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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 01/01/2014

Evolver (Scott)
kev rowland (Kevin)
ProgShine (Diego)
tszirmay (Thomas)
Second Life Syndrome (Jason)

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 | 1063 ratings
CRIME OF THE CENTURY
Supertramp
4.34 | 870 ratings
OMMADAWN
Oldfield, Mike
4.31 | 1145 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.25 | 713 ratings
DOOMSDAY AFTERNOON
Phideaux
4.27 | 370 ratings
~
iamthemorning
4.20 | 1168 ratings
GRACE FOR DROWNING
Wilson, Steven
4.21 | 610 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.19 | 748 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 665 ratings
SNOWTORCH
Phideaux
4.17 | 538 ratings
THE UNDERFALL YARD
Big Big Train
4.14 | 536 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.29 | 116 ratings
BELIGHTED
iamthemorning
4.14 | 446 ratings
NIGHT
Gazpacho
4.10 | 560 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.25 | 115 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.17 | 179 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.49 | 51 ratings
CORVUS STONE II
Corvus Stone
4.11 | 311 ratings
PASSION
Gabriel, Peter
4.15 | 195 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.21 | 125 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.10 | 335 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.06 | 782 ratings
TUBULAR BELLS
Oldfield, Mike
4.11 | 251 ratings
PAMPERED MENIAL
Pavlov's Dog
4.07 | 411 ratings
AMAROK
Oldfield, Mike
4.10 | 249 ratings
SPIRIT OF EDEN
Talk Talk
4.19 | 122 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.08 | 261 ratings
LUNATIC SOUL
Lunatic Soul
4.12 | 161 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.35 | 57 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.02 | 700 ratings
OK COMPUTER
Radiohead
4.03 | 491 ratings
TALES OF MYSTERY AND IMAGINATION - EDGAR ALLAN POE
Parsons Project, Alan
4.22 | 83 ratings
THE GNOMON
Sunchild
4.06 | 220 ratings
EL CIELO
Dredg
4.05 | 262 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.16 | 102 ratings
MODRA RIJEKA
Indexi
4.01 | 408 ratings
TICK TOCK
Gazpacho
4.36 | 49 ratings
TIME
Time
4.05 | 220 ratings
SHINE ON BRIGHTLY
Procol Harum
4.00 | 452 ratings
NUMBER SEVEN
Phideaux
4.08 | 160 ratings
THE LONG DIVISION
3RDegree
4.00 | 428 ratings
UP
Gabriel, Peter
4.03 | 202 ratings
FOR YOUR PLEASURE
Roxy Music
4.02 | 193 ratings
ROXY MUSIC
Roxy Music
4.14 | 85 ratings
AND THE GLASS HANDED KITES
Mew
4.06 | 131 ratings
CINEMATIC
Lebowski
4.01 | 171 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
3.99 | 217 ratings
GHOSTS
Frequency Drift
3.95 | 418 ratings
EVEN IN THE QUIETEST MOMENTS....
Supertramp
3.95 | 343 ratings
MARCH OF GHOSTS
Gazpacho
4.03 | 126 ratings
AS YOUR MIND FLIES BY
Rare Bird
3.99 | 184 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.01 | 147 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
3.92 | 545 ratings
KID A
Radiohead
3.92 | 486 ratings
BREAKFAST IN AMERICA
Supertramp
3.98 | 185 ratings
LAID TO REST
Frequency Drift
4.13 | 68 ratings
AN OCEAN HELD ME
Mice On Stilts
4.38 | 34 ratings
CHROMIUM
Talisma
3.92 | 426 ratings
PETER GABRIEL (4 - "SECURITY" OR "MASK")
Gabriel, Peter
3.94 | 292 ratings
AMUSED TO DEATH
Waters, Roger
3.92 | 390 ratings
HERGEST RIDGE
Oldfield, Mike
4.16 | 60 ratings
BLUE JAYS
Hayward & Lodge (The Moody Blues)
3.99 | 147 ratings
BROKEN CHINA
Wright, Richard
4.12 | 66 ratings
WHITE ROCK EXPERIENCE
State Urge
3.96 | 177 ratings
LAUGHING STOCK
Talk Talk
3.93 | 237 ratings
PERFECT BEINGS
Perfect Beings
3.95 | 183 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
3.91 | 296 ratings
INCANTATIONS
Oldfield, Mike
3.97 | 139 ratings
RETURN TO MINGULAY
Oceans 5
3.91 | 257 ratings
DEMON
Gazpacho
4.18 | 48 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
4.04 | 79 ratings
THINK LIKE A MOUNTAIN
Ritual
4.15 | 51 ratings
SELECTIVE MEMORY
Témpano
4.02 | 87 ratings
KAYAK II
Kayak
3.95 | 135 ratings
TROUBLE WITH MACHINES
District 97
4.11 | 57 ratings
DREAMLAND
Plant, Robert
4.19 | 43 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
3.90 | 226 ratings
PROCOL HARUM
Procol Harum
3.95 | 126 ratings
THE END IS BEGUN
Three
3.93 | 147 ratings
THE WAR OF THE WORLDS
Wayne, Jeff
3.89 | 216 ratings
CHUPACABRAS
Phideaux
3.90 | 173 ratings
MOMENTS
IOEarth
3.99 | 87 ratings
FEATHERGUN
Rishloo
3.91 | 153 ratings
WET DREAM
Wright, Richard
4.11 | 49 ratings
THE PATH OF LEAST EXISTENCE
Jet Black Sea
3.84 | 656 ratings
INSURGENTES
Wilson, Steven
3.91 | 154 ratings
CORVUS STONE
Corvus Stone
3.99 | 83 ratings
MAPS OF NON-EXISTENT PLACES
Thank You Scientist
3.91 | 144 ratings
SYNAESTHESIA
Synaesthesia
3.95 | 103 ratings
GENERATION 13
Saga
3.94 | 104 ratings
THE ANCIENT TALE
Fatal Fusion
3.96 | 93 ratings
VESPERTINE
Björk
4.29 | 29 ratings
THE LONG GOODBYE
Procol Harum
3.83 | 490 ratings
SO
Gabriel, Peter
4.05 | 54 ratings
ANCHOR DROPS
Umphrey's McGee
3.92 | 114 ratings
DELUSION SQUARED
Delusion Squared
4.09 | 47 ratings
TODD
Rundgren, Todd
3.85 | 235 ratings
ELDORADO
Electric Light Orchestra
3.88 | 159 ratings
OVER
Frequency Drift
3.84 | 285 ratings
LUNATIC SOUL II
Lunatic Soul
3.82 | 400 ratings
THE BENDS
Radiohead

