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CROSSOVER PROG

A Progressive Rock Sub-genre


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Crossover Prog definition

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

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

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

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

Current Team Members as at 01/22/2017

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

Crossover Prog Top Albums


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

4.31 | 1457 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 1219 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1875 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1308 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.21 | 1653 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 904 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 791 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.17 | 963 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.18 | 772 ratings
SNOWTORCH
Phideaux
4.17 | 743 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.19 | 508 ratings
~
iamthemorning
4.17 | 691 ratings
THE UNDERFALL YARD
Big Big Train
4.13 | 559 ratings
NIGHT
Gazpacho
4.10 | 1062 ratings
TUBULAR BELLS
Oldfield, Mike
4.13 | 381 ratings
HOUNDS OF LOVE
Bush, Kate
4.34 | 85 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.21 | 156 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.13 | 331 ratings
SPIRIT OF EDEN
Talk Talk
4.20 | 161 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.08 | 766 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.33 | 80 ratings
SON
Obiymy Doschu
4.10 | 355 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.12 | 260 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.09 | 392 ratings
PASSION - MUSIC FROM THE LAST TEMPTATION OF CHRIST
Gabriel, Peter
4.10 | 330 ratings
ONES & ZEROS - VOLUME 1
3RDegree
4.11 | 245 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.05 | 902 ratings
OK COMPUTER
Radiohead
4.06 | 539 ratings
AMAROK
Oldfield, Mike
4.10 | 266 ratings
THE DREAMING
Bush, Kate
4.07 | 379 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.14 | 164 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.21 | 110 ratings
MODRA RIJEKA
Indexi
4.33 | 66 ratings
TIME
Time
4.10 | 236 ratings
HAIR IN A G-STRING (UNFINISHED BUT SWEET)
Tench Project, Colin
4.07 | 331 ratings
CORVUS STONE II
Corvus Stone
4.09 | 243 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.07 | 332 ratings
PAMPERED MENIAL
Pavlov's Dog
4.04 | 480 ratings
TICK TOCK
Gazpacho
4.03 | 619 ratings
TALES OF MYSTERY AND IMAGINATION
Parsons Project, The Alan
4.12 | 159 ratings
SHINY EYED BABIES
Bent Knee
4.06 | 300 ratings
SHINE ON BRIGHTLY
Procol Harum
4.07 | 255 ratings
EL CIELO
Dredg
4.04 | 351 ratings
LUNATIC SOUL
Lunatic Soul
4.06 | 278 ratings
FOR YOUR PLEASURE
Roxy Music
4.02 | 516 ratings
NUMBER SEVEN
Phideaux
4.05 | 278 ratings
ROXY MUSIC
Roxy Music
4.08 | 200 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.04 | 280 ratings
ACT IV: REBIRTH IN REPRISE
Dear Hunter, The
4.16 | 103 ratings
THE GNOMON
Sunchild
4.04 | 290 ratings
RETURN TO OMMADAWN
Oldfield, Mike
4.04 | 262 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.34 | 51 ratings
APOCALYPSE OF THE MERCY
Bad Dreams
4.01 | 403 ratings
MARCH OF GHOSTS
Gazpacho
4.29 | 55 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
4.02 | 256 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
4.01 | 293 ratings
LIGHTHOUSE
iamthemorning
3.98 | 530 ratings
UP
Gabriel, Peter
4.00 | 355 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
4.04 | 183 ratings
GRAPPLING
Tea Club, The
4.01 | 259 ratings
GHOSTS
Frequency Drift
4.04 | 172 ratings
CINEMATIC
Lebowski
4.04 | 172 ratings
STRANGER HEADS PREVAIL
Thank You Scientist
4.02 | 216 ratings
THE LONG DIVISION
3RDegree
3.98 | 365 ratings
GRIMSPOUND
Big Big Train
3.96 | 541 ratings
EVEN IN THE QUIETEST MOMENTS ...
Supertramp
3.97 | 486 ratings
FOLKLORE
Big Big Train
4.12 | 93 ratings
EGO, GEORGIUS
Antczak, Jerzy
4.47 | 33 ratings
PEVNINA DETSTVA
Ursiny, Dezo
3.95 | 720 ratings
KID A
Radiohead
4.28 | 50 ratings
CHROMIUM
Talisma
4.24 | 54 ratings
SELECTIVE MEMORY
Témpano
3.99 | 243 ratings
LAUGHING STOCK
Talk Talk
4.13 | 80 ratings
BLUE JAYS
Hayward & Lodge
4.03 | 157 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
3.94 | 660 ratings
BREAKFAST IN AMERICA
Supertramp
4.00 | 207 ratings
CORVUS STONE UNSCREWED
Corvus Stone
4.09 | 100 ratings
VIER
Perfect Beings
4.18 | 65 ratings
ONES & ZEROS - VOLUME 0
3RDegree
4.27 | 48 ratings
Автограф / AUTOGRAPH
Autograph (Avtograf)
4.11 | 87 ratings
5
Banks, Tony
3.94 | 443 ratings
AMUSED TO DEATH
Waters, Roger
4.29 | 44 ratings
LIL' BEETHOVEN
Sparks
3.93 | 549 ratings
PETER GABRIEL 4 [AKA: MASK OR SECURITY]
Gabriel, Peter
4.03 | 133 ratings
KAYAK II [AKA: ALIBI]
Kayak
3.93 | 547 ratings
HERGEST RIDGE
Oldfield, Mike
4.12 | 77 ratings
ANCHOR DROPS
Umphrey's McGee
3.99 | 183 ratings
BROKEN CHINA
Wright, Richard
3.96 | 254 ratings
NEVER FOR EVER
Bush, Kate
4.05 | 109 ratings
AND THE GLASS HANDED KITES
Mew
3.97 | 210 ratings
ACT V: HYMNS WITH THE DEVIL IN CONFESSIONAL
Dear Hunter, The
4.09 | 83 ratings
EQUATIONS OF MEANING
Patterson - Eyre
3.94 | 288 ratings
THE KICK INSIDE
Bush, Kate
3.92 | 420 ratings
INCANTATIONS
Oldfield, Mike
3.98 | 169 ratings
AS YOUR MIND FLIES BY
Rare Bird
4.00 | 135 ratings
NO TENGAS MIEDO
Kant Freud Kafka
3.96 | 180 ratings
THE IMPERIAL HOTEL
Samurai Of Prog, The
3.99 | 133 ratings
VESPERTINE
Björk
4.17 | 54 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
4.18 | 51 ratings
EL FIN DE LA INFANCIA
Témpano
3.95 | 212 ratings
NEW WORLD (DELUXE EDITION)
Kerzner, Dave

