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CROSSOVER PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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 04/26/2015

Tom (Roland113)
Evolver (Scott)
tszirmay (Thomas)
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 | 1195 ratings
CRIME OF THE CENTURY
Supertramp
4.35 | 647 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.32 | 962 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1398 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.24 | 789 ratings
DOOMSDAY AFTERNOON
Phideaux
4.21 | 1324 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 782 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.23 | 399 ratings
~
iamthemorning
4.20 | 670 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.78 | 41 ratings
ONES & ZEROS: VOL. 1
3RDegree
4.17 | 689 ratings
SNOWTORCH
Phideaux
4.17 | 563 ratings
THE UNDERFALL YARD
Big Big Train
4.15 | 607 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.14 | 481 ratings
NIGHT
Gazpacho
4.12 | 604 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.23 | 128 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.11 | 300 ratings
HOUNDS OF LOVE
Bush, Kate
4.19 | 140 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.06 | 857 ratings
TUBULAR BELLS
Oldfield, Mike
4.11 | 260 ratings
CORVUS STONE II
Corvus Stone
4.09 | 335 ratings
PASSION
Gabriel, Peter
4.13 | 214 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.09 | 343 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.14 | 184 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.09 | 274 ratings
SPIRIT OF EDEN
Talk Talk
4.05 | 441 ratings
AMAROK
Oldfield, Mike
4.31 | 68 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.15 | 131 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.21 | 98 ratings
MODRA RIJEKA
Indexi
4.37 | 54 ratings
TIME
Time
4.08 | 235 ratings
EL CIELO
Dredg
4.02 | 761 ratings
OK COMPUTER
Radiohead
4.04 | 423 ratings
TICK TOCK
Gazpacho
4.03 | 525 ratings
TALES OF MYSTERY AND IMAGINATION - EDGAR ALLAN POE
Parsons Project, Alan
4.06 | 280 ratings
PAMPERED MENIAL
Pavlov's Dog
4.06 | 294 ratings
LUNATIC SOUL
Lunatic Soul
4.06 | 296 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.10 | 169 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.21 | 88 ratings
THE GNOMON
Sunchild
4.09 | 173 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.02 | 473 ratings
NUMBER SEVEN
Phideaux
4.06 | 209 ratings
THE DREAMING
Bush, Kate
4.04 | 241 ratings
SHINE ON BRIGHTLY
Procol Harum
4.04 | 220 ratings
FOR YOUR PLEASURE
Roxy Music
4.04 | 215 ratings
GHOSTS
Frequency Drift
4.06 | 170 ratings
THE LONG DIVISION
3RDegree
3.99 | 454 ratings
UP
Gabriel, Peter
4.00 | 350 ratings
MARCH OF GHOSTS
Gazpacho
4.07 | 139 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
4.02 | 212 ratings
ROXY MUSIC
Roxy Music
4.21 | 65 ratings
NEW WORLD
IOEarth
4.06 | 141 ratings
CINEMATIC
Lebowski
4.12 | 94 ratings
AND THE GLASS HANDED KITES
Mew
4.02 | 195 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.35 | 41 ratings
BURNT BELIEF
Edwin and Jon Durant, Colin
3.96 | 461 ratings
EVEN IN THE QUIETEST MOMENTS....
Supertramp
4.00 | 230 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
4.33 | 42 ratings
CHROMIUM
Talisma
4.32 | 43 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
4.10 | 95 ratings
THE IMPERIAL HOTEL
Samurai of Prog, The
4.10 | 95 ratings
SANCTUARY
Reed, Robert
3.94 | 597 ratings
KID A
Radiohead
4.11 | 88 ratings
NO TENGAS MIEDO
Kant Freud Kafka
4.00 | 181 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
4.00 | 177 ratings
LAID TO REST
Frequency Drift
3.96 | 346 ratings
PERFECT BEINGS
Perfect Beings
4.23 | 52 ratings
CORVUS STONE UNSCREWED
Corvus Stone
3.93 | 552 ratings
BREAKFAST IN AMERICA
Supertramp
4.15 | 65 ratings
BLUE JAYS
Hayward & Lodge (The Moody Blues)
3.98 | 195 ratings
LAUGHING STOCK
Talk Talk
3.93 | 418 ratings
HERGEST RIDGE
Oldfield, Mike
3.96 | 253 ratings
BELIGHTED
iamthemorning
3.94 | 331 ratings
AMUSED TO DEATH
Waters, Roger
4.01 | 132 ratings
NEW WORLD (DELUXE EDITION)
Kerzner, Dave
4.23 | 47 ratings
SELECTIVE MEMORY
Témpano
4.08 | 84 ratings
MAPS OF NON-EXISTENT PLACES
Thank You Scientist
3.92 | 468 ratings
PETER GABRIEL (4 - "SECURITY" OR "MASK")
Gabriel, Peter
3.96 | 205 ratings
NEVER FOR EVER
Bush, Kate
3.99 | 153 ratings
BROKEN CHINA
Wright, Richard
4.01 | 120 ratings
RETURN TO MINGULAY
Oceans 5
4.01 | 110 ratings
THE ANCIENT TALE
Fatal Fusion
3.94 | 226 ratings
THE KICK INSIDE
Bush, Kate
3.98 | 138 ratings
AS YOUR MIND FLIES BY
Rare Bird
4.18 | 48 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
3.99 | 122 ratings
THE END IS BEGUN
Three
3.94 | 185 ratings
MOMENTS
IOEarth
3.97 | 136 ratings
TROUBLE WITH MACHINES
District 97
4.19 | 47 ratings
THE PATH OF LEAST EXISTENCE
Jet Black Sea
4.08 | 68 ratings
WHITE ROCK EXPERIENCE
State Urge
4.09 | 67 ratings
AN OCEAN HELD ME
Mice On Stilts
4.55 | 22 ratings
PEVNINA DETSTVA
Ursiny, Dezo
4.03 | 87 ratings
THINK LIKE A MOUNTAIN
Ritual
4.10 | 62 ratings
ANCHOR DROPS
Umphrey's McGee
3.90 | 321 ratings
INCANTATIONS
Oldfield, Mike
3.93 | 203 ratings
SYNAESTHESIA
Synaesthesia
4.01 | 96 ratings
KAYAK II
Kayak
3.94 | 157 ratings
THE WAR OF THE WORLDS
Wayne, Jeff
3.99 | 106 ratings
VESPERTINE
Björk
3.97 | 121 ratings
HEART OF DARKNESS
Miller, Rick
4.02 | 83 ratings
ENIGMA
Seven Side Diamond