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
CORPUS
Talisma
GENERAL WINTER'S SECRET MUSEUM
Tea Club, The

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Latest Crossover Prog Music Reviews


 In The Mist Of Morning by NORDAGUST album cover Studio Album, 2010
3.45 | 40 ratings

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In The Mist Of Morning
Nordagust Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars Hahahahahahahaha! Mellotron heaven, is there anything really that can top that feeling? Nah! Something about that metallic phantom sound that just gets me every single time. Nordagust comes from Norway, an iconic land that has understood the intricacies of glacial sound that the fearsome mellotron can provide, an irascible instrument that has been historically difficult to master, like a shrewish and seductive woman who refuses to be dominated by anyone and who in fact loves to return the favor and shove her own set of rules down anyone's throat. Swedes Anekdoten, Sinkadus, Landberk and Anglagard as well as fellow Norsemen White Willow have all colluded to create this famous Nordic sound, all ice and fire. We can add Nordagust to the mix, without too much hesitation. Unfortunately, according to their website, the group stopped its activity by 2012, after this debut album had made no inroads or impact whatsoever. Pity! So when I read some reviews and then checked out the sample of "Make Me Believe", I was gobsmacked once again as I have been countless times before in my 45 year love affair with prog. I ordered this sucker 'subito presto' (aka Fast!) and I am glad to include in my collection, just in time for the onset of the glacial Canadian winter, as if I needed a soundtrack to freeze! Truth is the entire disc is one hell of an arctic blizzard, from the grey frostiness of the cover artwork to the sweeping and chilly mellotron howls, these Norse gents have only the shrill voice of singer Daniel Solheim (which will be an acquired taste for many) but his insane intonations only make the music seem more admirable and original. Some have labelled this as a tad too dark and samey, which is perhaps what the endless winter seems to convey at times. If you want salsa, this is definitely the wrong place!

There are tracks that really stand-out, like the opener and title track "in the Mist of the Morning" which is eerily ethereal, hint of drakkars rowing gently in the arctic fog. The Hoggarth-like rant is plaintive and the guitar taciturn, draped in a blanket of sweeping choir mellotron strings, with distant bells peeling unceremoniously. Brrrr! "Expectations" has a gorgeous guitar line that is straight out of folk, with a relentless Jew's harp pounding away in the background. Plus the contrast coming from the tectonic mellotron and the piercing Solheim vocals. The oppressive effects-laden instrumental "In the Woods" serves as a perfect comprehensive intro for the epic "Elegy", a histrionic 9 minute lament that spares little sympathy and weaves a tortuous melancholia. All good tracks.

Middle-Eastern sounding insanity is found on the decidedly garrulous "Forcing", a harsh and somber sonic expanse that suggests relentless pressure and undeniable agony. While we are at it, "Frozen" could easily have been the title track for this album, in view of the grey sub-zero cover art as a backdrop. Both are refrigerated icicles of snowy doom and gloom. Very, very good tracks indeed.

But the absolute winners are the marvelous "The Tide" with its chaotic yet admirable lilt. Simple mellotron- drenched ecstasy, with grating guitar and some monster lead torrents, as an unassuming bass motif recons ahead, scouring a path for the mighty 'tron. Dispassionate and unendurable. Right behind we have the incredible 8 minutes and 31 seconds of "Make Me Believe", a blistering sonic whiteout of polar proportions and the reason why I purchased this unknown and undervalued gem. A pulsating bass motors along a slick orchestral surge, an unholy alliance of electric guitar and that mellotron monster, with Solheim exhorting passionately 'the pain of beauty' , the synthetic choir does this hopping thing, a truly brilliant move that proves that a real talented mind is at work here. The loud guitar has that metallic Gibson sheen used so well by the young Jeff Lynne on early ELO albums. A ghostly prog classic, I promise you, a perfect song in an otherwise imperfect though very cool (pun) album.