Crossover Prog overlooked and obscure gems albums new


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

BROKEN CHINA
Wright, Richard
ONE OF SEVERAL POSSIBLE MUSIKS
Livgren, Kerry
THE LOST ART OF TIME TRAVEL
Presto Ballet
NARROW-CASTER
3RDegree

Latest Crossover Prog Music Reviews


 Vier by PERFECT BEINGS album cover Studio Album, 2018
4.09 | 100 ratings

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Vier
Perfect Beings Crossover Prog

Review by Booba Kastorsky

5 stars I rarely post 5 stars review, because IMHO 5 stars means something extraordinary. This album is close to it. It's packed with great melodies and hooks, clever arrangements and inventive solos.

Style? Really hard to say: one piece sounds like acoustic ballad, next - electronica, next- dreamy piece a-la classic Pink Floyd, then something that sound like a bit of Yes. Besides, there are lot of short, but tasteful and beautiful sax solos. There is even a piece of orchestral classical music that sounds a bit similar to Rimsky-Korsakov's Scheherazade! And very good vocal!

Is it what they call "prog"?

And all of those pieces blended together in very clever and smooth way, so they don't sound disjointed. And it doesn't have any weak tracks!

A reviewer on Amazon called this album a modern Tiles of Topographic Ocean. I don't think this is a compliment, because Vier is better! I disagree: I love classic Yes (not that circus that called "Yes" now!), but even bigger fans of the Tiles admit it has many boring and inconsistent moments.

As a contrast, Vier does not! I listened to it probably eight or ten times already, and each time I discovered something new and interesting. And I'm sure I have some new discoveries ahead!

And did I mention that sound quality is pretty good?

 Grimspound by BIG BIG TRAIN album cover Studio Album, 2017
3.98 | 365 ratings

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Grimspound
Big Big Train Crossover Prog

Review by wiz_d_kidd

2 stars Shortly after Grimspound came out, Big Big Train seemed to be the talk of the town. I couldn't click on a prog website without stumbling across news or raving reviews. A friend of mine recommended them, so I took a listen. Sorry to say, I just don't get what all the hype is about.

Overall, this album is not bad. In fact, it is just fine. It just fails to provide (me) with anything that is especially interesting, captivating, or moving. Let's look at some different aspects:

Aside from one instrumental piece, all of the tracks seem to share the same basic construction... play some introductory music, stop playing music and start singing, stop singing and start playing music, repeat several times. Then in the middle of the track, shift gears into a completely different mood.

I'm not a big fan of the either/or trade-off between groovy music and vocals. I like both at the same time. I find it more enjoyable when the band plays and the vocalist sings together, as one entity, not two separate entities trading time in the spotlight.

I'm also not a big fan of abrupt changes in mood, as if a new track has started. It really ruins the mental and emotional picture I established earlier in the song. It's kind of like a novel changing from a murder mystery to sci-fi fantasy half way through. It almost never makes sense.

So what about the quality of the vocals? I find them adequately average. They are pleasant enough, with no unnecessary melismatic runs or annoying note-seeking glides, but they are also of limited dynamic and spectral range. No faults or annoying habits, but nothing to write glowing reviews about, either. However, my ears perked up with interest when the female vocals started, and again when several vocalists harmonized together, but those instances were too few and far between.

And what of the music? There were plenty of musical interludes, and every so often a synth, or mellotron, or Hammond organ would chime in, but not for very long. There was occasional guitar presence, and lots of violin (which I love in prog music), but it was all very restrained, anti-climactic, and non-captivating. And despite enjoying Nick D'Virgilio in other settings, his drumming was constrained to basic background time-keeping. It was almost as if the band were trying their best to purposely restrain themselves. I kept wishing they would unshackle themselves and just let loose. I think they have the chops to do so, and the fact that they didn't (for whatever reason) was disappointing.

Overall, I would say that the album reminded me of a painting of a bowl of fruit on a table. Adequately executed, but lacking anything intriguing, interesting, stimulating, thought provoking, emotional, or adventurous. Worth a look, but nothing to dwell on. And while the artist(s) seemed to have the talent to paint a much more interesting picture, they failed to do so on this one. Two and a half stars.

 El Vuelo de los Olvidados by CANTURBE album cover Studio Album, 1980
2.96 | 12 ratings

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El Vuelo de los Olvidados
Canturbe Crossover Prog

Review by Matti
Prog Reviewer

4 stars Truth to be told, I didn't even know this Argentinan band a couple of hours ago. What makes me want to review this album - that I was just listening to from YouTube as a background listening for working - is the fact that there's only one rather unfavourable review. Apps79's objective description of the music actually isn't anything I would strongly disagree, but to me two stars feels a bit hard for such a pleasant album like this. "Anyone expecting the participation of [keyboardist Charly] Garcia would made a huge impact will be extremely dissapointed, as the album contains sporadic and very mellow keyboard colors throughout", he writes. Well, I had no expectations of any kind, and because of the low ratings I was prepared to change once again the haphazardly PA-picked Crossover Prog band in the Tube. I was happily delighted during my listening.

