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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 12/24/14

Evolver (Scott)
kev rowland (Kevin)
tszirmay (Thomas)
ProgShine (Diego)
rogerthat (Madan)

Crossover Prog Top Albums


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

4.34 | 1166 ratings
CRIME OF THE CENTURY
Supertramp
4.34 | 951 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1362 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 495 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.25 | 772 ratings
DOOMSDAY AFTERNOON
Phideaux
4.21 | 1293 ratings
GRACE FOR DROWNING
Wilson, Steven
4.23 | 405 ratings
~
iamthemorning
4.20 | 657 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.18 | 773 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.18 | 688 ratings
SNOWTORCH
Phideaux
4.18 | 561 ratings
THE UNDERFALL YARD
Big Big Train
4.14 | 584 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.15 | 475 ratings
NIGHT
Gazpacho
4.11 | 602 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.23 | 127 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.16 | 188 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.10 | 329 ratings
PASSION
Gabriel, Peter
4.20 | 136 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.06 | 841 ratings
TUBULAR BELLS
Oldfield, Mike
4.14 | 213 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.10 | 350 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.10 | 286 ratings
HOUNDS OF LOVE
Bush, Kate
4.10 | 261 ratings
CORVUS STONE II
Corvus Stone
4.09 | 265 ratings
SPIRIT OF EDEN
Talk Talk
4.06 | 434 ratings
AMAROK
Oldfield, Mike
4.08 | 291 ratings
LUNATIC SOUL
Lunatic Soul
4.08 | 278 ratings
PAMPERED MENIAL
Pavlov's Dog
4.16 | 132 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.21 | 99 ratings
MODRA RIJEKA
Indexi
4.02 | 741 ratings
OK COMPUTER
Radiohead
4.04 | 470 ratings
NUMBER SEVEN
Phideaux
4.08 | 234 ratings
EL CIELO
Dredg
4.03 | 517 ratings
TALES OF MYSTERY AND IMAGINATION - EDGAR ALLAN POE
Parsons Project, Alan
4.38 | 53 ratings
TIME
Time
4.11 | 170 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.04 | 426 ratings
TICK TOCK
Gazpacho
4.30 | 66 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.04 | 285 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.09 | 164 ratings
THE LONG DIVISION
3RDegree
4.06 | 202 ratings
THE DREAMING
Bush, Kate
4.18 | 89 ratings
THE GNOMON
Sunchild
4.04 | 234 ratings
SHINE ON BRIGHTLY
Procol Harum
4.00 | 448 ratings
UP
Gabriel, Peter
4.04 | 215 ratings
FOR YOUR PLEASURE
Roxy Music
3.99 | 369 ratings
PERFECT BEINGS
Perfect Beings
4.03 | 207 ratings
ROXY MUSIC
Roxy Music
4.13 | 94 ratings
AND THE GLASS HANDED KITES
Mew
4.06 | 142 ratings
CINEMATIC
Lebowski
4.03 | 184 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.00 | 221 ratings
GHOSTS
Frequency Drift
3.97 | 354 ratings
MARCH OF GHOSTS
Gazpacho
4.01 | 179 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
3.95 | 450 ratings
EVEN IN THE QUIETEST MOMENTS....
Supertramp
4.32 | 43 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
4.32 | 42 ratings
CHROMIUM
Talisma
3.93 | 578 ratings
KID A
Radiohead
3.94 | 535 ratings
BREAKFAST IN AMERICA
Supertramp
4.01 | 154 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
4.15 | 65 ratings
BLUE JAYS
Hayward & Lodge (The Moody Blues)
3.94 | 316 ratings
AMUSED TO DEATH
Waters, Roger
3.98 | 193 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
3.98 | 190 ratings
LAUGHING STOCK
Talk Talk
3.97 | 190 ratings
LAID TO REST
Frequency Drift
3.95 | 267 ratings
BELIGHTED
iamthemorning
3.92 | 456 ratings
PETER GABRIEL (4 - "SECURITY" OR "MASK")
Gabriel, Peter
3.99 | 156 ratings
BROKEN CHINA
Wright, Richard
3.97 | 199 ratings
NEVER FOR EVER
Bush, Kate
3.92 | 415 ratings
HERGEST RIDGE
Oldfield, Mike
4.11 | 74 ratings
AN OCEAN HELD ME
Mice On Stilts
4.24 | 46 ratings
SELECTIVE MEMORY
Témpano
4.00 | 136 ratings
RETURN TO MINGULAY
Oceans 5
3.95 | 218 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
3.95 | 221 ratings
THE KICK INSIDE
Bush, Kate
3.98 | 135 ratings
AS YOUR MIND FLIES BY
Rare Bird
3.99 | 121 ratings
THE END IS BEGUN
Three
4.03 | 89 ratings
MAPS OF NON-EXISTENT PLACES
Thank You Scientist
4.02 | 94 ratings
NO TENGAS MIEDO
Kant Freud Kafka
3.90 | 319 ratings
INCANTATIONS
Oldfield, Mike
4.03 | 86 ratings
THINK LIKE A MOUNTAIN
Ritual
3.92 | 210 ratings
SYNAESTHESIA
Synaesthesia
3.94 | 179 ratings
MOMENTS
IOEarth
3.96 | 134 ratings
TROUBLE WITH MACHINES
District 97
4.14 | 52 ratings
THE PATH OF LEAST EXISTENCE
Jet Black Sea
4.10 | 61 ratings
ANCHOR DROPS
Umphrey's McGee
4.55 | 22 ratings
PEVNINA DETSTVA
Ursiny, Dezo
4.01 | 93 ratings
KAYAK II
Kayak
3.94 | 157 ratings
THE WAR OF THE WORLDS
Wayne, Jeff
3.98 | 114 ratings
THE ANCIENT TALE
Fatal Fusion
4.01 | 90 ratings
I
Kaukasus
4.16 | 47 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
3.99 | 102 ratings
SANCTUARY
Reed, Robert
4.10 | 57 ratings
TODD
Rundgren, Todd
3.90 | 224 ratings
CHUPACABRAS
Phideaux
4.03 | 75 ratings
WHITE ROCK EXPERIENCE
State Urge
3.89 | 243 ratings
PROCOL HARUM
Procol Harum
4.19 | 42 ratings
EL FIN DE LA INFANCIA (CHILDHOOD'S END)
Témpano
4.12 | 51 ratings
BURNT BELIEF
Edwin and Jon Durant, Colin
4.05 | 65 ratings
TURN OF THE TIDE
Arz
3.92 | 161 ratings
WET DREAM
Wright, Richard
4.03 | 71 ratings
FABLES FROM A MAYFLY: WHAT I TELL YOU THREE TIMES IS TRUE
Fair To Midland