Sadly, a one shot-wonder. 4 sunrise vapors on the fjord

 Corvus Stone II by CORVUS STONE album cover Studio Album, 2014
4.53 | 46 ratings

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Corvus Stone II
Corvus Stone Crossover Prog

Review by Lute

5 stars I loved Corvus Stone's first album and planned to get this one as soon as it appeared. Then I saw that Sean Filkins is on it! Never imagined that combination. In fact it is hard to get my head around how many people are on this one. Finnish lyrics also.. check that out! The album sounds exactly like they did before but is wider and bigger and covers more styles than ever. Their blurb mentions Beatles and Jazz funk. After Jussipussi on album 1, it's obvious that there will always be surprises with this lot. Shock in fact. It is impossible to choose any favourites here. That changes with each play. I would be surprised to find anyone who didn't love at least half of this album. Incredible and yes it is even better than the first.
 A Sound & Space, Agreed by ONEVOICE album cover Studio Album, 2013
3.00 | 2 ratings

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A Sound & Space, Agreed
Onevoice Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Onevoice is the pseudonym of a new artist from New York, USA, his name is Dan Costello and he appears to be a multi-instrumentalist and a singer.Citing Genesis, Yes and Rush as his main influences, he recorded and released his debut ''A sound and space, agreed'' in September 2013, making it available as a bandcamp free download.While no credits regarding the recording had been launched, it seems certain that he recorded this album all alone with only some help on female vocals.

Costello has done a great job, recording and mixing the vocal and instrumental parts of the album, which seem to be the key factors for offering a decent one-man album, as ''A sound and space, agreed'' could have been easily a team effort.Regarding the compositions, there range from decent to even excellent.Does his main influences appear on the album?The answer is yes, albeit more in the background, Costello actually uses the pomposity of the aforementioned legendary groups as a guiding light towards a very fresh and contemporary style, which also contains a heavy dash of Pop sensibilities.His work here reminds me of the solo albums by Sky Architect's drummer CHRIS with strong overtones by the sound of PHIDEAUX, A.C.T., ACTIVE HEED and JOHNNY UNICORN.His music is characterized by poppy vocal lines over a trully melodic still progressive content, which includes playful piano lines, tricky keyboards and dynamic guitar parts.A nice mix of Neo Prog, synth-driven Sympho Rock and Pop, featuring lots of grandiose keys, sometimes with a Classical background, flashy and powerful synths, atmospheric soundscapes and a great number of tempo changes, eventually delivering a nice little treasure.Moreover Costello found a way to create a very natural sound, even if the drum parts, for example, are definitely programmed.Costello's music menu contains also some very dramatic tunes in the vein of Classic Prog bands, which combined captivating arrangements with melodramatic lyrical textures.

Under-the-radar dynamic, updated and fresh Prog Rock release.Mostly keyboard-based, featuring fast-paced rhythms, intense melodies, pleasant tunes and intricate breaks.Strongly recommended...3.5 stars.

 Signals by PREACHER album cover Studio Album, 2014
4.00 | 1 ratings

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Signals
Preacher Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

— First review of this album —
4 stars Preacher may well be the new prog kid on the block, a British 8 piece band that has an intrepid vision amid strong progressive rock influences, infusing old school stylistics with a modern and fresh approach. The music yearns for a sense of sonic perfection and groove that is entirely admirable, committed to creating timeless classics that remain ingrained and thus enjoyed. There are some overt Floydian aspects such as the use of female backing vocalists that actually punctuate the themes as opposed to just whoosh in the back ground but in many ways Preacher integrate some different tinges to the whole brew. In fact upon further investigation, my belief is that the Floydian influence is not as pronounced as the rather overt Traffic-like feel, at times veering closely to The Low Spark/Shootout era. Lead vocalist Martin Murphy has a husky voice that can wander between Bob Seger, Runrig's Donnie Munro, the raspy Joe Cocker and good old David Gilmour but his delivery is always sincere and immaculate. Needless to say the vocals department is way up the ladder in terms of quality. Instrumentally , the players are all first rate, from solid drummer Iain Duncan, fluid bassist Gordon Munro , keyboardist Arnie Burgoyne, whilst the guitars are divided between acoustic (Ron Rodgers) and electric (Greg Murphy). This versatile group has done plenty live gigs in order to hone their craft and this confidence is overtly audible on the disc. They seem to be fit and pumped to become a strong future player on the prog scene.

All the 12 tracks are unique unto itself, though nothing is longer than 6 minutes and yet there is no sense of something missing, each piece content to deliver the goods, be it melodically as well as creatively. Very solid vision in terms of stylizing a progressive yet accessible approach, based on powerful ideas and deliveries that permeates each second of every track. Guitarist Greg Murphy has a slicing style that is always on the lookout for some sizzle, each solo fiery and tempestuous, one can only imagine what the live setting would sound like! The Traffic influences seem to be more in that bluesy prog vein that showcases a mood for a particular day. Though the title may imply imitation, "Time "is a different vibe that the PF classic, actually closer to recent Fish, a sorrowful piano-led lament laden with stark melancholia, the 'ooh' and 'aah' backing vocals doing a real job pushing the piece forward, and slit open by a very restrained and laid-back bluesy guitar solo that just never bursts through the obscured clouds. Holding back, are you Preacherman?