Crossover Prog overlooked and obscure gems albums new


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

STANDING STONE
Oliver
GENERAL WINTER'S SECRET MUSEUM
Tea Club, The
2. (ODCIEń CISZY)
Wozniak, Tadeusz
THE LOST ART OF TIME TRAVEL
Presto Ballet

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Latest Crossover Prog Music Reviews


 Ones & Zeros: vol. 1 by 3RDEGREE album cover Studio Album, 2015
4.78 | 41 ratings

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Ones & Zeros: vol. 1
3RDegree Crossover Prog

Review by LearsFool

5 stars If a recent to time of writing poll on the PA forum is any indication, usually cheerfully sung songs from major prog bands that are thinly veiling dark/terrifying subject matter (e.g. Yes with "South Side of The Sky" - it's about polar explorers freezing to death) don't connect like the artists clearly think they should. Perhaps, I now think, the fault lies with those artists, because there is no finer or more fully connecting piece of intentionally dissonant mainline prog then this surprise masterpiece.

I'll admit, being used to the more overtly dark musics of Throbbing Gristle, Nurse With Wound, and Swans, this concept album didn't chill my spine, but, and this is a further testament to 3RDegree's greatness, it instead engendered in me several smirks and laughs. This record is so clearly off and dystopian in theme, and the way the band went about it is so uniquely fine-tuned, that it's as likely to make a listener take humour in the dark subject matter as it is to make another listener freeze in their tracks in horror as they get up to get a frosty beverage from the fridge. The whole spiel about ageing being an obsolete disease is perfect on two counts, and the moment when I realised that this was a special album, reminding me of the "Barco AM PM" slice from "Lift Your Skinny Fists Like Antennas To Heaven" in the best way.

Oh, and the music! Beautiful and excellent modern cross. I think that this record achieves a great modernisation of the classic symph sonic pallet, achieving such in part by way of mixing in some juicy influences otherwise not inherent to that specific idiom, and bringing a poppy edge to parts of it in a good way. Perhaps 3RDegree is something like the second coming of Supertramp. The playing is stellar and the production is a great throwback to the analog age. Altogether, this is probably the best piece of mainline prog in a long time, one of the most successful concept albums for a longer time, and an album of the year candidate.

 Blue Days by INNER PROSPEKT album cover Studio Album, 2014
4.00 | 1 ratings

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Blue Days
Inner Prospekt Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

— First review of this album —
4 stars Alessandro is a crafty little Roman devil! Not content to redefine the classic RPI with his band Mad Crayon, he also explores the thin line between prog and electronica with his Inner Prospekt project. "Dreaming of Tony Banks" and "the Gene Machine" are both stellar musical propositions, offering electronic music done prog style, which means tons of soloing on a variety of keyboard instruments as well as typical prog structure. The pieces are developed, constantly in flux and never droning endlessly. In fact, it's quite vibrant, fresh and audacious, inspired by walking adventures in the mountains, breathless alpine scenery, deep gorges, icecaps, cascading rivers and dense forests.

"Blue Days " lifts off with a blazing piece entitled "High Snow" that actually adds voices (and not vocals) to an avalanche of slithering synthesizers, a gleaming undertow of electric piano that hints at Manfred Mann's classic Springsteen remake "Spirits in the Night", a nice choppy rhythm with a strong beat and a real good sensation. The jazzy feel can even evoke a distant Steely Dan feel that is sublime as the tortuous synth solo sweetly hisses amid the calmer mellotron pools as well as giving off a wintry feel.

The mood becomes quirky with the slippery "Valleys", a 6 minute synth-led piece that has all the rhythmic trimmings down pat, funky prog electronic music all rolled into one, mellotron howls just to remind you that this is definitely a prog rock work and not some fluffy facsimile. The solemn piano testifies to the constant veering into contrasting moods, at first elegantly effusive, then suddenly bombastic, urged on by rolling organ and whistling synth soloing. Thrilling and totally exciting and unpredictable with a minimalistic finale.

"The Path" sounds like some 60s breezy psychedelic affair at first , what with the windswept harmony vocals but when the scintillating synth takes over, front and center , you will be slain. Emanations of Banks, Mann, Bodin and Tillison abound, all dedicated keyboard virtuosos unafraid to take the lead. Alessandro's gravely and accented voice may startle at first but it's a personal testament by an artist that creates music for pleasure. As the title implies, "Sitting Back" is a more relaxed affair, where the atmospherics and the polyphonic rhythms kick in to create a restful excitation, a piano lounge on top of a mountain retreat, a panoramic view and some soothing sounds. Though accessible and jazzy, it's also quite experimental.

"Mrs Braies" relates to one of those 'hidden from the tourists' gems (like my favorite Seealpsee in Switzerland), the Braies valley in South Tyrol is an achingly gorgeous vista of an alpine green lake and its surrounding towering Dolomites peaks. The evocative music exudes a sense of massive grandeur, intense visual beauty expressed with bombastic mellotron waves, a sweeping synthesizer melody and also occasional gentleness.

