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CROSSOVER PROG

A Progressive Rock Sub-genre


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Crossover Prog definition

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

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

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

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

Current Team Members as at 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

4.33 | 1187 ratings
CRIME OF THE CENTURY
Supertramp
4.33 | 966 ratings
OMMADAWN
Oldfield, Mike
4.34 | 601 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.29 | 1391 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.24 | 784 ratings
DOOMSDAY AFTERNOON
Phideaux
4.21 | 1311 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 670 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.19 | 775 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.22 | 393 ratings
~
iamthemorning
4.17 | 685 ratings
SNOWTORCH
Phideaux
4.17 | 561 ratings
THE UNDERFALL YARD
Big Big Train
4.15 | 601 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.15 | 479 ratings
NIGHT
Gazpacho
4.12 | 599 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.23 | 127 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.11 | 296 ratings
HOUNDS OF LOVE
Bush, Kate
4.19 | 140 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.06 | 852 ratings
TUBULAR BELLS
Oldfield, Mike
4.12 | 253 ratings
CORVUS STONE II
Corvus Stone
4.13 | 213 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.09 | 342 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.09 | 334 ratings
PASSION
Gabriel, Peter
4.09 | 269 ratings
SPIRIT OF EDEN
Talk Talk
4.05 | 438 ratings
AMAROK
Oldfield, Mike
4.08 | 295 ratings
LUNATIC SOUL
Lunatic Soul
4.12 | 181 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.08 | 279 ratings
PAMPERED MENIAL
Pavlov's Dog
4.21 | 99 ratings
MODRA RIJEKA
Indexi
4.16 | 133 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.30 | 67 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.02 | 759 ratings
OK COMPUTER
Radiohead
4.37 | 55 ratings
TIME
Time
4.08 | 235 ratings
EL CIELO
Dredg
4.03 | 524 ratings
TALES OF MYSTERY AND IMAGINATION - EDGAR ALLAN POE
Parsons Project, Alan
4.04 | 427 ratings
TICK TOCK
Gazpacho
4.10 | 169 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.10 | 170 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.05 | 294 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.07 | 222 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
4.02 | 471 ratings
NUMBER SEVEN
Phideaux
4.10 | 164 ratings
THE LONG DIVISION
3RDegree
4.06 | 208 ratings
THE DREAMING
Bush, Kate
4.04 | 240 ratings
SHINE ON BRIGHTLY
Procol Harum
4.04 | 219 ratings
FOR YOUR PLEASURE
Roxy Music
4.04 | 214 ratings
GHOSTS
Frequency Drift
4.16 | 92 ratings
THE GNOMON
Sunchild
3.99 | 453 ratings
UP
Gabriel, Peter
4.05 | 175 ratings
LAID TO REST
Frequency Drift
4.00 | 345 ratings
MARCH OF GHOSTS
Gazpacho
4.02 | 211 ratings
ROXY MUSIC
Roxy Music
4.07 | 139 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
4.10 | 111 ratings
NEW WORLD (DELUXE EDITION)
Kerzner, Dave
4.12 | 93 ratings
AND THE GLASS HANDED KITES
Mew
4.06 | 137 ratings
CINEMATIC
Lebowski
4.02 | 194 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.11 | 94 ratings
THE IMPERIAL HOTEL
Samurai of Prog, The
3.95 | 457 ratings
EVEN IN THE QUIETEST MOMENTS....
Supertramp
4.32 | 43 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
4.32 | 42 ratings
CHROMIUM
Talisma
3.98 | 250 ratings
BELIGHTED
iamthemorning
3.96 | 344 ratings
PERFECT BEINGS
Perfect Beings
4.00 | 180 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
4.09 | 92 ratings
SANCTUARY
Reed, Robert
3.93 | 592 ratings
KID A
Radiohead
4.34 | 39 ratings
BURNT BELIEF
Edwin and Jon Durant, Colin
3.92 | 545 ratings
BREAKFAST IN AMERICA
Supertramp
3.98 | 194 ratings
LAUGHING STOCK
Talk Talk
4.15 | 65 ratings
BLUE JAYS
Hayward & Lodge (The Moody Blues)
4.09 | 85 ratings
NO TENGAS MIEDO
Kant Freud Kafka
3.94 | 320 ratings
AMUSED TO DEATH
Waters, Roger
3.99 | 156 ratings
BROKEN CHINA
Wright, Richard
4.08 | 84 ratings
MAPS OF NON-EXISTENT PLACES
Thank You Scientist
4.23 | 47 ratings
SELECTIVE MEMORY
Témpano
3.92 | 467 ratings
PETER GABRIEL (4 - "SECURITY" OR "MASK")
Gabriel, Peter
3.92 | 419 ratings
HERGEST RIDGE
Oldfield, Mike
3.96 | 203 ratings
NEVER FOR EVER
Bush, Kate
4.02 | 118 ratings
RETURN TO MINGULAY
Oceans 5
4.23 | 45 ratings
CELESTIAL FIRE
Bainbridge, Dave
4.02 | 110 ratings
THE ANCIENT TALE
Fatal Fusion
3.94 | 226 ratings
THE KICK INSIDE
Bush, Kate
3.98 | 137 ratings
AS YOUR MIND FLIES BY
Rare Bird
4.43 | 28 ratings
NEW WORLD
IOEarth
3.99 | 122 ratings
THE END IS BEGUN
Three
4.21 | 45 ratings
THE PATH OF LEAST EXISTENCE
Jet Black Sea
3.94 | 182 ratings
MOMENTS
IOEarth
4.18 | 48 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
3.97 | 136 ratings
TROUBLE WITH MACHINES
District 97
4.10 | 64 ratings
AN OCEAN HELD ME
Mice On Stilts
3.90 | 321 ratings
INCANTATIONS
Oldfield, Mike
3.93 | 198 ratings
SYNAESTHESIA
Synaesthesia
4.03 | 87 ratings
THINK LIKE A MOUNTAIN
Ritual
4.03 | 85 ratings
I
Kaukasus
4.55 | 22 ratings
PEVNINA DETSTVA
Ursiny, Dezo
4.10 | 61 ratings
ANCHOR DROPS
Umphrey's McGee
4.01 | 96 ratings
KAYAK II
Kayak
4.08 | 66 ratings
WHITE ROCK EXPERIENCE
State Urge
3.94 | 157 ratings
THE WAR OF THE WORLDS
Wayne, Jeff
4.02 | 83 ratings
ENIGMA
Seven Side Diamond
4.05 | 73 ratings
FABLES FROM A MAYFLY: WHAT I TELL YOU THREE TIMES IS TRUE
Fair To Midland
4.20 | 42 ratings
EL FIN DE LA INFANCIA (CHILDHOOD'S END)
Témpano

