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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 | 1185 ratings
OMMADAWN
Oldfield, Mike
4.31 | 1422 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1827 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.28 | 1269 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.21 | 1620 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 894 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 772 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.17 | 943 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 496 ratings
~
iamthemorning
4.18 | 764 ratings
SNOWTORCH
Phideaux
4.17 | 673 ratings
THE UNDERFALL YARD
Big Big Train
4.17 | 717 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.13 | 540 ratings
NIGHT
Gazpacho
4.09 | 1043 ratings
TUBULAR BELLS
Oldfield, Mike
4.35 | 83 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.21 | 150 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.12 | 369 ratings
HOUNDS OF LOVE
Bush, Kate
4.13 | 324 ratings
SPIRIT OF EDEN
Talk Talk
4.08 | 752 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.19 | 156 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.11 | 323 ratings
ONES & ZEROS - VOLUME 1
3RDegree
4.13 | 236 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.09 | 344 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.13 | 227 ratings
HAIR IN A G-STRING (UNFINISHED BUT SWEET)
Tench Project, Colin
4.08 | 383 ratings
PASSION - MUSIC FROM THE LAST TEMPTATION OF CHRIST
Gabriel, Peter
4.06 | 529 ratings
AMAROK
Oldfield, Mike
4.08 | 375 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.04 | 889 ratings
OK COMPUTER
Radiohead
4.10 | 235 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.10 | 258 ratings
THE DREAMING
Bush, Kate
4.08 | 328 ratings
CORVUS STONE II
Corvus Stone
4.21 | 108 ratings
MODRA RIJEKA
Indexi
4.14 | 160 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.09 | 250 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.15 | 151 ratings
SHINY EYED BABIES
Bent Knee
4.04 | 600 ratings
TALES OF MYSTERY AND IMAGINATION
Parsons Project, The Alan
4.34 | 63 ratings
TIME
Time
4.07 | 324 ratings
PAMPERED MENIAL
Pavlov's Dog
4.08 | 252 ratings
RETURN TO OMMADAWN
Oldfield, Mike
4.04 | 467 ratings
TICK TOCK
Gazpacho
4.54 | 37 ratings
APOCALYPSE OF THE MERCY
Bad Dreams
4.06 | 288 ratings
SHINE ON BRIGHTLY
Procol Harum
4.05 | 344 ratings
LUNATIC SOUL
Lunatic Soul
4.07 | 251 ratings
EL CIELO
Dredg
4.05 | 316 ratings
GRIMSPOUND
Big Big Train
4.02 | 510 ratings
NUMBER SEVEN
Phideaux
4.18 | 101 ratings
THE GNOMON
Sunchild
4.04 | 263 ratings
ROXY MUSIC
Roxy Music
4.04 | 265 ratings
FOR YOUR PLEASURE
Roxy Music
4.04 | 254 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.03 | 249 ratings
GHOSTS
Frequency Drift
4.05 | 198 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.00 | 392 ratings
MARCH OF GHOSTS
Gazpacho
4.30 | 54 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
4.06 | 179 ratings
GRAPPLING
Tea Club, The
4.00 | 351 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
3.98 | 520 ratings
UP
Gabriel, Peter
4.06 | 163 ratings
STRANGER HEADS PREVAIL
Thank You Scientist
4.01 | 280 ratings
LIGHTHOUSE
iamthemorning
4.15 | 89 ratings
EGO, GEORGIUS
Antczak, Jerzy
4.05 | 167 ratings
CINEMATIC
Lebowski
4.03 | 208 ratings
THE LONG DIVISION
3RDegree
3.97 | 465 ratings
FOLKLORE
Big Big Train
3.97 | 528 ratings
EVEN IN THE QUIETEST MOMENTS ...
Supertramp
4.29 | 49 ratings
CHROMIUM
Talisma
4.00 | 249 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
3.99 | 272 ratings
ACT IV: REBIRTH IN REPRISE
Dear Hunter, The
4.04 | 152 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
3.94 | 708 ratings
KID A
Radiohead
4.50 | 30 ratings
PEVNINA DETSTVA
Ursiny, Dezo
4.26 | 51 ratings
SELECTIVE MEMORY
Témpano
3.99 | 234 ratings
LAUGHING STOCK
Talk Talk
4.14 | 75 ratings
BLUE JAYS
Hayward & Lodge
4.00 | 206 ratings
CORVUS STONE UNSCREWED
Corvus Stone
3.94 | 642 ratings
BREAKFAST IN AMERICA
Supertramp
3.95 | 431 ratings
AMUSED TO DEATH
Waters, Roger
4.13 | 75 ratings
ANCHOR DROPS
Umphrey's McGee
4.28 | 45 ratings
Автограф / AUTOGRAPH
Autograph (Avtograf)
3.99 | 177 ratings
BROKEN CHINA
Wright, Richard
3.93 | 535 ratings
HERGEST RIDGE
Oldfield, Mike
3.96 | 245 ratings
NEVER FOR EVER
Bush, Kate
4.03 | 127 ratings
KAYAK II [AKA: ALIBI]
Kayak
4.05 | 106 ratings
AND THE GLASS HANDED KITES
Mew
3.93 | 408 ratings
INCANTATIONS
Oldfield, Mike
3.97 | 204 ratings
ACT V: HYMNS WITH THE DEVIL IN CONFESSIONAL
Dear Hunter, The
3.92 | 537 ratings
PETER GABRIEL 4 [AKA: MASK OR SECURITY]
Gabriel, Peter
3.96 | 208 ratings
NEW WORLD (DELUXE EDITION)
Kerzner, Dave
4.01 | 130 ratings
NO TENGAS MIEDO
Kant Freud Kafka
3.94 | 275 ratings
THE KICK INSIDE
Bush, Kate
3.98 | 167 ratings
THE IMPERIAL HOTEL
Samurai Of Prog, The
4.20 | 49 ratings
EL FIN DE LA INFANCIA
Témpano
3.97 | 161 ratings
AS YOUR MIND FLIES BY
Rare Bird
4.13 | 61 ratings
BURNT BELIEF
Burnt Belief
4.00 | 123 ratings
VESPERTINE
Björk
4.05 | 89 ratings
BLACK SCIENCE
Machines Dream
3.99 | 135 ratings
LULLABIES IN A CAR CRASH
Riis, Bjørn
4.25 | 41 ratings
LIL' BEETHOVEN
Sparks
4.17 | 52 ratings
D'APRÈS LE HORLA DE MAUPASSANT
Box, The
3.92 | 305 ratings
A MOON SHAPED POOL
Radiohead
4.07 | 75 ratings
DÉJÀ VU
Bad Dreams