Brash, jumpy, curious and vivacious just like any true 'bambino' or 'bambina', the final piece "My Child" insists on a vast arsenal of characteristics that keep you constantly alert and on your toes (just like a good father), the various keyboards expressing the thrill of discovery and adventure, the yearning for learning, the sweetness of innocence. Bubbly synthesizers lead the way, child voice effects and a slick rhythmic package keep the buzz alive and kicking. To add some more of a personal touch, Alessandro adds his voice to the blessing.

Every release from Inner Prospekt has been a total delight and I urge all prog fans to check this artist out at innerprospekt.bandcamp.com and see what all the fuss is about. Unless you dislike synthesizers, there is no reason not to give this a spin.

4.5 Azure mornings

 The Adventure of Harry and Walrus Kane by OCTOPIE album cover Studio Album, 2015
3.95 | 3 ratings

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The Adventure of Harry and Walrus Kane
Octopie Crossover Prog

Review by Matti
Collaborator Neo-Prog Team

4 stars OCTOPIE is a very skilled Finnish prog quartet with an epic-oriented debut album and an excellent EP preceding this new release. Now they're presenting a full-bred theme album telling a story, or a "rock opera" if you like, in the tradition of Tommy, The Lamb Lies Down on Broadway and Snow (though only in 45 minutes unlike those famous double albums). It's about rather surreal and obscure adventures of a protagonist, young man named Harry, who meets a talking walrus and is taken into oceanic adventures crowded with disco pirates, sirens and a whale. All this happens only in Harry's imagination if I'm getting it at all. There's a 24-page supplement with the lyrics and coloured drawings. Well, to be honest, I'd rather ignore the story and take this primarily as a musical work. Which is not to say that the story format wouldn't be essential part of the artistic impression, I'm just not that interested in trying to make much sense of the perplexing plot. Perhaps it's not even meant to be very deep and meaningful?

There are thirteen tracks of relatively short length (six of them under three minutes), but the whole has a feel of a singular epic. In the end it's just a matter of choice if the parts are separate tracks on the CD or sections of longer entities. This album is definitely meant to be listened in its entirety, so that's not an important question here, but I appreciate the track separation: makes it easier to follow, and to skip the irritating falsetto funk of 'Disco Pirates', the only track I don't like.

Vocals of Tom Tamlander (who also plays flute and bass) could be generally criticized as the weak link of this band, as they can be quite over-theatrical (poor man's Freddie Mercury) and amateurish-sounding especially on higher notes, but on this album they function mostly very well. Happily this is not a rock opera in the sense where the multitude of words would be used as a vehicle of narrative. That is, there's a good balance between sung and instrumental parts, and on more delicate sections such as 'A Theme from the Past' the emotional, wailing vocals don't get over the top so easily. The third track 'Into the Vortex' continues the strong beginning of the album with a great, atmospheric instrumental section starring guitar, and later after irritatingly shouty vocal lines there's another solo, this time for a Moog.

The music has a distinctive prog edge that sometimes reminds me of classics such as Thick As A Brick (JETHRO TULL probably being among Octopie's influences, especially for the Barre-like electric guitar). 'Whale Song' has some ZEPPELIN-like Heavy Prog ballad feel. 'Blast Off' is a fast instrumental with a virtuotic jazz-rock approach. 'Child Planet' with its choral parts is very quirky in the vein of QUEEN, 10cc and KLAATU (Hope, 1977), and the following 'Hymn for the Lonely People' is a calm and beautiful piano-centred little acoustic piece in which Tamlander's tender vocals work surprisingly well.

Yes, indeed this album is charmingly eclectic and musically ambitious in a good way. There are some less pleasant moments but that is easily forgiven. The musical competence in this band is among the best in today's Finnish prog, and the bravery of taking risks of sounding too pretentious is always better than doing everything the safest and the most common way. Applause!

 For Distant Viewing by LITTLE TYBEE album cover Studio Album, 2013
5.00 | 1 ratings

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For Distant Viewing
Little Tybee Crossover Prog

Review by Andy Webb
Forum & Site Admin Group Site and Forum Admin

— First review of this album —
5 stars Few albums have quite captured my attention and interest as much as Little Tybee's 2013 opus For Distant Viewing. The band, who have been around for about six or seven years now, have steadily been releasing quality albums every two years since their origin in 2009, but it wasn't until just a few months ago that I discovered the band. Based in Atlanta, Georgia, the band, who defies just about every genre convention someone puts them in, would have flown completely under my radar had it not been for their unique guitarist ' Josh Martin ' who plays an 8-string guitar, an odd instrument to accompany an indie/experimental/chamber pop rock band, or however you want to categorize them. I saw Martin in an instructional video he released for Ibanez describing 'glitch tapping,' a remarkable and incredibly technically difficult guitar technique that he himself thought up, or so he humbly puts in the video he's been practicing but isn't sure if anyone else has been doing it. His techniques give an entirely new voice to a very well-explored instrument, and even in the short snippets of Little Tybee songs he plays in the video, I could tell I would like this band.

For Distant Viewing, which is the band's third album, covers an immense amount of ground for a 44- minute long album. Like I mentioned earlier, there is no easy genre tag for this band, and there is no band quite like them that I've discovered yet. If there's one theme they keep throughout their music, it's that they are immensely melodic and unbelievably catchy. The music is undoubtedly progressive and in some places quite experimental, but there are more than a few songs on this album that pleasantly played in my head for days on end (I was very happy it was this way!). The album contains motes of dozens of genres, but the band seems to revolve around a core few for their unique sound ' the play between the violin, acoustic guitar, and piano gives the band a folky sound, while the clean electric guitar tones gives it an indie rock edge, the song structures and melodies give them a pop-rock feel, and the technical arrangements have a progressive tone throughout. In one, obsessively categorizing term, I suppose one could call the band an indie folk progressive pop rock band, but even then it would not quite encapsulate the entirety of the band's sound.

