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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 01/01/2014

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

Crossover Prog Top Albums


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

4.34 | 1029 ratings
CRIME OF THE CENTURY
Supertramp
4.34 | 843 ratings
OMMADAWN
Oldfield, Mike
4.31 | 1059 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.24 | 701 ratings
DOOMSDAY AFTERNOON
Phideaux
4.26 | 338 ratings
~
iamthemorning
4.22 | 587 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.18 | 1129 ratings
GRACE FOR DROWNING
Wilson, Steven
4.19 | 740 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.18 | 659 ratings
SNOWTORCH
Phideaux
4.17 | 527 ratings
THE UNDERFALL YARD
Big Big Train
4.14 | 524 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.14 | 430 ratings
NIGHT
Gazpacho
4.09 | 542 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.24 | 115 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.22 | 127 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.11 | 302 ratings
PASSION
Gabriel, Peter
4.15 | 192 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.10 | 330 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.15 | 178 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.05 | 756 ratings
TUBULAR BELLS
Oldfield, Mike
4.07 | 402 ratings
AMAROK
Oldfield, Mike
4.10 | 247 ratings
PAMPERED MENIAL
Pavlov's Dog
4.18 | 121 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.09 | 242 ratings
SPIRIT OF EDEN
Talk Talk
4.21 | 94 ratings
MODRA RIJEKA
Indexi
4.02 | 694 ratings
OK COMPUTER
Radiohead
4.03 | 479 ratings
TALES OF MYSTERY AND IMAGINATION - EDGAR ALLAN POE
Parsons Project, Alan
4.10 | 162 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.05 | 245 ratings
LUNATIC SOUL
Lunatic Soul
4.02 | 394 ratings
TICK TOCK
Gazpacho
4.04 | 253 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.19 | 87 ratings
THE GNOMON
Sunchild
4.05 | 224 ratings
EL CIELO
Dredg
4.36 | 48 ratings
TIME
Time
4.01 | 447 ratings
NUMBER SEVEN
Phideaux
4.08 | 156 ratings
THE LONG DIVISION
3RDegree
4.05 | 219 ratings
SHINE ON BRIGHTLY
Procol Harum
4.00 | 418 ratings
UP
Gabriel, Peter
4.03 | 200 ratings
FOR YOUR PLEASURE
Roxy Music
4.05 | 143 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
4.02 | 194 ratings
ROXY MUSIC
Roxy Music
4.05 | 125 ratings
CINEMATIC
Lebowski
3.95 | 405 ratings
EVEN IN THE QUIETEST MOMENTS....
Supertramp
3.99 | 210 ratings
DEMON
Gazpacho
3.95 | 380 ratings
HERGEST RIDGE
Oldfield, Mike
3.99 | 199 ratings
PERFECT BEINGS
Perfect Beings
4.18 | 61 ratings
BLUE JAYS
Hayward & Lodge (The Moody Blues)
3.99 | 186 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
3.95 | 332 ratings
MARCH OF GHOSTS
Gazpacho
4.09 | 87 ratings
AND THE GLASS HANDED KITES
Mew
4.03 | 124 ratings
AS YOUR MIND FLIES BY
Rare Bird
3.99 | 173 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
3.92 | 473 ratings
BREAKFAST IN AMERICA
Supertramp
3.92 | 542 ratings
KID A
Radiohead
4.22 | 49 ratings
THE EDGES OF TWILIGHT
Tea Party, The
3.94 | 292 ratings
AMUSED TO DEATH
Waters, Roger
3.95 | 219 ratings
GHOSTS
Frequency Drift
3.99 | 144 ratings
BROKEN CHINA
Wright, Richard
3.96 | 189 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
3.91 | 417 ratings
PETER GABRIEL (4 - "SECURITY" OR "MASK")
Gabriel, Peter
3.95 | 172 ratings
LAUGHING STOCK
Talk Talk
4.23 | 43 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
3.91 | 288 ratings
INCANTATIONS
Oldfield, Mike
3.93 | 193 ratings
LAID TO REST
Frequency Drift
4.19 | 46 ratings
SELECTIVE MEMORY
Témpano
4.09 | 63 ratings
WHITE ROCK EXPERIENCE
State Urge
4.05 | 77 ratings
THINK LIKE A MOUNTAIN
Ritual
4.25 | 37 ratings
CHROMIUM
Talisma
3.97 | 121 ratings
THE END IS BEGUN
Three
4.32 | 31 ratings
AN OCEAN HELD ME
Mice On Stilts
4.01 | 85 ratings
KAYAK II
Kayak
3.99 | 99 ratings
THE ANCIENT TALE
Fatal Fusion
3.97 | 107 ratings
HERETICS
Dream The Electric Sleep
4.09 | 58 ratings
DREAMLAND
Plant, Robert
3.93 | 144 ratings
THE WAR OF THE WORLDS
Wayne, Jeff
3.89 | 223 ratings
PROCOL HARUM
Procol Harum
3.89 | 216 ratings
CHUPACABRAS
Phideaux
3.93 | 137 ratings
RETURN TO MINGULAY
Oceans 5
3.95 | 111 ratings
SYNAESTHESIA
Synaesthesia
3.91 | 150 ratings
CORVUS STONE
Corvus Stone
3.91 | 150 ratings
WET DREAM
Wright, Richard
3.95 | 103 ratings
GENERATION 13
Saga
3.83 | 641 ratings
INSURGENTES
Wilson, Steven
4.13 | 44 ratings
THE PATH OF LEAST EXISTENCE
Jet Black Sea
4.27 | 30 ratings
AUTOGRAPH / Автограф
Autograph (Avtograf)
3.88 | 173 ratings
EVERYONE IS EVERYBODY ELSE
Barclay James Harvest
3.88 | 161 ratings
GRAND HOTEL
Procol Harum
4.10 | 44 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
3.91 | 113 ratings
DELUSION SQUARED
Delusion Squared
4.07 | 48 ratings
TODD
Rundgren, Todd
3.84 | 276 ratings
LUNATIC SOUL II
Lunatic Soul
3.95 | 82 ratings
FEATHERGUN
Rishloo
3.84 | 232 ratings
ELDORADO
Electric Light Orchestra
4.08 | 45 ratings
EL FIN DE LA INFANCIA (CHILDHOOD'S END)
Témpano
3.82 | 396 ratings
THE BENDS
Radiohead
3.88 | 132 ratings
OVER
Frequency Drift
3.89 | 118 ratings
RISE
Resistor
3.98 | 67 ratings
FABLES FROM A MAYFLY: WHAT I TELL YOU THREE TIMES IS TRUE
Fair To Midland
3.82 | 278 ratings
IN SEARCH OF THE LOST CHORD
Moody Blues, The
4.10 | 40 ratings
THUD
Gilbert, Kevin