Crossover Prog overlooked and obscure gems albums new


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

THE LOST ART OF TIME TRAVEL
Presto Ballet
GLOSSOLALIA
Walsh, Steve
2. (ODCIEń CISZY)
Wozniak, Tadeusz
CORPUS
Talisma

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Latest Crossover Prog Music Reviews


 Hail To The Thief by RADIOHEAD album cover Studio Album, 2003
3.43 | 333 ratings

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Hail To The Thief
Radiohead Crossover Prog

Review by TCat
Prog Reviewer

4 stars Radiohead reviews are always all over the board. You have those who love them and those that hate them and those that are somewhere in between, which I suppose is true for most bands, but if just seems so evenly distributed with listeners when it comes to Radiohead. They are a band that I love to listen to and that I appreciate, but it usually takes me time to get used to some of their albums where others just seem to attract me right off the bat. But, eventually I come to appreciate their innovativeness, their experimentation in different sounds and the genius of their music.

"Hail to the Thief" was one of the ones that took me a little more time to appreciate. Even though I don't consider it their absolute best, it is better than some and it is quite good. When the album was made, the band had decided not to spend so much time in making the songs so "perfect" as they had on the last 2 albums, which were "Kid A" and "Amnesiac" both of which were quite experimental and mostly electronic. This songs were done more spontaneously. In fact, Yorke said that they got to where they were producing and recording a song per day.

This album also sees a return to a more guitar based sound while still maintaining a lot of electronic elements. The songs here are much more varied, some concentrating on the use of electronics and others are more organic using traditional rock instruments. In my opinion, what you get here is a good variety of both styles with quality songs. The music is much more focused and accessible than it was on the previous two albums. Even with it's accessibility, it still has it's share of challenges, and it is a far cry from being traditional pop. There are the more rock oriented songs like "There There", "Punchup at a Wedding", and "Sit Down, Stand Up". And there are the more electronic based songs which are more experimental like the amazingly emotional "We Suck Young Blood", "The Gloaming", "Myxomatosis" and so on. Yet, amongst these tracks there are elements of both styles, and the songs tend to give us the best of both worlds.

I don't think it is necessary to go into a lot of detail about the album beyond this because it has been reviewed a lot on this site and you can read so many different opinions about it here and make your own decisions. There always seems to be a war about whether this band is progressive or not, but I can easily hear the progressive elements because the sound is definitely non- traditional and I can consider it progressive even if the songs are not epics, they don't always have to be, do they? Radiohead always keep their songs around 4-5 minutes or less, but there is always a lot of ingenuity packed into those songs. Even though this is not a masterpiece, it is still an excellent album and I can easily give it 4 stars without hesitation.

 Hand. Cannot. Erase. by WILSON, STEVEN album cover Studio Album, 2015
4.29 | 495 ratings

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Hand. Cannot. Erase.
Steven Wilson Crossover Prog

Review by ergaster

3 stars 3.5/5 ... I rounded down to 3 because I just cannot squeeze a 4 out of it....

Take a cut of the heavier, proggier end of Steven Wilson and season it with a judicious pinch of jazz fusion, simmer with a touch of Blackfield and Grace for Drowning, and serve over a bed of Porcupine Tree. Present on a silver platter of fan-hype and accolades and Voila! Hand. Cannot. Erase., the new Steven Wilson solo album.

I played this album more or less regularly once the iTunes download arrived, and then a bit more after my vinyl version hit the doorstep. After owning it for a few months, I find I do not play it at all any more--probably the fastest ever that any Wilson album has lost its luster. My overall impression is of an album of pleasant tedium interrupted by moments of sheer beauty. And alas I find that there are not nearly enough moments of sheer beauty, or any other sort of exceptional moments. It is all very competently done (as is ever the case with Wilson): well composed, well sung, well played, but overall it tastes rather...not so much bland, as restrained.

On the plus side: HCE is poppier, proggier, and more purely face-melting heavy than anything Steven Wilson has done solo for a long time, and this is not a bad thing. These are skills that are not lacking in the Wilson musical recipe book, and his prog-pop (pop-prog?) work is nicely concise and to the point. The long instrumental passages and jazzy solo stretches of the last two albums are (mostly) gone. There are instrumental breaks, of course, but they move the song along and one doesn't get the feeling they were stuck in there as a showcase for somebody's chops. This is a clear improvement. The introduction and careful use of the female vocalist has worked out better than a lot of people expected: Ninet Tayeb has a wonderful voice and her parts are perfectly placed.

Wilson does have a gift for the beautiful melody, and on an album as pop-flavoured as this one, he really shines. The title track is catchy, infectious, upbeat, and surprisingly heavy at times; I've heard people say that it might be a bit too Blackfield-ish, but you know, he does this sort of thing so well. The man has such a vast repertoire; I see no problem with his pulling influences from wherever he needs to get them. Likewise the intense heavy moments are reminiscent of the metal-ish days of Porcupine Tree--which suits me fine because those were my favourite PT albums. It's nice to hear them again.

I wish there were more tracks as completely immersive as "Hand Cannot Erase" but unfortunately the other stunning moments are kind of scattershot, popping up in the midst of pleasant but otherwise unremarkable tracks: the last third of "Routine", the first bit of "First Regret/3 Years Older" for example.

And on the downside: HCE has more heart and soul than The Raven that Refused to Sing possessed, and much less (thank god) sheer wankery than was on Grace for Drowning, but despite the beautifully heartbreaking moments and joyful metal heaviness, I find it lacks a fundamental sense of adventure or daring. It is just so polite and restrained. The most applicable description is "nice", with all the innate blandness implied in the word, and the great moments are not enough to overcome that final sense of dissatisfaction at the end of the album. It could have been so much more.

I will wind up on a more positive note because the album does end well: "Ancestral" (at least the last two thirds of it) is a mighty, mighty song. It. Kicks. Ass. in the way Deadwing kicked ass, and there are sections that could have come directly from Deadwing. And "Happy Returns/Ascendant Here on..." is my favourite song on the album by far, heartbreaking and transcendently beautiful.

Alas, there just are not enough of these moments on this album. It is a tasty stew, but it is not Cordon Bleu.