Another thing beyond the incredible uniqueness of the music that I love about this band is that each song is meticulously crafted to perfection. The band has said in a number of interviews that they bring the album on tour before they even record the album, allowing the band to play the songs live, honing and perfecting every tone and melody so that when they enter the studio, not only are they incredibly well rehearsed, but every note for each song has been proven to be exactly in the right spot. For this reason, each song is remarkably listenable. I love the element of progressive rock where the album is considered a single piece, and which songs themselves are isolated, they don't feel 'whole' without the support of their fellow album mates, with concept albums and rock operas being a perfect example of this. For Distant Viewing, however, seems to encapsulate both the pleasure of listening to an album through-and-through and also being able to pick a song out of the lineup and just play it, enjoying it for what it is. Each song compliments the other and the album flows gorgeously, but taking a song out of its context does not hinder its integrity whatsoever. Songs like 'Mind Grenade' and 'Hearing Blue,' which are personal favorites, could be played on repeat for hours on end I would still enjoy each song as much as if I listened to the entire album.

In addition to this element of completeness the album seemed to have, the album seemed to feed all the things I love about music in just the perfect amount. While I might listen to Scenes for a Memory when I want a heavy dose of technicality and a good concept or Blackwater Park if I want something truly heavy or Spirit of Eden if I want powerful melodies, For Distant Viewing seems to present everything in just the right doses that I'm satisfied. 'Mind Grenade' is an intensely catchy pop song that has just the right amount of experimentality to keep everything interesting and fun to listen to; 'Hearing Blue' is incredibly technical but still has a strong and gorgeous melody throughout; 'Fantastic Planet' is mellow, slower, and full or gorgeous songs, and even 'Left Right' is a bit heavy in its own way and has a strong base in jazz rock and even a bit of the avant-garde in some of the chord voicings. Little Tybee manages to mix all of these in while not trying to make it seem like they're using the song to showcase any one style. While Dream Theater's 'Dance of Eternity' is quite obviously a show of the band's technical prowess and not much else, Tybee touches on a myriad of elements in music while never focusing too long on one to make it seem worn out or overused.

For Distant Viewing, for me, is just about the best example of lighthearted, enjoyable progressive pop rock. Little Tybee doesn't take themselves too seriously, and you can tell just by listening to the recording that they truly enjoy what they're doing. I first discovered this album when I was going through an emotionally tumultuous time, and I can promise that this album stayed on repeat for hours on end and I just seemed to enjoy it more and more on each listen. The melody, the instrumentation, the subtle technicality of many of the parts, and the overall maturity of the songwriting showed that Little Tybee is a forced to be reckoned with in the music world, and I cannot wait to hear what they come out with next. 5 stars.

 Nothing To Fear by OINGO BOINGO album cover Studio Album, 1982
4.00 | 3 ratings

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Nothing To Fear
Oingo Boingo Crossover Prog

Review by Necrotica

4 stars Some bands are just too diverse to be pigeonholed in certain scenes and musical trends. The 90s rock band Morphine, for instance, is considered an alternative rock act; however, their saxophone-based jazz fusion sound and an almost surf rock-ish vibe would suggest other influences that extend beyond their alternative label. Then you've got Alice in Chains, who bring sludge metal, doom metal, classic rock, and blues to their grunge repertoire to form a unique sound that pleases numerous audiences. Well, if any band were to join this list of artists who thought outside their scenes, it would be Oingo Boingo. Fronted by composer and vocalist/guitarist Danny Elfman, Oingo Boingo were frequently labeled as a new wave band for their fast punk-influenced rhythms and heavy use of synthesizers, as well as their generally quirky attitude. However, simply limiting them to this genre would be downplaying just how unique they were. Progressive rock website Prog Archives lists the band as "crossover prog," and labeling the group as progressive or experimental indeed seems more apt than just "new wave." The band combined classic punk, new wave, progressive rock, ska, jazz, alternative rock, and a multitude of other genres to create something way different from the pack, and this fact only makes it more understandable that Danny Elfman would continue to experiment heavily in his film scores.

Only a Lad, while making only small waves commercially when it came out, served well to lay the groundwork for what to expect from the band. Fast tempos, high energy, lots of horns, lots of synthesizers, eccentric singing from Elfman, and elements of jazz and classical music were all part of the Oingo Boingo experience; luckily, the album ended up finding an audience in the Southern California pop/rock scene. Nothing to Fear, the band's sophomore effort, pretty much expands upon Only a Lad stylistically without making really drastic changes. Then again, with how odd the band already were, they didn't exactly need to change too much. There is, however, more of an emphasis on guitar distortion and overall heaviness, which would please fans of the band's more punk-inspired work. Songs like "Insects" and the title track have some damn low and heavy guitar riffs that contrast the loud, bombastic horns very nicely. "Insects" in particular finds a fantastic balance between the two; a few times within the track, you have a low metallic riff from Elfman and lead guitarist Steve Bartek while the trumpeter and two saxophonists play a really nifty Middle-Eastern melody over the top of it. Stuff like that provides neat nuances to keep you frequently coming back to the album, and the horn playing in general is usually what adds those nuances when combined with the rhythm section and vocals.

Speaking of vocals, Danny Elfman gives perhaps his best overall vocal performance here. He suits every mood his compositions throw at him, from creepy to quirky to sad to gleeful. His eccentric performances give a ton of personality to the songwriting, like mixing slightly whispered and raspy mid-range vocals with low chants in opener "Grey Matter" or showing a bit more lightheartedness and restraint with the bizarre mid-tempo number "Whole Day Off." He's definitely a versatile performer, just as he's a versatile songwriter and composer. His writing on here is some of Boingo's most complex work yet, showcasing their penchant for odd time signatures and frequent musical mood swings. While I mentioned that the band's work features generally fast tempos, there are times in which the band tone down to represent moods other than complete bat[&*!#] insanity. "Private Life," while still on the faster side, is definitely more restrained and straightforward than much of the band's work; "Insects," meanwhile, touches on many bases in terms of speed. The main motif is heavily characterized by the lack of the snare drum... well, until the fast dance-like sections that occasionally (intentionally, I'm assuming) interrupt the general flow. This diversity is what makes the band so interesting to listen to; if you ever wanted to listen to a sort of precursor to Mr. Bungle, Oingo Boingo's music fits the bill very nicely.