Yes, there's a strong ballad atmosphere on most tracks. But I find the album entity also dynamic enough to recommend it for anyone interested to hear mellow late-70's prog sung in Spanish. Something not so every-day stuff, right? The lead vocals of Jorge Garacotche are tender and clean, a bit like Don McLean on his highest, and the harmonies work well. The instrumentation favours acoustic guitar, and I wonder if this could be categorized as Prog Folk as well. On some songs piano does a great effect as the lead instrument. There's also at least one instrumental track (understandably I can't go into track-by-track details as I'm listening the album from YouTube).

The key word is mellowness, no doubt of that. Forget this if you're searching for edgy and complex prog. If you're fond of soft, pastoral and emotionally oriented Crossover or folk-oriented prog with light arrangements, I bet you'll have lots to enjoy here. 3˝ stars rounded upwards.

 Bankstatement by BANKS, TONY album cover Studio Album, 1989
2.74 | 76 ratings

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Bankstatement
Tony Banks Crossover Prog

Review by FalconBleck

3 stars #20 Review

I find really weird that this album was intended as a band project, and it is still listed in some sites as a separate entity to Tony solo works, when this is in fact a work composed and writen (mostly) by Tony Banks, even knowing that, i really apreciate the talents that he got for making this album.

And now the review:

1.- Throwback 8/10: A song that i first ignored, that has some really good moments, i don't usually talk about lyrics, but i really like the ones here, i like what it tells and how the singer reaches those notes. Another thing to point out is the video, wich has several nods to The Lamb Lies Down on Broadway, the video overall is really entertaining. The song itself may feel too happy with those horns, or sometimes really repetitive, but the Tony Banks factor clearly plays into here, wich makes the song be entertaining... and by the Tony Banks factor i mean that he has difficulties to do something simpler, but also he says that its intentional because he believes that pop songs need more beef, like his musical inspirations have done (The Beatles, Pet Shop sounds).

2.- I'll Be Waiting 4/10 Those synth clap sounds are back, this time for a more forgetable song (spoilers from a future review), this song would fit Calling All Stations, i can already imagine Ray Wilson singing this. With this song i really feel like i'm waiting for a more entertaining song to happen... the wait ain't so bad tho, there is interesting material here, expecting to have a better usage, like the pieces of music i have writen myself, except that i don't release them. Also, as i say to many songs... this one is also repetitive.

3.- Queen of Darkness 8/10: Based on the song "Lorca" from "The Red Wing Suite", feels like a new version from a song that i already like (spoilers), and "Lorca" feels based on "Final Chase" from the "Quicksilver Suite". If you have followed my reviews, you should know that i'm a fan of soundtracks, and that before Prog i was into movies and videogames soundtracks, and this song feels like an HD remaster of Lorca with interesting lyrics "If you wanted a creature from another dimension... i'm the answer", what is with that? I like it, and the voice work is excelent as well, the only downside to this song is the ending, wich feels boring, should've done a little more instead of a remaster with lyrics of "Lorca", but anyway, it still made for an entertaining song.

4.- That Night 7/10 A song clearly made from someone that specializes on keyboards, one really beautyful and melancholic song, really good voice work here. This song has a really interesting concept where the music and voice work contradicts each other on every verse until they mix together for the final, really nice idea that makes the song don't get old, but i feel like this song could've been expanded, made a part of a really large song, the fade-out at the end comes too soon.

5.- Raincloud 4/10 What is this? What a change from the last song feelings-wise, either way, it makes me feel really similar to what "I'll be waiting" did, except that this one could be on We Can't Dance and its repetitive, but it is more entertaining and has more variations than that one... if this song lasted 1 minute, it wouldn't lose that much.

6.- The Border 8/10: I really like the piano here, its repetitive but mesmerizing, the voice gives intensity and strenght to this song, that already feels more serious than everything previous on the album. Even with the little changes near the end, the song is still very repetitive, this song could be shorter... also, on a video for a certain Tony Banks tribute group (yes, there is one, i don't remember the name) they use an instrumental version of this song for introducing their concerts, it sounds really sweet. This song does what some songs previous on this album tried to do, a catchy sound to get us interested.

7.- Big Man 5/10 This starts like a SNES song and then it transforms into a Genesis/Mega Drive song, Tony would be really good at making videogame music... ok, aside from that, now Tony is singing, and he does a good job while telling bullies how they are. The problem with this song is that it gets repetitive quickly and tried to do an interesting chorus that comes out as boring.

8.- A House Needs a Roof 6/10 Tony really needs to make music for the Yamaha YM2612... this song is as 80s pop as a song can be, why wasn't this a hit? And as always, he needs to add something more and added a really minuscule keyboard solo, this is good, probably no for this site, but what can i do, this song works for what it is.

9.- The More I Hide It 4/10 This again reminds me to "The Waiting", yet this song tried to be interesting at one point, to add more, it really feels like this song was calculatedly crafted to add more "beef to pop", but in the end it falls short again, its the same case.

10.- Diamonds Aren't So Hard 7/10 It starts a little funny with happy music while telling horribly bad and ridiculous situtations, then the music makes you travel to a fictional world where diamonds aren't so hard to find, and that's how the song keeps being interesting, the changes one the song are welcome and the rythm is well done.