 Hand. Cannot. Erase. by WILSON, STEVEN album cover Studio Album, 2015
4.29 | 495 ratings

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Hand. Cannot. Erase.
Steven Wilson Crossover Prog

Review by DBJ2020

5 stars The fourth Steven Wilson album has been out for around three months now, yet has not attracted as much feedback from Prog Archives readers as previous albums. Ratings are almost identical to the previously lauded "The Raven That Refused To Sing", but significantly lower in volume - 485 ratings at the time of this review. Which begs the question why?

Is the album too polarising? Some of the negative criticism suggests that it is too "pop" sounding in early stages, particularly the catchy title song. The criticisms remain until the latter part of the album. Other critics like the first half of the album finding it so very different to the previous albums. Some Porcupine Tree fans have noted that the title track is a return to some of the catchy singles of the Halo, Lightbulb Sun, Even Less and Stranger by the Minute era.

Too electro-pop? Perfect Life is a heavily electronic-influenced song that sounds like it has a drum-machine accompaniment, yet credited on the album to Marco Minneman. Just because something sounds like it was manufactured by a machine does not always mean there wasn't a human element.

Too different from the previous 70's style that drew so much acclaim for TRTRTS? Wilson himself has said he was very happy that they were able to emulate that era and used analogue recording techniques under the skilful engineering of Alan Parsons. HCE is totally different and firmly recorded in the 21st Century using plenty of digital techniques, as anyone who has seen the documentary on the Blu-ray (or on the three smaller teasers on Steven Wilson's website) would testify.

Or is it that people are now so comfortable that Wilson is going to produce a skillful, well-engineered, balanced and thought-provoking, boundary-pushing album that they are almost too bored to comment?

It's taken me a few months to rate this album, and it is not because of tedium, more so keenness to see what others think. In short the album is an essential collector ? for all of the reasons above. After listening to the deluxe edition 5.1 Blu-ray, the conceptual flow, musical clarity and sheer dynamism of the album is amazing. Fans have rated Ancestral as a classic, while others have appreciated the 70's style 3 Years Older combination of swirling keyboards and electric/acoustic guitars so reminiscent of The Who, Yes, Crimson and so many others. Yet is sounds so fresh and alive.

Regret #9 has enough keyboard sounds to satisfy Symphonic Prog lovers with a blistering guitar Solo from Guthrie Govan using a noiseless pickup Fender he had borrowed.

As other reviewers have noted all of the previous album's band members contribute, along with surprises like Nina Tayeb's amazing vocals showcased brilliantly on Routine and Katherine Jenkins' spoken part on Perfect Life. Guest appearances by other musicians (checkout the album liner), including a boy choir and soloist add to a richly diverse album. Many musicians would struggle to make such an amalgam of the above as well as mellotrons, banjos, moogs, electronica sound like music, yet the end result is an album that is cohesive, tight and very memorable.

An excellent album that deserves to be called a Masterpiece as much as TRTRTS has.

And a challenge to those that marveled at TRTRTS and felt compelled to review it and have not done so for this one - What do you think?

 Mental Notes by SPLIT ENZ album cover Studio Album, 1975
4.08 | 36 ratings

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Mental Notes
Split Enz Crossover Prog

Review by A_Flower

4 stars Mental Notes is probably one of the most underrated records of all time. It is truly beutiful and underrated. Most people know the Split Enz from their pop music though the start of there discography is an amazing prog album fronted by Phil Judd and Tim Finn

By the start of the album, you can tell this is prog. This is "Walking Down a Road." A sound fades in that almost sounds it is underwater and climbs up to drums and bass with a beutiful meldody following brought by gutair and keyboards. The beginning of this song is amazing and is good and steady, however, around the two minute mark, it sort of looses it's tempo and the rest of the song seems a little scattered. The begaining is sort of reprised done well but the second part of this song kind of looses itself. Although it does get scattered it's still quite nice

The second song on the album starts with creepy keyboard and a dark sounding intro. This is "Under the Wheel." It is seven minutes being the longest track on Mental Notes. The lyrics of this song were written by Phil Judd, and they are dark about his struggle with drug abuse and other depression problems. The melodies are dark and creepy after the first stanza and at one point through, it get's bizarre for a quick 9 seconds, they get wild and crazy and sort of insane, and in a split second go back as before. After a few moments we get Phil Judd screaming "IT'S NOT FAIR!!!!!" After this comes poetry about death. The album ends with piano and some melodies and slowing ends with the sound of a river. This song isn't the scariest ever, but quite strange and definitely a masterpiece.

The third track cheers us up more as a love song. This is called "Amy (Darling)." It is a personal favorite of mine, with an amazing melody around the minute and a half mark. At one point the song stops and you just hear crickets. The song ends with some satisfying touches. One of my favorite parts of this album.

The albums next track is "So Long For Now." This is not as good as Amy or many other tracks on the album, though it has some nice moment. Though there isn't much memorable in it.

The next track is probably the best on the album. "Stranger Than Fiction." It starts with a melody on the synthesizers and goes right into a spacy feel after this. It's like this until the minute and a half mark. When the drums take you down to a frightening part with poetry that sounds like Edgar Alan Poe and laughing babies. In the background, you here strange mechanical sounds and piano. Then you hear, Tim Finn sing-speak "It's a story, of my LIFE!" And it all explodes into it's earlier spacy feel. After a few minutes of this part, you hear children playing and Finn singing with some scatting too. This continues by a part mostly heard by the gutair and drums and a strange whistling. This is followed by the songs spacy meldies and another lyric break with more scat. The song ends with it's starting synthosizer meldody. Astonishing.

Stranger Than Fiction leads into the next song, "Time For a Change." This is slow, brought by piano. It soon erupts into more mellotron. This song ends very well, though i often listen to it right after Stranger Than Fiction, for it doesn't sound as different.

After our 9 minutes of slow and beautiful bitter sweetness, we get a very happy fun tune. "Maybe." I really LOVE this one. It's an overall guilty pleasure tune with much fun and love seen in it. Sung by both Judd and Finn, with piano leading it all. It ends with a reprising scat melody.

The next track on the album is called "Titus". They use a ukulele through this. This song is okay, but not as good as Maybe. I do love the near end of it though near 2 and a half minutes though.

And here is the grand finally, "Spellbound." Started by what sounds line a gong. Then comes a small build up over an accusitc gutair including the same whistling from stranger than fiction and piano with a few small guitar licks, it then gives us a melody and Judd sings. The song is very positive in lyrics, "The way things are, we'll get there in the end, the way things are, we won't have to pretend, that were all spellbound."

Suddenly, Spellbound comes to an end and we get the 35 second title track, ending us at a weird place.

If you're looking for an underrated prog rock album, i highly recommend this debut that was introduced to me by my aunt. And that's why I give it four stars.