Crossover Prog overlooked and obscure gems albums new


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

BROKEN CHINA
Wright, Richard
CONQUISTA
Alux Nahual
2. (ODCIEń CISZY)
Wozniak, Tadeusz
PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof

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Latest Crossover Prog Music Reviews


 Glossolalia  by WALSH, STEVE album cover Studio Album, 2000
3.45 | 49 ratings

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Glossolalia
Steve Walsh Crossover Prog

Review by YagKosha

4 stars I've listened to this album many times in the past few years and have come to realize what has always annoyed me about this album: the track ordering. The problem here is that the albums track order feels/sounds like it was thrown together by an iPod shuffle. Seriously.

The album starts off with the title song "Glossolalia" which is the only correct placement in this album. It sounds like an intro song and it is one. It starts off gradual and gives the listener a huge punch in the face really quickly.

This is when things begin to get confusing. "Serious Wreckage" is NOT in ANY way the correct song to follow the intro up with. To quickly describe this song, it's an overly dramatic piano ballad about a drunk who killed a child while driving. It has some choir and nice symphonic elements here and there, and at times, is actually a pretty solid song. But again, it's perfectly incorrect in terms of positioning in the album's track ordering, and I can definitely envision a lot of people quitting on the album entirely with this song being where it is.

After listening to these songs many many times, I've decided to give the track order a makeover so that the album actually has somewhat of a flow and makes sense; and I've left out "Rebecca" and "Mascara Tears" because, forgive me, but I find them to be completely monotonous and only filler (granted they are the last two songs):

1. Glossolalia 2. Smackin' The Clowns 3. That's What Love Is All About 4. Nothing 5. Heart Attack 6. Serious Wreckage 7. Kansas 8. Haunted Man

Of course the intro song should remain the intro song in the album, so not much explanation to be given here. By placing "Smackin' The Clowns" as the follow-up track, it really gives the listener an epic idea of what Steve Walsh is made of with this incredible bombastic ten minute hard rock song. "That's What Love Is All About" is a shorter one that keeps some intensity going and really is a bit of a pop-y radio type that people would adjust to easily right after the ten minute epic. "Nothing" reminds me of two songs: Johnny Cash's NIN cover "Hurt," and Gary Jules's "Mad World" which should indicate that it is by no means a fast or happy track.

"Heart Attack" is like a bizarre -- but amazing -- amalgamation of 90s pop dance music and heavy metal , and having this after the slow and dramatic "Nothing" really rejuvenates the album. That rejuvenation is halted by the dismal "Serious Wreckage," it is probably best that "Serious Wreckage is not one of the last two songs, simply because it's best the album doesn't come close to such a depressing ending note.