Crossover Prog overlooked and obscure gems albums new


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

CORPUS
Talisma
STANDING STONE
Oliver
THE LOST ART OF TIME TRAVEL
Presto Ballet
NARROW-CASTER
3RDegree

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Latest Crossover Prog Music Reviews


 Live From Manticore Hall (Emerson & Lake) by EMERSON, KEITH album cover Live, 2014
4.00 | 1 ratings

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Live From Manticore Hall (Emerson & Lake)
Keith Emerson Crossover Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

— First review of this album —
4 stars "Live from Manticore Hall" is a live 2010 show featuring legendary Prog specialists Emerson Lake & Palmer members without the Palmer. No brilliant drums basically but this is awesome stuff and I wish I could have seen the show. Lake spells it out to the captivated audience in the intro that this is going to be a concert where they invite the crowd into their studio where they experiment and create things, looking back to the halcyon days of King Crimson and The Nice and of course ELP. The band explain many things as they explore their past glories and it is a wonderful journey they take us on.

For the first time since 1969 they perform I Talk to the Wind that appeared on that little known album "In the Court of the Crimson King". Say no more. From the Beginning is the opener and no one can complain as its one of the greatest of the many Lake ballads that surfaced over the years.

Bitches Crystal is given a classical piano treatment and it's very cool, Emerson being a master of the ivories bar none. He slams those keys with staccato glee and it jumps along with familiar melody and extended piano concerto vibes. It is sans bass and drums but still works as a compelling piece.

The Barbarian from the first ELP is a great choice, "a catchy and annoying tune, that grows on you" according to Lake. He pulls out the Hammond sound on this one, and there's drums, by some unknown muso. The piano interlude is fabulous too. This is great to hear after all these years; a genuine triumph. "Listen they're whistling it already" says Lake at the end of it.

Take a Pebble is one of my favourites so to hear this revamped version was a joyous experience. Lake's dreamy vocals carry it along beautifully. The piano is welcome and at times this sounds like old school ELP. It's an edited version at 5 minutes 20 but it's still wondrous to hear. It segues immediately into Tarkus.