The bombastic "Jupiter" is a killer track, a devious infiltration of your sonic defenses and carpet-bombing your prog Spidey senses with bliss and glee. Martin extols the virtues of his throaty voice, piano firmly in the saddle, a chorus straight out of the PF cast, and a slow burn spiral axe solo that amuses and excites. There you go, lads!

With slapping waves, "The Sea" has an extended lead guitar flurry that is both exalting and visceral. A roller coaster ride that has all the classic blues traits, everyday lyrics full of longing and a standard rock delivery, bursting with emotion and collared by a whopping chorus. Arnie Burgoyne again leads his piano along without any hesitation.

The band has the balls to get a bit raunchy as a track like "Fat Cats" is so loaded with sweltering prize and aural stimulation that you start shaking your head, just like I did. Fresh, vibrant and mostly different than any of your pre-conceived expectations, these visceral brits get it! More bar-room brawn than pretty symphonics, the perspiration level here is quite apparent.

On a track like "Cry For Help" , things really start heating up, a blues torch song with soothing backing vocals, a Beatles feel stemming from the harpsichord-like motif that sugar coats the roiling, smoking organ swirl that shovels the clean guitar melody, I even thought I was listening to Roy Buchanan for a sec! This is blues-rock at its very finest. Lashing out at 'government plans', is prog becoming political, perhaps?

The title track just keeps the palpitating ear even more delighted, a colossal explosion of deep felt genius. The focus here is on bombast a bit like the style Procol Harum did so well, way back when. Martin growls through like some drunken sailor who had listened only to Joe Cocker all his naval life. Blustering guitar, a dirty lead vocal, sweltering keys and a rhythm tandem that kicks ass, well you get this kind of beautiful ear candy. Wow!

The spell-binding "Arrival" on the other hand, is the outright jewel here, the siren that hypnotized me to hunt this band down, a frightfully delirious masterpiece that has both very primitive beats and a nasty cinematic disposition. This once again bluesy piece has a highly urban cool feel, every instrument seems to be utterly incandescent and a sense of pacing and voyage that is laudable to the highest degree.

This vivid impression continues with "First Contact" another winner in the kick-ass blues rock category and way more visceral, hence the Traffic analogies, a style that is clearly not as atmospheric as the celebrated PF. Greg unleashes a torrid solo that will shiver your timbers, man this guy is really excellent and prolific!

Spooky keys ignite "The Factor", an ominous diminutive ode that inspires to hypnotize and convey some conspiracy, as we live in a world of endless lies, obscuration and treachery. Martin spews, rambles and rages like a man possessed, a clear indication of how great this band would be live.

The harder-edged "Friends of our Dreams" possesses that stiffer style in spades, as made evident on the quasi Dave Brock of Hawkwind rifferama, which also has this snarling electro cockiness, tossing out Roxy Music references on oboe and shuttling some turbulent guitar whirls that will make you stand up for the Preacher- man. Ridiculously good music.

You want celestial bombast? "Our Destiny" just takes the cake, a hurricane-fed track that could easily have been a prog-metal ballad a la Symphony X, the grandiose melody straight out of Heavensville. Jangly guitars, ethereal organ and a somber voice dripping affected solemnity, the power is soon ratcheted up to the bone, a painful bluesy legacy with a huge chorus, voices ablaze.

Okay they will submit to having the backing vocalists give the mike a whirl, a soul-full expanse that gives Martin Murphy the opening to really shine, riding a colossal hymn into the sunset, a metronome beat guiding the way. "I Will Be There" is a scorching love song, an out and out syrupy blues lament, bolstered by torrential mellotron- like strings with intense organic and synthetic choirs as a further demonstration of their unique vibe. Shut things down with a Burgoyne synth solo that scours the oceans and the seas forever. You are a Preacher and I am converted!

As far as debuts go, this is one of the most interesting coming out of the UK in a long while, albeit in a more 70- 80's style.

4.5 vicar indicators

 Sanctuary by REED, ROBERT album cover Studio Album, 2014
4.26 | 8 ratings

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Sanctuary
Robert Reed Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars Robert Reed has been a prog mastermind for quite a while now, having first discovered him with his first group Cyan as well as working on the Fyreworks album, showing off his qualities as a composer and arranger whilst being well mannered on guitars and keyboards. His Magenta project is still running strong, his musical partnership with the amazing Christina Booth having dished out some memorable albums (Seven, Metamorphosis, the 27 Club). Recently, he has corralled some of the finest prog artists and released the terrific Celtic-infused Kompendium project. Being a manically prolific musical mind, he has finally resolved any solo album urges by honoring us with a tribute to Mike Oldfield and his Tubular Bells methodology. Now some may find that predatory and rather uninspired but I beg to differ, as I know of very few outright Tubular Bells cloning, even though artists such as Colin Masson or Amarok (the Polish band) will gentle poke the style espoused by the Ommadawner. Some negative minds might feel that 3 versions of TB from the master himself I more than enough, so why bother? Well, Robert Reed is not Mike Oldfield, he has every right to create an obviously unapologetic homage to whomever he feels is worthy of such acclaim. Oldfield was Reed's inspiration to make music, so this remains a quasi-religious experience for him that we should all applaud.