In fact, in keeping with that Bungle comparison, you can consider Nothing to Fear the band's version of Mr. Bungle's masterpiece California. An increased sound palette, increased accessibility, and a heightened sense of cohesion makes the comparison pretty apt. Nothing to Fear takes the music of Only a Lad and makes it even better, retaining the eccentricity and overall oddness of Oingo Boingo's sound but slightly tightening and refining the musicianship and adding more subtle compositional nuances here and there. If there's one Oingo Boingo album you must own, this is probably it; I think Nothing to Fear could safely be dubbed the band's finest hour.

(Originally published on Sputnikmusic)

 Ones & Zeros: vol. 1 by 3RDEGREE album cover Studio Album, 2015
4.78 | 41 ratings

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Ones & Zeros: vol. 1
3RDegree Crossover Prog

Review by Troll2

5 stars I thought this was a wonderful concept album! The music is challenging but yet highly melodic, and the lyrics are intelligent with a dash of sarcasm thrown in for good measure. There are Beatle-esque harmonies sprinkled in throughout the album - honestly some of the best I've heard from the band. Favorite songs on the album are the "Life Trilogy" - Life, Life at any Cost, and More Life. Also, the running concept of Valhalla Biotech throughout the album is alternatingly amusing and terrifying. Have a Transcendant Day indeed!

In my opinion, this is a band that has really just started to hit it's stride. One of my favorites of 2015 so far!

 Homogenic by BJÖRK album cover Studio Album, 1997
3.75 | 129 ratings

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Homogenic
Björk Crossover Prog

Review by Necrotica

5 stars One of the coolest things music can do is create aural "environments," ones that you feel as if you could enter despite being non-existent in reality. After all, in instances of escapism, isn't the point to escape from the real world for a while? The same goes for movies and video games; depending on the genre, creating a well-defined world for characters to interact is usually one of the most important assets of either medium. So, reader, imagine this if you will: imagine a world of isolation. Think of a cold environment that prefers darkness, but doesn't completely rule out light; the voice that hangs overhead simultaneously soars and whispers as the intensity of each location changes accordingly. You have just entered the world of Homogenic by Icelandic singer-songwriter Bjork.

Homogenic was recorded during a period of reinvention for Ms. Guomundsdottir, both in musical style and image. Her first two solo albums after leaving The Sugarcubes (not counting her 1977 album, as it's labeled as juvenilia) proved to be successful commercially and critically, allowing her to build a strong fanbase from the get-go. Unfortunately, while working on her third effort back in her home in Britain, the infamous "Bjork stalker" Ricardo Lopez attempted to assassinate her with a mail bomb and then proceeded to kill himself. Overwhelmed with Lopez's death and the subsequent media coverage about the incident, Bjork moved to Malaga, Spain to have some privacy during the recording of Homogenic and relieve her stress. Homogenic is no doubt a dark reflection of these events, from the decidedly stoic-looking album cover to the isolation and coldness found in the songs. Along with that, it is also perhaps her finest and most mature effort to date.

In contrast to her previous two albums, which presented a very large array of different sounds and styles, Homogenic takes the theme of reclusiveness and lets it run through the entire experience. The bouncier atmosphere has now been replaced with something slower, more challenging, and definitely more reflective; the beats are more trip-hop-influenced, and the instrumentation puts a larger emphasis on string arrangements than before. In fact, it wouldn't be farfetched to say that this album integrates a pretty large amount of baroque pop into its sound. Luckily, just like with her past efforts, the songwriting variety is still present in spades; no song sounds alike despite sharing the same emotional weight, and the instrumentation always reflects what lyricism or atmosphere is being represented. There's still a fair share of more upbeat numbers tempo-wise, such as the aggressive and distorted "dance" (using that a bit loosely) number "Pluto" or the classically-influenced "Bachelorette," but even they don't escape the chilly isolation experienced with each song on the album. Remember how I mentioned musical "environments" earlier? They apply to this album in the best possible way. As dark and intense as the atmosphere of this album is, the way Bjork's voice, the combination of synthesizers/samples/strings, and of course the dark lyrical content combine, makes it really intriguing to listen to nonetheless. "Joga"'s probably the best example of this, with the string section being used to the greatest effect; an intro of lush (yet still depressing and dark) orchestration sets the tone for Bjork's powerful soaring voice to reach its climax during the prechorus and chorus, creating both a chilling and exciting experience. "All is Full of Love" opts to drop the beats out altogether, just creating an intimacy between the growing dynamics of the instrumentation and Bjork's impressive vocal abilities.

Speaking of which, "All is Full of Love" is perfectly placed at the end of the album, representing a light at the end of the proverbial tunnel. Admittedly, the music can sometimes be pretty fun to listen to as well, despite contrasting with bleak lyrical content. "5 Years" is almost frustratingly catchy, between a repetitive descending succession of synthesizer chords during the verses and the swinging beat that anchors things together. "Alarm Call" has a similarly catchy beat almost reminiscent of something that would be in funk music, while "Hunter" opens the entire album up in a totally different fashion; rather than being catchy or upbeat, it actually ends up being one of the bleakest songs and one of the most accurate representations of what tone Bjork was going for on this album. Something that this album has that some of her albums lack, however, is a perfect stylistic balance. The record is dark and isolated, but there's just enough optimism and exploration to keep you interested; there's never too much of either, and the instrumentation follows suit by shifting dynamics and rhythms at all the right locations. The biggest strengths of this album are its focus and consistency, most likely attributed to keeping most of it devoted to a certain specific musical "flavor"; everything is just tied together very nicely.

