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CROSSOVER PROG

A Progressive Rock Sub-genre


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Crossover Prog definition

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

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

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

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

Current Team Members as at 12/24/14

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

Crossover Prog Top Albums


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

4.34 | 1123 ratings
CRIME OF THE CENTURY
Supertramp
4.34 | 918 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1232 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.25 | 744 ratings
DOOMSDAY AFTERNOON
Phideaux
4.25 | 384 ratings
~
iamthemorning
4.19 | 1204 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 640 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.18 | 747 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 673 ratings
SNOWTORCH
Phideaux
4.17 | 549 ratings
THE UNDERFALL YARD
Big Big Train
4.14 | 561 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.15 | 462 ratings
NIGHT
Gazpacho
4.11 | 575 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.18 | 175 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.24 | 123 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.15 | 205 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.11 | 321 ratings
PASSION
Gabriel, Peter
4.06 | 818 ratings
TUBULAR BELLS
Oldfield, Mike
4.20 | 129 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.10 | 340 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.10 | 279 ratings
HOUNDS OF LOVE
Bush, Kate
4.07 | 430 ratings
AMAROK
Oldfield, Mike
4.10 | 263 ratings
SPIRIT OF EDEN
Talk Talk
4.08 | 281 ratings
LUNATIC SOUL
Lunatic Soul
4.08 | 274 ratings
PAMPERED MENIAL
Pavlov's Dog
4.16 | 128 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.21 | 98 ratings
MODRA RIJEKA
Indexi
4.02 | 722 ratings
OK COMPUTER
Radiohead
4.31 | 65 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.08 | 229 ratings
EL CIELO
Dredg
4.04 | 458 ratings
NUMBER SEVEN
Phideaux
4.08 | 232 ratings
CORVUS STONE II
Corvus Stone
4.03 | 505 ratings
TALES OF MYSTERY AND IMAGINATION - EDGAR ALLAN POE
Parsons Project, Alan
4.11 | 165 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.38 | 52 ratings
TIME
Time
4.22 | 86 ratings
THE GNOMON
Sunchild
4.03 | 414 ratings
TICK TOCK
Gazpacho
4.10 | 155 ratings
THE LONG DIVISION
3RDegree
4.04 | 277 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.06 | 196 ratings
THE DREAMING
Bush, Kate
4.04 | 230 ratings
SHINE ON BRIGHTLY
Procol Harum
4.05 | 212 ratings
FOR YOUR PLEASURE
Roxy Music
3.99 | 441 ratings
UP
Gabriel, Peter
4.06 | 175 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.01 | 332 ratings
PERFECT BEINGS
Perfect Beings
4.03 | 203 ratings
ROXY MUSIC
Roxy Music
4.07 | 137 ratings
CINEMATIC
Lebowski
4.13 | 91 ratings
AND THE GLASS HANDED KITES
Mew
4.00 | 217 ratings
GHOSTS
Frequency Drift
4.02 | 174 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
3.97 | 340 ratings
MARCH OF GHOSTS
Gazpacho
3.95 | 443 ratings
EVEN IN THE QUIETEST MOMENTS....
Supertramp
3.93 | 562 ratings
KID A
Radiohead
3.93 | 523 ratings
BREAKFAST IN AMERICA
Supertramp
3.97 | 223 ratings
BELIGHTED
iamthemorning
4.01 | 154 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
4.33 | 39 ratings
CHROMIUM
Talisma
3.98 | 184 ratings
LAID TO REST
Frequency Drift
3.95 | 308 ratings
AMUSED TO DEATH
Waters, Roger
4.02 | 130 ratings
AS YOUR MIND FLIES BY
Rare Bird
3.98 | 186 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
3.98 | 186 ratings
LAUGHING STOCK
Talk Talk
4.31 | 41 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
3.99 | 155 ratings
BROKEN CHINA
Wright, Richard
4.16 | 62 ratings
BLUE JAYS
Hayward & Lodge (The Moody Blues)
3.97 | 187 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
3.92 | 442 ratings
PETER GABRIEL (4 - "SECURITY" OR "MASK")
Gabriel, Peter
3.92 | 409 ratings
HERGEST RIDGE
Oldfield, Mike
4.01 | 131 ratings
RETURN TO MINGULAY
Oceans 5
4.12 | 68 ratings
AN OCEAN HELD ME
Mice On Stilts
3.96 | 193 ratings
NEVER FOR EVER
Bush, Kate
3.94 | 213 ratings
THE KICK INSIDE
Bush, Kate
4.06 | 84 ratings
MAPS OF NON-EXISTENT PLACES
Thank You Scientist
4.25 | 42 ratings
SELECTIVE MEMORY
Témpano
3.98 | 131 ratings
TROUBLE WITH MACHINES
District 97
3.90 | 314 ratings
INCANTATIONS
Oldfield, Mike
3.94 | 185 ratings
SYNAESTHESIA
Synaesthesia
4.22 | 43 ratings
BURNT BELIEF
Edwin and Jon Durant, Colin
3.99 | 119 ratings
THE END IS BEGUN
Three
3.99 | 109 ratings
THE ANCIENT TALE
Fatal Fusion
4.03 | 85 ratings
THINK LIKE A MOUNTAIN
Ritual
4.14 | 53 ratings
THE PATH OF LEAST EXISTENCE
Jet Black Sea
4.01 | 93 ratings
KAYAK II
Kayak
4.00 | 99 ratings
THE LIGHT BEYOND THE SHADES
Spleen Arcana
4.18 | 45 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
3.92 | 173 ratings
MOMENTS
IOEarth
4.03 | 77 ratings
NO TENGAS MIEDO
Kant Freud Kafka
3.93 | 152 ratings
THE WAR OF THE WORLDS
Wayne, Jeff
4.06 | 66 ratings
FABLES FROM A MAYFLY: WHAT I TELL YOU THREE TIMES IS TRUE
Fair To Midland
3.99 | 92 ratings
FEATHERGUN
Rishloo
3.89 | 239 ratings
PROCOL HARUM
Procol Harum
3.90 | 219 ratings
CHUPACABRAS
Phideaux
3.96 | 114 ratings
LA QUARTA VITTIMA
Zuffanti, Fabio
4.07 | 61 ratings
TURN OF THE TIDE
Arz
4.00 | 85 ratings
SANCTUARY
Reed, Robert
4.00 | 84 ratings
ENIGMA
Seven Side Diamond
3.92 | 159 ratings
WET DREAM
Wright, Richard
4.19 | 40 ratings
EL FIN DE LA INFANCIA (CHILDHOOD'S END)
Témpano
4.64 | 18 ratings
PEVNINA DETSTVA
Ursiny, Dezo
4.03 | 70 ratings
WHITE ROCK EXPERIENCE
State Urge