11.- Thursday the Twelfth 8/10: What an ending to this album, its as if a portal is distorting the world and re-organizing every physical entity while also making me dizzy. This instrumental track its a really interesting ending to an album that was supposed to be filled with pop-hits, yet Tony Banks can't contain himself from being weird, and you know, weird isn't bad. My problems with this song are that the intensity of the start decreases too fast, i feel like some people won't like this song for how it sounds or for being on 4/4, i like to be subjective on my reviews but i always seem to not make it that way, and in this case i can tell you, i'm clearly being biased because i just like this song.

So in the end this album gets a 62/100, wich is just 3 stars, almost 2.

My "5" review got lots of atention and i forgot to add on that one that i was updating my older reviews with "B-Sides", right now "Abacab" and "... And then there where three..." are already done, but i plan to continue with "Invisible Touch" and "Trespass". I'm sorry if it took so long for me to post, but i was so busy that i even forgot that i was doing reviews and now i'm back, hope you give Bankstatement a chance and for Tony Banks in general, he is a really good keyboardist and composer, probably one of the best and my biggest inspiration... well, not for that i'm gonna make inflated scores, i don't want to spoil it, but there's an album that "still" dissapoints me to this very day... ok, that was mean, goodbye.

 Airbag/How Am I Driving? by RADIOHEAD album cover Singles/EPs/Fan Club/Promo, 1998
3.82 | 50 ratings

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Airbag/How Am I Driving?
Radiohead Crossover Prog

Review by TCat
Prog Reviewer

4 stars This was an EP put out by Radiohead specifically for the North American market to bridge the gap between the albums "OK Computer" and the more experimental and electronic "Kid A". It consists of "Airbag" which is from the album "OK Computer", and this version is the exact same except that it has the original ending, where the album version flowed into the next track. It is a harder song and very good, with some prog elements in the final few minutes going on while the main opening theme plays again.

The rest of the tracks are most of the B-sides that were recorded at the same time as OK Computer, but were originally left off the album. "Pearly" is another hard song, but the vocals are more reminiscent of what was to come on the next album. It quiets down half way through with Thom's falsetto vocals, then builds again. "Meeting in the Aisle" is Radiohead's first instrumental. It consists of a repeating echoing guitar and is later joined by orchestrated sounds. Very mysterious sounding yet nice. You hear early experimental sounds from Radiohead here, but no vocals. "A Reminder" is very experimental, starting off with an automated announcement recorded from the Metro station at Prague. A slow rhythm is established with shimmering guitars and Thom's vocals start. There is a slow build, but it remains mostly mellow until the last minute where guitars start to whine and groan and then eventually drop off just before the end. "Polyethylene Pts. 1 & 2" starts off with an acoustic guitar and Thom singing. This goes on for a short time before it abruptly ends seeming like a false start almost, then goes into the full band which carries it through the rest of the song. This one is an excellent track and would have fit on perfectly to the main album. This is also a fan favorite but is more rock oriented than it is experimental. "Melatonin" is a beautiful song driven by lush synths and Thom's voice. It sounds simple but is a very challenging song to sing because of it's jumps in range. Percussion starts on the second verse, but it is quite subdued. Last of all is "Palo Alto" which in it's early stages, was to be the title track from "OK Computer". It starts out mellow, but becomes more intense after the first verse with an instrumental break, and continues with that pattern. The bridge after the 2nd verse remains intense and continues through the next instrumental break, then quiets again for the third verse, but feedback is added this time. It finishes intense with the last chorus and ends with sustained feedback. This is another track that would have fit well on the main album.

This EP was nominated for a Grammy, and competed against full length albums. It also fulfills it's purpose quite well as a bridge between two different kinds of albums in that all of the tracks would have fit quite well on either "Ok Computer" or "Kid A". These songs are all good as stand alone songs too, and that is why this EP works so well. The only issue here is this, is it worth searching for? You might be better off getting the Collector's Edition of "OK Computer" which is subtitled "OKNOTOK". This one has an extra disc (I'm talking about the vinyl version now, which is amazing} that has all of these tracks plus 3 others previously not available; "I Promise", "Man of War", and "Lift", plus two other B-sides not on the EP; "Lull" and "How I Made My Millions". So, if you see the EP in the discount bin,, definitely pick it up, but it has pretty much been made obsolete by the Collector's Edition of "Ok Computer". Still, it is a great collection of songs that would satisfy any fan and/or casual listener and still merits a 4 star rating.

 Pampered Menial & At The Sound Of The Bell by PAVLOV'S DOG album cover Boxset/Compilation, 1992
4.04 | 4 ratings

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Pampered Menial & At The Sound Of The Bell
Pavlov's Dog Crossover Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nş 186

"Pampered Menial & At The Sound Of The Bell" is a very special compilation of Pavlov's Dog. This is an economic package that includes the first two albums of Pavlov's Dog. I'm talking about "Pamperd Menial", released in 1974 and "At The Sound Of The Bell", released in 1976, on only one CD package. This is a very interesting compilation because it includes two very interesting albums of an original band at a very cheap price, what will be a very worth purchase for those who don't have yet the two original albums. "Pampered Menial" is an excellent album with some great tracks and "At The Sound Of The Bell" despite be not as good as the previous debut album is, has some really nice tracks too.

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

As I've already reviewed these two albums previously on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my both reviews. However in here, I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them track by track, as I made before, but I'm only going to make a global appreciation of both albums.