The album's two longest songs should be both second-to-first, and second-to-last. Having the long and easygoing track "Kansas," about the state it's named after, wouldn't fit right to be the closer for reasons of consistency. "Haunted Man" is an excellent song that explores a lot of tempos and emotions in just five and a half minutes. It consists of an impressive guitar solo near the end by Mike Slamer -- who does an incredible job on guitar from beginning to end on this album -- that would end the album with a great feeling.

The bottom line is that I believe this truly could have been a remarkable album if it weren't for such the lazy track ordering. The songs here are really terrific, experimental, catchy, and bombastic. But when the album can't find a flow, then the listener can't quite flow WITH IT. Steve Walsh was apparently heartbroken with the silent response to his release, but he should have immediately been able to pinpoint why it went very unheard. I will award this one four stars because there's no denying that there's a lot of excellent material here.

Also, let's be realistic here, while wandering around a store's CD section back in 2000, who on earth would have looked at Glossolalia's cover art and said, 'Now that looks like something I should spend my money on!' ?????

 Broken by NINE INCH NAILS album cover Singles/EPs/Fan Club/Promo, 1992
3.57 | 41 ratings

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Broken
Nine Inch Nails Crossover Prog

Review by CassandraLeo

5 stars At the time of Nine Inch Nails' now-classic EP Broken, band leader Trent Reznor was in the midst of a protracted legal battle with his record company, who demanded that the follow-up recording be in a similar style to his debut, Pretty Hate Machine. This was the first of many difficulties Reznor faced with record companies that would ultimately lead to his going independent for several years, and this record could hardly have sounded more different from its predecessor. It's a scathing blast of white-hot rage full of screams and dissonance, and it's just plain heavier than anything else Reznor has released before or since (except maybe the remixes of this album found on Fixed).

In terms of quality, this record represents Reznor's first unqualified classic. "Wish" deservedly won a Grammy Award (Reznor joked that he wanted his gravestone to read "Said 'fist f#%k', won a Grammy"), and the rest of the album lives up to the quality of this track. The only let-up in intensity until the bonus tracks is the brief instrumental "Help Me I Am in Hell", which maintains a similar mood as the rest of the EP but turns the volume down. It also presages the direction Reznor would take on the following albums.

The two songs at the end are somewhat more light-hearted than the rest of the EP, especially the Adam and the Ants cover "Physical (You're So)". Reznor makes this song and the Pigface cover "Suck" his own, and they help to make the EP more than an unrelenting blast of rage. But as far as that particular emotion goes, Reznor has never topped it.

 Pretty Hate Machine by NINE INCH NAILS album cover Studio Album, 1989
3.42 | 83 ratings

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Pretty Hate Machine
Nine Inch Nails Crossover Prog

Review by CassandraLeo

4 stars Pretty Hate Machine doesn't sound like a debut album, and in truth this is because it isn't. Nine Inch Nails' main creative force and sole constant band member Trent Reznor had actually recorded an entire album's worth of songs before this album, but the recordings were shelved and to this day haven't been released. When the album came out the band's record company tried to pigeonhole them as a synth-pop act (which would lead to a protracted legal battle when they demanded a follow-up album in the same style), and listening to it twenty-six years later it's not that difficult to see why. This is much more tuneful and, often, upbeat material than Reznor would become known for later in his career. "Head Like a Hole" is almost an anthemic singalong, while "The Only Time" is almost ecstatic.

The quality of the material here is high for a debut, and the only thing that keeps me from giving it a perfect rating is that Reznor would write better (and more progressive) material later. Regardless, there aren't any major missteps here, though a few songs are less powerful than the album's highlights. "Down in It" apes Skinny Puppy by its creator's own admission; "Kinda I Want To" is an early stab at industrial that doesn't quite gel. But the best material here - amongst it "Head Like a Hole", a scathing attack on greed and capitalism; the anti-religious "Terrible Lie"; the harrowing addiction confessional "Sanctified"; the heartbroken "Something I Can Never Have"; the heartbroken "Sin"; the lustful "The Only Time"; the haunting "Ringfinger" - has deservedly entered the rock canon.

This album isn't as progressive as much of Reznor's later material, but the one-two punch of "Sanctified"-"Something I Can Never Have" probably qualifies the record as being at least "prog-related". Four enthusiastic stars.