"Sanctuary" is a nearly 40 minute affair (a cool DVD shows you how it was done) that needs little enhancing explanation, the two long tracks follow the fluid orchestration, whereby additional instruments are layered onto the original theme, acoustic and electric guitars inviting the bass to enter the fray and blending in a variety of keyboards to expand the melodies, swerving by a few clever detours such as the mandolin, glockenspiel and voice choir sections. By bringing in Oldfield stalwarts Tom Newman as co-producer and Simon Heyworth doing the mastering, the sound will be pristine as such an immaculate exercise demands to be.

Part 1 (20:41) "I worked hard to make the melodies stand on their own. I wanted to capture the emotion that Mike Oldfield managed to communicate through his playing" states Mr. Reed on his website and the importance of his mentor is entirely justified by the manner in which Robert captures his emotion in playing such glittering music. The main theme, repeated in a myriad of variations throughout the disc, sets the tone that will permeate the album. Electric guitar is the spotlight instrument and it utterly dominates the score. The Synergy vocalists do a phenomenal background canvas, the recorders offering up pastoral vistas, the sweet acoustic guitar weaves its country magic. The bass led section is an outright copy of the original which is okay mainly because the original was so good. Bouncy, hopeful and luminescent, the arrangement seeks out newer pastures and yet keeps to tradition. Spell-binding!

Part 2 (18:09) starts off with Moerlen-era Gong marimba/vibes that recall "Percolations" in a way, acoustic guitar, mandolin and flute entering the realm. BTW, Pierre Moerlen was an Oldfield sideman on a few albums, so this should come as no surprise. The judicious use of the tubular bells is a clever detail that only heightens the pleasure. Reed rips a seductive spark from his electric axe as the piece accelerates into bass/tympani overdrive. The main theme is underscored in a kaleidoscope of variations, the guitar carving the way. In typical fashion, the ebb and flow is grandiose, gushing and cinematographic, the voice chanting "Oh maka-che, maka- che, maka-chukala" sounds perhaps fraught with cliché but this only parallels the original script. Reed screwdrives his guitar-centric lead with ardent poise, screeching high and dry, showing off a skill he always has had in his back pocket. The marimba waves are magical, the road ahead glistening with sensation and amazement, the sublime voice of Angharad Brinn (check out the video I posted) seduces with unbridled ecstasy, a gentle Celtic lullaby propelled by a rather brilliant bass run and as such, is one of the finest moments on this recording. The outro reaches its natural climax with more background choir and a series of slippery solos (has there ever been a master of slippery guitar like Oldfield? Yeah, the humble Robert Reed!) And like Queen enjoyed stating on some of their albums, NO SYNTHESIZERS WERE USED in the making of this album.

One of the finest covers adorn the jacket, as well as supplying a DVD that offers various surround mix options as well as a few technical videos. A great deferential package from the man!

4.5 sonic asylums

 Crime Of The Century by SUPERTRAMP album cover Studio Album, 1974
4.34 | 1063 ratings

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Crime Of The Century
Supertramp Crossover Prog

Review by Michael678

4 stars ahhh, hello. my second actual review. and as a disclaimer for people who see my profile here, one of my ratings is NOT TRUE!!! i never even heard it in my life. just want it to get it out there right now. so anyway, Crime of the Century. released in September 1974, this turns 40 years old this year, and thankfully it will be re- released in December this year in honor of that. i cannot wait for that one bit!! and yes, i love this album, like alot. the 8 songs are just awesome and definitely hold up to prog standards. i consider it one of the gateway albums to prog, along with Moving Pictures by Rush, and Fragile & Going for the One by Yes, etc. etc. etc. blah blah blah blah blah. so, let's get on with the songs shall we!!

Side 1:

1. School - .......huh......funny to mention this beforehand but as of this review i am working on an analytical essay focusing a song's lyrics that relate to social justice; this is the song i chose for the essay. well, that is basically because the lyrics criticize the (mainly British) school system around the time of its release, not promoting individualism and try to be "civilized" and what not. They are awesome and so is the music, from the harmonica intro to the jam with the piano solo in the middle (probably played by Rick Davies), this 5:34 of greatness.

2. Bloody Well Right - kicking where the previous track left off, we are treated with a great electric piano solo by Davies that leads into the actual song itself. it became their first hit single in the US, reaching the Top 40 there, and it clearly shows. a catchy chorus, a saxophone coda (played by John Helliwell), and what not, though i wish this song was a little longer to be honest. but hey, i've got the bloody right to say!!

3. Hide in Your Shell - ah, yes, my favorite track on here. the theme of isolation and loneliness plays here, though i can see some motivation and what not within the lyrics as well, as in "You're not alone" or something (just like School). Roger Hodgson did an excellent job with this song, lyrically and musically, with my favorite part being the last couple minutes of the song. god, i love it all. i mean, this should be like some theme song for something in particular (*cough cough Crona from Soul Eater cough cough*). Really give it a listen.