Crossover Prog overlooked and obscure gems albums new


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

GLOSSOLALIA
Walsh, Steve
FOLKLORE
Pez
BROKEN CHINA
Wright, Richard
CORPUS
Talisma

Latest Crossover Prog Music Reviews


 Peter Gabriel 2 [Aka: Scratch] by GABRIEL, PETER album cover Studio Album, 1978
2.99 | 484 ratings

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Peter Gabriel 2 [Aka: Scratch]
Peter Gabriel Crossover Prog

Review by poito

4 stars 3.5 Second release in PG's solo career. Those were times when recording techniques were going through notable quality improvements. We all remember the poor quality of the early Genesis tapes in charisma. This album recording is much improved compared to #1, the music however has reached less reconnaissance. I think the composition is still superb, but maybe the surprise is gone and the lucky melodies don't get the heights in the 1st. Possibly, part of the smaller punch is the poor attention given to bass and drum section. PG was a fan of percussion. Here it is dull. There are some intimate themes, with simpler music like Indigo and Mother Violence, soft piano ballads of great sensibility, but others are complex enough, as those with Fripp at the guitar White Shadow and Exposure; some were highly acclaimed, as On the Air, a classic in PG's career, and D.I.Y, a nice rhythmic that visits many live shows. Other highlights is A Wonderful Day In A One-Way World that also hit the streets. In general, and spite of a couple of weaker themes, I would say this album requires a few turns before the essences show up.
 Peter Gabriel 1 [Aka: Car] by GABRIEL, PETER album cover Studio Album, 1977
3.56 | 595 ratings

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Peter Gabriel 1 [Aka: Car]
Peter Gabriel Crossover Prog

Review by poito

5 stars 4.5 It is hard to know who the spirit of early GENESIS was. Probably there were several. Peter Gabriel no doubt was one of them; he was not just a front-man dressing in funny costumes and a genius singer. He had a major vein for composition. This is his first solo project and we already have eternal themes as Solsbury Hill, Humdrum and Here Comes the Flood. Obviously, the style quickly departed from Genesis', though some themes still remind a bit of it, as in Moribund the Burgermeister or the Slowburn. PG flirts also with other styles such as blues in Waiting for the One, or experiments for the future as in Down the Dolce Vita. Although his music is much lighter, let's call it Glam-Prog, no doubt PG gave mainstream music a touch of sensibility and creativity that was so necessary. When giants such as PG, Brian Eno, Bryan Ferry, or Fish come to mainstream, all others realize they were just party entertainers. Banks and Rutherford made the big mistake of their lives not making things easier for PG to stay, and though we won a bunch of great PG albums, can you imagine a few more albums by GENESIS' PG lineup???
 At The Sound Of The Bell by PAVLOV'S DOG album cover Studio Album, 1976
3.03 | 130 ratings

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At The Sound Of The Bell
Pavlov's Dog Crossover Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 151

Pavlov's Dog is an American band often compared to Rush, not so much for their style of music, which is more art rock and less progressive than Rush's music, which is also more heavy, but because the voice of their vocalist. The unique voice of David Surkamp often is compared to the voice of Geddy Lee, the lead vocalist and bassist of Rush. Despite I accept that there are many similarities with both voices, I sincerely think they are two substantially different voices.