 New World by IOEARTH album cover Studio Album, 2015
4.43 | 28 ratings

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New World
IOEarth Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars IO Earth has released two celebrated studio albums that made some serious waves within the prog community, supplying a modern curve to the well-travelled neo-prog rock genre by infusing some quite brilliant vocals, such as those by Steve Balsamo, who also participated on the Rob Reed (Magenta) Kompendium project. Strange coincidence (not) because IO Earth sounds like a proggier version of Magenta in more ways than one. Both the debut album and the amazing follow-up "Moments" really took us all by storm, etching in their name into the 'next bright light' prog pioneer category. After a few illness related changes, the lovely and highly talented Linda Odinsen takes over the microphone and does so very convincingly. Back are leaders Dave Curaton (Guitars, keys and vox) and Adam Gough (Keys, guitars and vox), as well as bassist Christian Nokes. New drummer Christian Jerromes adds even more punch than before while Luke Shingler adds stellar sax and flute work and Jez King supplies violin and added guitar to the line-up. They pack quite a wallop, indeed! The mammoth 2 CD "New World" offers up a lavish cover with vivid artwork, sterling production and a tremendous amount of musical flair and bravado. The mood here is decidedly more bombastic, perhaps even heavier than ever before, but maintaining all those IO Earth elements that made the other two albums such complete treasures. Namely, slick modern beats allied with shimmering old school Celtic touches, some delirious Gregorian chanting (I love that choral stuff!) and simply wicked playing by this seasoned and tight crew, the guitar solos are particularly vivacious and the arrangements constantly on the "qui vive", like some alert sentry safeguarding a super-secret site. The music is all over the map, with some heavy rock moments, traditional touches as well as chorale spookiness. But the aural dynamics of serene to thunderous are clearly defined and wholly unexpected.

To kick off a gargantuan opus with a romantic ditty like "Move As One" only serves to showcase their grasp of melody and beauty, cello ablaze and passionate voice up front and center. And follow that with a steamroller progressive rocker such as the zesty "Redemption", a bruising bass torpedo heading out to slam and slam hard, in unison with sweeping string synths, sizzling lead guitar and tectonic drumming, hell, this is my kind of vibrant and nicely bitchy prog!

"Journey to Discovery" has very little disco, as it's another heavy symphonic onslaught of molten riffs that wink at Ayreon and Rocket Scientists but in a way more exciting envelope. Linda sings or rather howls with determined frenzy ("yayaya"), the sense of speed and travel quite obvious and delightful. The swirling romanticism of a suave track like "Trance" is particularly addictive, a typical IO Earth track full of both originality and toughness. These musicians are connoisseurs of the extremes that are well within their expertise, displaying Gregorian choirs ( a perennial trademark) to add to the insanity, choppy modern drum patterns and a definite hypnotic quality that sustains their need to progress beyond the clichéd styles that abound within the more vocal anointed prog genres.

On a lovely piece like "Morning", the mood lightens up a fair bit, evoking folkier slants that perhaps wink at other female-fronted bands such as Magenta, Mostly Autumn and such.Linda Odinsen shows off her pipes, fragrant Crimsonian flutes as a chaperone, then a simply executed electric guitar solo that is all blues and hues before a more exuberant finale that just explodes, out of nowhere. Then immediately fall back on the noxious and volcanic "Collision", a twisting and turning guided heat seeking missile that is in the clouds, invisible one moment (ruminating violin) and suddenly bearing down on your ass the next. Gothic monstrosity like some sonic King Tiger tank gone berserk, crushing, pummeling and relentless, this is perfect modern prog that every fan of any denomination would simply bow to. Both Jerromes and Frank Zappa alumnus Ed Mann add tons of dynamic percussion to the epic conflagration.

"Fade to Grey" is not a remake of the Midge Ure penned Visage track of the 80s but a long excursion into the dark side, though the acoustic guitar intro might throw the listener for a temporary loop, insistent piano and lush voice not far behind. Fascinating stuff, moody and redolent atmosphere cut to ribbons by walls of bombastic symphonics that first startle and then enthrall. Wow! When the sax does its foray into the fray, you just can't help drooling. The slick fret board solo sears the speakers into a fulminating mass of plastic, before a return to the pastoral groove. The colossal and repetitive "fading to grey, paving the way" chorus seals the deal, with Linda sounding like Heart's Ann Wilson (that is one hell of a compliment BTW). The first CD ends with the tenebrous "New World Suite", a clearly symphonic piece that flirts with dense classicism and choral expression, an all-instrumental arrangement with a sweet synth solo finale.

CD2 wastes little time in making you fumble the giant sized popcorn bag, buttering the carpet as the screeching bravado busts through the stereo speakers. "Insomnia" is a nasty piece of work, commencing with sweeping dissonance and a sense of uncontrollable angst, only to detonate mercilessly when Linda clutches the microphone and invites the massed choir to intonate the title. This is a heavyweight sucker, full of surprises with thick and edgy moments, interspersed with a bizarre sax segment that has a definite Barbara Thompson?like feel , only to morph into a shocking double bass drum, heavy metal flurry, complete with a zingy guitar solo that will knock your socks (and your pyjamas) right off . The cinematic outro is a sensational finale.