4. Asylum - the unknown one of the bunch, ehy? this is another good tune, dealing with madness and denial and insanity and what not, with the music catching on with this mood, especially during the loud parts imo. even though it is kind of my least favorite on here, like i said it's still very good. and also, what is that noise at the very end of the song? just curious

Side 2

5. Dreamer - the BIG hit here, reaching the Top 20 in the U.K. (and the "Paris" version following suit 6 years later in the U.S.). everything's not a dream; it's reality. though some people try to get away from it with all of their dreams. that's what i think this song is about from listening to it, of course i could be wrong, but who cares!!! the lyrics are sing-along-like, the music is great as per usual, and the vocals as well by Hodgson (and Davies). i can see why it is one of the most popular of their songs.

6. Rudy - the proggiest track here, as well as the longest (7:19) and my other favorite. The intro here i believe is the proggiest moment on this album, helping the song move more along in the best way possible. the whole band fleshes out and jams well (though not 100% unfortunately) during the second part of the song. Rudy, the song's character here (obviously!), has no where to go in his life and is has had a bad life. it sucks, i get it, and im sympathetic for him. so, ummmmm, have fun on the train i guess? or have fun in a little field running everywhere with what appears to be some sort of tennis racket in hand (yes, the guy that's in my avatar i consider to be Rudy, idk if you disagree, though you probably would.

7. If Everyone Was Listening - i absolutely adore this song, the last huge favorite here. like Bloody Well Right however, i wish it was longer, i mean, it's the shortest track on the album (4:03). but, it is still fantastic, especially the lyrics, metaphoring (is that a real word?) the reality and a large amount of people, like in a city, with a circus act, hoping that nothing would fall apart and trying not collapse on its side or booty or wherever it may fall on.

8. Crime of the Century - ahhhh the title track. i like this song much more than on previous listens. i just felt like that there wasn't enough lyrics to cut out for it (like One More Red Nightmare (*GASPS!!!!*)), and once again i wish it were a little longer, but now i feel like it's short and sweet (that's a compliment btw). of course, the second half, instrumental, is just amazing. it's almost like a wrap-up (of course, i mean this is the last track), with a recurring theme here and there (the harmonica from School for example at the very end), fading out into obscurity, thus ending this album.

what can i say, this is an excellent addition to any prog collection, and maybe even just a regular old music collection in general. it is SO close to getting 5 stars however, from a couple of the negative comments i made (which i hope you can spot), so i give it 4 stars. it should be more like 4.5 stars if there is such a thing. this is Michael678, signing out, probably returning again one of these days.....

 Walking On A Flashlight Beam by LUNATIC SOUL album cover Studio Album, 2014
4.00 | 47 ratings

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Walking On A Flashlight Beam
Lunatic Soul Crossover Prog

Review by BrufordFreak

2 stars I was quite surprised at the palpable excitement I felt as I opened this album. I am equally surprised at my dramatic feelings of disappointment as I listened--as each song failed to meet my simple expectations: that Lunatic Soul's fourth album continue to show the signs of growth as the previous three had adequately done. Mariuz Duda's excellent and gifted voice isn't even put to good use until the third song!

1. "Shutting Out The Sun" (8:39) A lot of scratchy old-sounding samples and sounds drawn out offer an overly long development. The final 20 seconds are the best part! (7/10)

2. "Cold" (6:58) again I am disappointed with all of the old samples--including the rhythm box beat. Sounds like an early Kraftwerk song taken over by Alan Parsons Project. (7/10)

3. "Gutter" (8:42) the baseline bass riff is nice though it feels borrowed from a RIVERSIDE song. Awesome work in the fifth minute! And finally we get to hear the full power and talent of Mariuz Duda's voice! And I love the late entry of the keyboard wash at the 7:00 mark. (Why must Mariuz wait to the end of the songs to amp things up?!) (9/10)

4. "Stars Sellotaped" (1:34) is a very cute little spacey "outtake." More of this! (9/10)

5. "The Fear Within" (7:10) is an instrumental based on a simple and repetitive weave of a variety of tuned percussives--glockenspiel, wind chimes, Blue Man Group PVC tubes, to name a few. The stringed instrument that enters at the beginning of the third minute and, a little later, the "distant" industrial synth kind of disrupt the initial feel and mood bringing in an unsettling feel--which may be appropriate considering the song's title. The final two minutes follow the now-established "distant" industrial synth as an picked acoustic guitar plays over the top and, gradually, takes over--until the song's final minute, in which some very eerie synth washes, warbles, wooshes and whispers fill the void. (7/10)

6. "Treehouse" (5:31) begins with an electric piano's very simple chord progression. Mariuz' treated voice begins singing what feels like a fairly straightforward pop song. Straight time rock drum and bass beat joins in. The song often feels like it's beginning to unravel but then it seems to come back together again. Nothing very exciting or ear-catching happens for the first 3:10. Then a quite space with simple acoustic guitar strummed chord progression backs Mariuz dreamy voice--until the rock format returns at the four minute mark. (7/10)

7. "Pygmalion's Ladder" (12:02) opes with an ominous (promising!) guitar arpeggio progression--which is all too soon ruined by some cheap Middle Eastern "horn" (or fuzzed guitar) sound. By 1:30 the backbeat has become more like a classic Tangerine Dream keyboard-led sequence. Were the intermittent appearance by the annoying "horn" sound and it's equally grating melody removed from this song it might be pretty decent! In the fourth minute the foundation falls back to bass and arpeggiated guitar as a good (if typical) Mariuz vocal enters. The "chorus" at the 4:45 mark is a bit of a step down and then it's followed by an odd bridge of alternating synth (choral) chords and a disappointing fuzz guitar solo. Another shift at 6:18 while the Mike Oldfield-like muted fuzz guitar continues to solo. The eight minute shifts again into even more Oldfield-sounding territory. The section beginning around 8:14 is heavier and packs the kind of power and drama that one expects (and wants) from a Duda project. A beautiful little interlude of delicate sounds (arpeggiated acoustic guitar and kalimba) sets up a crashing entry into the near-end crescendo. Though this song is in constant forward development with very little thematic recapitulation, it just fails to ever really "get there." (8/10)