'At The Sound Of The Bell' is their second studio album and was released in 1975. Their second and last album in the 70's, was a lighter and less powerful effort then their excellent debut album 'Pampered Menial'. But, anyway, 'At The Sound Of The Bell' is saved, generally, by strong songwritting and tasty arrangements, in the vein of their debut album.

The line up on the album is David Surkamp (lead vocals, acoustic and veleno guitars), Steve Scorfina (lead guitar), Rick Stockton (bass guitar), David Hamilton (keyboards), Doug Rayburn (mellotron, bass and percussion), Thomas Nickeson (acoustic guitar and harmonies) and Mike Safron (percussion). In relation to the line up of the first album, Siegfried Carver (violin, viola and vitar) left the group. In addition to this band's change, a handful of guest artists were invited to participate on the album, of which deserve special mention the jazz saxophonist Michael Brecker, the King Crimson's drummer Bill Bruford and the Roxy Music's saxophonist Andy MacKay.

'At The Sound Of The Bell' has nine tracks. The first track 'She Came Shining' written by Surkamp and Rayburn is a very pretty melodic song that shows a more progressive musical instrumental arrangements than the most of the songs of their debut previous studio album. This is a good song but it doesn't add anything special or new to the album. The second track 'Standing Here With You (Megan's Song)' written by Surkamp is a very calm and pretty ballad with good musical quality. It's an acoustic song with beautiful piano, violin and acoustic guitar works, very well sung by Surkamp. The third track 'Mersey' written by Surkamp and Scorfina represents another calm and pretty ballad. This is almost an acoustic track. It has a good guitar work and it has also a good saxophone solo. It's also a good song but as happened with the first track, I can't see anything special on it. The fourth track 'Valkerie' written by Surkamp is a very good song. Finally, we have on the album a really great song in the vein of many of the songs of their debut album. It has nice piano, flute and mellotron works, and it has also a very interesting chorus. This is one of my three favourite songs on the album. The fifth track 'Try To Hang On' written by Surkamp is a very short song and like some of other tracks on the album it has nothing special to mention on it. This is a song with some musical mixture of rock and jazz. The final result is, undoubtedly, a well played song. The sixth track 'Gold Nuggets' written by Surkamp represents the second best song on the album. It's also a song in the same vein of 'Pampered Menial', but, for me, is even better than 'Valkerie'. This is a fantastic melodic song that could have been part, like 'Valkerie', of their debut studio work. It deserves special mention the surprising use of a mandolin on the song. The seventh track 'She Breaks Like A Morning Sky' written by Surkamp and Rayburn is another song with some jazz influence, basically because how the use of the bass and the saxophone on it. The final result is a very pretty and nice song. The eighth track 'Early Morning On' written by Surkamp and Rayburn is, at my taste, a very beautiful and enjoyable song. It has some very interesting musical arrangements too. Despite be a vulgar song without anything special, the final effect on me, is a nice track with gentle music to listen to. The ninth track 'Did You See Him Cry' written by Surkamp and Rayburn is, in my humble opinion, the best song on the album and represents also the only truly progressive track on it. This is a fantastic song with abrupt musical passages, very melodic and with several rhythm changes all over the track. It has also a fantastic mellotron work. This is, for me, the best and the most perfect way to Pavlov's Dog finish their second studio album.

Conclusion: As I wrote before when I reviewed 'Pampered Menial', in the distant 70's the progressive rock music was essentially a European phenomenon, mainly a British phenomenon. So, when some American progressive rock bands like Kansas, Starcastle, Blue Oyster Cult and Pavlov's Dog appeared, soon I tried to know them. Curiously, my first purchase of those bands, in those times, was precisely 'At The Sound Of The Bell'. But however and unfortunately, 'At The Sound Of The Bell' is an album much lower, in terms of musical quality, than 'Pampered Menial', their debut. Anyway, we can't really say this is a bad album. Still, I must may say that I became some disappointed with it because almost all the songs on it are somehow vulgar with the exception of 'Valkerie', 'Gold Nuggets' and 'Did You See Him Cry'. However, if you know already and you like 'Pampered Menial', worth buy this album especially because of those three songs, mainly due to 'Did You See Him Cry' which is, in my humble opinion, the best song ever wrote by them on both albums. However, if you don't have any of these albums, the right thing to do is to buy 'Pampered Menial'.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Screens Live in London by PANIC ROOM album cover DVD/Video, 2017
5.00 | 1 ratings

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Screens Live in London
Panic Room Crossover Prog

Review by lazland
Prog Reviewer

— First review of this album —
5 stars Screens is the DVD recording of a Panic Room gig filmed at Islington Assembly Hall, London, on 16/10/2016. The gig was planned, and the entire project commissioned, with a Pledge Music campaign by the band. Those readers of this review wishing to purchase this fine piece of work should note that it is only available from the band direct at www.panicroom.org.

