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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

4.31 | 1492 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 1244 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1925 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1359 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.22 | 932 ratings
DOOMSDAY AFTERNOON
Phideaux
4.19 | 1688 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 819 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 791 ratings
SNOWTORCH
Phideaux
4.17 | 976 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 760 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.17 | 704 ratings
THE UNDERFALL YARD
Big Big Train
4.18 | 516 ratings
~
Iamthemorning
4.10 | 1084 ratings
TUBULAR BELLS
Oldfield, Mike
4.32 | 91 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.13 | 399 ratings
HOUNDS OF LOVE
Bush, Kate
4.29 | 103 ratings
SON
Obiymy Doschu
4.21 | 161 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.13 | 349 ratings
SPIRIT OF EDEN
Talk Talk
4.11 | 572 ratings
NIGHT
Gazpacho
4.20 | 160 ratings
ONES & ZEROS - VOLUME 0
3RDegree
4.19 | 163 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.08 | 774 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.11 | 342 ratings
ONES & ZEROS - VOLUME 1
3RDegree
4.10 | 365 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.12 | 271 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.09 | 403 ratings
PASSION - MUSIC FROM THE LAST TEMPTATION OF CHRIST
Gabriel, Peter
4.33 | 71 ratings
TIME
Time
4.12 | 252 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.21 | 112 ratings
MODRA RIJEKA
Indexi
4.14 | 171 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.05 | 923 ratings
OK COMPUTER
Radiohead
4.14 | 176 ratings
INFERNAL
Phideaux
4.06 | 547 ratings
AMAROK
Oldfield, Mike
4.07 | 385 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.09 | 277 ratings
THE DREAMING
Bush, Kate
4.09 | 248 ratings
HAIR IN A G-STRING (UNFINISHED BUT SWEET)
Tench Project, Colin
4.07 | 337 ratings
CORVUS STONE II
Corvus Stone
4.07 | 342 ratings
PAMPERED MENIAL
Pavlov's Dog
4.13 | 166 ratings
SHINY EYED BABIES
Bent Knee
4.08 | 250 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.03 | 633 ratings
TALES OF MYSTERY AND IMAGINATION
Parsons Project, The Alan
4.04 | 483 ratings
TICK TOCK
Gazpacho
4.09 | 209 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.06 | 307 ratings
SHINE ON BRIGHTLY
Procol Harum
4.06 | 286 ratings
FOR YOUR PLEASURE
Roxy Music
4.06 | 259 ratings
EL CIELO
Dredg
4.03 | 532 ratings
NUMBER SEVEN
Phideaux
4.05 | 313 ratings
RETURN TO OMMADAWN
Oldfield, Mike
4.24 | 73 ratings
IN FLIGHT
Damanek
4.04 | 287 ratings
ROXY MUSIC
Roxy Music
4.03 | 364 ratings
LUNATIC SOUL
Lunatic Soul
4.31 | 56 ratings
APOCALYPSE OF THE MERCY
Bad Dreams
4.03 | 297 ratings
ACT IV: REBIRTH IN REPRISE
Dear Hunter, The
4.28 | 59 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
4.04 | 276 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.00 | 543 ratings
UP
Gabriel, Peter
4.01 | 412 ratings
MARCH OF GHOSTS
Gazpacho
4.03 | 267 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
4.00 | 366 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
4.14 | 91 ratings
GLEB KOLYADIN
Kolyadin, Gleb
4.04 | 187 ratings
GRAPPLING
Tea Club, The
4.04 | 176 ratings
CINEMATIC
Lebowski
4.00 | 309 ratings
LIGHTHOUSE
Iamthemorning
4.43 | 35 ratings
PEVNINA DETSTVA
Ursiny, Dezo
4.07 | 137 ratings
VIER
Perfect Beings
4.01 | 263 ratings
GHOSTS
Frequency Drift
4.03 | 181 ratings
STRANGER HEADS PREVAIL
Thank You Scientist
4.01 | 220 ratings
THE LONG DIVISION
3RDegree
3.97 | 557 ratings
EVEN IN THE QUIETEST MOMENTS ...
Supertramp
4.06 | 138 ratings
DISSOLUTION
Pineapple Thief, The
4.14 | 85 ratings
BLUE JAYS
Hayward & Lodge
3.97 | 501 ratings
FOLKLORE
Big Big Train
3.97 | 398 ratings
GRIMSPOUND
Big Big Train
4.10 | 98 ratings
EGO, GEORGIUS
Antczak, Jerzy
4.25 | 52 ratings
CHROMIUM
Talisma
4.24 | 55 ratings
SELECTIVE MEMORY
Témpano
4.00 | 253 ratings
LAUGHING STOCK
Talk Talk
4.05 | 133 ratings
THE DOWNWARD SPIRAL
Nine Inch Nails
3.95 | 738 ratings
KID A
Radiohead
4.27 | 48 ratings
LIL' BEETHOVEN
Sparks
4.03 | 159 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
3.94 | 677 ratings
BREAKFAST IN AMERICA
Supertramp
4.11 | 80 ratings
ANCHOR DROPS
Umphrey's McGee
4.03 | 135 ratings
KAYAK II [AKA: ALIBI]
Kayak
4.03 | 131 ratings
CIVILISATION
Southern Empire
3.98 | 210 ratings
CORVUS STONE UNSCREWED
Corvus Stone
3.99 | 189 ratings
BROKEN CHINA
Wright, Richard
3.93 | 569 ratings
PETER GABRIEL 4 [AKA: MASK OR SECURITY]
Gabriel, Peter
4.74 | 19 ratings
MONT SAINT-MICHEL
Broguiere, Patrick
4.04 | 115 ratings
AND THE GLASS HANDED KITES
Mew
4.22 | 49 ratings
Автограф / AUTOGRAPH
Autograph (Avtograf)
3.96 | 263 ratings
NEVER FOR EVER
Bush, Kate
4.18 | 56 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
3.93 | 560 ratings
HERGEST RIDGE
Oldfield, Mike
3.97 | 227 ratings
ACT V: HYMNS WITH THE DEVIL IN CONFESSIONAL
Dear Hunter, The
4.11 | 71 ratings
3.2: THE RULES HAVE CHANGED
3
4.07 | 86 ratings
TONY PATTERSON: EQUATIONS OF MEANING
Tony Patterson & Brendan Eyre
3.94 | 299 ratings
THE KICK INSIDE
Bush, Kate
3.93 | 457 ratings
AMUSED TO DEATH
Waters, Roger
4.18 | 53 ratings
EL FIN DE LA INFANCIA
Témpano