 Conspiracy by CONSPIRACY album cover Studio Album, 2000
3.13 | 26 ratings

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Conspiracy
Conspiracy Crossover Prog

Review by tarkus1980
Prog Reviewer

2 stars I really wanted to like this album more than I do. From the moment that Open Your Eyes was released, one of the most common points of criticism regarding it was that some of the album's material, due to the tight time constraints in recording, had come from a Squire/Sherwood side-project called Conspiracy. Of course, the reliance of OYE on Conspiracy material was overstated (Yes did raid an unfinished Conspiracy album, tentatively called Chemistry, for material, but only on two tracks, "Open Your Eyes" and "Man in the Moon"), but Sherwood had definitely had definitely taken on a prominent songwriting role during those sessions, and as somebody who had always liked Open Your Eyes (maybe my enthusiasm for it eventually fell to 85% of its original level, but it never went away), I found myself intrigued at the idea of hearing more of his material. When I eventually bought Conspiracy, which collected much of the material Squire and Sherwood had worked on together during the previous decade (in addition to the OYE tracks, the album also includes "The More We Live - Let Go" from Union and "Love Conquers All," which had made it onto YesYears, as well as nine additional tracks), I figured that, at worst, I would be getting a decent collection of pop-prog/prog-pop, and that I'd like it a little more than most Yes fans did. On my first couple of listens, I didn't think the album was that great, but it didn't seem especially offensive either, and while the various songs weren't really grabbing me, it seemed to me that they at least had the potential to do so with a handful of additional listens.

Well, a handful of additional listens later, most of this material has still refused to grab me, and there came a point where I just had to accept that this is a thoroughly mediocre album, and nearly a bad one. I really like the alternate versions of "The More We Live - Let Go" and "Open Your Eyes" (here called "Wish I Knew"); the problem is that, aside from the mildly nice feelings I have towards the opening "Days of Wonder" (where Chris' vocals in the climactic line of "These are the days / the days of wonder" are a highlight), and the nice feelings I have towards "Lonesome Trail" (which does a better job than many other tracks in weaving a decent synth part in with the guitars) these are the only tracks on the album I like. It definitely doesn't help that, while two of the old Yes tracks are great inclusions, the other two were among the worst songs ever released under the Yes moniker, and they definitely don't improve here ("Man in the Moon" is still based around a cheesy descending synth riff and with the least-deserved strutting swagger a song could have, while the arena-rock ballad "Love Conquers All" still sounds like a reject from Can't Look Away). The remaining tracks, for whatever slight variations there might be in tempo or mood, are all taken from a single mold, and that mold does not make me happy in the least. The band is trying its best to have feet in both the prog world and in the pop world, but the pop aspects are undermined by a continual disregard for memorable choruses or interesting riffs (there's nothing as remotely crisp or driving as some of the better OYE moments; "Wonderlove," for instance, would be the best of the remaining tracks BY A MILE), and the prog aspects are undermined by the general lack of interesting instrumental parts (Sherwood is a decent enough guitarist but he doesn't demonstrate enough personality here to merit lead status). Plus, well, Squire and Sherwood are pretty dull as primary vocalists; I'm not sure if these songs would be much better with Anderson on lead, but having those two relegated to supporting status would be of great benefit in and of itself.

In retrospect, I suppose it's my own fault for coming into this album with any kind of expectations of decent quality, but I really thought that there was a chance that Sherwood hadn't been given a fair shake and that this side project might be secretly ok at worst. Alas, it wasn't to be, and it's the rare case of an album that just kept getting worse the more I listened to it. Now that Sherwood's more-or-less become a footnote in Yes' history, I honestly don't know the target audience for this, and I don't see why anybody other than an obsessive like myself would want to spend time listening to this.

 Water Bearer by OLDFIELD, SALLY album cover Studio Album, 1978
3.82 | 21 ratings

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Water Bearer
Sally Oldfield Crossover Prog

Review by dsbenson

4 stars Water Bearer is Sally Oldfield's first album. It's a very nice listen, and fits well into the woodsy style of the vocal work she was doing in the same era with her brother Mike and with Steve Hackett.

The songs are very lyrical and not very complex. I'd actually put this in the "New Age" category with a subcategory of Crossover Prog: I think of this album in the same way that I think of Enya's music. Ethereal, very pretty. Not a lot of "prog" substance here, but it's quite nice.

A while back, I though I'd revisit Sally Oldfield and listen to the rest of her catalog. Unfortunately, my experience seems to mirror that of others' on this site, judging by the quick falloff in the number of ratings after Water Bearer. Her voice, which sounds light and ethereal on this recording, gets old very quickly on every subsequent release, especially when she lowers her register and starts to imitate Kate Bush?unsuccessfully.

However, on Water Bearer she's singing much higher in her range, which works for her well. It's too bad Sally Oldfield started relying on so much fast vibrato on later recordings, as if she and her brother were imitating each other's style: her with vocal vibrato, and Mike Oldfield with lead guitar vibrato. In Mike's playing, it works for me. In Sally Oldfield's singing, it does not.

However, here on Water Bearer she's allowing herself to sing a lot of clear notes in a high register, which gives her a very pure and listenable tone.

Musically she seems to be influenced a lot here by her brother's ostinato repeating patterns as well, which gives the music a very familiar quality that helps. I think that's why this album is the one people gravitate to. On later albums, the songwriting seems a lot weaker and closer to pop. Unfortunately, Sally Oldfield didn't have the songwriting, singing or musical style to fit into a pop idiom.

Bottom line: stick with Water Bearer, and enjoy. But beware: some recent remastered releases chopped the album down from around 45 minutes to well under 40, for some reason I cannot fathom. Avoid those like the plague. The sonic improvements from the remastering (which are present, but aren't huge) are not worth sacrificing half or more of several of the songs.

 Suiciety by METHEXIS album cover Studio Album, 2015
4.01 | 18 ratings

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Suiciety
Methexis Crossover Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Nikitas Kissonas is back! This talented Greek blessed us back in 2011 with his debut "The Fall Of Bliss" which really impressed me, it was really a one man show with Nikitas taking care of almost everything but the drumming where thankfully he didn't use a drum machine but brought in a real drummer. This time it's much different with many musicians helping out including a brass quintet, a string quintet and guests from bands such as THE ENID, ANGLAGARD, AGENTS OF MERCY, BIRDS & BUILDINGS and more. I will say I actually enjoy Nikitas' voice more than Joe Payne's but that's just me. This is a concept album, sort of a commentary on today's society with the clever title of "Suiciety".