Tarkus is here. Tarkus! A 17 minute version so there's plenty to indulge in here. This is so beloved you can imagine the crowd adoring this. It is a bit unrecognizable at the start with a lone grand piano instead of the bombastic wall of sound on the original masterpiece. Emerson is just enjoying himself as he strolls through this criminally complex piece of music. Lake comes in as the Mellotron strings enter with Stones of Years. It is refreshing and again it must have been extremely moving and uplifting to be in the audience as this washes over you. Emerson tinkles away with unabashed virtuoso style capturing the greatness of the epic. Lake touches the guitar at times to maintain the off kilter rhythms. The echo on his voice is effective, and overall he is sounding the same as he did all those years ago "The weaver in the web that he made!" It's interesting to hear this version of Manticore too. The track really picks up with The Battlefield, into Aquatarkus with pounding drums and squelchy synths. Emerson pulls out the electronic synth wall for this one and blazes away into full flight like he used to and I wonder if he dragged a synth out stabbed it with a knife here. This captures ELP glory and undeniably is a crowd pleased. I suspect a standing ovation followed. Brilliant to hear Tarkus played with so much dynamic energy and passion!

The melancholy C'est Le Vie is next and brings things down to a calmer level after the previous blitzkrieg. Though not one I like, the song is still sounding similar to the old version with acoustics and relaxing strings for a peaceful atmosphere. An accordion sound comes in too for a Parisian touch. "Merci Beaucoup" indeed Mr Lake.

Pirates is a surprising choice from "Works" and it certainly progs along nicely at 13 and a half minutes. Opening with narrative and ethereal keys it fires up into familiar territory along the allegorical seas of turmoil and adventure. The keys sound similar to the original version, right down to the percussive crashes and flutes. The drums are great here, but who is playing them? The whimsical melodies of sea shanties drift along nicely,

The concert closes with a Moog Solo and then into a glorious rendition of Lucky Man. Lake tells us that Keith "wanted to like it but" it as not initially received well. Is that swirling psychedelic synth solo present at the end? This is the "retro-spective" version and Keith dusts down the old Moog, the same one to produce some mind bending psyched up sounds.

Overall this is a glorious return to the prog brilliance of ELP, with smatterings of The Nice and King Crimson sprinkled over the top. At little more than 78 minutes one has to wonder what the rest of the concert was like and what was omitted on the CD release. Some research reveals that on this tour the omitted songs were Prelude to Hope, Malambo, America and Rondo. A 2 CD release might have been appropriate to include these, especially America and Rondo. This is the setlist they played in 2010 in the USA both at Rams Head On Stage, Annapolis in April, and at The Birchmere, Alexandria in May, respectively. It leaves one slavering for more as the concert cruises by so rapidly. It is a joyous concert, an intimate night out with the prog legends Emerson and Lake.

 Machines Dream by MACHINES DREAM album cover Studio Album, 2013
3.97 | 4 ratings

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Machines Dream
Machines Dream Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars Machines Dream is going to be one hell of revelation to avid prof fans out there, having flown underneath my radar and discovering its existence only via candidacy into joining PA within the crossover sub-genre. This talented crew are based in tranquil Sault Ste-Marie, Ontario, Canada, not exactly a hotbed of prog, but it becomes apparent that these lads have definitely passed their exams on progressive rock, a clever blend of harder-edged Pink Floyd influences, perhaps similar to Norwegian band Airbag or German band RPWL in taking the highly-schooled style into different horizons.

Scratchy needle opens the book on a glittering prize, as 'Boundaries' evokes a particular interest in cool lyrics , motored by tremendously effective vocals (a consistent trait throughout the disc) from bassist Craig West , some spectacular guitar slinging from Keith Conway, Brian Holmes keyboard colorations are spot on, while Ken Coulter drums with authority. This is a bruising and heavy affair in order to get the juices flowing and the attention firmly on the upcoming features.

To prove the point, "Toronto Skyline" has a hook, line and sinker that could easily propel this song and its creators to legendary status, a true prog anthem for the eternal ages. Firstly, build a solid melody with a soaring and hummable chorus, an incandescent guitar solo and enough mood and space to sink deep into one's pleasure nodes. West sings brilliantly.