Crossover Prog overlooked and obscure gems albums new


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

ABBANDONO DEL TEMPO E DELLE FORME
J'Accuse..!
STANDING STONE
Oliver
NARROW-CASTER
3RDegree
BLACK DOG THERE
Box, The

Latest Crossover Prog Music Reviews


 Saga by SAGA album cover Studio Album, 1978
3.67 | 194 ratings

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Saga
Saga Crossover Prog

Review by The Crow
Prog Reviewer

4 stars First album from one of the Canada's most important prog-rock bands!

And while this album can be considered a typical AOR flick of the late 70's it contains enough interesting elements which will appeal prog lovers. The keyboards are very present through the whole record and the complex guitar work and syncopated riffs from Ian Crichton are a pleasure to hear, and they are definitely one of the trademarks that make the sound of Saga a very recognizable one, along with the excellent vocals from Michael Sadler.

Sadly, the album has some flaws in the form of a pair of strange and lackluster tracks (the boring and pseudo-punk ŕ la Stranglers Humble Stance, for example) which lower the general level of the album. The production sounds also a bit dated today, especially the weak and unspectacular drums.

But don't take me wrong! The album is excellent and it managed to insufflate new energy to the genre in the late 70's while other consolidated acts like Yes, Camel and Jethro Tull were failing to evolve toward new horizons.

Best Tracks: How Long (typical Saga track, very rhythmic and funny), Climbing the Ladder (Michael Sadler demonstrates why he is one of the finest prog-rock singers and the keyboard and guitar solos are wonderful), Will it be You? (epic, with great vocal melodies and very progressive) and Perfectionist (a true Saga classic and the last song they played live in their final show in Puerto Rico!)

Conclusion: Saga started their career gracefully with a very good record full with splendid vocal melodies, a great and very particular guitar sound and their typical AOR feeling mixed with wonderful progressive passages.