Crossover Prog overlooked and obscure gems albums new


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

ABBANDONO DEL TEMPO E DELLE FORME
J'Accuse..!
CONQUISTA
Alux Nahual
BLACK DOG THERE
Box, The
BROKEN CHINA
Wright, Richard

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Latest Crossover Prog Music Reviews


 Higher Dimensions by ACTIVE HEED album cover Studio Album, 2014
3.44 | 19 ratings

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Higher Dimensions
Active Heed Crossover Prog

Review by OneOpinion

4 stars Well I hate writing reviews but the low rating of this album convinced me to try and push it up. I almost bought this a while back but decided not to because of the one-star rating given by a collaborator I respect. Then I revisited this album yesterday after reading ProgJapan's review and additional ones posted after my first visit. So last night I decided to take the plunge. Glad I did. I have listened to it six times now and love it. Of course I was struck again how art is so subjective. This album is terrific in my humble opinion. I find the vocalist emotive with a wide range that I enjoy. Thank God he does not sound like everyone else. The keyboards are great, love the ever present mellotron. Guitars, drums, flute, etc... keep it very interesting. I do think the bass got lost in the mix but after almost 6 decades of loud music I have begun to lose those lower registers. The bass could be there for all I know. The sound/production are very clear. The songs show a nice range of styles and tempos. Great neo-prog. I really like this album. Highly recommended. Thanks ProgJapan for giving me the positive push.
 Broken by NINE INCH NAILS album cover Singles/EPs/Fan Club/Promo, 1992
3.49 | 40 ratings

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Broken
Nine Inch Nails Crossover Prog

Review by aglasshouse

5 stars In the late 80's, Trent Reznor originally envisioned a band that made subtle social commentary which was conveyed via. industrial rock. Thus, Pretty Hate Machine was released in 1989 to average popularity. However, Reznor himself believed that he had overdone it, and implied too much shameless self pity. Feeling that his point was ruined from the release, he planned another release and gave the public the EP Broken a few years later.

Trent, my god, good job with this one. Taking a metal edge instead of the indulgent mainstream industrial rock that the antecedent release was full of, this EP evolves not only the Industrial metal scene but also the band's structure. If I were to say, my favorite industrial metal band has always been Stabbing Westward. However, after finding and buying this little gem at a thrift store, I decided that Nine Inch Nails had thoroughly earned my respect as a whole.

The album ranges from flat out slamming metal to more complex, albeit stranger songs. The future Nine Inch Nails sound is still there, but if you are interested in such a raw version of this band then this would be definitely something for you. 'Wish' is a simple little tune, undoubtedly the most recognized from it, which follows a quick tempo as well as sudden bursts of angry static-style riffing. 'Last' is an absolute slammer, with giant hunky metallic riffs making for a pure ball of anger hitting you over and over. Simply excellent, and perhaps my personal favorite from the album. 'Help Me I'm In Hell' is an interesting bridge to 'Happiness in Slavery', another scream-filled song which Reznor pours his soul into. 'Gave Up' is more of an fast, alternative hard rock song with fewer industrial elements than the others. However, Reznor's voice has been modified which sounds like he's speaking into a fan. However, it does add some more feeling to the song.

Now, 'Gave Up' is perhaps where we would end, for the rest of the EP is simple blank space. But no, hidden at the end are two covers of two different bands. The first being 'Physical (You're So)', a cover of the post-punk band Adam and the Ants, is actually quite enjoyable. The band souped up the original to add more metal as well as more electronic influences and sounds. The second is 'Suck', a cover of the industrial rock band Pigface. It isn't as enjoyable as the former but it's still okay. I would call it more undoubtedly rock-y than metallic. Nice casual listen, though.

So, in the end, NiN's Wish is a fantastic EP. I would go so far as to say that this little gem is what undoubtedly got the band rolling. I suggest if you are any particular metal fan or even a fan of the band, get it, it'll be worth it.