The nearly 5 minute "London at Night" is a completely different feel, perhaps more of a basic rock ballad, adorned with swoon and groove courtesy of a rollicking bass furrow, slide guitar frills, good propulsive beat and more seasoned West vocals. There is a more Roxy Music, Bowie, Peter Murphy-like feel here (bands they used to cover in their formative period) than, say KC, Floyd or Genesis. In fact Conway sounds more like Manzanera than Gilmour (which is funny because the two are close friends and collaborators).

This poppy respite only serves to elevate the torrid "Unarmed at Sea" , a mellotron-drenched epic that simply takes the listener's breath away, a sublime lead vocal within churning symphonic waves, 'gradually going tornado' into more passionate fury, like some storm of melancholic solitude unleashing the deepest pain. Conway then blisters on the fret board, curdling bolts of electric despair as it fizzles onward and upward. The somber piano keeps on playing the same desperate, forlorn and vulnerable lament.

The jaw-dropping "Mad for All Seasons" goes beyond the 10 minute mark and as such, is one of the more constructed epics presented here, Craig West has the uncanny ability to modulate his voice into unending variations, sounding here like the perpetually angry Derrick Dick (Fish), while the band does a fair flattery of Marillion by the book. The impossible guitar prefers a screechy tone, the overall mood ominous, vaporous and beguiling. There is a barely suppressed sense of rage that makes this piece feel like a shaken champagne bottle ready to blow its cork to kingdom come. But instead of the expected splashy eruption, the piano and bass veer into more tremulous mid-section that felt almost like the Legendary Pink Dots, before a tempestuous Manzanera-like solo scours the skies like some rough cleaning implement. "Closing time again", West bellows.

We then are witnessing two shorter tunes that showcase a more accessible slant, I must admit that they , while very pleasant and well-constructed, really do not highlight the band's strengths. "Stop Waiting for Miracles" is best described as the most immediate song on the album, a straight ahead boomer, constructed in very basic form, direct vocals and clinical playing by all aboard. "Locusts" opens with a familiar piano refrain, some the Who-like guitar phrasing, early rock 'n roll meets psychedelia that, again caters to the poppier side.

Things revert to haunting and majestic with the rather amazing "Colder Rain", a blustery hurricane of sound and vision, propelled by a Manfred Mann-like synth solo as well as profound symphonics, roaming bass and devastating sonic drums. A totally unexpected electric piano solo only compels one deeper into amazement.

"Everyone Says Goodbye" is another briefer ditty that has more of a blue-rock feel, almost hints of Robin Trower. As stated before, very good but not essential within the confines of the longer pieces.

All is well that ends well, and "the Session" is the perfect finale, suggesting nearly a dozen minutes of intense cinematographic prog, loaded with tons of delicious detail, quirky synth bubbles, rash guitar slashes and , once again, a new vocal modulation from Mr. West, a voice to be reckoned with. The essence of progressive rock is caught within its grooves, a sense of unexpected luxury and divine expression fluttering at the fingertips of the players as they manipulate their instruments. Fantastic debut , a band we all need to keep an eye on.

It is not uncommon for debut albums to showcase some diversity and that is why it's called a debut, a need to provide all the tendencies which make artists want to express themselves. I am sure that their next effort , the soon to be released 'Immunity' will concentrate on what Machines Dream do best, an album of longer, well-thought out compositions that extol the virtues of smartly crafted music and present a vocal performance that only serves to further enhance the talent on display. The artwork, production, arranging and playing are world-class.

4 android hallucinations.

 Skin by PANIC ROOM album cover Studio Album, 2012
3.69 | 91 ratings

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Skin
Panic Room Crossover Prog

Review by thwok

4 stars I love Panic Room, and while they wouldn't be in my top 10 bands, all of their albums are worth listening to. The main complaints against the album under review, Skin, seems to be that there's not enough complexity and variety. I think these shortcomings are not vital, and I think Skin is a 4 star album.

I like a lot of music considered crossover prog. Panic Room is in this category for a reason. They are clearly not trying to be Gabriel-era Genesis or King Crimson. KC is my favorite band, but their music takes too much concerted effort to listen to every day. "Song for Tomorrow", "Chameleons", "Screens" are all fine songs. The album has no bad songs, although favorites depend on the person listening.

Some also claim that the songs sound too much alike. If you like what Panic Room does, I don't think variety is a problem. I personally think that the music of Dream Theater and Pink Floyd, after Syd Barrett, hasn't changed all that much. Yet, we don't criticize DT and PF for it. Therefore, I'm giving Skin 4 stars. It's an excellent album in Panic Room's consistently fine discography.