IO Earth like to weave in some Indian influences on occasion as well (see "Cinta Indah" track on Moments) combining tabla percussion with more modern synthesizer runs as well as a whirling dervish guitar solo from Dave Curaton. So "Red Smoke" has those attributes and so much more, as the theme gets heavier towards the end. Smoking!

The images of 9-11 are reproduced on the instrumental masterpiece "The Rising", understanding clearly the visual impact that incident has had on the entire planet, young and old , all connected to the media on that cloudless sunny day. The insistently sad guitar carves quite a long path, aided by a sweltering saxophone foray, both drenched in historical gloom but resolutely passionate. This is utterly gorgeous, to the point of heartache, Linda wailing a long "hooooooo"!

"Body and Soul" sets out as a melancholic piano and violin duet, until Linda intones a grieving lament, that suddenly explodes into this heavy ballad that sounds like Magenta on steroids, and then back to the sweet pastoral for a moment before another turn into the tempest, a brooding hurricane of sweeping mellotron strings, ballistic bass and demonic drumming, gritty guitars and Linda howling like a werewolf.

Ya want depth charges galore? Ya like boom-boom heavy rock? Two hard ones then for ya! "Colours" is bloody stodgy, concrete and just plain nasty. Sharp rapier-like riffs and binary drum artillery give the band a windswept platform to push the limits far beyond, the mood more like Threshold than anything else. This is continued on the rabid "Follow" with male vocals (Dave Curaton) suggesting a doom-laden crescendo of darkness that is closer to the early Stranglers but armed with a killer guitar solo that sizzles, drizzles and fizzles.

"Dreams" again features a hushed and somnolent male vocal, a stylistic detour that implies a much wider palette than one might think. The brassy trumpet does the lilting mood great justice, I thought it was a long lost the Beloved track, done in a quasi-prog style. Very cool track and utterly ballsy. The 'chaka-chaka' drums are a blast. Okay, this was one hell of a long catalog, with all kinds of styles and challenges, how do they finish up this recording? With the title track, silly you! And just like CD1, the intent is to rekindle the symphonic /cinematographic comfort zone, with a few unexpected twists. This time, Linda carries the tune with some operatic vocals, escorted by thunderous riffs, lightning fast rhythms, blitzing solos and mammoth melodies that serve as a kind of trailer or recap of what this album is all about. Celestial !

This is what progressive rock means to me, a vehicle for deeply melodious adventures, tremendous instrumental interplay and innovative symphonic arrangements that stretch the norms of rock music and finally, a delirious afterglow that yearns for one to return. Melancholic, taciturn, majestic, elegant and overpowering, the music is beyond the pale!

Another masterpiece in the prog pantheon. We all Owe Earth from now on!

5 fresh dominions

 Burnt Belief | Etymology by EDWIN AND JON DURANT, COLIN album cover Studio Album, 2014
3.51 | 5 ratings

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Burnt Belief | Etymology
Colin Edwin and Jon Durant Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars The danger with many experimental rock bands is often found in their lackluster desire to overdo their talent by eschewing structure and shove massive doses of technique down the gullet of unsuspecting fans in search of new horizons. The senseless noise can be quite unpleasant and somewhat masturbatory, pleasing only the perpetrators and their immediate family. That being said, there are modern instrumentalists who rely on their dedication to structure AND melody, doing virtuoso stuff while keeping their eyes on the prize. Bands like Herd of Instinct and Spoke of Shadows are inspirational examples of this new style and they represent a new dawn in progressive rock. The collaboration between guitarist Jon Durant and master bassist Colin Edwin has already yielded a thrilling debut that was universally acclaimed by both fans and critics, pushing sonic boundaries with exalting arrangements and explosive deliveries. "Burnt Belief" remains a sterling effort and perhaps a hard act to follow. Barely 2 years later, "Etymology" keeps the pulse going, predominantly propelled by ex-Porcupine Tree bassist Edwin, whose wobbly style shakes the foundations and abetted by a trio of guests drummers (Sabatino, McCormick and Duque) as well as No-Man's violinist Steve Bingham. Guitarist Jon Durant is a coloring specialist, very inspired to boldly go beyond the norm and add a slithering array of tones and textures to his playing.