"Pampered Menial": "Pampered Menial" was their first and supposedly best album. It consists of strongly melodic tracks that focus more on strong melodies and tasty arrangements than complexity. And I guess it's the arrangements here that give the music its progressive edge. The mellotron is present in the sound all the time, and some brief passages also include flute, violin, organ and tasty moog. The synth solo in "Late November" has a very Wakeman feel and atmosphere. Other highlights include "Julia", the hard edged "Song Dance" and "Theme From Subway Sue". The latter must have one of the most emotional endings I've ever heard on a song, and David Surkamp takes his very distinctive high pitched vibrato voice to absurd heights. The most progressive tune here is "Of Once And Future Kings" and this complex track starts with a very medieval sounding intro called "Preludin". The only track that I don't care for here is "Natchez Trace" and this limp hard rocker lacks the strong melodies that characterize the rest of the album and doesn't seem to belong here. "Pampered Menial" will appeal to progressive rock fans who enjoys strong melodies and who doesn't necessarily want everything to be as complex as Gentle Giant, Van Der Graaf Generator or King Crimson.

"At The Sound Of The Bell": Their second album was a lighter and less powerful effort then their excellent debut, but the album is saved by generally strong songwriting and tasty arrangements. The atmospheric ballad "Standing Here With You (Megan's Song)" and the great "Early Morning On" features lots of strings that give these songs the majestic lift they needs. The opener "She Came Shining" and especially "Valkerie" are Pavlov's Dog classics of the same calibre as "Julia" from the debut. The sound and atmosphere of "Gold Nuggets" reminds me of something from the second part of "Tubular Bells". This is a great track too. The nice ballad "Mersey" and the poppy "She Breaks Like A Morning Sky" features saxophone, giving these songs a slightly different feel from the rest of the album. And just as on the debut, the most progressive songs are placed last on the album. The earlier mentioned "Early Morning On" has a cool mid part with a boy choir. While the closing number "Did You See Him Cry" is a complex and dramatic song. It's perhaps the best song ever wrote by them. Oh, and David Surkamp sings in a lower tone and in a more normal way here than on the debut, perhaps making this album easier to adapt to for those who have problems with high pitched vocals.

Conclusion: If you have the two studio albums of the two individual works, you don't need to buy this compilation because it has nothing new to offer, like bonus tracks, unless you have a collector spirit. However, if you don't have these two albums yet and you like less complex prog music and you don't have problems with high pitched vocals in the same vein of Geddy Lee of Rush, you willn't lose your time and money if you buy both albums. Still, if you aren't convinced by all my arguments, at least, you must listen to "Pampered Menial". This is really an excellent album with some kind of originality. In reality, Pavlov's Dog made a very powerful and balanced album, indeed. I think it's an excellent example of some of the best prog made in U.S.A., in the 70's. Like most of us know, in the 70's, the progressive rock music was practically a European phenomenon. So, American bands like Kansas, Starcastle, Pavlov's Dog and Blue Oyster Cult were, somehow, exceptions. So, Pavlov's Dog is one of the best examples of those times.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Magic Theatre by GANDALF album cover Studio Album, 1983
3.83 | 18 ratings

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Magic Theatre
Gandalf Crossover Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Austrian multi-instrumentalist Heinz Strobl goes by the alias of Gandalf for his musical journeys, and his conceptual LP from 1983, `Magic Theatre', is comprised of richly detailed instrumental passages that are frequently acoustic based alongside ethereal keyboards, sometimes even with soft ethnic touches, the artist crafting a fusion of ambient, New Age and the lightest of symphonic prog flair. His music can remind of everything from Mike Oldfield, Steve Hackett, Kitaro, Anthony Phillips and perhaps even Deuter's discs once he moved away from the more Krautrock-flavoured experimentation of his earliest works, but on `Magic Theatre' you can add in a pinch of the big symph-prog names like Genesis, Yes and Renaissance as well.

There's a touch of Genesis to the sleek guitar runs, upfront coursing bass, bubbly Moog spirals and announcing synth themes of opener `Entrance: The Corridor Of The Seven Doors'. `1st Door: Reflections From Childhood' bristles with strident acoustic strums and whirring Moog ruminations, but it's `2nd Door: Castles Of Sand' that will greatly appeal to prog-rock fans, being a thirteen-minute suite of multiple musical passages that move through everything from stark drama to intimate contemplations. There's Renaissance-like symphonic orchestral pomp, heartfelt solo piano reflections, sprightly jazzy bursts and an expertly revealing extended guitar run in the middle that is a masterclass in restraint and gradually building power, and many will identify it and the brief chanted choir-like climax with Mike Oldfield. `3rd Door: Loss Of Identity In The Labyrinth of Delusions' then closes the first side with a brief touch of danger to its heavy keyboard chords backed by distorted jagged sax and pounding drums.

The flip's `4th Door: The Magic Mirror' dazzles with victorious and crisp guitar runs dancing over fizzing keyboard washes with a touch of Mellotron creeping in, and the subtle `5th Door: Beyond The Wall Of Ignorance' channels Deuter's unfurling meditative atmospheres with careful reprising guitar themes flitting in and out, breezy flute, creaking sitar and controlled drum patterings. `6th Door: Peace Of Mind's mix of sighing Mellotron, sparkling electric piano and placid flute trills wrapped in the softest of eastern flavours hold several embracing reprising themes. Between drowsy and romantic sax wafting, `7th Door: The Fountain Of Real Joy's frantic guitar runs over buoyant thick driving bass and trilling synth noodling remind of the holy trinity of Howe, Squire and Wakeman of Yes at their most hopeful, and `Exit' is an uplifting and live-affirming farewell with lulling organ and sparkling acoustic/electric guitar ringing soloing that perhaps calls to mind Camel.

Such a crossover of styles means the LP has so much to offer. New Age listeners will get a weightier album than what would usually be expected to be found with something with that tag, ambient followers will find more colour and vibrancy than usual, and prog fans will discover something more tasteful and restrained than mere flashy show-off soloing. Full of wonder, instrumental flair and deep emotion, `Magic Theatre' is one of Gandalf's defining and most enduring works, and it even makes for a superb introduction to his musical world for newcomers.