Panic Room have released five consistently excellent albums now since their inception out of the ashes of another South Wales band, Karnataka. At their heart are the excellent vocalist Anne-Marie Helder, whose work with Mostly Autumn will be familiar to many, Jonathan Edwards on keyboards, and Gavin Griffiths on drums, also of Mostly Autumn vintage.

The band is completed by two superb musicians. Dave Foster's marvellous riff on gig opener, Into Temptation, gives the viewer a foretaste of a superb performance, whilst the band have enjoyed the services for a while now of one of the finest bass exponents in modern progressive rock in Yatim Halimi. That these two also play with The Steve Rothery Band should give you an idea of their expertise.

The DVD itself is sumptuously packaged, and the filming by Toward Infinity, responsible for work with Marillion, amongst others, more than does justice to the occasion. There is also a bonus disc, which is more interesting than most, featuring the intro to the gig by the venerable Jerry Ewing of Prog magazine, three more live tracks, and an 'access all areas' feature of the band in rehearsals, amongst other jaunts.

Panic Room are a band clearly in their element live. As with the studio albums, the sheer breadth of their music shines through. The playing is never anything less than tight, and we are treated to a fair old mixture from hard rocking, to melodious love songs, to progressive symphonic rock, to lush middle eastern soundscapes. For early evidence of a band utterly in tune with each other, witness Screens, which is as fine an ensemble piece as you will see and hear. It is perhaps unfair to single out anyone, but Halimi thunders along on this, playing a massive bass riff to a wonderfully dark Edwards key lead.

As with all films of gigs, the DVD really needs to be watched from start to finish. There are twenty-two tracks in total, nineteen on the first, main, feature. As with all gigs, though, there are standout highlights which deserve special mention in a review, and I will touch on some of these.

The gig features my favourite track of the 2010's in Start the Sound. From the wonderful album, Incarnate, this track is as good a piece of melodic progressive rock as you will have the pleasure of witnessing. By heaven, Helder sounds joyous on this, and Foster plays a lovely understated solo. As he quietly plays the denouement following Edwards delicate keys, you stare at the screen, boggled at the beauty of what you have heard. I also appreciate deeply the political comment element that the band bring to their music. Yasuni is a fine piece centred around the scandalous oil drilling in Ecuador's National Park. Dust is an emotional rollercoaster of a rocker which tells the tragic story of airstrikes dropping chemical weapons in Syria on children. This track is every bit as good as Gaza, Marillion's opener on Sounds That Can't Be Made, and the intensity of it leaves you stunned. The combination of honest lyrics, combined with fine musicianship speaks volumes for the maturity in a band which I always look for. Anyone can sing about boy meets girl, boy shags girl, & etc. A band such as Panic Room deserves the progressive community's support for this social comment set to outstanding music, in the finest tradition of the genre.

They do, though, also play some rather catchy stuff. Some call it 'commercial'. I just call it mighty fine. A recent review in The Times of boxsets by ELP & King Crimson described them, rightly, as, ahem, 'difficult'. The same review then suggested, as a Christmas box, that the non-progger partner in your life might prefer the superb Big Big Train, as an example of how modern progressive rock bands can also play, er, tunes. Panic Room are in that vein and in that quality. For no better example, I give you the quite beautiful Firefly, a ballad wonderfully sung, accompanied by piano and acoustic guitar.

Tightrope Walking is one of those tracks with wider world influences, and reminds one of Kashmir in parts. Helder plays hand drums on this, and the orchestral keys are very atmospheric.

Skin is classic Panic Room, melodic and played at a deceptively quiet intensity.

In the gig closer, Satellite, the band have one of the finest anthemic songs ever put to record. It is simply one of those songs which demands the lowering of the lights, the volume cranked up to the max, and a damned fine singalong.

This is an excellent film, and I enjoyed every minute.

On Prog Archives, we are obliged to provide a rating. Well, for existing fans such as I, this is simply essential. For those of you who are tempted to begin a Panic Room journey, it is quite an excellent way to start said road. If we had such a rating, 4.5. I am rounding it up to the maximum five for two reasons. First, I am allowed to, and, second, it really deserves no less. Very highly recommended.