"Ruins" opens with 2 minutes of atmosphere with spacey sounds before the music turns even more spacey with whispered words. Spoken words follow then he's almost singing. What a great way to start. "Remember Fear's A Relic" opens with strummed guitar before bass and a full sound take over. The organ really stands out and we get horns as well. Passionate vocals join in and they become high pitched before 3 minutes reminding me of 3RD DEGREE. Catchy stuff. It turns surprisingly jazzy before 5 minutes followed by some killer organ. It sounds like they are having a party on this one. "The Windows' Cracking Sound" is a short piece with almost spoken vocals and sparse sounds before the drums kick in late and dominate. It ends as it began. "Who Can It Be?" starts with horns sounding medieval as almost spoken vocals arrive around a minute. The horns take over once again as these two themes are contrasted. A jazzy vibe before 4 minutes then drums and horns lead 5 minutes in before it turns surprisingly heavy. Nice. "The Origin Of Blame" opens with pulsating piano and vocals before the organ arrives 1 1/2 minutes in with a fuller sound. Back to the piano and vocals quickly though. Some theatrical vocals here then it kicks back into gear before 3 minutes and they seem to be having lots of fun.

"Prey's Prayer" is a PINK FLOYD-like tune with those lazy guitar melodies. Horns arrive around 5 minutes to the end replacing the guitar. "Sunlight" opens with guitar expressions then strummed guitar after a minute as reserved vocals join in as well. Strings 2 1/2 minutes in then it turns fuller 4 minutes in followed by a heavier sound. The song ends in such a good way as an earlier theme with vocals is repeated. "The Relic" starts with acoustic guitar as vocals and strings join in. This is beautiful and when the vocals stop briefly and the bass and piano come in it continues to be gorgeous and really emotional for me. A heavier instrumental section kicks in with electric guitar before 3 1/2 minutes before stopping suddenly before 5 minutes and you here someone exhale. The opening theme is back to end it. What a song! "Suiciety" has lots of beats to start and it turns fuller just before we get a calm. Heavy percussion, strings and more kick in then another calm before 4 minutes then it builds to a powerful soundscape. Vocal melodies come in over the final minute.

I listened to the debut today just for a fresh comparison and to my ears these two albums are very comparable with this new one being slightly better. Both are well worth tracking down, thanks Nikitas!

 Portsmouth by OLDFIELD, MIKE album cover Singles/EPs/Fan Club/Promo, 1976
3.12 | 7 ratings

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Portsmouth
Mike Oldfield Crossover Prog

Review by Matti
Collaborator Neo-Prog Team

3 stars Mike Oldfield's marvelous albums Hergest Ridge (1974) and Ommadawn (1975) were recorded in the countryside of Herefordshire where the introvert, young musician had escaped the sudden fame and success brought by Tubular Bells. As a freetime activity he used to go pony riding with folk musician Leslie Penning (one of the guest musicians on Ommadawn). The two collaborated on several folk oriented singles that Oldfield released in the following years; the next major work, double album Incantations, came out no sooner than in 1978.

'Portsmouth' is a joyful two-minute instrumental with a danceable rhythm. The innocently naive and happy melody is played by Leslie Penning's recorder, and Oldfield's simple, rhythmic acoustic guitar is joined by hand drum and accordion along the way. It's quite obvious that Oldfield just had a good time making this kind of simple folk music, without giving a slightest thought on the pressures of success. And it was very much about returning to his musical roots; he started his musical career in the age of fourteen playing folk with his elder sister Sally, as a duo called SALLYANGIE.

Four-minute 'Argiers' is also a recorder-centred folk piece but in minor and in a slow tempo. This tune stands much better the repeated listenings. It has a New Agey serenity, and it's up to the listener how melancholic one feels it to be. To me it's mostly soothing.

This charming but non-essential single is among the finest representations of the low-profile era in Oldfield's career between Ommadawn and Incantations. Both tracks are included on the 4-CD "Best of" box set Elements (1993) and on the Deluxe edition of Ommadawn (2010).

 The Raven That Refused To Sing (And Other Stories) by WILSON, STEVEN album cover Studio Album, 2013
4.30 | 1362 ratings

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

Review by Dobermensch

4 stars It's plagiarism a-go-go with 'The Raven that Refused to Sing'.

Despite this, it's an excellent and very emotionally pleasing album from Steven Wilson. The whole gamut of his forebears is on display from 'Yes' 'Genesis' 'Rush' ''Floyd' and in particular 'King Crimson'. Thankfully he brings his own particular brand of sound to the forefront, despite all his influences.

What sets him apart from these artists is the beauty and distilled grandeur in the execution of most tracks. I'd far listen to this than any of the aforementioned bands (perhaps with the exception of 'Floyd').

There's such a huge variety of sound at play and he even manages to make a flute sound cool in 2013 which should be an impossibility in itself. Wilson has that lucky fluke of nature where he sounds just perfect for the role with his pleasant, tuneful 'Proggy' vocals in this decade.

The fact that he's the mastermind producer of the 5:1 surround re-masters of King Crimson's back catalogue should give you some idea of the kind of artist we're dealing with here. He has the perfect ear in defining musical dynamics. Crystal clear recording techniques and a wide variety of musical styles make this a very engaging album despite his continual 'hat doffing' to past artists.

It's structurally near perfect, with so much space between each 'recording track' that it gives a feeling of depth and freedom that you're unlikely to hear elsewhere on the Archives.

There are some true moments of sheer beauty on tracks such as 'Pin Drop' which has a succinct build up of layered sounds and delicate vocals quickly leading to a highly memorable chorus with swirling guitars and thudding bass that I find very difficult to get out of my skull after the finish of the album.

I decided to write this after hearing ' Hand Cannot Erase' for the first time. Despite that album's multitude of plaudits, I for one find 'The Raven that refused to Sing' much more engaging, dramatic and emotionally involving than it's successor. To me this is the peak in Steven Wilson's discography.

 Introducing  ...The Pineapple Thief by PINEAPPLE THIEF album cover Boxset/Compilation, 2014
3.24 | 6 ratings

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Introducing ...The Pineapple Thief
Pineapple Thief Crossover Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars One of the modern bands whose sound has grown a lot on me in the last years in Pineapple Thief, a UK act that offers progressive rock with a light sound, which is easy to dig and enjoy, closer to alternative rock but with the essence of prog. They have been earning people's love with their music, so nowadays I can say they are not an obscure and unknown band anymore, which is good for them because their sound has been spreading more and more.