(Originally Written for the Metal Music Archives on 2015-02-01)

 Incarnate by PANIC ROOM album cover Studio Album, 2014
3.69 | 61 ratings

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Incarnate
Panic Room Crossover Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

4 stars "Incarnate" is an excellent Panic Room album that has some of the most infectious melodic hard rock songs the band have produced. As always Anne-Marie Helder is an incredible asset as her crystalline vocals permeate the album. She has an angelic tone that evokes emotion and passion on every song. The album really grows on you; I heard it on repeat for some hours while renovating my house and it was very inspiring. The melodies are so well executed it actually becomes better with every listen.

Among the highlights are Velocity, Incarnate, Nothing New, All That We Are, Searching and Dust, that is one of the most ethereal and atmospheric tracks from the band. The themes include relationship breakdowns and the temptation to explore monogamous relationships.

The music is not heavy but still includes some great riffs and guitar licks. It is an hour of high quality music, not too heavy for those who like their metal light, and features enough brilliant lead breaks from O'Sullivan to satisfy those into well played lead guitar. The keyboards are handled well too by Edwards so it is a great band effort.

I was delighted with this album and hate to add to my top 10 albums of 2014. A great Panic Room album to add to their growing catalogue.

 Songs For Older Women by UMPHREY'S MCGEE album cover Live, 1999
4.82 | 2 ratings

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Songs For Older Women
Umphrey's McGee Crossover Prog

Review by Umph1348

5 stars This is a rare and much sought after dis from "Improg" giants Umphrey's McGee. While Kris Myers and Jake Cinninger are not part of this outfit (people who are familiar with this band or the "jam scene" know just how talented those players are), this live recording represents a burgeoning band that today (Late January 2015) is one of if the not the MOST tight and talented touring outfits on the plantet. If that statement seems like hyperbole, I encourage you to listen to almost any UM show (they can be found in countless places on the internet/YouTube/archive.org for free) and disagree. UM is as proggy as any band I can think of and are true masters of improvisation. In any case, this album represents their humble beginnings but also demonstrates the talent, humor and depth of musicality that made this band what it is today... Certainly "for collectors" as it is hard to track down but a "5" nonetheless because of what this album means to music history (read the first live release from one for the greatest live touring acts to take the stage, 2000+ shows and counting...)
 Higher Dimensions by ACTIVE HEED album cover Studio Album, 2014
3.44 | 19 ratings

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Higher Dimensions
Active Heed Crossover Prog

Review by ProgJapan

5 stars Progressive Rock is back!

The power of a stunning tone of classic progressive rock mixed with modern and actual sound put this album in the top 5 of 2014 releases in my opinion. In a period of no happy moments for creativity in progressive rock music, Higher Dimensions gave me the hope of a possible return of experimentation and fusion of genres that was typical of the earliest moments of this music genre. 'Higher Dimensions' is a concept album and like all the concept album, the best way to listen to it is to start from the first song and follow the story beneath every single song until finishing with the magnificent 'Not Left And Not Taken': masterpiece of rare beauty. With 'The War Of Tempos' the epic ride begins in the best possible way. This song reminds me the Rush music but it would be simplistic to compare Active Heed's music with other bands because their sounds is simply unique ed innovative at the same time. I think here we are in front to a modern evolution of the progressive rock, alive, fresh and with a touch of classic progressive that gives the entire album a sense of completion. It was a very long time since I didn't listen to a so awesome album and from the first to the last song: they are all beautiful!

I hope Active Heed will go live one day. It will be certainly fantastic to listen to the full story of Forest (the main character of first and this second album). The voice in the songs deserves to be interpreted like in a rock opera... Thank you Active Heed!

 Full Circle by SAGA album cover Studio Album, 1999
3.43 | 87 ratings

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Full Circle
Saga Crossover Prog

Review by FragileKings
Prog Reviewer

3 stars Full Circle. Indeed. You don't need to understand the significance of the title or artwork to appreciate this album, but the background history is important. Saga emerged in the late seventies with a style of music that fused the coming synthesizer-driven pop sound with hard rock guitars and a flair for progressive instrumental sections. Add to that songs of science fiction and intrigue and you have what made the first four albums Saga classics.

As the band found success in the early eighties, they struggled to keep their unique style all the while keeping up with the changing face of popular music and being guided by a management whose choices and advice were not always in the band's best interest. Key members left and somehow Saga struggled on. When the classic line-up re-grouped in the nineties it seemed all was well in the world again. But the nineties were uneven. They released an album that received much praise, did a soundtrack album that even the band disliked, did a concept narrative that is quite a fine piece of work, and followed that up with one of their least popular albums. What did they learn from all this? That it was time to go back to the beginning. Come around full circle. Start again making music like they used to.

An important element of the first four albums was the Chapters series: eight songs released two to an album and in random order that together created a jigsaw puzzle of a story about an alien race and Albert Einstein's brain. The first three album covers featured this alien race and we see here now that the aliens are back, this one emerging from its old skin all fresh and new, a symbol of the band's take on itself. And yes, with "Full Circle" a new series of Chapters begins. In that way, Saga had come full circle. How about the music, though?