In the end, Homogenic is not just an album; it's a journey. Bjork has crafted an electronic/trip-hop masterpiece alongside the likes of DJ Shadow's ...Endtroducing, Massive Attack's Mezzanine, and Portishead's album Dummy; some even consider it one of the best and most influential albums of the 90s. While the latter could be up for debate, I'd contend that the former is true for sure. Let's face it: if you're a Bjork fan, you probably own this or have listened to it already; if you haven't though, make sure you experience this magic for yourself. It's one of this lady's most wonderful achievements.

(Originally published on Sputnikmusic)

 Ones & Zeros: vol. 1 by 3RDEGREE album cover Studio Album, 2015
4.78 | 41 ratings

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Ones & Zeros: vol. 1
3RDegree Crossover Prog

Review by Schoeylove1

5 stars Our emotions are really just a series of ones and zeros" sings the ensemble of 3rdegree singers in the ambitious track "What It Means To Be Human" a song wondering just that alongside its Cocteau Twins-like wall of guitars. Leading up to it, you hear the voice of Valhalla Biotech's representative/guide helping you through your physical body being discarded in exchange for a digital one while she asks you to consider an upgrade to "mind plus". 3rdegree poses many ethical questions from many angles on this new release that comes completely out of left field after 2012's The Long Division. It's almost like the band meticulously plans out an album's themes and sets its members loose to flesh it out. Big words abound, you never feel the band gets "too cool for school" on you because while it does take some participation on your part to really understand it 100%, it's enjoyable. I admit it does make you want to read up on the subjects of the singularity, ability enhancement and other technological breakthroughs that are on the horizon.

Despite all said, the band deliver a truly delectable progressive rock album first and foremost that many will gush over-yours truly included. You get melodies that will stick in your head, time signature changes galore, musicianship in true service of the song, gifted vocal leads and harmonies of true Wilsonian majesty. In the hands of a lesser band, this subject matter would probably be delivered with less wit (a la Tubes or Zappa), and possibly too much mood, sound effects and faux drama but with 3rdegree's skill level-now 5 albums in-they meet this subject with a masterful balance of humor and attention to detail to keep you in its world.

The main character seems to be trying to keep his digitized father "alive" while at the same time seeing what options are out there for himself to become more advanced and to keep living via technology with a few asides into other issues that could become part of our collective futures. Along the way, a news report gives away his name and the unique death he witnesses. The grand finale seems to reiterate a few reoccurring melodies and lyrics about our search for "more life". Vol. 2 is forthcoming so the exposition is not over and I suppose the band has more to say on these transecting subjects. We can only hope they continue keeping things this interesting!

3rdegree are worth a listen. Their music is for the people who like their prog with a generous dollop of Jellyfish, King's X, XTC, Todd Rundgren, Kevin Gilbert/Toy Matinee, Tears For Fears, Steely Dan, Prefab Sprout, City Boy, Supertramp and Ambrosia.

 Ego, Georgius by ANTCZAK, JERZY album cover Studio Album, 2014
4.33 | 20 ratings

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Ego, Georgius
Jerzy Antczak Crossover Prog

Review by BrufordFreak
Collaborator Jazz-Rock/Fusion/Canterbury Team

4 stars This is one of the greatest surprises from 2014 and definitely one of my Top 15 of that year. Were it not for a bit of a stumble with songs 6-8 ("Don't Need You," "Bottom of My Soul" and "The Gods of Our") this would be a virtually flawless play-through concept album. Opening with the world music electro-pop of "Naive" (5:59) (9/10) we get a kind of OMD sound before it turns more toward THE FIXX ("Stand Tall")--a sound that carries through song 2, "Bloody George" (3:03) (8/10). This is why Thomas likes this one so much! There are certainly a lot of PINK FLOYD sounds and riffs throughout Ego, Gerorgius and, like Floyd, none of the music is very complex and is often quite atmospheric. Also Floyd-like is the seemless flow from song to song.

Breaking away from respected Polish progsters ALBION, guitarist/multi-instrumentalist Jerzy Antczak has created one of those albums that flows so perfectly from start to finish that one has no choice but to listen to it straight through each time. In fact, songs one through five bleed seamlessly one right into the next. It's awesome! Also, the album seems to start and end with its best clusters of songs. The music is at times quite atmospheric, acoustic, and full of samples and performances of folk and "world" instruments. In fact, I found myself thinking several times that this is where I had hoped MARIUZ DUDA was heading with LUNATIC SOUL. Jerzy's singing even sounds a bit like Mariuz's. This is better. Far better.

Favorite songs: the amazing COLLAGE/SATELLITE-like 12. "Waltz" (7:10) (10/10); the beautiful sequence of songs that builds up to "Nebayilhaye" 3-5. "Escape from.../Heaven/Nebayilhaye" (10:54) (10/10); 11. "Humid Tube" (2:56) (9/10); 1. "Naďve" (5:59) (9/10); 2. "Bloody George" (3:03) (9/10) and; "Mermaid's Song" (7:10) (9/10).

A very strong four star album plus.