It's not perfect by any means, but Saga is still one of the best albums of this recently disbanded band and a worthy addition to any prog music collection.

We will miss you, guys!

My rating: ****

 Forbidden Zone (OST as Danny Elfman and The Mystic Knights of the Oingo Boingo) by OINGO BOINGO album cover Studio Album, 1983
4.90 | 2 ratings

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Forbidden Zone (OST as Danny Elfman and The Mystic Knights of the Oingo Boingo)
Oingo Boingo Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars Off kilter movies that expand beyond the bizarre are the stuff cult classics are made of and the 1980 musical fantasy comedy film FORBIDDEN ZONE is perhaps one of the most out there of them all. The film was conceived by elder brother Richard Elfman in an attempt to convey the stage performances of his theatrical troupe THE MYSTIC KNIGHTS OF THE OINGO BOINGO which revolves around an alternate universe or the sixth dimension that is accessible only through a door in the house of the Hercules family. Obviously an extraordinarily bizarre film needs an equally mondo bizarro soundtrack and that's where baby bro Danny Elfman came into the picture.

Once Danny agreed to conjure up the appropriate concoctions of sound for this convoluted "no budget" film, he was told that he needed to mix and meld a dozen or so differing styles with new sounds being constructed around more classic ones. Not only that, but the soundtrack had to be cranked out in a two week period completely around the clock so being young and ambitious and anxious to take the reins of the OINGO BOINGO artistic brand, Danny set forth to compose, arrange and record on a freak fueled marathon which resulted in one of the most bizarre soundtracks ever to have been recorded.

THE FORBIDDEN ZONE soundtrack is very much a transitional period between Richard's cabaret based theatrical troupe and the more new wave ska fueled early leanings of the OINGO BOINGO most of us have come to know. This soundtrack is what psychedelic dreams are made of and it is almost a certainty that some of the craziest and most experimental rock acts of the 90s such as Mr. Bungle and the indie pop freaks Ween surely had to spend some time getting to know this wickedly brilliant slice of insanity. My only question is, how has this remained so occulted from the OINGO BOINGO lexicon for so long? Another weird thing is that it was recorded for the 1980 film but wasn't released as a soundtrack until 1983.

An odd release in every way. The score was officially composed entirely by Danny Elfman but appears under THE MYSTIC KNIGHTS OF OINGO BOINGO moniker which consists of many of the musicians who would carry through to the early 80s albums such as "Only A Lad," "Nothing To Fear" and "Good For Your Soul." While some of the classic BOINGO style can be found here on tracks like the opening title track, "Queen's Revenge" and "Battle Of The Queens," the rest of the tracks and snippets will be utterly unrecognizable. However where they perform in classic fashion, it's a clue as to where they would end up in an albeit very stylized way with various vocalists in a musical format but that instantly recognizable ska guitar syncopation with that crazy horn section is smokin'.

THE FORBIDDEN ZONE is an extremely eclectic mix of sounds that range from Louis Armstrong based 30s jazz such as "Some Of These Days," "Yiddishe Charleston" and "Bim Bam Boom" along with short freaky synthesized instrumentals in the form of "Chamber Music," "Journey Through The Intestines" and "Factory." Other bouts of insanity come in the form of the outlandish "Witch's Egg" (love the lyrics on this one), "Squeezit The Moocher" and "Cell 63." The tracks meander all over the place but the one thing that binds them is the extremely wild and experimental approaches. Music rarely gets so anarchic but yet exudes some of the catchiest melodic hooks possible. Two 30s jazz tracks "Pico And Sepulveda" and "La Petite Tonkinoise" only appeared on the original LP and have been removed on future copies for copyright purposes.