I am so happy I will see them live at the Ramblin Man Fair, they are one of my most expected acts at that festival, and I love to see more people is getting involved with their music. And due to that involvement, I think they released this compilation album for people who is getting to know them, or for people who want to rediscover them. With the name of 'Introducing Pineapple Thief', this 2-CD album gives us a nice (but not the best) selection of 20 representative tracks of the band.

Honestly, at first I did not enjoy it a lot, actually I thought and still think the selection could have been better, and though I know this is not a 'best of' compilation, it is strange not to see songs such as 'Nothing at Best', 'All You Need to Know' or 'Resident Alien', which to my ears greatly represent the band's sound. However, we can enjoy a walk through their discography with older and newer songs such as 'We Subside', 'Doppler', 'Barely Breathing', 'Warm Seas', 'We Love You' or 'Vapour Trails', among others. Sadly, this was released before Magnolia, so of course we will not find tracks from their most recent studio album.

If you are new to the band, this might be a nice way to start. If you already like the band or even love them, I think you might avoid this, or buy it in order to complete your collection, but you will not find anything extraordinary here.

Enjoy it!

Data cached

Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 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
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
THE AMAZING Sweden
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
ANUBIS SPIRE United States
ANYWHERE United States
APATHEIA Czech Republic
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARID GARDEN Italy
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIOCRACY Multi-National
THE AURORA OBSERVATORY United States
AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
AUTUMN CHORUS United Kingdom
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
AUXFORD Russia
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
DAVID AXELROD United States
AZURETH Multi-National
BACKHAND Venezuela
BADWATER FIRE COMPANY United States
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
NICKLAS BARKER Sweden
BARNUM'S FREAK Italy
BARON United Kingdom
BARROQUEJON Chile
SEBASTJAN BARTOL Slovenia
M.M. BARTULICA Bosnia and Herzegovina
COLIN BASS United Kingdom
BAT LENNY United States
BATISFERA Russia
BAUER Argentina
BE BOP DELUXE United Kingdom
BEAD GAME United States
BEAM-LIGHT Poland
DAVID BEDFORD United Kingdom
BEDUÍNOS A GASÓLEO Portugal
BELGRAD Poland
BEND SINISTER Canada
BENT KNEE United States
THE BENZENE RING United States
ROBERT BERRY United States
EMILY BEZAR United States
BIG BIG TRAIN United Kingdom
BITTERTOWN Netherlands
BJÖRK Iceland
BLACK CAT BONES United Kingdom
BLACK MOTH SUPER RAINBOW United States
BLACK MOUNTAIN Canada
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
THE BODY POLITIC Canada
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
VICTOR BRADY United States
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
BRIGHT BROWN United States
THE BRIMSTONE SOLAR RADIATION BAND Norway
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIERE France
DUNCAN BROWNE United Kingdom
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
CALIFORNIA GUITAR TRIO United States
THE BEN CAMERON PROJECT Australia
CANAMII South Africa
CANNATA United States
CANTURBE Argentina
CAP OUTRUN Sweden
CAPABILITY BROWN United Kingdom
CAPTAIN MARRYAT United Kingdom
FRANCK CARDUCCI Netherlands
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
CEILING UNLIMITED United States
CELL15 United States
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
CHEETO'S MAGAZINE Spain
CHILDREN IN PARADISE France
CHIMPAN A United Kingdom
CHOICE Germany
CHOKE THE WORD United States
CHROME HOOF United Kingdom
CHURN MILK JOAN Multi-National
CINEMA SHOW Brazil
CIRCA United States
CIRCA SURVIVE United States
CIRCUS PARANOIA Netherlands
CIRCUSFOLK Finland
CITADEL France
CLARION Italy
STEVE CLARK Australia
CLOUD ATLAS United Kingdom
CARY CLOUSER Canada
CLOVER SEEDS France
CLUB MERANO Finland
SUSAN CLYNES Belgium
STEVE COCHRANE Canada
COHEED AND CAMBRIA United States
COLLECTING SPACE United States
COLOR Hungary
CONSPIRACY United Kingdom
CONTRACTION Canada
THE COOPER TEMPLE CLAUSE United Kingdom
CORALSPIN United Kingdom
COREY & MAPLE Finland
CORRAL Poland
CORVUS STONE Multi-National
COSHISH India
THE COSMIC REMEDY Multi-National
COSMOS DREAM France
ROB COTTINGHAM United Kingdom
COZHE Finland
BEN CRAVEN Australia
CRAZY WORLD Finland
CRIMINAL CATERPILLAR Canada
CROSS Sweden
BEPPE CROVELLA Italy
CRYPTEX Germany
CUAC! Spain
CUPRUM Czech Republic
PAUL CUSICK United Kingdom
THE CUSTODIAN United Kingdom
CYRIL Germany
LAREN D'OR Hungary
NICK D'VIRGILIO United States
DAEMONIA Italy
DAPHNE Italy
DAVID'S LODGERS Italy
DAYMOON Portugal
DDNZ Serbia
MARCO DE ANGELIS Italy
DEADWOOD FOREST United States
DEAMBRA United States
THE DEAR HUNTER United States
FRANCIS DECAMPS France
DEEP LIMBIC SYSTEM Mexico
DEERHOOF United States
DELIRIO SONORO Italy
DELIRIUM Mexico
DELUSION SQUARED France
DEMIAN CLAV France