 Celestial Fire by BAINBRIDGE, DAVE album cover Studio Album, 2014
4.12 | 54 ratings

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Celestial Fire
Dave Bainbridge Crossover Prog

Review by BrufordFreak
Collaborator Jazz-Rock/Fusion/Canterbury Team

4 stars This album has been difficult for me to get a grip on. It's amazing and yet, somehow, disappointing. At times I've listen to it with little or no emotional connection and others I'm completely drawn in with my jaw on the floor. The problem is, I think, that you have to be willing and able to give Celestial Fire your full attention to appreciate its magnificence. As Thomas said in his review of 2/9/15, there is a lot of "old Yes" feeling to this album. Some of the songs could have come from Drama or should have been on Tormato. Much in the IONA tradition, the violins of Frank van Essen, Celtic wind instruments of Troy Donockley and David Fitzgerald, and "ethereal" vocals of Joanne Hogg provide tremendous contributions to this album. And Mr. Bainbridge's keyboard work has never been more impressive (Note: "Love Remains"!) My problem is perhaps with some of the other contributors and parts of the album and its songs. Don't get me wrong, bassist Randy George and drummer Collin Leijenaar are incredible. I just feel confused sometimes whether the music is going hard rock, or Celtic folk, Jazz rock or ethereal ambient. And Dave's impressive guitar play spills over a few too many times into the area I call "bombast"--as if he's really going overboard trying to impress us (like on "For Such a Time as This"). Also, there are moments--too many, perhaps--that sound just like Yes songs (or THE FLOWER KINGS). I love(d) Yes and I even like many of the Yes-inspired or imitators. For some reason the voice of uber-competent Demian WIlson is hidden way back in the mix. Maybe I just need to chill and let it flow. I had it on heavy rotation when I first got it and then kind of forgot about it. That might be indicative of some of my hesitation with this album--it really hasn't drawn me back much less lassoed my heart. However, I cannot help but exclaim that this is prog rock composition and performance at its very highest level.

Favorite songs: the weave of piano, strings, synth, guitar and voice of 4. "The First Autumn" (4:04), the opening half of "Celestial Fire" (15:23); the gorgeous Disney-like first half of "In the Moment" (14:22), and; the pair of softer Celtic pieces, "Innocence Found" (5:49) (gorgeous weave throughout) and the Mike Oldfield Hergest Ridge-like instrumental finale, "On the Edge of Glory" (3:05).

A solid four star album that might deserve more.