This is some of the most brilliant music i've ever heard. I rarely come across something startling original especially by a band that i thought i had thoroughly explored to exhaustion. This bizarre little specimen of music only makes me want to track down the 1980 film that it was written to supplement. If it's only half of good as the music that is on the soundtrack then i'm a fan for life and cower in the shadow of sheer genius. Needless to say, this is one of the most entertaining soundtracks i've ever heard and this is without a doubt one of the most occulted masterpieces of all time. Did i mention Herve Villecahize of the 70s series Fantasy Island stars as the king of the sixth dimension in the film? Ha. Now you're interested :D

 Spirit Box by SLATTER, TOM album cover Singles/EPs/Fan Club/Promo, 2018
4.00 | 2 ratings

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Spirit Box
Tom Slatter Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars Tom's last releases was as part of Murder and Parliament, and their rather superb instrumental album. Here we find him back to his more usual state of affairs, blackmailing Gareth Cole (electric guitars) and Jordan Brown (acoustic bass, keyboards) to appear with him while he himself provides acoustic guitar and vocals. He describes this set as a collection of four murder ballads, and we get to meet some interesting characters during its 23 minutes. I have long felt that Tom was born in the wrong century, as I can imagine him sat in a dark corner of a pub somewhere as a travelling musician, singing and telling his stories to the brave souls willing to hear it (a bit like his gigs to be fair).

Tom has an incredible sense of humour, and if you don't believe me then just follow some of his posts on Facebook, and he often portrays a steampunk image but what this all belies is that he is a very English musician and writer who deserves close attention. I haven't heard all that he has released by any stretch, but everything I have come across has been quite superb. He has a way of telling stories which drag in the listener to sample the wares, with incredibly complex acoustic guitar. He has become associated with the progressive scene, but he has as much in common with the folk crowd, and I would imagine him going down a storm at the Cropredy Festival. If you have heard any of his material already then I am sure you have lined up to purchase this, but if you are new to his style of English folk prog crossover then you owe it to your ears to find out more.

 Murder and Parliament by SLATTER, TOM album cover Studio Album, 2017
4.00 | 1 ratings

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Murder and Parliament
Tom Slatter Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars This may be a new band name to some, even if the concept isn't, but this is a project from none other than the quirky steampunk himself, Tom Slatter. He has been joined on this jolly jape by jazz bassist Alun Vaughan and Chrissie Caulfield on violin, and together they have conspired and perspired to bring us an incredibly varied instrumental album. For me it is full of Tom's sense of humour, even although there are no words to convey them, as he weaves melodies and counter melodies which evoke feelings of Poisoned Electrick Head and The Cardiacs while never sounding like either. We sometimes have delicate melodies, while at others it is all about intertwined electric guitars that somehow manage to make sense, even if some of the lines are distorted. They slow it down, they speed it up, and then decide to do it all over again!

I don't know why I am writing the review in this style, but it just seems right. I can imagine Matt Deacon from The Bob Lazar Project just itching to get involved with his labelmate, as they do sometimes follow similar musical paths, complex and sometimes avant garde, and always with passion and integrity. There are times when it is heads down and riff to the end, with guitar melody over the top, and Alun is adept at either providing a rock solid grounding or a counter melody all of his own, while the keyboard sounds often sound as if they belong to the Eighties as opposed to the current day. The first time I played this I managed to fall asleep and only awoke after it had finished (it was stupid o'clock in the morning and I was on a plane on the way to Australia), which seemed such a waste, especially when I started playing it again when I was slightly less comatose and realized just how much fun this is. At times straight rock, others almost RIO, others straightforward prog, there is so much going on in this album that there just isn't room for vocals.

 The Raven That Refused To Sing (And Other Stories) by WILSON, STEVEN album cover Studio Album, 2013
4.29 | 1925 ratings

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The Raven That Refused To Sing (And Other Stories)
Steven Wilson Crossover Prog

Review by The Crow
Prog Reviewer

5 stars With Porcupine Tree definitely on hold and after two good albums which nevertheless failed to translate all the genius that this man showed with works like Deadwing or Fear of a Blank Planet, Steven Wilson finally released his masterpiece!!!

Because The Raven that Refused to Sing is one of the best prog records of this decade, if not the best. An outstanding album from start to finish with very weak moments inside (maybe The Pin Drop is a bit weaker, despite being a very good song) and incredible musicianship.

This time Steven Wilson finally managed to truly differentiate his solo career from the Porcupine Tree sound with a much more symphonic record, with roots in the 70's and tons of jazz elements but much more better integrated and not so boring as in Grace for Drowning.

Best Tracks: as I said, I think than The Pin Drops is a bit weaker and more inconsequential than the rest the songs, which are marvelous examples of the best prog-rock imaginable.