There certainly is a smart formula at work here, a sensorial adventure that scours the outermost perspectives with Durant sounding like Andy Summers one moment and David Torn the next, with even a little Santana thrown in for good measure. But, for me and many others, this music's entire genius is anchored heavily in Colin Edwin's spirited playing, very upfront and natural, even bellicose when necessary. This is a bass player's manifesto, suggesting at such four strung maestros as the legendary Mick Karn (RIP), Jah Wobble (PIL) and Mister basso profundo himself, Tony Levin. He bends, pulls, throttles and caresses his strings with undeniable expression throughout this sophomore effort. At times, his sumptuous playing is like some king cobra with its prey in sight, ready to lunge. Yeah, deadly!

Many stellar tracks such as the opener "Chromatique", which sets the mood right from the start, the manic mathematics of "Dissemble", the spooky the Police-like eeriness of the dreamy "Convergence" but what the heck, the entire set list is first class experimental fusion/prog of the finest vintage. Things can get very morose and vaporous such as the brooding "White Keys", where there is a quasi-Weather Report feel, circa "Sweetnighter", opens the door even wider to fusion and jazz-rock aficionados. The colossus piece is the 11 minute+ megalith "Not Indifferent" which has all the trappings of a classic prog epic. A sensual but circuitous bassline really provides the sonic anaesthesia, Edwin meandering in full control, submerged in dense guitar atmospherics, as well as stupendous percussion work, creating a sonic jungle of twisted vines, lush underbrush and piercing rays of sunlight. Totally subjugating stuff as the second section kicks into life with thunderous abandon as if ruthless predators had just conquered the peaceful clearing, chasing away the frightened prey. On a track like "Hover", the serenity instills deep reflection and introspection, acoustic guitar in a near Al diMeola style, calmly reflective. Edwin's 'delicatesse' is in the gentle breath of his bass playing. Two 6 minute pieces finish off the recording, "Chimera" being bouncy and exotic, while the closer "Squall" retains a clever urban feel, sunglasses filtering the blistering gleams as they reflect off the glass and steel architecture, in contrast to the cover artwork's nighttime effect.

A worthy follow up to the amazing debut, "Etymology" is a fine piece of modern progressive rock.

4.5 Derivation of words

 Room Of Pointing Figures by AMAZING MACHINE album cover Singles/EPs/Fan Club/Promo, 2014
4.00 | 1 ratings

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Room Of Pointing Figures
Amazing Machine Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Norwegian band AMAZING MACHINE was formed back in 2008, at first as a duo consisting of Bjřrn-Roger Reinfjell and Hans-Marius Řverland, but later settling as a trio with the addition of Torkil Rřdvand. "Room of Pointing Figures" is their first recording, and was released as a digital EP in the spring of 2014.

When reading up on the stated inspirations for this band, a lot of names are listed there that you can't truly hear in the material they explore. Which isn't at all an uncommon I guess, but if you look them up on social media you can safely disregard a few of the artists the band have chosen to namedrop themselves, and rather hone in on their self-described genre, with an emphasis on progressive rock, alternative and post-rock. Those three genre descriptions pretty much summarize what this band is all about as they appear on this EP.

Plucked and frail, echoing guitar details are given a lot of space in the dreamladen, melancholic landscapes explored, and liberal use of ethereal textured sounds and nervous fluttering light toned guitar details adds a certain emphasis on the band's fascination for post-rock. They do mix it up a bit though, with harder edged, angst-filled darker guitars and a firm bass and drum support that does give their compositions more of an indie or alternative sheen. Careful and often frail lead vocals, at times with a more distinct and highly emotional delivery, adds dreamladen, sleepy and distanced vocals as well as angst and intensity in just about equal measures.

I applaud Amazing Machine for managing to balance their compositions between the ethereal, frail and also majestic beauty of post rock on one hand and the more angst-ridden alternative type progressive rock on the other, and the manner in which they do explore these landscapes can be fairly transfixing at best and always intriguing for sure. As far as debut EPs goes this is a high quality one, and one I'd recommend to those who are just as mesmerized by artists such as Gazpacho and Radiohead as they are by bands exploring what I might describe as classic post rock.

