comes across as including Celtic folk music details, at least as I experience them, which also fits these landscapes quite nicely.

While I do consider hard rock to be the main foundation here, the compositions does actually range from more purebred folk and world music creation to material hovering on the borderland of progressive metal. While perhaps not what I'd describe as eclectic in scope it is an exotic one at times, but also well produced and what I'd describe as generally appealing in nature and with a radio friendly sound. Quite a few cuts here appears to be ready made even for mainstream FM radio, and one can only hope that this artist somehow manage to find her way into a B-list on a substantial station at some point. The A-lists obviously unavailable for artists not already firmly established.

All in all I find "Samsara" to be a compelling album overall. Rani is a strong vocalist, her voice carrying many songs in a fine and intriguing manner, and the blend of Eastern and Western musical traditions are almost magical at best. Opening cut The Grey is the standout track here, among a dozen quality cuts this composition showcase the very best qualities of this artist and this album in an excellent manner. A perfect starting place to explore this artist in other words, and those intrigued by the notion of Eastern world music combined with sophisticated radio friendly hard rock should start right there.

 Sisyphus by TEN JINN album cover Studio Album, 2017
4.00 | 7 ratings

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Sisyphus
Ten Jinn Crossover Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars Formed in 1991 by John-Paul Strauss and Jimmy Borel Ten Jinn has seen the band live many line-up changes, but John-Paul is back for this new release. The band has adopted a symphonic style after their first album and in this one they have gone even further in that direction. Strauss has studied in theory and composition which results in this symphonic poem "Sisyphus" composed for piano and orchestra. It's a 26 minutes song close to classical music and they included here the instrumental version which is very logic considering the classical approach in structure and arrangements. If you enjoy the band Enid, you will enjoy this one as well, and won't get bored a minute here.
 Antimemory by VANETA album cover Studio Album, 2016
5.00 | 1 ratings

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Antimemory
Vaneta Crossover Prog

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

— First review of this album —
5 stars A band of young men from the Santa Gabriel mountains of California--self-proclaimed "keepers of the forest"--have decided to go with a change in direction from their previous heavy metal roots into the sophisticated progressive rock alter-ego that the band had been working on on the side. I've not heard or seen any of their previous music or concerts but I hear they were stunning, breathtaking. I, for one, am grateful for their new direction--and their collaboration with Lone Pine Records' producer Bill Fiorella, as together they have come up with one of the more unique and memorable sound styles this reviewer has heard in quite a while. The production, in and of itself, is quite unusual in that all of the instruments and voices are allowed to remain so clearly distinctive no matter how dense the music gets. Every subtle noise in the soundscape is preserved--which is something I adore in music: the subtleties. The vocal arrangements alone are worth noting as guitarist Chris Durban and vocalist/guitarist Jared Paris and keyboard player Allan Hennessy do some stunning performances in all of the lead, background, and harmony capacities. These are vocals that are incredibly complicated and yet so impressively executed! It's like listening to world class dance choreography! Also, notably absent are the computer "corrected," effected, "compressed" soundscapes that have become so prevalent in music production over the past 25 years. The acoustic guitars sound like they are in the room with you; the drums sound real and full, not gated; the vocals are natural and raw, not auto-tuned. All in all, Antimemory does a wonderful job capturing an 'acoustic' sound of an electrified rock and roll band. And it works! It's awesome! It helps remind and reinforce my love of the recording styles of those 1970s masterpieces.

Lineup:

Chris M Durbin - Vocals, Guitar Jared Paris - Harmony Vocals, Guitar Andrew C Sanchez - Drums Allan Hennessy - Keys, Vocals on Last Ray Of The Sun Wyatt Martin - Bass

1. "Son of Sorrow" (6:42) opens with a minute of heavily vibrating sacred bells before guitars, piano, and bass join in to set the stage. This bass play is awesome! Vocalist Chris Durbin bids us "hello" and sings an impassioned vocal-- which is soon joined by the amazing backing harmonies of Jared Paris. This sounds so much like the best of one of my favorite bands of all-time, DOVES from Manchester, England. The build up to the chorus at 2:40 is awesome--as is the cool down in the first half of the fifth minute--which is followed by an excellent chorus section and then by a searing 45-second long lead guitar solo in the sixth minute which is then followed up by an awesome three-layered chorale vocal section to the song's end. Incredible song! One of the best things I've heard from 2016! (10/10)

2. "Looking On" (5:06) opens with vocal, rhythm guitar and bass creating a weave that sounds like . At the 0:25 the song kicks into second gear with a very engaging THE MARS VOLTA/STEVEN WILSON foundation. The two-voice delivery of the second verse is so innovative and fresh! Stunning! Another great guitar solo begins rather humanly at the end of the third minute but then shifts into super-man speed in the fourth. The distant acoustic guitar song in the third verse is so cool! It makes it sounds like a Dobro (which I love). The vocal arrangement over the fullness of sound from all band members in the final minute is, again, brilliant! Stunning song! (10/10)