Conclusion: in my opinion, The Raven that Refused to Sing marked one of the clear peaks of Steven Wilson's career. A thrilling album, very well written, dark and complex. And he also managed to surround himself of the best musicians imaginable to help him record his best compositions since Fear of A Blank Planet and the result was another masterpiece of modern symphonic prog.

Thank you, Steven! This is what we expect from a man of your talent.

My rating: *****

 Roots and Roads by SASSI, YOSSI album cover Studio Album, 2016
3.72 | 24 ratings

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Roots and Roads
Yossi Sassi Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars Yossi's 2016 release was credited to a band as opposed to just solo, but apart from singer Sapir Fox, all musicians in the Yossi Sassi Band were all key core members of the previous 2014 release, 'Desert Butterflies'. In many ways this is a direct continuation from the previous album, but in plenty of others it is quite different. Firstly, there are far more songs with lyrics on this album as compared to the previous one, and the roots, Middle Eastern and Israeli influences are much more to the fore. Opener 'Wings' starts gently enough, with plenty of bouzouki, but soon becomes very Jewish in its approach, and this move away from Western culture is quite evident.

The album also features the instrument invented by Yossi, the Bouzoukitara, which is a double-neck instrument, combining acoustic guitar, electric guitar and an acoustic/electric bouzouki! The double-neck instrument has a shared surface, so when one guitar is played it resonates to the open strings of the other guitar, thus allows Yossi to produce some unique sound layers, for example when playing the Electric guitar while recording the Bouzouki going through a Pre-amp or overdrive, capturing the sympathetic harmonies & over-tones it generates.

Songs such as 'Roads Less Travelled' features an introduction of acoustic instruments being with some emotional electric guitar, before the band becomes far more rock-based and Sapir takes the lead, but there are plenty of influences also changing the Western experience into something quite different. By the time of recording the band had played plenty of gigs, and there is a confidence here in all they do, as they continue to blend influences so the listener never knows quite what to expect, except that it will most definitely be worth listening to. When he wants to rock, then they do, but when they need to be more reflective, then they are also very much at home. Fluid, exciting, enjoyable, yet another album well worth discovering.

 Desert Butterflies by SASSI, YOSSI album cover Studio Album, 2014
3.93 | 29 ratings

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Desert Butterflies
Yossi Sassi Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars Multi-instrumentalist Yossi Sassi will probably always be remembered for co-founding the mighty Orphaned Land, but he left them in 2014 to concentrate on 'creative, innovative, authentic music that unites people". This is his second solo album, as he released 'Melting Clocks' while still in Orphaned Land, while this one came out not long after he left the band. Here Sassi contributes vocals, guitars (electric, nylon-string, acoustic, 7-strings), bouzouki, charrango, oud, saz, Chumbush, and keyboards. He also bring in a very diverse group of people to help him with the album, including the likes of Marty Friedman (Megadeth) and Ron 'Bumblefoot' Thal (Guns 'n' Roses) who provide some solos.

There are a couple of actual songs on the album, with the rest being instrumentals, but what makes this such a delight is the way he mixes so many different musical styles and worlds together in a way which complement each other. Influences from the Middle East and Israel sit happily hand in hand with most Western rock, and blends together so it is hard to see the join. This is exactly the sort of album I would expect from him, even before listening to it, given what I have heard of Orphaned Land, but here is taking the music even further than it has before. This means that the listener is never sure what style or instrumentation is coming next, whether it be a standard blues based repeated pattern or something far more exotic. It is exciting, invigorating, and full of interest and depth.

 The Experience by LAVIŔNTICA album cover Studio Album, 2018
3.97 | 11 ratings

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The Experience
Laviŕntica Crossover Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Rather uncommon, as this Rock Progressivo Italiano album has hit me right with the first contact, the first minute. Compositional skills, symphonic touches, strings, the folk impression due to the flute, impressive guitar chords and diversified keyboards all over. Thus I would say 'The Experience', even being totally instrumental on this occasion, turns out to be a very typical genre album nevertheless. And then, according to a prog listener's view maybe, also perfectly suitable for a first contact concerning foreign beings arriving from another planet? This brings us closer to the album's concept now. Which actually deals with Galbat, an imaginary entity, who has decided to explore our physical world, for what reason ever.