 Par Er Heimur Hugans by ELDBERG album cover Studio Album, 2015
4.25 | 16 ratings

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Par Er Heimur Hugans
Eldberg Crossover Prog

Review by b_olariu
Prog Reviewer

4 stars 4.5 stars for sure

The sophomore album of this excellent band from Iceland released this year in march and named Par Er Heimur Hugans is a little treasure and a very worthy album to investigate. If the debut was a great one, in my opinion this second offer tops it, to me is one of the better albums released in last yesrs. The music offered is keeping the same attitude as on debut , heavy prog with psychedelic aproach, quite original, intresting and damn fine composed. Good and captivating moments here on all pieces, not a weak moment for sure, the hammond is very strong keeping a high level and melted with the guitar is absolutly killer. Very good the druming, not overly complex but very well performed, the voice is great aswell. All pieces has same level, not one is in front, is a very good thing that Eldberg were concentrated to make all pieces strong not only 2-3 like one many albums from today. The sound is retro, it smelling of early '70s prog/psychedelic with an add of that unmatch brilliant nordic feel to it. The lyrics are in icelandic, and is a good thing because it gives to originality a higher level. very very strong band this Eldberg, to me is for sure one of the most intresting ones in last decade, I'm saying with my hand on heart that they are to me in top 5 fav ones ever, I was really pleasent surprised by both albums. A plus is .th excellent cover art in inside drawing, digipak format issued by chilean Mylodon label. recommended, captivating and intresting heavy psych. One of the best from this year and to me nr 1 for 2015 for sure. 4.5 stars without hesitation.

 OK Computer by RADIOHEAD album cover Studio Album, 1997
4.02 | 759 ratings

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OK Computer
Radiohead Crossover Prog

Review by A_Flower

4 stars If you are considering looking into the second generation of prog rock (Marrilion, Porcupine Tree, etc.) then this is the place to start. Radiohead's third album, Ok Computer is often seen as the modern Dark Side of the Moon. And it is, in my opinion. It is good in creating an environment of music, transitions well, and blends multiple themes in one album still maintaining it's atmosphere.

The album starts with electric guitar and adds in drums. This is "Airbag" the song is about car accidents, which is talked about a lot in the album (ironic how I took drivers ed right when I first started listening to it.) Anyway, there is a good instermental section near 2 and a half minutes, and this song is a highlight for the album. It ends with a beep which takes us into the next track.

Paranoid Android starts acoustic with drumming. It then has some lyrics and progresses into Yorke singing "What's there" and a computer talking in the background about a Paranoid Android. The beginning of it is one of my favorite sections of the album. It changes a little, and suddenly, the electric guitar kicks in somewhere in 2 minutes. It then turns into a loud rock song for a minute, and completely changes. It gets slower then the intro, with many "Ahhs" as Yorke sings "Rain Down" There is also over lyrics after a little. After this, the electric guitar kicks in once again and the song ends with an even better solo. This track is what basically makes this album prog.

We then have "Subterainean Homesick Alien" a title as a play on Dylans "Subteraenian Homesick Blues." The guitar in this song is very alien-ish. The chorus is my favorite part though, singing "Uptight." This is another highlight track on the album.

The next track is quite depressing. "Exit Music (For a Film)." I have yet to see a film with this Exit Music. It starts mainly acoustic, but it won't be for long. A choir is hiding behind the corner and comes in at around 1:27. The song later get's an interesting background noise, sort of avant-grade. Then drums and meletron kick in around three minutes in. It's quite a dramatic song.

Next is one of Radiohead's hits. "Let Down." This song has double lyrics, and a repeating guitar melody. It is a bit hard to understand what Yorke is saying, but that somehow makes this song better. At around 2:30, there is a buildup. This is probably the coolest part. You'll need to listen to this multiple times before you love it.

The next track is one of the best songs on the album for sure. "Karma Police" starts with piano solo and then adds lyrics with drumming and guitar. The lyrics are about hoping someone will get bad Karma. "This is what you'll get." But it is at 2:33 when one of my favorite moments of music comes in. It changes and Yorke sings "For a minute there, I lost myself." It makes me almost faint. The song progresses onward from that. Amazing track.

Then there is one of "those" songs. "Fitter Happier." It is a computer saying some inspirational stuff while music in the background that sounds like it's from Minecraft or something like that.

The next song starts with backwards sound affects. "Electioneering" then adds guitar with the indterment that Bruce Dickenson has a fever for (cowbell). It is a very intense and is about an election.

Then the music gets darker in "Climbing Up the Walls." This song has a deep environment to it. The chorus melody is pretty cool though, especially the guitar and meletron. The song adds more as it goes along and gets scarier in a way. At the end, Yorke starts screaming at the top of his lungs, weird.

Then the mood completely changes in "No Suprises." This song is happier. But it had a glocenshpele. I love that insterment, but this is just kinda boring. I don't really like this one because it is too mellow and sort of ruins the album. Many people love it though, but I don't get it.

Now we have one of the better tracks on the album. "Lucky." Remember how I said how the album has a lot about driving and car accidents? Well this is another one about that. The song is about being lucky not to be in a crash. In the second time the verse comes, there is a choir. It adds intensity to the song and makes it deeper. Lucky is a great song for its feeling.