 Origins by EXISTENCE album cover Studio Album, 2017
4.18 | 10 ratings

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Origins
Existence Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars I have just taken from my shelves the second Existence album, 'Small People, Short Story, True Crime', which was released in 1999. The CD had made a huge impact on me at the time, as not only had I enjoyed playing it, but it came with a 56-page booklet/magazine! That was a hugely ambitious undertaking for anyone, let alone a band that wasn't known to many within the prog scene, let alone a wider music buying audience (and it tickles me that they advertise Mystery within it, they are both Canadian after all). So, a short eighteen years later, and the guys are back with the third album.

But, in a very many ways this is full circle, as what is represented here is in many ways the roots of the band, hence the album title. When Existence emerged in 1992, their gigs comprised a rock opera, broken into two acts. The first act was recorded and released as their debut album, 'Fragile Whisperings of Innocence' in 1994, but the second act was never recorded as the band moved on. By the time Alan Charles decided to record the second act it was 2010, and when comparing the recordings, he realised that the right thing to do was to rearrange and re-record everything to make it a consistent whole. Alan provides piano, keyboards, guitar and bass and returning from the last album is Gérard Lévèque (drums), François Beaugard (violin) and Gaston Gagnon (guitars) and they are joined by Valery Kim Gosselin (vocals) and Richard Ranger (bass).

The booklet may not be nearly as large as the last one, but it has been put together with care and contains all the lyrics with suitable photographs: the focus here is on the music contained on the two CDs. Unlike many progressive bands, the music here is led by the piano. Although turned into a full electric band performance, the piano is always at the heart and soul of Existence, with the lead instrument often being the poignant violin. The hidden instrument in this band is emotion, as the music is dripping with it, from the cracking of the vocals through the arrangements. This makes them very different from other bands within the prog scene, as the approach is towards feelings that are being conveyed, instead of just an aural assault. Complex and complicated, it must have been a compelling experience when the band were performing it live some 25 years ago.

With their two earlier albums released before the advent of the internet and prog sites and forums, back in the day when fanzines like Feedback were the only way to get the news out there as mainstream media ignored or denigrated prog, it is of little surprise that very few people are aware of the existence of Existence. Hopefully the release of this album will gain them many new fans, and we won't have to wait so long for the next one. Well worth investigation.

 Live - Rockin' the Ritz by 3 album cover Live, 2017
4.00 | 1 ratings

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Live - Rockin' the Ritz
3 Crossover Prog

Review by OldSchoolProg

— First review of this album —
4 stars For a band that had one studio album and one tour, this is their 2nd official live release. Sounding better than the Live in Boston, and different enough in the performance to be unique, this original 1988 radio broadcast cleaned up nicely and show the power that this band had in concert, purposely playing smaller venues. With Emerson at the top of his game, the speed that he and Carl Palmer, along with Robert Berry, present old ELP instrumental classics and new 3 songs, and even a couple covers. To hear Emerson play Dream Runner, Creole Dance and On My Way Home on the piano is spectacular and worth the purchase itself. Love or hate the studio album, the band in a live setting is great, and this release REALLY captures that energy. The liner notes from Palmer and Berry and pictures are also a fitting tribute to the late great Keith Emerson.
 Flow by NOVATIA album cover Singles/EPs/Fan Club/Promo, 2017
4.00 | 1 ratings

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Flow
Novatia Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

— First review of this album —
4 stars The Dutch band from Utrecht continues its progression with a delightful EP that further enhances its originality, expert musicinas looking to blend various styles into a whole new style. ''Flow'' has 5 new pieces that are even more subtle than their previous efforts, compositions that are smooth as silk with jazzy tinges, a funky bass governance and some sparkling guitar leads. Am I alone in enjoying this unique band , I hope not because the prog world would be missing out on quite a treat! Keyboardist Ingmar Kops uses more piano and e-piano to carpet the arrangements, which enhances the elegance of the tracks presented, relying on Fabian van Dijk's thick bass undertow, Joost Lobbes insistent drum presence and Rindert Bul's magic guitar weavings. Once again, lead vocalist Joep Selen offers up plenty of emotion and delicacy in his delivery, at times gentle and others more forceful, hinting at a proggier version of Tony Hadley (Spandau Ballet) . This is a special band that adds plenty of sunshine to my listening hours.

Inspired by painter Vincent van Gogh's ''Terrace of a cafe at night'' tableau , the 6 minute ''The Night is Filled with Colours'' is overflowing (sic) with velvety tonal shades , depicting a story about a man aimlessly walking through some obscure French village , looking for inspiration for his artistic craft and finally, around a hidden corner, boom! There it is! Gentle keyboard flutters augur in a kaleidoscope of detailed sounds , with tolling guitars welded to ecentric piano motifs , shifty bass and drum structures, enhanced by a main melody expertly navigated by Joep Selen, each section more powerful than the previous, the manic guitar raising the bar constantly, with insistent flair. Smooth guitar soloing only heightens the bliss, perfectly interspaced to maximum effect.