Compared to the prior album bass player Paolo Perilli does not sing anymore. Why? Communication not feasible through words? And I have serious problems to deal with the cover image, rather ugly for my impression. As one might expect, this probably is reflecting distressed experiences with some exemplars of human beings that creature has encountered. That would also mean that this nice piece of music wasn't enough to convince Galbat in the end? Anyway, the detailed story may reveal more, is included in the CD booklet, which I do not have at hand yet. LAVIŔNTICA obviously intend to provide food for thought. And a lovely atmosphere throughout furthermore, for example you also will stumble upon some interspersed sea rushing, birds twittering and ambient patterns again and again.

Daniele Sorrenti has joined, who will add more richness to the sound due to flute, vibraphone and minimoog. Keyboards are prominent anyway, as Luciano Stendardi and Paolo Musolino furthermore both are serving for lots of piano lines, organ swirls and symphonic patterns. The Journey marks a perfect opener crossing the ten minute mark. They are processing a varied and very charming kind of prog, warm, melodic, though not chumming up to mainstream on the other hand. 'The Experience' represents a real RPI highlight, an album which easily meets my preference. This works at best in one go, as the songs are fading into each other. Confirms my preference on bands hailing from Italy.

 Colloids by WALFAD album cover Studio Album, 2018
4.09 | 3 ratings

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Colloids
Walfad Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars Walfad were back with their fourth studio album towards the end of 2018, and between this and their previous one, singer/guitarist Wojciech Ciuraj had found time to release a solo album which wasinspired by the Polish romantic poetry of Adam Mickiewicz. None of the musicians involved in the solo effort had been in Walfad, and on the subsequent band album only bassist Radosław Żelazny previously been involved (and then only on 'Momentum') so it really is a brand new band with Wojciech driving it on. Unfortunately their web site hasn't been updated in a few years, so I actually have no idea what has been happening within the band, but it is certainly unusual to see such a change in just two years. The band has also reverted back to a quintet, which is what they were like for the debut, bringing back an additional guitarist.

This album does feel very much like a logical progression from the last one, even though most of the band have changed, with twin guitars providing additional depth and bass to the sound. There isn't as much space within the music as one has come to expect, but it still feels fresh and inviting. The use of a Hammond Organ is also a nice touch, as it adds to depth and presence, powering over the top of piano or other keyboard sounds. Even though there is a larger rock element, the different approach to keyboards has meant the band now appear even more melodic and much more crossover than previously. The vocals are sweetly sung (apparently the album has again been released in two versions, one English and one Polish), and the album is beautifully produced and engineered. Walfad have yet to make much of an impact outside their home country, but having now heard all four of their studio albums I am at a loss to understand why that is, as this is again an incredibly accessible and enjoyable piece of work.

 Momentum by WALFAD album cover Studio Album, 2016
3.97 | 14 ratings

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Momentum
Walfad Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars 2016 saw Walfad back with their third album, two years on from 'Unsung Hero'. In the intervening time the band had been through some changes, and although singer/guitarist Wojciech Ciuraj and drummer Kacper Kucharski (apparently the band got their name from his inability to come to rehearsals) are still there, they have both a new keyboard player in Dawid Makosz and a new bassist in Radosław Żelazny. Not only has this album been released in both English and Polish language versions, but this time there are separate booklets and covers. The English shows the elevated woman with a red skirt (and a different wall), while the Polish has the woman in green. Mind you, it's probably not a good idea to pay too close attention to the lyrics, as they don't always seem to make a lot of sense.

There is a feeling here that the band have grown in confidence, and the approach is somewhat more direct with strident guitar and less of a concentration on the bass. Although there are still elements of Credo, there is also plenty of Muse and a band moving much more into the rock arena and moving away slightly from the traditional neo-prog roots they had previously. Both new musicians have fitted in well, and the swirling piano on the title cut is wonderful, ripping and creating waves of sound I could lie in all day. Wojciech is content to riff and take lead melodies when the song requires it, and is more forceful and definitely more present than on the previous release. Good use of different keyboard sounds, combined with a more powerful approach (which can also be light when required, providing strong contrasts), really demonstrates a band starting to come into their own.

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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 United States
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