Data cached

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
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
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
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
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
AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARID GARDEN Italy
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIOCRACY Multi-National
THE AURORA OBSERVATORY United States
AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
AUTUMN ABOVE United States
AUTUMN CHORUS United Kingdom
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
AUXFORD Russia
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
DAVID AXELROD United States
AZURETH Multi-National
BACKHAND Venezuela
BADWATER FIRE COMPANY United States
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
NICKLAS BARKER Sweden
BARNUM'S FREAK Italy
BARON United Kingdom
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
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
BRAD STOCK 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
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIERE France
DUNCAN BROWNE United Kingdom
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
CALIFORNIA GUITAR TRIO United States
THE BEN CAMERON PROJECT Australia
CANAMII South Africa
CANNATA United States
CANTURBE Argentina
CAP OUTRUN Sweden
CAPABILITY BROWN United Kingdom
CAPTAIN MARRYAT United Kingdom
FRANCK CARDUCCI Netherlands
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
CEILING UNLIMITED United States
CELL15 United States
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
CHEETO'S MAGAZINE Spain
CHILDREN IN PARADISE France
CHIMPAN A United Kingdom
CHOICE Germany
CHOKE THE WORD United States
CHROME HOOF United Kingdom
CHURN MILK JOAN Multi-National
CINEMA SHOW Brazil
CIRCA United States
CIRCA SURVIVE United States
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
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
DISSONATI United States
DISTANT LIGHTS United States
DISTRICT 97 United States
DLGZ ROCK 5TET France
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
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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
EATLIZ Israel
ECHO Romania
ECHOES OF GIANTS United States
ECLIPSE Canada
ECLIPSE SOL-AIR Multi-National
EDEL Multi-National
COLIN EDWIN AND JON DURANT Multi-National
EIDÔLON France
ELDBERG Iceland
ELECTRA Germany
ELECTRIC LIGHT ORCHESTRA United Kingdom
ELECTRIC SORCERY United States
ELECTRUM United States
ELEND France
ELIPHASZ Canada
ELORA France
ELYSIUM THEORY United States
KEITH EMERSON United Kingdom
GERT EMMENS Netherlands
EMPIRE United Kingdom
EMPIRICAL TIME Italy
AARON ENGLISH United States
ENNĎS TÓLA Australia
ENTITY PARADIGM Pakistan
EOS Chile
EPIICYCLE United States
ESAGIL Greece
ETHERS EDGE United Kingdom
EVELINE Italy
EVEN HORSES Germany
EVENT United States
EX-WISE HEADS United Kingdom
EXOVEX United States
EYEVORY Germany
FAINT SIGNAL United States
FAIR TO MIDLAND United States
FAIRY TALE Slovakia
ALESSANDRO FARINELLA Italy
FATAL FUSION Norway
LA FE Chile
FERNANDO YVOSKY Venezuela
FEROZ Mexico
FIBONACCI SEQUENCE United States
FIELD MUSIC United Kingdom
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
HEATHER FINDLAY United Kingdom
FIRE ON DAWSON Germany
FIREHORSE Germany
FISH ON FRIDAY Belgium
FLAUD LOGIC United States
FLICKER United Kingdom
FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
FLOWER FLESH Italy
FOBOS Argentina
FONTARABIE Canada
THE FORMER LIFE Italy
FORWARD SHAPES United States
FOSSIL EVOLUTION Belgium
FOSSIL EVOLUTION Belgium
FOURTEEN TWENTYSIX Netherlands
FRACTAL MIRROR Netherlands
FRACTAL ROCK United States
FRAGILE Estonia
FRANC ALBIR Spain
FREDDEGREDDE Sweden
FREEDOM TO GLIDE United Kingdom
FREELIGHT United States
FREQUENCY DRIFT Germany
HASSE FRÖBERG & MUSICAL COMPANION Sweden
FRXHO Mexico
FSB Bulgaria
FUCHS Germany
FULL CODE New Zealand
FUTURUM Czech Republic
GABRIEL BONDAGE United States
PETER GABRIEL United Kingdom
GALACTIC COWBOY ORCHESTRA United States
GALIJA Yugoslavia
GALLERY Norway
GANDALF Austria
GANDALF'S PROJECT Italy
GAP PARTY Italy
ANJA GARBAREK Norway
GAZPACHO Norway
KEVIN GEIER United States
GEKKO PROJEKT United States
GIO GENTILE Italy
GENTLE KNIFE Norway
GENTLEMEN WITHOUT WEAPONS United Kingdom
GHOST CIRCUS Multi-National
GIANNOTTI United States
IL GIARDINO ONIRICO Italy
KEVIN GILBERT United States
GIRAFFE United States
GLASFROSCH Australia
GLASS KITES Canada
YIANNIS GLEZOS Greece
GLORIE United States
GODSTICKS United Kingdom
GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
GOTHIK SERPENT United States
GRAMONAUTUS Argentina
PHILIPPE GRANCHER France
THE GRAND SILENT SYSTEM Australia
GRAVITY TREE United States
GREEN Italy
THE GREEN VIOLINIST Belgium
MARK GREEN United Kingdom
DAVE GREENSLADE United Kingdom
GREY EYE GLANCES United States
GREY LOTUS Netherlands
GRICE United Kingdom
GRIME France
GROUP 309 Russia
LA GUERRA DELLE FORMICHE Italy
ID GUINNESS Canada
GUITAR GARDEN United States
GUNGFLY Sweden
HA' ARNAV HA-LAVAN Israel
HABELARD2 Italy
HABITAT Argentina
HADDAD Brazil
HAGGARD Germany
HALO BLIND United Kingdom
JASON HAVELOCK France
HAYWARD & LODGE (THE MOODY BLUES) United Kingdom
HEARTSCORE Germany
HEATWAVE Italy
ROEL VAN HELDEN Netherlands
HELICOPRIA Multi-National
HELIOTH United States
LUC HENRION Belgium
HENRY FOOL United Kingdom
HERMETIC SCIENCE United States
HEYOKA United States
HIIDENSOINTI Finland
HIPGNOSIS Poland
STEVE HOGARTH United Kingdom
JOANNE HOGG United Kingdom
MARK HOLLIS United Kingdom
HOLLOW BRANCHES Multi-National
HOMESICK FOR SPACE United States
HOT HEAD SHOW United Kingdom
HOUR OF THE SHIPWRECK United States
STEVE HOWE United Kingdom
HYPNOMEN Finland
I.AB United States
IAMTHEMORNING Russia
IF / IFSOUNDS Italy
IGAYON Israel
IGNATIUS Spain
ILUZJON Poland
IMMUNE United Kingdom
IN LIMBO France
INDELIBLE Norway
INDEXI Yugoslavia
INFICTIONS United Kingdom
INFINITE MONOPOLY United States
INFINITE ORCHESTRA United States
INFUSION KAMACHUI Argentina
INNER PROSPEKT Italy
INNERSPACE Canada
INTENTIONS Netherlands
INTERGALACTIC TOURING BAND Multi-National
INTO THE PRESENCE United States
IOEARTH United Kingdom
ION United Kingdom
IRRGARTEN Canada
ISLANDS Canada
ISOS Canada
ISZIL Chile
IT BITES United Kingdom
J'ACCUSE..! Italy
J21 Spain
JAÉN KIEF Colombia
JANUS United Kingdom
JASPER WRATH United States
JAUGERNAUT (A.D.) United States
JAZ France
JEBEL United States
JEREMY United States
JEREMY IRONS AND THE RATGANG MALIBUS Sweden
JET BLACK SEA Netherlands
JHIMM United States
JODY GRIND United Kingdom
JONAS LINDBERG Sweden
JONO Sweden
JORM Sweden
KADDISFLY United States
KANT FREUD KAFKA Spain
KAOS MOON Canada
KARIBOW Germany
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
KRUNKELSTILTSKIN United States
DAVE KULJU United States
KUMM Romania
KUNDABUFFER Argentina
KURKI Finland
KUUSUMUN PROFEETTA Finland
KVARTETTEN SOM SPRANGDE Sweden
LA YNE Finland
LABORATOR France
LANDSCAPE Poland
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
LITTLE TYBEE United States
LIVES AND TIMES United Kingdom
KERRY LIVGREN United States
LIVING STILTS Italy
THE LIVING Canada
LOBATE SCARP United States
LOGAN DWIGHT Italy
LONELY ROBOT United Kingdom
LOONYPARK Poland
LOST WORLD Russia
JEAN-PIERRE LOUVETON France
LOVE DE VICE Poland
ARJEN ANTHONY LUCASSEN Netherlands
THE LUCK OF EDEN HALL United States
LUDUS United Kingdom
JOHANNES LULEY United States
LUNA ROSSA United Kingdom
LUNATIC SOUL Poland
PHILIPPE LUTTUN France
LÜÜP Greece
WILLIAM LYALL United Kingdom
LYRIAN United Kingdom
MACARTHUR United States
MACHINES DREAM Canada
MADAME BLAVATSKY OVERDRIVE United States
THE MADCAP LAUGHS United Kingdom
MADRIGAL United States
MAID MYRIAD United States
BRUCE MAIN United States
MAJESTIC X United States
BARIS MANCO Turkey
MANDILLO Italy
MANDRAKE PROJECT United States
MANFRED MANN'S PLAINS MUSIC South Africa
IL MANISCALCO MALDESTRO Italy
MANSUN United Kingdom
MANTIS Canada
MARGARITAS ANTE PORCOS Latvia
LUC MARIANNI France
MARIANUS United States
MARS HOLLOW United States
RHYS MARSH Norway
MARTINI HENRY United States
COLIN MASSON United Kingdom
MASTERS OF THE AIRWAVES United States
MATERIA GRIS Argentina
MATERYA Italy
ALEJANDRO MATOS Argentina
MAVARA Iran
MAXIMUM INDIFFERENCE United States
THE MAYAN FACTOR United States
MAYFAIR Austria
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