The first couple of tunes don't really indicate that they have returned to their classic form. "Remember When (Chapter 9)" references some of their older song lyrics but that special progressive pop/rock music doesn't turn up on this track, even though the classic Saga sound does. "The One" is a solid but simple hard rock song with a great riff. A good stadium fist-pumper for sure, but it's not a classic prog song in any sense. "Follow Me" takes the pace down a bit an there's a chorus of children. If nothing else, the band is showing that they are not going to stick to any one formula for this album.

The band truly come full circle (i.e. return to their classic approach) by "Uncle Albert's Eyes (Chapter 13)" for which they stretch out a little more and give us one of their guitar / keyboard duels. This is looking promising. But will they keep it up?

From here on in, the album really shows us a variety of colours. The more proggy type sections appear on "Don't Say Goodbye", "Not This Way (Chapter 10)" and "A Night to Remember", meaning that the music is allowed to get ahead of the song at times. Saga's songs actually follow a standard pop format but it's where they work their instrumental sections that the band put themselves ahead of any standard pop rock act. However, true to their classic form, they still fit in some more typical pop and rock pieces like the acoustic-led "Home", a very powerful piece with pleasant acoustic guitar, and another hard rock number with "Time Bomb", featuring another great heavy riff.

The final track "Goodbye" uses only keyboards for atmosphere and Ian Crichton's wailing volume-control guitar notes over which Michael Sadler lays out the lyrics. It's a haunting piece, almost eerie when the vocals start, but also passionate. A surprise ending for this album, if you will.

I've had this album in my collection for nearly two years or so and I've always thought it was an enjoyable piece of work. Listening to it with a prog rating in mind, I was tempted at first to give two stars simply because I felt the prog quotient wasn't high enough. I have rated other albums I really like with two stars when I felt there was not much on there to represent prog. This is after all a site for progressive music and not Rate Your Music or Amazon. Hey, I give it four stars as a rock album! So, yeah, two stars at first but then as I listened carefully trough the other day I really felt it was too good to just get two stars. Though nothing like a prog classic, this album has variety, some well-exercised creativity, and some terrific musicianship, most notably Mr. Crichton's guitar playing which is always a pleasure to hear. And the Chapters series is back, and prog loves a good sci-fi story.

From my point of view, Saga wouldn't get around to doing a really good (crossover) progressive rock album until "Trust", but "Full Circle" is still worth listening to as a pop/rock album with progressive tendencies. Certainly a good album for newbies to hear. Welcome back, Saga.

 Big Blue Ball by GABRIEL, PETER album cover Studio Album, 2008
2.76 | 94 ratings

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Big Blue Ball
Peter Gabriel Crossover Prog

Review by Progosopher

4 stars Big Blue Ball is not so much a PG album as it is the result of several uber sessions of his Real World studio. Many different artists and styles are found here, more so than on your typical (if there is such a thing) release from Peter Gabriel. These artists include the expected, such as Papa Wemba and David Rhodes, and the unexpected such as Vernon Reid and Sinead O'Connor. A complete list of all those involved would be as long as any review, so I will not even try to get all the names in. A few more deserve mention, however: Natacha Atlas, Manu Katche, Tim Finn, Billy Cobham, Hossam Ramzy, and Marta Sebestyen. If you are familiar with these names you can get a sense for the World Music style found throughout this album. It is not even universally recognized as a PG album but this belies the fact that even if he is not found on every track, his presence is felt throughout. The sound is rich and clean. Many of the sessions were spontaneous and this gives the music a freshness that sounds great to my ears. PG gave the musicians space to create and let them do their stuff. And what wonderful stuff it is. But the original tapes, finished by 1995 (note the album release was not until 2008), were described by the man himself as a bit of a mess. Great performances do not a great album make. Production comes into play, and Stephen Hague was called in to organize it all into something worth listening to, much in the same way Teo Merceo organized a bunch of Miles Davis sessions into coherent albums. I think he did a good job. As an album, Big Blue Ball is not centered around any particular idea or plan. This is a collection of songs performed by dozens of different artists. The PG sung tune can be placed alongside anything else he has done. The rest run from the contemporary to the traditional, jazzy to atmospheric, pop to experimental. The mix of African, Asian, Latin, and European styles, often in the same song, is dizzying. This is not an album for purists; rather it is one of the global village signifying that music is music no matter how many different styles express it. As has been said before, music is a universal language. That may not be entirely true, but there is plenty of room for musical crossovers such as what we hear here. Many people may be turned off by the eclectic nature of the offering but I revel in it. The key here is that they are all good songs. My least favorite is actually the closing titular piece, which is the most pop of the bunch, but I understand why this became the name of the album. What better way to call our own planet and a project of people from all corners of it than Big Blue Ball? My favorites include the opener, Whole Thing, very PG, and Altus Silva, one of the more atmospheric pieces. Serious fans of music often say that they are open to new sounds but this is only so to varying degrees. If one wants to get away from the typical guitar-bass-drum-keys-vocals of most rock, this may be a good place to hear what is going on in other parts of the world, or as I should say, other parts of our global society. There is no good excuse to be bored by the same old thing as there are plenty of other options out there. And perhaps this is the broader purpose of Big Blue Ball; to introduce people to music from around the world. This is fully consistent with PG's WOMAD (World Music, Art and Dance). The world of music is more diverse than many of us realize. This is not to say that we would all enjoy all the different styles, but for the adventurous it is a grand and broad world. It is a big blue ball on which we live; explore it.
 Volta by BJÖRK album cover Studio Album, 2007
2.67 | 51 ratings

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Volta
Björk Crossover Prog

Review by Pastmaster

4 stars Bjork-Volta

'Volta' is the seventh studio album by Icelandic experimental musician Bjork.