Four stars.

 Tratando De Respirar En La Furia by HABITAT album cover Studio Album, 2010
3.64 | 22 ratings

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Tratando De Respirar En La Furia
Habitat Crossover Prog

Review by TenYearsAfter

3 stars Between 1998 and 2014 Argentinian progrock formation Habitat released five studio-albums, their latest effort is entitled Utensilios Y Artilugios. This review is about their previous effort Tratando De Resirar En La Furia from 2010. The musical brainchild is multi-instrumentalist Aldo Pinelli, supported by drummer/percussionist Roberto Sambrizzi.

The wonderful and instrumental opener La Luna Roja Y La Montańa Negra features guest musician Paula Dolcera, on flute. Obvious are the 70-75 Genesis hints: moving guitar like Hackett, then twanging acoustic guitars and dreamy flute play (also Camel comes to my mind). In the other 8 tracks the Hackett-like guitar is omnipresent, but blended with adventurous musical ideas, a few examples.

Periplo: bombastic keyboard sound with an Andalusian undertone, in the vein of Rock Andaluz gem Mezquita.

Torres: captivating final part with powerful drums and the distinctive clarinet sound (like in early Roxy Music).

The long Pastores De Renos: a bagpipe sound, then a swinging breaks with vibraphone and a beautiful end with classical guitar.

And the mellow Lenguaje Y Amber: it contains acoustic guitar and warm vocals.

The bonustrack is a very pleasant surprise, the Le Orme cover Gioco Di Bimba. The vocals are in Spanish, including the distinctive 'rolling r'. And we can enjoy the Argentine bandoneon and halfway a break with an ominous climate, like the Red-era from King Crimson, very special rendition of this Le Orme classic!

If you like early Genesis (or a Genesis inspired band like Neuschwanstein) and Camel (or Camel inspired bands like Rousseau and Lady Lake) and you are up to a typical Latin American Prog atmosphere, this is an album to discover.

My rating: 3,5 star.

 Sociedad Secreta de Melancolicos by CANTURBE album cover Studio Album, 2008
3.57 | 9 ratings

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Sociedad Secreta de Melancolicos
Canturbe Crossover Prog

Review by TenYearsAfter

3 stars Canturbe is an Argentinian band that released 5 studio-albums between 1980 and 1990 and returned to the scene after many years with this album in 2008. Later Canturbe also released the albums Tangos En Espera in 2011 and Flotteur in 2018.

The music in the 13 songs sound a bit subdued but very pleasant. A strong element is the warm, sometimes melancholical Spanish voice. And I am very pleased with the wide range of instruments, wonderfully blended into the songs. Like the distinctive bandoneon (strong interplay with the volume pedal electric guitar in Eternidades and Contrasenas) but also the vibraphone (Odiseo Por Buenos Aires), violin (Guarderia Para Melancolicos), saxophone and panflute (Tiro Al Argento) and acoustic guitar (beautiful soli in Guarderia Para Melancolicos and Una Mujer En Buenos Aires).

At some moments Canturbe their music evokes 70-77 Genesis, due to the lush keyboards, like the opener Tarde Ensayos and the dreamy final track Tarde Para Ensayos ' Instrumental. The composition Volando En Una Linterna even sounds like 24-carat symphonic rock, featuring a fluent rhythm and wonderful work on the electric guitar and synthesizers.

Canturbe their music is blended with strong musical ideas, emphasizing the captivating eclectic sound by Canturbe, this is an interesting comeback.

My rating: 3,5 star.

 Aerial by BUSH, KATE album cover Studio Album, 2005
3.82 | 231 ratings

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Aerial
Kate Bush Crossover Prog

Review by TCat
Prog Reviewer

5 stars After taking a long break from touring and recording, Kate Bush returned with this excellent double album. Sounding nothing like her previous album 'The Red Shoes', or really any of her other albums, this album shows mostly her strengths of songwriting and composition. For the most part, it is quite ambient, some songs with rhythm and some are just Kate and a piano. The real center of this album is Kate's beautiful and unique voice, and just like before, she has all kinds of vocal tricks up her sleeve.

Kate wanted to do a double album where each album focused on 2 different things. The first record is called 'A Sea of Honey' where each song is about a different person. The first one is an up-tempo song about Elvis and wondering what kinds of things he would be thinking about if he is alive somewhere out there. This was the only single to be released off this album, and it is also the oldest song on the album, written a few years before, but Kate never felt comfortable with it until now. 'Pi' is a mid tempo song with Kate singing in a dreamy yet surprisingly dynamic voice about a mathematician who has a fixation on numbers. The amazing thing is when she sings the endless number that represents Pi, and how she does it with so much emotion, like someone that actually has this personal attachment to numbers. This is something only Kate could do. 'Bertie' is about Kate's son, who was kept secret until Peter Gabriel spilled the beans to a reporter. This is an emotional and personal song. Her son was one of the main reasons why Kate took such a long sabbatical, she wanted to be involved in her son's life. The next song is 'Mrs. Bartolozzi' is a beautiful and emotional song about a fictional woman who basically has not much of a life, that when she washes her clothes, she stares into the washer and imagines it is a huge sea with waves crashing around. This turns into a romantic fantasy of sorts that is very sad that a washing machine is the one thing that takes her away from her mundane existence. This song is just Kate and a piano, but there is so much depth to this one that it is all you need.