 Miscellany by IAMTHEMORNING album cover Singles/EPs/Fan Club/Promo, 2014
4.21 | 21 ratings

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Miscellany
iamthemorning Crossover Prog

Review by kev rowland
Special Collaborator Crossover Team

5 stars Gleb and Marjana are currently working on the second album, but to prevent fans from having to wait too long they released this EP at the beginning of 2014 that contains some new songs, along with reworked versions of songs on the first album. Yet again I am struck by the quality of their performances, and is also worth commenting on the arrangements as they seem to intuitively know what they need on each song to maximize the potential, So there may be a few drums here, or additional keyboards, or strings, but always at the very heart of this is delicate piano and fragile vocals that draw the listener in to a wonderful world. Kate Bush mixed with Enya, with control and passion and never ever falling into New Age.

It is incredible to think that these guys are virtually unknown outside of a fairly small circle, as in many ways they are on of prog's best kept secrets which is just criminal as music as controlled and beautiful as this really does deserve to be heard by a much wider audience. I found myself enthralled with this EP, the production is superb, and I was drawn into a world of their making each time I listened to it. These guys are one of the best bands I have come across this year, with consistent high quality and a majestic presence that really belies what they are doing with the fragile and delicate music. Surely it can only be a matter of time before these guys get picked up by a major as this is a rare beauty indeed.

 ~ by IAMTHEMORNING album cover Studio Album, 2012
4.26 | 336 ratings

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~
iamthemorning Crossover Prog

Review by kev rowland
Special Collaborator Crossover Team

5 stars Somehow I totally managed to miss the debut album by this Russian duo, and I first saw the name when reading a post by Second Life Syndrome on ProgArchives. A short while later he asked if I would mind reviewing their material, so I wandered over to Bandcamp and picked up "~", (I know the symbol is called a "tilde", so don't know if that is the name of the album or they just prefer the symbol). Anyway, this is a Russian duo of Gleb Kolyadin (piano, keyboards) and Marjana Semkina (vocals, backing vocals) along with some additional musicians, and after releasing this in April 2012 they revisited it and remastered it and then reissued it at the end of that year, and it is available both on CD or through Bandcamp (name your price).

There seriously just one word that fits this album, and that is "beautiful". Marjana has a fragile delicate voice that at times reminds me of Kate Bush, while Gleb has a wonderful touch on piano, and often these two are the main source of all the music. They do use other guests effectively, particularly with strings, and although there are also electric guitars and percussion these are used very sparingly indeed. Apparently they describe themselves as "a neo-classical vocal indie band... that ...combine non-typical but easily perceived vocal parts of progressive rock with a distinctly classical musical approach", but I prefer just to think of it as majestic and powerful, yet fragile and delicate at the same time. It is possible that this is one of the finest albums by a band you have never heard of, although if you ever check out the top 100 lists by year on ProgArchives then you may have come across these already, as they are currently sat at #2 for 2012. That puts them ahead of most of the Top 10, so they are above Motorpsycho, Big Big Train, Echolyn, The Tea Club, The Flower Kings, Magma, Silhouette and 3RDegree!

Overall this is an incredibly impressive debut, full of grace, full of beauty, and is absolutely essential.

 The Paradox by REFAY, FERNANDO album cover Studio Album, 2011
3.00 | 7 ratings

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The Paradox
Fernando Refay Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Argentinian keyboardist/pianist from Buenos Aires, who received Classical and Jazz education.He participated in a couple of projects like the Jazz-oriented trio S.O.S and the Progressive Rock band Silion Zelf, before measuring his own talent in 2011 with a self-produced album on bandcamp, ''The paradox''.With Refay on keys, backing vocals and programming the album was completed with fellow Silion Zelf bandmates David Minian on vocals, Cristian Arone on bass and Agustin Perez Santangelo on guitar as well as Juan Gris on lead vocals, Rodrigo San Martín and Lukas Argen on guitars.