Bjork is one of those musicians that really can't be placed under any one genre of music. She has combined rock, jazz, trip-hop, ambient, techno, industrial, and who knows what else. Because of this, I've always seen her as avant-garde or experimental. I grew up listening to her albums 'Debut', 'Post', and 'Homogenic', but I didn't get this album until about a year ago. With that, I must say this is one eclectic release.

The album opens with the pulsing tribal beats of 'Earth Intruders'. I love the atmosphere of this song, there is a lot of different experimentation with the electronics here. From droning to menacing effects, the electronics are very strong. Bjork's vocals are also very strong on this track. The song ends with boat horns and other noises, ending the song on a pretty odd note. 'Innocence' is another highlight, which begins with what sounds like a guy getting punched in the face. The beats in this song feel like a punch in the face, pulsing throughout. 'Vertebrae by Vertebrae' is an interesting song, starting out feeling like a film score. Later some electronic sounds come in, making it sound a bit different. 'Hope' is a unique track, containing tribal drumming and a clavichord into a surprisingly good mix. My favorite on the album is undeniably the droning 'Declare Independence' This song uses distortion perfectly, it soon developing a melody to it. Once the pounding beats come in, it immediately becomes a real headbanger. Bjork's vocals are very raw and it's awesome when she screams 'Declare Independence, Don't let them do that to you'. I love the lyrics on this one too.

Those are the highlights, but I like most of the songs on the album. The only songs I don't like are 'The Dull Flame of Desire' and 'My Juvenile', not only do I not usually like ballads, but I really don't like Antony Hegarty's vocals. He sounds like a lounge singer, making these duets sound incredibly cheesy.

Overall, I find this to be one of Bjork's best albums along with 'Homogenic' and 'Debut'. I highly recommend this album for anyone who wants something different and something that is very eclectic.

 Cosmos And Chaos (2013) 20th Anniversary Compendium by SYZYGY album cover Boxset/Compilation, 2014
3.00 | 2 ratings

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Cosmos And Chaos (2013) 20th Anniversary Compendium
Syzygy Crossover Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

3 stars Now this a really unique affair! In 2013 the band celebrated the 20th anniversary of their debut 'Cosmos And Chaos', and - without question - this is a valuable cause to release something special for the progressive rock community. Hence they do us the favour to provide a retrospective which features re-mastered, re-performed and even re-discovered band material, summed up by the motto 'Music For The Ears, Mind & Soul'. Alongside with the disc comes a nice book, just a compendium if you will, offering some interesting informations and neat personal insights. This is signed by the musicians on top of it, who are Carl E Baldassare (guitar) and Sam Giunta (keyboards) in particular, as they are founding members as well as the main composers, but also drummer Paul Mihacevic and Al Rolik (bass), who are longtime companions in the meanwhile.

What should one expect from an anniversary statement in terms of the music? Neither a remake of their fantastic live album 'A Glorious Disturbance', that figures, nor really new song material as such. So much the more we are going back to the band's start basically, this related with the fact that they had a kick off under another moniker, namely Witsend. The two previously unreleased songs Opus No. 1 and Opus No. 3 are of the rarest and earliest type hereby, and concerning the timeline there's another leap of 10 years backwards to accomplish. Former members Gary Priebe (bass) and Roman Zmudzinski (drums) are involved on this occasion. Here they are proving compositional and technical skills at any rate. The sound quality though, while being recorded on cassette tape, is obviously lacking of fidelity.

The song titles by the way are pointing to their classical and symphonic tinged roots, I'm quite sure. And it goes on in this way with some miniatures, which means short solo works on guitar and piano, and then going over to some duets and later on to several common debut album excerpts.which are showing the band in full power. Finally it's a real benefit to add two live cuts from 2010 to the collection. The compositions are shining in all its glory, featuring five musicians (a singer is on board too) in top form. As for that I strongly recommend to get in touch with 'A Glorious Disturbance'. However, this nicely packed anniversary compilation is a must have for fans either way, and surely a good starter if you are going to become aquainted with the early creative period of this band.

 Restriction by ARCHIVE album cover Studio Album, 2015
3.66 | 32 ratings

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Restriction
Archive Crossover Prog

Review by Gallifrey

3 stars My only other experience with Archive to this date has been with With Us Until You're Dead, about 6 months ago. And that was a very weird experience.

On first listen, I was totally fascinated. It was like a merger of Porcupine Tree with bleep bloop- era Radiohead, simultaneously being rocky and groove-ridden as electronic and intricate. So naturally, I put it straight in my 'regular rotation' playlist, as I thought it would be a record I needed to listen to a bit more. But strangely, the more I listened to it, the more it stopped being interesting and started being really, really annoying. Parts I once considered great now frustrate me to no end, and some parts I'm left wondering what I even liked about it at all. The compositions were so rooted in repetition of annoying fragments, very little in terms of strong melodies or ideas, and the idea of listening to it again makes me more nauseous than exciting.