3. "Ferroform" (5:52) opens with a familiar CORVUS STONE-like sound and guitar riff before a second guitar joins in with some fiery riffing. The effected vocal is cool in a hollow Greg LAKE/JIMI WILLIAMS/KING CRIMSON/DOVES "Moon Child" kind of way. As the voice comes to the fore--and is joined by the awesome wailing screams of Jared Paris--the song kicks into full speed--and into a nice long instrumental section in which guitar, bass, keys, and drums resonate in perfect cohesion. Then there is a drop off into a floating, dreamy section that is held together by a Hammond organ and some word being panned around in the background. Guitar arpeggi join in and, eventually, the band emerges out of the fog into it's full speed again (awesome bass line/play!) and then finishes with some thought-provoking piano and guitar notes and chords. Awesome! (9/10)

4. "Child" (8:26) the song's mini-epic opens in a kind of GUNS'n'ROSES-LED ZEPPELIN guitar-oriented way. Even the layered lead vocals have that kind of perfected classic rock feel to it. Into the third minute the Led Zep/G'n'R influences are still strong until there is a sudden shift at the three minute mark into a kind of THE MARS VOLTA/OMAR RODRIGUEZ-LOPEZ Spanish-imbued high energy rock. The guitar play is so cool! So different--like RANDY BACHMAN on "Blue Collar" (Bachman-Turner Overdrive)--before a searing double guitar solo in the sixth minute. Man! I don't know how the band keeps up this coherent, stable intensity! Amazing! There's even some growl vocals behind the lead in this section. And then horns! Awesome horns! A saxophone lead! What a brilliant touch! For the final minute the band recoups and returns to the mature sound and pace of the opening with the song title being sung a few times by the double vocalists. Great, great song! (10/10)

5. "Last Ray of the Sun" (1:26) opens with a solo piano tinkling slowly away before setting up in a kind of "Great Gig in the Sky" (Pink Floyd) chord foundation while pianist, Allan Hennessy, sings the first verse (which turns out to be the chorus). The final 45 seconds finds the rest of the band joining in on this chorus line before letting Allan's piano finish on its own. Beautiful, haunting song! Well deserving of its presence on this album. (10/10)

6. "Mountain Chorus" (5:47) opens with acoustic guitar picking away at two chords--two heavily charged chords-- while a second, electric guitar slides and squeaks around far in the background before treated Chris' voice joins in. At 1:45 the voice again 'comes out of the closet' to sing "But it won't save you." The second verse then begins with two harmonized voices singing gently. Drummer Andrew Sanchez' cymbal play throughout this second verse is mesmerizing. I find myself reminded during this beautiful section of some the recent Prog Folk greats, FLEET FOXES, LEAFBLADE, DOVES, AUTUMN CHORUS and THE AMAZING. At 3:45 the band suddenly kicks into full gear with some energized bass, drum, guitar, voice and choral work-- which plays out till the song's end. Gorgeous song! (9/10)

7. "Antimemory" (3:18) opens with sustained computer synth noise which is then joined by guitar strum, bass, and multiple voices floating and flitting in and around the soundscape. This continues for the first two minutes before all fade out in lieu of sacred bells and shakers. A perfect ending to such a spiritually gut-wrenching album. (10/10)

Despite my high marks for each and every song--(more for their exceptional creativity, originality, beauty and promise)--I still see 'room to grow' for this band and it's sound. It will be difficult to top such an 'out of the blue' debut album, but I feel that this band of so many talents and influences can definitely refine their raw and passionate sound. The excitement I feel when hearing this album reminds me of how I felt upon hearing Manchester's DOVES debut album first time in the early 2000s (my favorite album of Y2K). This is astonishing music regardless of who is performing it--made even more remarkable for the fact that this is a debut album.

Let the world know it: VANETA is here! . . . and they are a FORCE to be reckoned with!

A masterpiece of progressive rock music and official winner of the title, ALBUM OF THE YEAR, in my books!

P.S. I want to have bass player Wyatt Martin's babies. Or, at least his autograph!

 Hair In A G-String (Unfinished But Sweet) by TENCH PROJECT, COLIN album cover Studio Album, 2016
4.17 | 177 ratings

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Hair In A G-String (Unfinished But Sweet)
Colin Tench Project Crossover Prog

Review by Mozart

5 stars I keep getting dragged back to this album. I do believe it's the best album for many years from anybody. If a single member of many different early progressive rock bands got together to see what happened, this might be the result. It is simply sublime. I see there are a few others who say the same in reviews, so I thought I would add my own. There is not one moment on here that I get bored or the feeling there is any pointless noodling going on. All of the vocals are brilliant and that rarely happens on any album. A perfect combinatoion of songs and pure music ranging from Beatles, Santana to Piano and almost classical pieces to classic guitar rock. Didn't this kind of record get banned 40 years ago? The Opening Part 1 draws you in and Part 4b blows you away as a finale. Great great music guys!
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
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
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIO'M France
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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
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TOM BRISLIN United States
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