8. "Sky Drawn in Crayon" (4:59) is a ethereal vocal sung over finger-picked acoustic guitar and some various and sundry incidentals--playground children noises, midi-keyboard melodies, cyber-computer click/pop noises. This one never really gets anywhere. (7/10)

9. "Walking on a Flashlight Beam" (8:11) is a(nother) dull song until the Robert Smith/Cure guitar riffs of the last two and a half minutes. (8/10)

The antiquated sound samples used here feel so out-dated and simple and could have been so much more sophisticated. Plus, Mariuz' Lunatic Soul project seems hello-bent on taking the ANATHEMA Post Rock approach: taking simple melodies and rhythms for foundations and then slowly--sometimes painstakingly slowly--building over and around them. Unlike Anathema, however, Lunatic Soul's songs never seem to get anywhere--each song ends with me asking, "What was the point? What was the message? What was the intention?" As much as I like music like this that develops slowly, using space and time to convey a message with delicate timing, I'm beginning to think that Lunatic Soul lacks the vision to make lasting statements with their songs. Maybe they're tired. I cannot remember the last time I was so disappointed with an album I so highly anticipated.

2.5 stars. Definitely an album I feel deserves the "for collectors only" label.

 Corvus Stone II by CORVUS STONE album cover Studio Album, 2014
4.53 | 46 ratings

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Corvus Stone II
Corvus Stone Crossover Prog

Review by BrufordFreak

4 stars This is a much more mature and cohesive band effort than CS's debut album--with an entertaining (and often humorous!) concept entwining the collective of 16 songs. These very skilled musicians are showing a greater familiarity with each other and nice collaborative blend in their music than on their previous effort (in which many of the songs seemed contrived to give more flash and shine to individuals and to solos). The brief instrumental interludes between some of the longer songs are nice. My only complaint with this album is that when the occasional all-out rock song ("Purple Stone") or passage rears its head it takes the feel of the album, in my opinion, away from that of progressive rock and instead into a more "classic" "southern" rock zone. Once again I have to single out axeman Colin Tench: the man can play! And he seems to be a master of any style he chooses! Check out "Uncle Schunkle" to get a little taste of what I mean. It's like hearing Alvin Lee, Jeff Beck and Buddy Guy all in one! An astounding listening experience.

Album highlights: "Boots for Hire" (8:58) with its excellent keyboard guitar weaves, Krautrock rhythm lines, and excellent raspy vocal (kudos Staf Flaming) (9/10); the upbeat Santana-like "Scandinavians in Mexico" (5:06) (8/10); "Camelus Bactrianus" (8:42) (9/10); the extraordinary "Eternal Universe" (3:52) (10/10); the epic "Moaning Lisa" (14:08) (which feels like a tango in disguise as a waltz and has a delightfully unpredictable uptempo instrumental midsection) (8/10), and; the album's brief intro and outro. Nice variety of male vocalists--ALL quite good! Top notch recording and mixing (much better than on CSI) Kudos, Corvus Stone! You guys are gelling so well! Next album, I expect, will be your masterpiece.

4.5 stars, rated down for lack of convincing and cohesive stylistic flow within a 'concept' album.

 Belighted by IAMTHEMORNING album cover Studio Album, 2014
4.30 | 115 ratings

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Belighted
iamthemorning Crossover Prog

Review by BrufordFreak

4 stars While not as breathtakingly fresh as 2012's stunning debut, ~, Belighted is a step forward for this young duo of Russian songwriters. With Belighted iamthemorning steps into modern recording studio, collaborates with seasoned prog rock musicians, and lays down a more diverse palette of songs. What for me (and other reviewers) has really caught my attention is the growth and maturation of singer Marjana Semkina. Her delivery of the lyrics adds such a powerful emotional depth and 'heaviness' as to in effect upgrade what could be fairly run-of- the-mill songs into powerful masterpieces. I know of very few singers in progressive rock music--past or present--who have this kind of effect on a song's overall impact. In particular, "Romance," "The Simple Story," "Gerda," and "Reprise of Light/No Light," and the first and last "Intermission" benefit most dramatically from Ms. Semkina's growth--though no song graced with her vocal touch fails to engage and win over the listener. I have to agree, however, with other reviewers that I think it an overall damaging flaw of the album that Marjana's vocals are not mixed more prominently into the forefront.

The theme of having "Intermission" songs between most of the full-length, vocalized songs continues from ~ though here there are only five to work their magic between the ten full- length songs (most of which are presented in pairs). There is a difference on Belighted as the Intermissions are not so folk/neoclassical oriented. They are more like sound experiments, each showcasing a different instrument: Marjana's dreamy voice, guitar, piano & waves, cello & piano, and strings and voice, respectively. Each, in turn, is treated with various and sundry sound engineering effects.