And strangely enough, on Restriction, I've sort of had the opposite happen. On first listen, I felt the same way that I felt about With Us Until You're Dead at the end - this is lazy, uninteresting music that puts about as much effort into the songs as they do life into the performances. All the songs sounded like B-sides from a band like The Gathering, songs that have little blips of goodness in them, but overall just don't stand up on their own to be called 'songs'. But now that I've given it a bit more time, it's actually grown on me quite a bit, to the point where I'd nearly call it a 'good album'. It still has that feeling of laziness to it, and some of the tracks are utterly maddening, but there is more good than bad here, and at times the album's actually surprisingly solid.

The best part of the album happens at the end of the first half, with the run of 'End of Our Days' through to 'Half Built Houses', with Archive playing three of the best songs of their modern era in quick succession, all being slow, solemn, melodic songs. After a poor start to the album, 'End of Our Days' comes in with beautiful piano and vocals, but the track is really made by the fantastic use of vocal samples as ambience, creating beautiful layers of layers of sound during the song's climax. This then leads into 'Third Quarter Storm', another very soft ballad track, using the male vocalists this time, and proves that Archive can write some really nice melodies when they need to, there's some more great vocal layering here, and the song breaks into a thick synth section which is honestly the first time Archive do something electronic that doesn't sound uninspired. Thirdly we have 'Half Built Houses', which has some fantastic ambience again, this time made using distant tremolo guitars. It's honestly surprising how different these songs are to the first three, and I feel the album could be a bit better if they were more spread out.

But the album does pick up again after another gap of uninspired electro nonsense, for the last four tracks, and while they aren't as good as the three solemn tracks in the middle, they're still pretty decent and inoffensive. 'Crushed', despite continuing with that poor guitar tone, actually manages to get a bit of power and grit behind the song, actually feeling somewhat intense as opposed to weak and dated. 'Greater Goodbye' has a nice Anathema-esque vocal part over more ambient guitars, and like many songs here, feels like it could be a great track with a bit more work (although those 'la la la' vocals near the end are awful). 'Ladders' is a bit repetitive and annoying but it also has some nice melodies in it.

But while I enjoy these songs, there is still a great feeling of annoyance coming with these tracks. Taking big influence from Radiohead, the drums on the entire album sound straight off Kid A's title track, and not in a good way. Repetitive, uninteresting timbres riddle the entire record, with not so much as a glitch or a twist coming in to show of their producing skills. They use electronic percussion, but only use it for its bad parts, and not the good. And to add to that, and some of the less interesting timbres here (read: all the guitars and all the drums), many of the songs just quite simply don't have the substance to be worth anything.

The album's title track, and 'Ruination' are the only songs here I would really call bad, getting there by repeating one uninteresting line over and over and over until it becomes beyond the territory of uninteresting and into the territory of absolutely maddening. Especially in combination with that bloody guitar lick at the end of every phrase in the title track. God, I want to bloody punch my speakers every time it comes in. Opening track 'Feel It' starts off with a hellishly dull instrumental beat and one of the worst guitar parts I have ever heard, with only the vocals there to hold it up, but as the song progresses, some piano and raised intensity comes in to (almost) save it. In combination with the awful title track and the poor 'Kid Corner', the entire album gets off to a very poor start, which many will inevitably judge it on. 'Riding In Squares' starts off as one of the worst on the record, but about halfway through a truly awesome synth part comes in and turns it into one of the best. As I have already said, so many of these songs sound like low- effort b-sides that took five minutes to write. It's like I'm listening to a bunch of computer demos for a band about to go to studio to sort the bad from good.

But even if this album is very amateurish, maddening, and plain bad at times, there obviously is still some good here, and enough to bring me back to this record a couple of times. But personally, I wouldn't recommend this to anyone. The good is too scattered, and not worth going through the bad to get too. One thing I will give the entire album credit for is the flow - all the songs link together very well, although at times that is a bad thing and at times it's good, it certainly is the only thing that proves to me that Archive have put any real effort into this album. An okay album, but not one I'm likely to return to after this review.