Perhaps the proggiest piece up to now in their catalog, ''Between Lines'' is a sad tirade that illustrates all the negativity so many are attracted to in our 21st paradise of apathy, an existential social malaise that has now gone global, offering the choice of abject surrender or brave courage. Musically, the mood is ponderous at first, quickly turning into manifest rage, with synths whistling despair and guitars tortured by rage. Joep spits his barely hidden venom, his voice and words highlighting the fury, the screeching axe solo carving deep into the soul, trembling and electric. Seven minutes of terrific and adventurous music.

Three shorter songs come into play, each a window of opportunity to continually search for new horizons, making 'flowing' music according to their own tastes and not dictated by big business or elevator muzak demands.

''May We Interrupt'' evolved from the need to jam and discover new sounds , here expertly led by a joyous electric piano romp , chugging guitars that twang and a lilting beat that welds molten jazzy fusion to a solid pop and rock structure , let's say even a slight Steely Dan feel. A whistling synth solo adds pizzaz to the deal.

''This Drive'' slithers into funkier realms, with the bass predominant, the melody bright and impassionate and a sunny howling vocal. Bassist Van Dijk does some thick slapping to give this even more 'drive' , while Selen reaches for some high notes, urging to take it even higher if needed.

The EP ends with ''Before Autumn Comes'', a sad song about choices , about depression and the courage it takes to overcome expectations, the downward spiral that reminds us all of our frail humanity. The atmosphere is chill, laid- back and ponderous. There is a raw feel here, quite minimalist with sweeping synth carpets, shimmering drum patterns and a gentle disposition. A beautiful piece of music , heartfelt (something this band does very well) and unpretentious.

Novatia has all the hallmarks of a tight band that has the musical goods to put together a world class progressive album and properly take a seat in the prog congress of stars, if their first 3 EPs are any indication. There is no reason why Novatia should not please the more melodic prog fan, as they deliver the goods and have all the instrumental gusto to stay along for a long 'flowing' ride.

4.5 waves

 Pampered Menial by PAVLOV'S DOG album cover Studio Album, 1975
4.07 | 324 ratings

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Pampered Menial
Pavlov's Dog Crossover Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 150

Pavlov's Dog is an American progressive rock band formed in 1972 in Saint Louis, Missouri, out of the ashes of a local cover band called High On A Small Hill, formerly of the minor folk-rock act Touch. Originally Pavlov's Dog was composed by David Surkamp, Steve Levin, Mike Safron, Rick Stockton, David Hamilton, Doug Rayburn and Siegfried Carver, who was born Richard Nadler. Levin left the group and was replaced by another Steve, this time Steve Scorfina.

For those who aren't familiar with this group, one of the most important characteristics on the Pavlov's Dog sound is their vocals. Their front man Surkamp owns a very peculiar and strange voice usually compared with Geddy Lee's voice from Rush. So, for those who don't know the band yet and don't like Lee's voice, compared by many as a sound of strangling a cat, certainly Pavlov's Dog isn't the best band that they are looking for. Anyway, their music style was very song based and actually not all that far from some British bands but still with an American touch into their sound.

"Pampered Menial" is their debut studio album and was released in 1974. The line up on the album is David Surkamp (vocals and rhythm guitar), Steve Scorfina (lead guitar), Rick Stockton (bass guitar), David Hamilton (organ and piano), Doug Rayburn (mellotron and flute), Mike Safron (drums and percussion) and Siegfried Carver (violin, viola and vitar, a cross between a guitar and a violin). However, Carver left Pavlov's Dog soon after the album was released.

Here it's an interesting story about the release of "Pampered Menial". When the album was released, it was briefly released on ABC Records and quickly re-issued by Columbia Records. The final result was that both versions of the album appeared at the same time in the same stores, which became a little bit confused for many people in those times.