Again, I can't say that this album has hit me with the same kind of power as their debut--but ~ was so fresh and unexpected. Belighted comes at you with Marjana's now familiar voice and a greater variety of backup and stylings, though Gleb's extraordinary piano work and strings arrangements are still quite present and essential to most every song. I am quite fascinated and taken with the five Intermissions, but there are two rather delicate piano-centric songs that don't lift off as well as my hopes and expectations desire despite Gleb's extraordinary talent ("Crowded Corridors" and "Os Lunatum"). I think I'm waiting for Marjana's input to take the songs to another level, to a some kind of soaring crescendo. These are by no means bad songs--and are intricately crafted pieces of beauty. They just could have been . . . more. And then there are three songs that simply don't click with me ("The Howler," "Romance" and "K.O.S.").

I agree that this is no sophomore slump. Belighted is a collection of beautiful, intricately crafted songs. Gleb and Marjana both display extraordinary growth, artistry, and skill. I want to give these shining young stars of modern music five stars but I think--I hope--that there is more, even better, music to come.

Five star songs: "To Human Misery," "The Simple Story," "Gerda," the Kate Bush-like "5/4, "Reprise of Light/No Light," and all of the "Intermissions."

4.5 star album that, unfortunately, leaves room for improvement.

 Daphne by DAPHNE album cover Studio Album, 1996
3.31 | 5 ratings

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Daphne
Daphne Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Despite being promoted by one of the biggest Italian labels, Mellow Records, Daphne from Veneto remained pretty unknown, even if their music was pretty attractive.They comprised of singer/flutist Umberto Casadei, keyboardist Michele Contini, bassist Andy Juliani, guitarist Mauro Lentola and drummer Davide Zanetti and their sole, self-titled release came out in 1996.

And what better way to open the album than a beautiful and long progressive opus like the 17-min. ''Nascita''.This follows the vein of other similar Italians acts of the period like LETHE, LOTHLORIEN, GRIMALKIN and ANCESTRY, showing full respect to the best Italian Prog tradition and pushing the whole symphonic style a bit further, showering a melodic sound with some Fusion washes and early FRANCO BATTIATO synth experiments.Great and captivating music with nice interplays, featuring balanced electric guitars, synths, organ as well as some flute work, swirling around poetic, romantic and dramatic lyrical segments, delivering complex instrumentals and showing a great consistency.''Aprile'' follows a more Neo Prog/AOR vein with good flute work and synths in evidence, containing some great vocal parts and electric solos, pretty memorable and enjoyable stuff.Other tracks are more inconsistent with a mixture of Blues, Folk and Rock'n'Roll stylings and less interesting ideas or musical executions.But the heavy Symphonic/Fusion sound of ''Untitled Nro 1'' will set things back on track, containing strong Classical influences on the organ parts and complex breaks and moves, based on guitars and synthesizers with a more experimental middle part, based on sound effects.''Pio albergo trivulzio'' is a nice surprise of Fusion and Funk sounds with expressive and theatrical vocals, somewhere between PETER GABRIEL's solo works and compatriots AREA, fine instrumental work as a whole , despite some thin period sounds.The sensitive outro ''Ultimo crepuscolo'' offers a melodic, light Symphonic Rock with flute and piano as the leading instruments, poetic vocals and some bursting electric guitars in the more bombastic parts.

Hard to pinpoint the traces of Daphne's musicians later on. Drummer Davide Zanetti worked for some time with Serena Rock Band, led by ex-Nuvole di Paglia singer Franco Serena, and he collaborated again with Daphne's guitarist Mauro Lentola in a band called L.A. Rox.I do not know if singer Umberto Casadei became a writer, but there are a couple of novels credited to a man with the same name, which is not very common.

Daphne's sole album is a great tribute to the Italian Symphonic Rock sound, slightly updated and featuring also some unimpressive and less proggy pieces.But the prog material is no less than fantastic and the album can only be labeled as ''strongly recommended''...3.5 stars.

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
3 United Kingdom
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A SECRET RIVER Sweden
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
APPLESEED Poland
AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
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
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
DAVID AXELROD United States
AZURETH Multi-National
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
BARON United Kingdom
BARROQUEJON Chile
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
THE BENZENE RING United States
ROBERT BERRY 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
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
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
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
CARY CLOUSER Canada
CLOVER SEEDS France
CLUB MERANO Finland
STEVE COCHRANE Canada
COHEED AND CAMBRIA United States
COLIN EDWIN AND JON DURANT Multi-National
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
DR FOLAMOUR France
DREAM THE ELECTRIC SLEEP United States
THE DREAMING TREE United Kingdom
DREDG United States
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
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
EYEVORY Germany
FAINT SIGNAL United States
FAIR TO MIDLAND United States
FAIRY TALE Slovakia
ALESSANDRO FARINELLA Italy
FATAL FUSION Norway
LA FE Chile
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
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
FUTURUM Czech Republic
GABRIEL BONDAGE United States
PETER GABRIEL United Kingdom
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
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
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
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
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
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
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
KEVLAR RED United Kingdom
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
LABORATOR France
YOGI LANG Germany
LANTINOR Russia
LISA LARUE United States
LAST TURION Germany
LAURA France
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