This album fairly falls into the Neo/Symphonic Prog category, featuring only one track in Spanish and the rest in English, highlighted by some impressive keyboard themes by Refay, including organ, piano and synthesizers.The tracks are rhythmic, bombastic and dynamic with occasional poppy leanings but mainly a nice symphonic atmosphere, relying somewhere between ARENA, GALAHAD and Latin-American acts such as ENTRANCE, APOCALYPSE, MENAYERI and AISLES.The game is played between powerful E.L.P.-like synth fanfares, flashy soloing with a somewhat Fusion edge, big time orchestral segments and smooth, Classical- and Folk-styled piano variations.The guitars of course are always there to provide the electric depth, while the vocals are quite nice with no significant flaws in the singing parts.At moments the huge symphonic leanings with the presence of more accesible tunes recall the works of CHRIS or IAN GORDON in a more diverse style of composing.And there are even some old-styled, punchy passages with organ and mascular guitars, executed in a monster Heavy Rock enviroment.

For fans of keyboard-drenched music with evident symphonic orientations, packed in pieces, which burst equal doses of accesibility and sheer technique.Refay's first solo album comes no less than warmly recommended.

 Pressure Fractures by COZHE album cover Studio Album, 2012
3.00 | 1 ratings

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Pressure Fractures
Cozhe Crossover Prog

Review by kev rowland
Special Collaborator Crossover Team

— First review of this album —
3 stars This Finnish band can trace its' beginning back to more than twelve years ago, when singer and keyboard player Janne Nevalainen first came across drummer Harri Kokkonen. They started playing together in 2002 and over the years other musicians have come and gone, but they stuck it out and the result is this their debut album which was released in 2012. At the time the line-up was completed by Joni Seppälä (guitars) and Sami Järvinen (bass), although Joni moved to Sweden not long after the album was completed. In many ways this is an album of the Seventies, as it has been heavily influenced by the likes of Family from that era and also more recently by Discipline, and while crossover prog is obviously the correct genre, that is because it hits so many different musical areas including that of hard rock.

This isn't a gentle melodic prog album, but something that has rough angular edges that contrast strongly with the fluidity of Joni's wonderful guitars. Although the keyboards are an important part, the use of piano is more direct and powerful, while special mention should also be made of Harri's drumming as there are times when he is working incredibly hard, with a far more rock bent than the rest of the band which also provides wonderful dynamics. It is the fractured nature of the music that makes this such a compelling album, although it does also have it's weaknesses, most notably in that the lyrics don't always work as well in English as they should and Janne's vocals do sometimes go off key. But, both of these are fairly small issues that I am sure will be resolved with the next release, which apparently they are planning at present. Personally I would not have included the final song on the album, as joke pieces only really work once and although I found this fairly amusing the first time I played it, the novelty soon wore off.

An interesting album, quite at odds with most of the current scene, and I look forward with interest to the next one. www.cozhe.com

 This Town Ain't Big Enough for Both of Us by SPARKS album cover Singles/EPs/Fan Club/Promo, 1974
3.05 | 3 ratings

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This Town Ain't Big Enough for Both of Us
Sparks Crossover Prog

Review by Matti
Collaborator Neo-Prog Team

3 stars 'This Town Ain't Big Enough for Both of Us' is easily the best known song by this quirky art-pop group led by the eccentric Mael brothers from Los Angeles. I don't know if it can be described as prog, at least in the usual sense, but it makes most music of their British contemporaries QUEEN sound lame in comparison, and a lot of 10CC as well. In some way they sounded like being many years ahead of their time. This fast, frenzy, highly strung song with theatrically high vocals is like a turkish pepper: it leaves no one cold but doesn't necessarily make you want more. An interesting detail about the writing of this song is that originally it was thought to include (for the chorus) various clichés familiar from B movies, but "this town ain't big enough for both of us" won the honour alone.

'Barbecutie' on the single's B side is an average Sparks song, reminding a little of the early ROXY MUSIC (e.g. 'Virginia Plain') but is more straight forward [glam] rock. Nothing I would want to hear many times. I must say Sparks have never been among my listenings. When I was a child the album covers of Kimono My House and especially Propaganda (with the tied couple seated on a boat) made a strong impression on me, and 'This Town...' still sounds powerful and unique whenever I happen to hear it. Once I borrowed a compilation of this band but I didn't much like the music in general. So if there's a band that I want to remember by just one particular song, it's this one.

 Thirteen Eight by FREDDEGREDDE album cover Studio Album, 2011
4.02 | 25 ratings

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Thirteen Eight
FreddeGredde Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

4 stars Fredrik Larsson is one of those artists that YouTube helped them spread their own music.A Swedish native, originating from Gavle, he learned to play multiple instruments and by the age of 20 he started taking singing lessons.Since 2008 he had been posting personal videos on YouTube, his fame slowly arose and exploded with a fantastic 8-min. medley of 32 popular songs.In 2010 the time to put his own musical vision on tape had come and by the summer of 2011 the whole process was completed, resulting ''Thirteen eight'', originally released on bandcamp under the moniker of FreddeGredde, followed later by a digipack CD.The title of the album refers to the 13/8 time signature he often used throughout the recordings.