"Pampered Menial" has nine tracks. The first track "Julia" written by Surkamp is one of my favourite songs on the album and is an excellent track to open it. This is a very simple ballad, very beautiful, with a nice piano work in the starting of the song and it has also an interesting acoustic guitar work. The second track "Late November" written by Scorfina and Surkamp is a very good song, simple, very melodic and melancholic as the month mentioned on it. This is a light rock song perfectly well commanded by the mellotron sound. The third track "Song Dance" written by Safron is a fabulous song and is my favourite track on the album and is also, for me, one of the best compositions made by the group. It's a great rock classic song, very progressive and it has fantastic individual musical performances by all bands' members and where Surkamp's unique voice reaches its maximum. This is a real must for our ears. The fourth track "Fast Gun" written by Surkamp is a beautiful song with good instrumentation commanded by violin. However, it's far from being one of my favourite tracks on the album. The fifth track "Natchez Trace" written by Scorfina is a typical oriented hard rock song and sincerely is probably, from my point of view, the weakest song on the album. The sixth track "Theme From Subway Sue" written by Surkamp is another good and nice song with a fantastic and beautiful piano work. This is a song that sounds like a classic rock song with a very great vocal work. This is really a great track. The seventh track "Episode" written by Surkamp is another good and nice song with a nice piano and violin works, very well commanded by Surkamp's voice, with the mellotron sounding at the background. This is also a great song. The eighth track "Preludin" written by Carver is the shortest song on the album and opens the way to the last track on the album. Despite being a short track, it's, in my humble opinion, one of the best on the album, and is a totally progressive song. It's a song that reminds me Gentle Giant, with classical and medieval musical influences and with great orchestration. This is another fantastic track. The ninth track "Of Once And Future Kings" written by Surkamp is a good and nice track to close this very interesting album. This is a song with very good individual musical performances by all members of the band with the mellotron sound at the background, and as usual, it has also a very good orchestration.

Conclusion: Like most of us know, in the 70's, the progressive rock music was practically a European phenomenon. So, it was with some great expectations that, at the time, I saw the birth of some progressive rock bands out of Europe, such as Kansas, Starcastle, Blue Oyster Cult, Pavlov's Dog and of course Rush. Despite, I only bought this album few years ago, but I know it since 1974, the year it was released, I confess that I always loved this group, and particularly this album, which I always considered a fantastic musical work. But I know this is a band and an album that isn't for everyone. This isn't one of the most progressive albums, but sincerely who cares, when we are faced with an album of great, simple and unpretentious music like "Pampered Menial". Sincerely and for my taste, I think Pavlov's Dog made a very powerful and balanced album which deserves to be discovered and appreciated without any mental reservation and preconceived opinions. It appeals to progressive rock fans that enjoy strong melodies without great complexity.

Prog is my Ferrari. Jem Godfrey (Frost*)

 With Us Until You're Dead by ARCHIVE album cover Studio Album, 2012
3.73 | 60 ratings

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With Us Until You're Dead
Archive Crossover Prog

Review by poito

4 stars 4.5 stars. Welcome lovers of rhythm. There seems to be a debate as to how tagging this band for its trip-hop origin. Maybe they just realized they wouldn't get a Cadillac in the crowded highways to Hopland, and we won with the prog detour. This is the first album I listen to of this band, and can't put it well in context. The music lingers between experiment and composition. They use a heavy rhythmic hoppian beat that takes over sometimes, which I do not like, but we had to admit the hypnotizing notes kind of relax. You now, as long as it is not used as an alibi for modern troubadours and complainers... it is not necessary to pay attention, just let it flow into you. But there is plenty of great ambient-melodic moments too, as the opening Wiped Out that features a heartbreaking singing, the closing Rise, or Stick Me In My Heart, a perfect choral tune that fuses with the theme Conflict into a repetitive percussion section till it hooks up with a Philip Glass part playing Vivaldi, or in Calm Now (the title says it all), an instrumental piece that melts into another track, Silent, of a subtle manufacture with beautiful female singing alla Sally Oldfield and a sort of waltz-like beat. The album has no weak tracks and contains great moments and fairly original blends that demand for a second listening, maybe a few more. It produces some responses in my brain, not emotional, but powerful enough, of the type I got while listening to Pink Floyd or Tangerine Dream, though the music has no resemblance. In the end, it caught me, I think I will keep it in my library, it must have something; probably it is just talent. It kind of unhooks me for a while off the complex prog I'm usually in without feeling I am alienating myself. I think it deserves 4 well-earned stars, even more.
 Land Animal by BENT KNEE album cover Studio Album, 2017
3.87 | 55 ratings

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Land Animal
Bent Knee Crossover Prog

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. I just can't pull the trigger on 4 stars but I do feel this is an improvement on the previous album "Say So". Of course the standard when it comes to this band from Boston is their 2014 release called "Shiny Eyed Babes" and I really feel that can't be repeated considering the subject matter. They sort of tried that with "Say So" and it failed in my opinion. "Land Animal" has a theme to it apparently as the band looks at the modern human condition and while they are at it they take us back to where we evolved from the ocean(haha). Sorry I find evolution to be one of the most ridiculous subjects out there. Yup a big explosion caused what we see on Earth today(haha). Yeah it's a theory only and not a good one. Anyway I like the fact that they slow things down here at times, I like the atmosphere but I also miss the power from that 2014 release. Not big on the many light- hearted moments either. We get several guests adding violas, violins, cellos and a trumpet.