JOE DENINZON United States
A DEVIL'S DIN Canada
DIATESSARON Canada
DICE Germany
THE DIFFERENCE Slovakia
DIFFERENT LIGHT Czech Republic
DIGITAL CHEMISTRY United States
DIN WITHIN United States
DIRTY PROJECTORS United States
DISCONNECT United States
DISSONATI United States
DISTANT LIGHTS United States
DISTRICT 97 United States
DLGZ ROCK 5TET France
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
DOPING HORNETS Canada
DR FOLAMOUR France
DREAM THE ELECTRIC SLEEP United States
THE DREAMING TREE United Kingdom
DREDG United States
DRY RIVER Spain
MARK DUBERRY Ireland
FRANCIS DUNNERY United Kingdom
DW. DUNPHY United States
DUTCH UNCLES United Kingdom
DYNAMO BLISS Sweden
DYONISOS United States
DZEJBI Yugoslavia
ECHO Romania
ECHOES OF GIANTS United States
ECLIPSE Canada
ECLIPSE SOL-AIR Multi-National
EDEL Multi-National
COLIN EDWIN AND JON DURANT Multi-National
EIDÔLON France
ELDBERG Iceland
ELECTRA Germany
ELECTRIC LIGHT ORCHESTRA United Kingdom
ELECTRIC SORCERY United States
ELECTRUM United States
ELEND France
ELIPHASZ Canada
ELORA France
ELYSIUM THEORY United States
KEITH EMERSON United Kingdom
GERT EMMENS Netherlands
EMPIRE United Kingdom
EMPIRICAL TIME Italy
AARON ENGLISH United States
ENNĎS TÓLA Australia
ENTITY PARADIGM Pakistan
EOS Chile
EPIICYCLE United States
ESAGIL Greece
ETHERS EDGE United Kingdom
EVELINE Italy
EVEN HORSES Germany
EVENT United States
EX-WISE HEADS United Kingdom
EXOVEX United States
EYEVORY Germany
FAINT SIGNAL United States
FAIR TO MIDLAND United States
FAIRY TALE Slovakia
ALESSANDRO FARINELLA Italy
FATAL FUSION Norway
LA FE Chile
FERNANDO YVOSKY Venezuela
FEROZ Mexico
FIBONACCI SEQUENCE United States
FIELD MUSIC United Kingdom
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
HEATHER FINDLAY United Kingdom
FIRE ON DAWSON Germany
FIREHORSE Germany
FISH ON FRIDAY Belgium
FLAUD LOGIC United States
FLICKER United Kingdom
FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
FLOWER FLESH Italy
FOBOS Argentina
FONTARABIE Canada
THE FORMER LIFE Italy
FORWARD SHAPES United States
FOSSIL EVOLUTION Belgium
FOSSIL EVOLUTION Belgium
FOURTEEN TWENTYSIX Netherlands
FRACTAL MIRROR Netherlands
FRACTAL ROCK United States
FRAGILE Estonia
FRANC ALBIR Spain
FREDDEGREDDE Sweden
FREEDOM TO GLIDE United Kingdom
FREELIGHT United States
FREQUENCY DRIFT Germany
HASSE FRÖBERG MUSICAL COMPANION Sweden
FRXHO Mexico
FSB Bulgaria
FUCHS Germany
FULL CODE New Zealand
FUTURUM Czech Republic
GABRIEL BONDAGE United States
PETER GABRIEL United Kingdom
GALACTIC COWBOY ORCHESTRA United States
GALIJA Yugoslavia
GALLERY Norway
GANDALF Austria
GANDALF'S PROJECT Italy
GAP PARTY Italy
ANJA GARBAREK Norway
GAZPACHO Norway
KEVIN GEIER United States
GEKKO PROJEKT United States
GIO GENTILE Italy
GENTLEMEN WITHOUT WEAPONS United Kingdom
GHOST CIRCUS Multi-National
GIANNOTTI United States
IL GIARDINO ONIRICO Italy
KEVIN GILBERT United States
GIRAFFE United States
GLASFROSCH Australia
GLASS KITES Canada
YIANNIS GLEZOS Greece
GLORIE United States
GODSTICKS United Kingdom
GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
GOTHIK SERPENT United States
GRAMONAUTUS Argentina
PHILIPPE GRANCHER France
THE GRAND SILENT SYSTEM Australia
GRAVITY TREE United States
GREEN Italy
THE GREEN VIOLINIST Belgium
MARK GREEN United Kingdom
DAVE GREENSLADE United Kingdom
GREY EYE GLANCES United States
GREY LOTUS Netherlands
GRICE United Kingdom
GRIME France
GROUP 309 Russia
LA GUERRA DELLE FORMICHE Italy
ID GUINNESS Canada
GUITAR GARDEN United States
GUNGFLY Sweden
HA' ARNAV HA-LAVAN Israel
HABELARD2 Italy
HABITAT Argentina
HADDAD Brazil
HAGGARD Germany
HALO BLIND United Kingdom
JASON HAVELOCK France
HAYWARD & LODGE (THE MOODY BLUES) United Kingdom
HEARTSCORE Germany
HEATWAVE Italy
ROEL VAN HELDEN Netherlands
HELICOPRIA Multi-National
HELIOTH United States
LUC HENRION Belgium
HENRY FOOL United Kingdom
HERMETIC SCIENCE United States
HEYOKA United States
HIIDENSOINTI Finland
HIPGNOSIS Poland
STEVE HOGARTH United Kingdom
JOANNE HOGG United Kingdom
MARK HOLLIS United Kingdom
HOLLOW BRANCHES Multi-National
HOMESICK FOR SPACE United States
HOT HEAD SHOW United Kingdom
HOUR OF THE SHIPWRECK United States
STEVE HOWE United Kingdom
HYPNOMEN Finland
I.AB United States
IAMTHEMORNING Russia
IF / IFSOUNDS Italy
IGAYON Israel
IGNATIUS Spain
ILUZJON Poland
IMMUNE United Kingdom
IN LIMBO France
INDELIBLE Norway
INDEXI Yugoslavia
INFICTIONS United Kingdom
INFINITE MONOPOLY United States
INFINITE ORCHESTRA United States
INFUSION KAMACHUI Argentina
INNERSPACE Canada
INTENTIONS Netherlands
INTERGALACTIC TOURING BAND Multi-National
INTO THE PRESENCE United States
IOEARTH United Kingdom
ION United Kingdom
IRRGARTEN Canada
ISLANDS Canada
ISOS Canada
ISZIL Chile
IT BITES United Kingdom
J'ACCUSE..! Italy
J21 Spain
JAÉN KIEF Colombia
JANUS United Kingdom
JASPER WRATH United States
JAUGERNAUT (A.D.) United States
JAZ France
JEBEL United States
JEREMY United States
JEREMY IRONS AND THE RATGANG MALIBUS Sweden
JET BLACK SEA Netherlands
JHIMM United States
JODY GRIND United Kingdom
JONAS LINDBERG Sweden
JONO Sweden
JORM Sweden
KADDISFLY United States
KANT FREUD KAFKA Spain
KAOS MOON Canada
KASSINI United States
KAUKASUS Norway
KAYAK Netherlands
KAZACHSTÁN Czech Republic