Anyone having watched the impressive medley of Larsson on YouTube should know what to expect from this Swedish talent, except you should throw in the technical vision of progressive music.Big part of the album contains short tracks with maybe the greatest number of twists and turns you can find around, but the material is not complex, on other hand this is a compilation of dense Art/Pop Rock tunes amazingly connected under a Heavy Rock sophistication.Bands like PROFUSION, A.C.T and SEVEN STEPS TO THE GREEN DOOR are the best comparisons.Imagine COLDPLAY, JAMES BLUNT, DREAM THEATER and BEARDFISH tunes all condensed in 3 to 4 minutes, fast-paced songs with some slower, atmospheric parts added for good measure.All instruments are played by Larrson with the help of one David Schlein on drums and you will hardly realise that this is actually a one-man effort.Fantastic mix of instruments and voices and a clean production offer the musical aspects of Larsson at their very best.Influences from Acoustic Pop, Pop Rock, Fusion and Neo/Symphonic Prog, all are present in limited number of minutes to display catchy hooks, virtuosic instrumentals, memorable melodies and powerful guitar/keyboard solos.A couple of tracks, ''Euphoria'' and ''Time will tell'', just proove the talent of this man, who can also compose long pieces of modern Progressive Rock with orchestral, poppy and Metal influences.No surprise, these tracks are led by multiple variations with an even deeper instrumental technique and stunning vocals by Larrson, characterized by dominant guitar runs, symphonic keyboards, acoustic lines, Fusion moments and, yes, endless breaks and changing tempos.

This one belongs among the top albums of the year and among the very best (almost) one-man projects around.Fascinating Heavy Prog with an incredible number of influences and beautiful vocals.Highly recommended, needless to say.

 Bright Red by ANDERSON, LAURIE album cover Studio Album, 1994
4.09 | 14 ratings

BUY
Bright Red
Laurie Anderson Crossover Prog

Review by siLLy puPPy

4 stars I have been a hold out on checking out the music of LAURIE ANDERSON simply because I am not a huge fan of spoken word vocals in lyrics and the few YouTube clips I checked out of tracks from her most highly rated album "Big Science" failed to get my tail wagging so when I found a good deal on her album BRIGHT RED I thought i'd give her a listen and see if she's really as boring as I remembered from those samples. Well, the answer is.... hell NO! I am quite impressed with this album. First of all, LAURIE ANDERSON occupies a musical niche like no other i've heard. For many of the tracks on this album she neither quite sings nor quite speaks. At times she is more speaking with slight musical intonations, while at other times she's not quite speaking but not fully singing. At other times she sings like an angel.

I suspect the reason I may like this album a lot is because it is a marriage of the profound thought provoking poetry of LAURIE and her brilliant delivery of it and the excellent production of Brian Eno who helps out in the songwriting department and with some additional help on some instruments and arrangements. The music that accompanies the precisely timed lyrics is impeccable and the decision to use which instrument when and where is equally impressive. It really doesn't matter if LAURIE is half reciting like on "Speak My Language" or trading off words with her backup singer as on the title track or fully singing as on the dual vocal song "Muddy River" with only an accompanying drumbeat. The songs are harmonically and melodically interesting making LAURIE ANDERSON a true master of her unique brand of experimental art pop.

Now that i've seen the BRIGHT RED light I need to revisit her discography to hear if i've been missing out on more gems like this or if this is a unique concoction that has enough Eno influence to spice up LAURIE's bizarre take on her poetic take on music. I find this album very diverse up to the last few tracks and then it kind of runs its course. Of the two parts of the album that are titled BRIGHT RED and TIGHTROPE I find the first side to be utterly brilliant with the second starting out strong and slowly fading into the less so.

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
3 United Kingdom
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
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ABACUS Germany
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ABSENTE H Spain
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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
TORI AMOS United States
AMPERA Norway
ANALOG MISSIONARY United States
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ANANTA Venezuela
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
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APOGEE Germany
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AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
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ARGO Lithuania
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TIM BOWNESS United Kingdom
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BRIDGES Norway
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