"Terror Bird" gets us started as a beat and guitar lead the way as the vocals join in. This will be contrasted with the more powerful vocal led sections. Check out those vocal melodies before 4 minutes. "Hole" has this rhythm that sort of starts and stops as the vocals join in. I like that powerful sound before 1 1/2 minutes with those insane vocal melodies.

"Holy Ghost" is a strange title for a song considering the subject matter. It's mellow to start with relaxed vocals before it starts to build. A catchy and bouncy sound arrives after 2 minutes with vocals, then back to that powerful sound from earlier. "Insides In" is quite laid back with reserved vocals at first. Strings before 2 minutes. A calm 3 minutes in before a powerful atmosphere kicks in just before 4 minutes. Love those vocal melodies after 5 minutes. We get an experimental ending.

"These Hands" has this catchy and simple melody as vocals join in. I like when she starts to sing with more passion. A feel good passage right here. She's singing even more powerfully before 3 minutes. A calm follows before it kicks back in. Another experimental ending. "Land Animal" is powerful to begin with along with some great sounding atmosphere. It settles with vocals a minute in. Not into this as contrasts continue. I do like the section 3 minutes in as it's quite powerful with vocals. Strings follow.

"Time Deer" is catchy with vocals contrasted with a feel good section also with vocals. There's always vocals(haha). Strings after 2 minutes then rumbling drums. The power is back 3 minutes in. "Belly Side Up" has intricate sounds and vocals to start. Strings will join in. I'm not into the multi- vocal sections. Hey some electric guitar after 3 minutes but it's brief. Some rare organ as well follows to the end.

"The Well" is light and humerous with vocals. I'm not into this at all. Some heavier sounds will eventually arrive, strings too. Some power after 4 minutes then back to the silliness. "Boxes" is easily my favourite track on here. What a change in sound though. Atmosphere and a beat to start as relaxed vocals join in. Man this sounds so good a minute in. Lots of space, a nice change of pace.

I enjoyed this album for the most part but this might be where I get off. "Shiny Eyed Babies" will always cause me to respect this band though.

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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
JOE BAILEY United Kingdom
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
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TARA BUSCH United Kingdom
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BY SUNLIGHT United States
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BYRON Romania
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CAP OUTRUN Sweden
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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
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CIRCUSFOLK Finland
CITADEL France
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CLOVER SEEDS France
CLUB MERANO Finland
SUSAN CLYNES Belgium
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COLOR Hungary
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DAYMOON Portugal
DDNZ Serbia
MARCO DE ANGELIS Italy
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THE DEAR HUNTER United States
FRANCIS DÉCAMPS France
DEEP LIMBIC SYSTEM Mexico
DEERHOOF United States
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DELTA SLEEP United Kingdom
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JOE DENINZON United States
DESTROY ALL PLANETS United States
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DICE Germany
THE DIFFERENCE Slovakia
DIFFERENT LIGHT Czech Republic
DIGITAL CHEMISTRY United States
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DISTRICT 97 United States
DLGZ ROCK 5TET France
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
PASCAL VAN DEN DOOL Netherlands
DOPING HORNETS Canada
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DR FOLAMOUR France
DREAM THE ELECTRIC SLEEP United States
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DREDG United States
DRY RIVER Spain
MARK DUBERRY Ireland
FRANCIS DUNNERY United Kingdom
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DYNAMO BLISS Sweden
DYONISOS United States
DZEJBI Yugoslavia
EARTHKIND United States
EATLIZ Israel
ECHO Romania
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ECLIPSE Canada
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EDEL Multi-National
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ELDBERG Iceland
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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
ENNÏS TÓLA Australia
ENTITY PARADIGM Pakistan
ENTRANSIENT United States
EOS Chile
EPIICYCLE United States
ESAGIL Greece
ESFERA Portugal
ESP Multi-National
ETHERS EDGE United Kingdom
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EVEN HORSES Germany
EVENT United States
EX-WISE HEADS United Kingdom
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
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FLAUD LOGIC United States
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FLOOD United Kingdom
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FORMATIV Multi-National
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HASSE FRÖBERG & MUSICAL COMPANION Sweden
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FSB Bulgaria
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KEVIN GEIER United States
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GIO GENTILE Italy
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THE GENTLE STORM Netherlands
GENTLEMEN WITHOUT WEAPONS United Kingdom
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GHOST CIRCUS Multi-National
GIANNOTTI United States
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GIZMO United Kingdom
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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
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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
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THE HALLUCINANT TELEPHERIQUE United States
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ION United Kingdom
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J21 Spain
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JAZ France
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WILLIAM LYALL United Kingdom
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