KEDAMA Switzerland
KEEP IT DEEP Belgium
KEL LOCH & GOLD United States
MIKE KERSHAW United Kingdom
KERYGMATIC PROJECT Italy
DAVE KERZNER United States
KEVLAR RED United Kingdom
KID COUSIN United States
KIMURA France
KING RAT United Kingdom
KINO United States
KINZOKU-EBISU Japan
KISS KISS United States
KNIFEWORLD United Kingdom
KOI Sweden
KOMPENDIUM United Kingdom
KOSKA Spain
KRÁSNÉ NOVÉ STROJE Czech Republic
KRONER CIRKUS Poland
DAVE KULJU United States
KUMM Romania
KUNDABUFFER Argentina
KURKI Finland
KUUSUMUN PROFEETTA Finland
KVARTETTEN SOM SPRANGDE Sweden
LA YNE Finland
LABORATOR France
YOGI LANG Germany
LANTINOR Russia
LISA LARUE United States
LAST TURION Germany
LAURA France
LAVIŔNTICA Italy
LAYRA Italy
LAZY DOLL France
GUY LEBLANC Canada
LEBOWSKI Poland
JOHN LEES United Kingdom
LEVIATHAN United States
LIFE Sweden
LIGHT Netherlands
THE LIGHT AFTERNOON United Kingdom
LIMPID GREEN United States
LING TOSITE SIGURE Japan
A LIQUID LANDSCAPE Netherlands
LIRD VAN GOLES Switzerland
LIVES AND TIMES United Kingdom
KERRY LIVGREN United States
LIVING STILTS Italy
THE LIVING Canada
LOBATE SCARP United States
LOGAN DWIGHT Italy
LONELY ROBOT United Kingdom
LOONYPARK Poland
LOST WORLD Russia
JEAN-PIERRE LOUVETON France
LOVE DE VICE Poland
ARJEN ANTHONY LUCASSEN Netherlands
THE LUCK OF EDEN HALL United States
LUDUS United Kingdom
JOHANNES LULEY United States
LUNATIC SOUL Poland
PHILIPPE LUTTUN France
LÜÜP Greece
WILLIAM LYALL United Kingdom
LYRIAN United Kingdom
MACARTHUR United States
MACHINES DREAM Canada
MADAME BLAVATSKY OVERDRIVE United States
THE MADCAP LAUGHS United Kingdom
MADRIGAL United States
MAID MYRIAD United States
BRUCE MAIN United States
MAJESTIC X United States
BARIS MANCO Turkey
MANDILLO Italy
MANDRAKE PROJECT United States
MANFRED MANN'S PLAINS MUSIC South Africa
IL MANISCALCO MALDESTRO Italy
MANSUN United Kingdom
MANTIS Canada
MARGARITAS ANTE PORCOS Latvia
LUC MARIANNI France
MARIANUS United States
MARS HOLLOW United States
RHYS MARSH Norway
MARTINI HENRY United States
COLIN MASSON United Kingdom
MASTERS OF THE AIRWAVES United States
MATERIA GRIS Argentina
MATERYA Italy
ALEJANDRO MATOS Argentina
MAVARA Iran
MAXIMUM INDIFFERENCE United States
THE MAYAN FACTOR United States
MAYFAIR Austria
JAMES (JIM) MCCARTY United Kingdom
MCDONALD & GILES United Kingdom
SIMON MCKECHNIE United Kingdom
MEKHLIN Denmark
MERGING CLUSTER Italy
STEVE MERLIN Netherlands
MERMAID KISS United Kingdom
MESEGLISE Italy
META United States
METACONCIENCIA Mexico
METHEXIS Greece
METUS Poland
MEW Denmark
MICE ON STILTS New Zealand
MIDIAN Italy
MIGHT COULD United States
MIGHTY BABY United Kingdom
LAS MIL DE ZAFIRO Argentina
MILLENNYA Norway
MARK MILLER United States
RICK MILLER Canada
MILLPLAT Japan
MIND United States
MIND FURNITURE United States
MIND SPLIT EFFECT France
MINDMOVIE Germany
MINDSPEAK Austria
THE MINSTREL'S GHOST United States
MIRRELIA Canada
MIRROR PEOPLE United States
VLADIMIR MISIK Czech Republic
KENNY MITCHELL United Kingdom
MODEST MIDGET Netherlands
MOEBIUS CAT Canada
MOETAR United States
BARAK MOFFITT United States
MOGADOR Italy
MONJOIE Italy
MONTECHIARI PROJECT Brazil
THE MOODY BLUES United Kingdom
MOONLIGHT Poland
MOONLIGHT SKY Slovenia
MICHAEL MOORCOCK United Kingdom
MOPHO Brazil
PATRICK MORAZ Switzerland
MORRIGAN France
MOTAE United States
MOTHER SUPERIOR United Kingdom
MOTHER'S CAKE Austria
MOTHLITE United Kingdom
MOTION THEORY United Kingdom
MOTO PERPETUO Brazil
MOUNTAIN MIRRORS United States
MOZZARELLA Ecuador
MR. ALBERT SHOW Netherlands
MR. GOSHNESS Canada
MULTIFUSE United Kingdom
MY ETERNEL United States
MY NAME IS JANET Multi-National
THE MYND United Kingdom
MYTHO Italy
NA LEPEM PRIJAZNI Yugoslavia
HIROYUKI NAMBA Japan
JEFFREY NANESS United States
NANOOK OF THE NORTH Sweden
NAPIER'S BONES United Kingdom
NARANJA MECANICA Argentina
IAN NARCISI United States
NAVE Brazil
CHRIS NEAL Australia
LITTO NEBBIA Argentina
NEGUS Canada
BILL NELSON United Kingdom
NEO France
THE NERVE INSTITUTE United States
NETHERLAND DWARF Japan
NEURAL MASS Canada
NEVER WASN'T United States
NEW BEARD United States
NEW ENGLAND United States
NEW MACHINE United States
TOM NEWMAN United Kingdom
NICK-NACK United States
JAKE NIELSEN United States
NIGHTALES United States
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NIMBUS Chile
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NINE BOOKS Hungary
NINE DAYS' WONDER Germany
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NO TICKET Canada
NORDAGUST Norway
NORTH ATLANTIC OSCILLATION United Kingdom
THE NOUN United Kingdom
NOVA MALŔ STRANA Italy
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ŃU Spain
NUOVA DIVISIONE Italy
LA NUOVA ERA Italy
OAK Norway
OBIYMY DOSCHU Ukraine
OCEANS 5 United Kingdom
OCNOS Spain
OCTOBRE Canada
OCTOPIE Finland
ODESSA Italy
OF SOUND MIND Canada
OG MUSIQUE Belgium
OGRÓD WYOBRAźNI Poland
BARTOSZ OGRODOWICZ Poland
OH NO ONO Denmark
OH. Greece
OINGO BOINGO United States
THE OLD MAN & THE SEA Denmark
OLD ROCK CITY ORCHESTRA Italy
MIKE OLDFIELD United Kingdom
SALLY OLDFIELD Ireland
OLIVER United Kingdom
OMNIPRESENT United States
THE ONEIRA Multi-National
ONEVOICE United States
ONGKARA Russia
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