6.2

Originally written for my Facebook page/blog: www.facebook.com/neoprogisbestprog

Data cached

Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
3 United Kingdom
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
AARDVARK United Kingdom
AARDVARK' Finland
THE AARON CLIFT EXPERIMENT United States
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
THE AMAZING Sweden
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
ANUBIS SPIRE United States
ANYWHERE United States
APATHEIA Czech Republic
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
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
BACKHAND Venezuela
BADWATER FIRE COMPANY United States
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
NICKLAS BARKER Sweden
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
BENT KNEE United States
THE BENZENE RING United States
ROBERT BERRY United States
EMILY BEZAR United States
BIG BIG TRAIN United Kingdom
BITTERTOWN Netherlands
BJÖRK Iceland
BLACK CAT BONES United Kingdom
BLACK MOTH SUPER RAINBOW United States
BLACK MOUNTAIN Canada
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
THE BODY POLITIC Canada
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
VICTOR BRADY United States
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
THE BRIMSTONE SOLAR RADIATION BAND Norway
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIERE France
DUNCAN BROWNE United Kingdom
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
CALIFORNIA GUITAR TRIO United States
THE BEN CAMERON PROJECT Australia
CANAMII South Africa
CANNATA United States
CANTURBE Argentina
CAP OUTRUN Sweden
CAPABILITY BROWN United Kingdom
CAPTAIN MARRYAT United Kingdom
FRANCK CARDUCCI Netherlands
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
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STEPHEN CAUDEL United Kingdom
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CELL15 United States
CHANCE France
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CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
CHEETO'S MAGAZINE Spain
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CHIMPAN A United Kingdom
CHOICE Germany
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CHROME HOOF United Kingdom
CHURN MILK JOAN Multi-National
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CITADEL France
CLARION Italy
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CLOVER SEEDS France
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COLOR Hungary
CONSPIRACY United Kingdom
CONTRACTION Canada
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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
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DIRTY PROJECTORS United States
DISCONNECT United States
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DISTRICT 97 United States
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DREDG United States
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MARK DUBERRY Ireland
FRANCIS DUNNERY United Kingdom
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DYNAMO BLISS Sweden
DYONISOS United States
DZEJBI Yugoslavia
ECHO Romania
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EDEL Multi-National
COLIN EDWIN AND JON DURANT Multi-National
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ELDBERG Iceland
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ELEND France
ELIPHASZ Canada
ELORA France
ELYSIUM THEORY United States
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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
FEROZ Mexico
FIBONACCI SEQUENCE United States
FIELD MUSIC United Kingdom
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
HEATHER FINDLAY United Kingdom
FIRE ON DAWSON Germany
FIREHORSE Germany
FISH ON FRIDAY Belgium
FLAUD LOGIC United States
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FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
FLOWER FLESH Italy
FOBOS Argentina
FONTARABIE Canada
THE FORMER LIFE Italy
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FOSSIL EVOLUTION Belgium
FOURTEEN TWENTYSIX Netherlands
FRACTAL MIRROR Netherlands
FRACTAL ROCK United States
FRAGILE Estonia
FRANC ALBIR Spain
FREDDEGREDDE Sweden
FREEDOM TO GLIDE United Kingdom
FREELIGHT United States
FREQUENCY DRIFT Germany
HASSE FRÖBERG MUSICAL COMPANION Sweden
FRXHO Mexico
FSB Bulgaria
FUCHS Germany
FUTURUM Czech Republic
GABRIEL BONDAGE United States
PETER GABRIEL United Kingdom
GALIJA Yugoslavia
GALLERY Norway
GANDALF Austria
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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
ISOS Canada
ISZIL Chile
IT BITES United Kingdom
J'ACCUSE..! Italy
J21 Spain
JAÉN KIEF Colombia
JANUS United Kingdom
JASPER WRATH United States
JAUGERNAUT (A.D.) United States
JEBEL United States
JEREMY United States
JEREMY IRONS AND THE RATGANG MALIBUS Sweden
JET BLACK SEA Netherlands
JHIMM United States
JODY GRIND United Kingdom
JONAS LINDBERG Sweden
JONO Sweden
JORM Sweden
KADDISFLY United States
KANT FREUD KAFKA Spain
KAOS MOON Canada
KASSINI United States
KAUKASUS Norway
KAYAK Netherlands
KAZACHSTÁN Czech Republic
KEDAMA Switzerland
KEEP IT DEEP Belgium
KEL LOCH & GOLD United States
MIKE KERSHAW United Kingdom
KERYGMATIC PROJECT Italy
DAVE KERZNER United States
KEVLAR RED United Kingdom
KID COUSIN United States
KIMURA France
KING RAT United Kingdom
KINO United States
KINZOKU-EBISU Japan
KISS KISS United States
KNIFEWORLD United Kingdom
KOI Sweden
KOMPENDIUM United Kingdom
KOSKA Spain
KRÁSNÉ NOVÉ STROJE Czech Republic
KRONER CIRKUS Poland
DAVE KULJU United States
KUMM Romania
KUNDABUFFER Argentina
KURKI Finland
KUUSUMUN PROFEETTA Finland
KVARTETTEN SOM SPRANGDE Sweden