'How to Be Invisible' is one of my favorites. It has a good beat to it, yet it stays slightly subdued. There is also a great guitar hook throughout the song that drives it forward. A very beautiful melody and catchy. Some have accused Kate of copying Radiohead's song 'How to Disappear' from 'Kid A', because both songs are about a book who's subject is disappearing. Kate said that if she had known that, she wouldn't have written the song, so I am personally glad she didn't know it. One of her biggest fears is writing a song that sounds like someone else's. The song is about a person that wants to become invisible. 'Joanni' is a mid tempo song about Joan of Arc. This one hasn't really phased me much yet, but it is a little more complicated, so I will give it time. Last of all on this half of the album, is 'A Choral Room', which is a portrait of Kate's mother and memories of her up to and including her death. This one is very personal and you feel Kate's love and heartache in her voice. This one is also just Kate and a piano, with a short interlude sung by Michael Wood.

The second record is entirely a suite of songs called 'An Endless Sky of Honey' which is about any day following the movement of light and birds. It starts off with a 'Prelude', which is the sounds of birds with synths and piano and Kate's son Bertie reciting a short spoken word passage. This follows into 'Prologue' and moves immediately to the afternoon. This one is mostly Kate's voice and a piano, but the difference between this one and the minimal tracks on the first record is this one is much more structured. 'An Architect's Dream' has a mid tempo beat driven by what sounds like bongos, but very softly. Keyboards and synths provide the instrumental background. It talks about an artist working (inspired by the painting 'Fishermen') and how the lines in the painting are like an architect's dream. 'The Painter's Link' is a short interlude where time moves into late afternoon and the painter's painting gets washed into a picture to streams of color. 'Sunset' is more of a soft jazzy number. In this one, the painter's colors transform into the sunset. The music builds into a faster rhythm, keeping with the jazz feel. Very nice. 'Ariel Tal' is another short interlude with birdsong and Kate starts to mimic the sound through wordless vocals as if she is talking to the birds. Even if it may sound corny on the surface, I love this carefree sound. 'Somewhere In Between' is everything you love about Kate Bush's music. Nice, lush instrumentation and Kate's beautiful voice. This one is my favorite on this part of the album. Gary Brooker is doing the male vocals here. The day moves into twilight as Kate reminisces about a romantic encounter. This one is simply beautiful.

The next track is 'Nocturn', which means we have reached nighttime. Kate and her lover go driving to the beach and spend the night swimming. This one seems less structured at first, but moves into a mid tempo with a driving rhythm. From the lyrics in this song and throughout the suite, Kate paints everything, every scene, just like a painting through her words. That is the main strength of this track especially as she treats the experience as a painting come to life. There is an instrumental section and then the sun starts to rise as the lovers realize they have spent the entire night there. The light climbs up an aerial and the reflection is blinding and the dreamers are waking. Next comes the title track 'Aerial'. The song builds with a driving rhythm as Kate wishes to climb up high with the sun and the birds. She starts mimicking the birds again and singing wordless vocals and laughing, expressing joy and excitement of a new day and the beauty of life and birdsong. Soon and instrumental section begins, percussion drives to Kate's vocals again. She makes us all want to be up on the roof, and soon after guitar and keyboards have an interlude again, a sampled chorus joins her on the roof.

This is an amazing album from an amazing talent, one of her absolute best. If you missed out on this one, then you need to get it for it's beauty and its progressive sound. Like I said before, it is mostly ambient, but it also has some surprisingly driving melodies also. Nothing is formulaic as far as traditional songwriting and singing goes. However, it is very accessible, but never predictable. The first record of the double album is probably more loose and improvisational sounding, where as the second record is more structured, but almost all of it has that ambient feeling to it, which only drives the beauty of it all. This is a must have for progressive rock lovers, especially for Kate Bush fans. It is an amazing album that never gets tiring. You will grow to love it more as you get more familiar with it also. 5 glowing stars for this one.