LA YNE Finland
LABORATOR France
YOGI LANG Germany
LANTINOR Russia
LISA LARUE United States
LAST TURION Germany
LAURA France
LAVIŔNTICA Italy
LAYRA Italy
LAZY DOLL France
GUY LEBLANC Canada
LEBOWSKI Poland
JOHN LEES United Kingdom
LEVIATHAN United States
LIFE Sweden
LIGHT Netherlands
THE LIGHT AFTERNOON United Kingdom
LIMPID GREEN United States
LING TOSITE SIGURE Japan
A LIQUID LANDSCAPE Netherlands
LIRD VAN GOLES Switzerland
LIVES AND TIMES United Kingdom
KERRY LIVGREN United States
LIVING STILTS Italy
THE LIVING Canada
LOBATE SCARP United States
LOGAN DWIGHT Italy
LOONYPARK Poland
LOST WORLD Russia
JEAN-PIERRE LOUVETON France
LOVE DE VICE Poland
ARJEN ANTHONY LUCASSEN Netherlands
THE LUCK OF EDEN HALL United States
LUDUS United Kingdom
JOHANNES LULEY United States
LUNATIC SOUL Poland
PHILIPPE LUTTUN France
LÜÜP Greece
WILLIAM LYALL United Kingdom
LYRIAN United Kingdom
MACARTHUR United States
MACHINES DREAM Canada
MADAME BLAVATSKY OVERDRIVE United States
THE MADCAP LAUGHS United Kingdom
MADRIGAL United States
MAID MYRIAD United States
BRUCE MAIN United States
MAJESTIC X United States
BARIS MANCO Turkey
MANDILLO Italy
MANDRAKE PROJECT United States
MANFRED MANN'S PLAINS MUSIC South Africa
IL MANISCALCO MALDESTRO Italy
MANSUN United Kingdom
MANTIS Canada
LUC MARIANNI France
MARIANUS United States
MARS HOLLOW United States
RHYS MARSH Norway
MARTINI HENRY United States
COLIN MASSON United Kingdom
MASTERS OF THE AIRWAVES United States
MATERIA GRIS Argentina
MATERYA Italy
ALEJANDRO MATOS Argentina
MAVARA Iran
MAXIMUM INDIFFERENCE United States
THE MAYAN FACTOR United States
MAYFAIR Austria
JAMES (JIM) MCCARTY United Kingdom
MCDONALD & GILES United Kingdom
SIMON MCKECHNIE United Kingdom
MEKHLIN Denmark
MERGING CLUSTER Italy
STEVE MERLIN Netherlands
MERMAID KISS United Kingdom
MESEGLISE Italy
META United States
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METUS Poland
MEW Denmark
MICE ON STILTS New Zealand
MIDIAN Italy
MIGHT COULD United States
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LAS MIL DE ZAFIRO Argentina
MILLENNYA Norway
MARK MILLER United States
RICK MILLER Canada
MILLPLAT Japan
MIND United States
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MIND SPLIT EFFECT France
MINDMOVIE Germany
MINDSPEAK Austria
THE MINSTREL'S GHOST United States
MIRRELIA Canada
MIRROR PEOPLE United States
VLADIMIR MISIK Czech Republic
KENNY MITCHELL United Kingdom
MODEST MIDGET Netherlands
MOEBIUS CAT Canada
MOETAR United States
BARAK MOFFITT United States
MOGADOR Italy
MONTECHIARI PROJECT Brazil
THE MOODY BLUES United Kingdom
MOONLIGHT Poland
MOONLIGHT SKY Slovenia
MICHAEL MOORCOCK United Kingdom
MOPHO Brazil
PATRICK MORAZ Switzerland
MORRIGAN France
MOTAE United States
MOTHER SUPERIOR United Kingdom
MOTHER'S CAKE Austria
MOTHLITE United Kingdom
MOTION THEORY United Kingdom
MOTO PERPETUO Brazil
MOUNTAIN MIRRORS United States
MOZZARELLA Ecuador
MR. ALBERT SHOW Netherlands
MR. GOSHNESS Canada
MULTIFUSE United Kingdom
MY ETERNEL United States
MY NAME IS JANET Multi-National
THE MYND United Kingdom
MYTHO Italy
NA LEPEM PRIJAZNI Yugoslavia
HIROYUKI NAMBA Japan
JEFFREY NANESS United States
NANOOK OF THE NORTH Sweden
NAPIER'S BONES United Kingdom
NARANJA MECANICA Argentina
IAN NARCISI United States
NAVE Brazil
CHRIS NEAL Australia
LITTO NEBBIA Argentina
NEGUS Canada
BILL NELSON United Kingdom
NEO France
THE NERVE INSTITUTE United States
NETHERLAND DWARF Japan
NEURAL MASS Canada
NEVER WASN'T United States
NEW BEARD United States
NEW ENGLAND United States
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TOM NEWMAN United Kingdom
NICK-NACK United States
JAKE NIELSEN United States
NIGHTALES United States
NIGHTWINDS Canada
NIMBUS Chile
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NINE BOOKS Hungary
NINE DAYS' WONDER Germany
NINE INCH NAILS United States
NO TICKET Canada
NORDAGUST Norway
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THE NOUN United Kingdom
NOVA MALŔ STRANA Italy
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ŃU Spain
LA NUOVA ERA Italy
OAK Norway
OBIYMY DOSCHU Ukraine
OCEANS 5 United Kingdom
OCNOS Spain
OCTOBRE Canada
OCTOPIE Finland
ODESSA Italy
OF SOUND MIND Canada
OG MUSIQUE Belgium
OGRÓD WYOBRAźNI Poland
BARTOSZ OGRODOWICZ Poland
OH NO ONO Denmark
OH. Greece
OINGO BOINGO United States
THE OLD MAN & THE SEA Denmark
OLD ROCK CITY ORCHESTRA Italy
MIKE OLDFIELD United Kingdom
SALLY OLDFIELD Ireland
OLIVER United Kingdom
OMNIPRESENT United States
THE ONEIRA Multi-National
ONEVOICE United States
ONGKARA Russia
ONIRIC Italy
ONIRIC PROJECT Italy
ONTOFIELD United Kingdom
OPALE France
OPEN AIR France
OPHIUCUS France
THE OPIUM CARTEL Norway
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ORBS United States
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ORDINARY BRAINWASH Poland
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OSSICLES Norway
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OVER THE EARTH France
OVERHEAD Finland
OX.EAGLE.LION.MAN United Kingdom
PAATOS Sweden
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PALADIN United Kingdom
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PETR NOVAK Czech Republic
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PEZ Argentina
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PIKANTIK Poland
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PLAYGROUND Germany
PLAYLAND Japan
PLUTO Norway
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POLIFEMO Argentina
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PREACHER United Kingdom
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PURPLE United Kingdom
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