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
3 United Kingdom
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
AARDVARK United Kingdom
AARDVARK' Finland
THE AARON CLIFT EXPERIMENT United States
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AGRABAH Argentina
EDUARDO AGUILLAR Brazil
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALEPH Australia
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALPHA LIGHTING SYSTEM Mexico
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
AMAZING MACHINE Norway
THE AMAZING Sweden
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
AMPHETAMIN France
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
THE ANCHORESS United Kingdom
ANDERSON PONTY BAND Multi-National
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
JERZY ANTCZAK Poland
ANUBIS SPIRE United States
ANYWHERE United States
APATHEIA Czech Republic
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
APPLESMELLCOLOUR Spain
AQUA TALK Turkey
AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
ARCPELAGO Brazil
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARID GARDEN Italy
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
ARONORA Australia
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTIFICIAL HOME Latvia
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASIMÉTRICA Mexico
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIO'M France
AUDIOCRACY Multi-National
THE AURORA OBSERVATORY United States
AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
AUTUMN ABOVE United States
AUTUMN CHORUS United Kingdom
AUTUMN ELECTRIC United States
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
AUXFORD Russia
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
AMADEUS AWAD Lebanon
DAVID AXELROD United States
AZURETH Multi-National
BACKHAND Venezuela
BAD DREAMS Argentina
BADWATER FIRE COMPANY United States
JOE BAILEY United Kingdom
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
BALEIA Brazil
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
THE BARDS OF ANTIQUITY United States
NICKLAS BARKER Sweden
BARNUM'S FREAK Italy
BARON United Kingdom
MARTIN BARRE United Kingdom
BARROQUEJON Chile
SEBASTJAN BARTOL Slovenia
M.M. BARTULICA Bosnia and Herzegovina
COLIN BASS United Kingdom
BAT LENNY United States
BATISFERA Russia
BAUER Argentina
BE BOP DELUXE United Kingdom
BEAD GAME United States
BEAM-LIGHT Poland
DAVID BEDFORD United Kingdom
BEDUÍNOS A GASÓLEO Portugal
BELGRAD Poland
BEND SINISTER Canada
BENT KNEE United States
THE BENZENE RING United States
ROBERT BERRY United States
EMILY BEZAR United States
BIG BIG TRAIN United Kingdom
BIRZER BANDANA United Kingdom
BITTERTOWN Netherlands
BJÖRK Iceland
BLACK CAT BONES United Kingdom
THE BLACK LIGHT United Kingdom
BLACK MOTH SUPER RAINBOW United States
BLACK MOUNTAIN Canada
THE BLACK OF SPACE United States
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
BLURRED VISION Canada
THE BODY POLITIC Canada
BOMBER GOGGLES United States
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
THE BOY; THE BIRD & THE BEAST United States
VICTOR BRADY United States
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
BRIGHT BROWN United States
THE BRIMSTONE SOLAR RADIATION BAND Norway
TOM BRISLIN United States
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIERE France
DAVE BRONS United Kingdom
DUNCAN BROWNE United Kingdom
ROLAND BUHLMANN Switzerland
BUILT FOR THE FUTURE United States
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
BURNT BELIEF Multi-National
BURNTFIELD Multi-National
ALAIN BURO Belgium
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
C SIDES United Kingdom
CAIRO United Kingdom
CALIFORNIA GUITAR TRIO United States
CAMELION France
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
CAREWORN United Kingdom
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
LAURA CASALE United States
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
GUILLAUME CAZENAVE France
CEILING UNLIMITED United States
CELL15 United States
CELLULOID WINTER United States
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
RANI CHATOORGOON Canada
CHEETO'S MAGAZINE Spain
CHILDREN IN PARADISE France
CHIMPAN A United Kingdom
CHOICE Germany
CHOKE THE WORD United States
CHROME HOOF United Kingdom
CHURN MILK JOAN Multi-National
CINEMA SHOW Brazil
CIRCA United States
CIRCA SURVIVE United States
CIRCULINE United States
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
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COSMOS DREAM France
ROB COTTINGHAM United Kingdom
COZHE Finland
BEN CRAVEN Australia
CRAZY DUMBSAINT United States
CRAZY WORLD Finland
CRÉPUSCULE Germany
CRIMINAL CATERPILLAR Canada
CRIMSON STARS EYES Italy
CROSS Sweden
BEPPE CROVELLA Italy
CRYPTEX Germany
CRYSTALWOOD United States
CUAC! Spain
CUPRUM Czech Republic
PAUL CUSICK United Kingdom
THE CUSTODIAN United Kingdom
CYNOSURA Switzerland
CYRIL Germany
LAREN D'OR Hungary
NICK D'VIRGILIO United States
DAEMONIA Italy
DAMANEK United Kingdom
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 DÉCAMPS France
DEEP LIMBIC SYSTEM Mexico
DEERHOOF United States
DELIRIO SONORO Italy
DELIRIUM Mexico
DELTA SLEEP United Kingdom
DELUSION SQUARED France
DEMIAN CLAV France
JOE DENINZON United States
DESTROY ALL PLANETS 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
DIRECT DIVIDE 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
PASCAL VAN DEN DOOL Netherlands
DOPING HORNETS Canada
GEOFFREY DOWNES United Kingdom
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
EARTHKIND United States
EATLIZ Israel
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
ELEPHANT PLAZA Norway
ELIPHASZ Canada
ELORA France
ELYSIUM THEORY United States
KEITH EMERSON United Kingdom
GERT EMMENS Netherlands
EMPIRE United Kingdom
EMPIRICAL TIME Italy
AARON ENGLISH United States
ENINE Russia
ENNĎS TÓLA Australia
ENTITY PARADIGM Pakistan
ENTRANSIENT United States
EOS Chile
EPIICYCLE United States
ESAGIL Greece
ESFERA Portugal
ESP Multi-National
ETHERS EDGE United Kingdom
EVELINE Italy
EVEN HORSES Germany
EVENT United States
EX-WISE HEADS United Kingdom
EXISTENCE Canada
EXOVEX United States
EYEVORY Germany
FACE THE DAY Czech Republic
FAINT SIGNAL United States
FAIR TO MIDLAND United States
FAIRY TALE Slovakia
FALSTAFF France
ALESSANDRO FARINELLA Italy
FATAL FUSION Norway
LA FE Chile
FEED ME JACK United States
ALI FERGUSON United Kingdom
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 GARDEN United States
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
JEREMY FLOWER United States
FOBOS Argentina
FONTARABIE Canada
FORMATIV Multi-National
THE FORMER LIFE Italy
LORENZO ESPOSITO FORNASARI Italy
FORWARD SHAPES United States
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
FROSKULL United States
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
GALAXY-LIN Netherlands
GALIJA Yugoslavia
GALLERY Norway
GAMMA REPEATER United States
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
GENTLE KNIFE Norway
THE GENTLE STORM Netherlands
GENTLEMEN WITHOUT WEAPONS United Kingdom
GEPPETTO'S RETRIBUTION United States
GHOST CIRCUS Multi-National
GIANNOTTI United States
IL GIARDINO ONIRICO Italy
KEVIN GILBERT United States
KRISTOFFER GILDENLÖW Sweden
GIRAFFE United States
GIZMO United Kingdom
GLASFROSCH Australia
GLASS KITES Canada
YIANNIS GLEZOS Greece
GLORIE United States
GLORIOUS WOLF Netherlands
GODSTICKS United Kingdom
GOLDEN CAVES Netherlands
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
GRANDVAL France
GRAVITY TREE United States
GREEN Italy
THE GREEN VIOLINIST Belgium
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