The album ends in a great way, calming things down. "The Tourist" is the final track. People don't like it because it is too mellow for such a heavy album. However, the melody repeats "Hey man, slow down. Idiot, slow down." With a choir, this part is pure beauty. This song is a perfect conclusion, and it's a good thing that it is, mellow, because, it let's you reflect on the album. One of the best songs for sure.

So, the debate on this is: Is it prog? Yes. In the way you would consider The Moody Blues prog. You can only due so by the whole album.

Ranking of songs: 1. Paranoid Android 2. Karma Police 3. The Tourist 4. Subteraenian Homesick Alien 5. Let Down 6. Airbag 7. Lucky 8. Exit Music (For a Film) 9. Electioneering 10. Climbing Up the Walls 11. No Suprises 12. Fitter Happier

 The Light Program (The New Dance Orchestra) by DOWNES, GEOFFREY album cover Studio Album, 1986
4.37 | 5 ratings

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The Light Program (The New Dance Orchestra)
Geoffrey Downes Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars One of prog's finest attributes is that the fan and the artist can have different opinions on the music created, proving that beauty is in the ear of the beholder. As fans and reviewers, we are constantly faced with decisions based on whether an artist or an album is or is not prog. Steve Wilson is perhaps the current prog standard bearer but he is adamant in describing his music in non prog-rock terms, which many of us find odd and yet amusing. Yes, I have opinions too, for example, I believe that genial acts such as John Foxx, Ultravox, Mick Karn and Magazine should be included in progworld but there is a serious argument by some collaborators against it. Well so be it!

So I was thrilled to bits in seeing Geoff Downes being added to the prog universe, even though his credentials with the commercial side of prog may turn a few heads (Asia, Downes/Wetton and the recent Yes meanderings) , the truth remains that his debut New Dance Orchestra album, "the Light Program" has been one of my all-time masterpiece selections, owning both LP and CD versions to my utter delight. I never thought it would be welcomed into the progressive community, because it may have been perceived (wrongly) as a dance/electronica monstrosity that may be closer to Depeche Mode or Blancmange, even though there are no vocals on this recording whatsoever.

In my humble opinion, "The Light Program" is as fundamental to modern keyboards as the celebrated "The 6 Wives of Henry VIII" by Rick Wakeman (see review below, how is that for timing, eh?), a solo work of phenomenal melodies that immediately grabs ones attention for ever more. The synthesizer work is simply outstanding, the bass synth beyond belief and frankly, the programmed percussion is some of the finest ever recorded. The arrangements span a wide variety of styles from symphonic bombast, electro-funk and medieval-tinged folk balladry to almost calypso-like patches that constantly astound. What makes "the Light Program" so tantalizing even after so many years is the editing, a long suite of brilliant snippets of genius that never bogs down into repetition (a common occurrence with electronica). The brief piano melody on "French" is sheer scintillation lasts only a couple of minutes but what a thrill! Same can be said for all the other tracks as well, an endless river of stellar sounds and creative expression that boggles (Buggles?) the mind! There are a few series of pieces such as the fore mentioned "French" that leads through quite a convoy = the stunning "Daybreak", the slick "Steam" and the cosmic "Surfin" , a cavalcade of shimmering beauty.

This segue style is repeated a few times , such as with the 5 part section that starts with the peaceful "Bouree" , and lingers on with the pulsating "Merrydown" , the Irish lilt of "Jigtime", continues on with the playful "Jethro" and the stimulating "Finale" and ends with cinematic "Iceman" . Totally refreshing synthesized pleasure! The kicker is the final section that has the glittering and ultimate melodic beauty of "Shooters II", followed by "Groundfunk", "Geoffunk "and "Stevie". All of these gems strive for a sense of sonic accomplishment that still holds my attention after nearly 29 years of continuous replays. The final "Regiman" is electronic reggae that will make the coconut trees sway in the warm Caribbean breeze.

One of my all-time favorite recordings, a sheer monument in the progressive pantheon.

5 sunlit agendas

 The World Service (The New Dance Orchestra) by DOWNES, GEOFFREY album cover Studio Album, 1999
3.00 | 1 ratings

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The World Service (The New Dance Orchestra)
Geoffrey Downes Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

— First review of this album —
3 stars From Moscow to London via Xanado

The World Service was the third album that Geoff Downes released under the New Dance Orchestra name tagged on to his own name. This album would have been a much more fitting follow-up to his first solo outing The Light Program than the stylistically rather different Vox Humana that came in between. Indeed, despite the fact that the present album appeared more than a decade after the 1986 debut, these two albums have many things in common. Like The Light Program before it, The World Service is an all instrumental affair and the music is entirely driven by Downes' keyboards. This 1999 album is however somewhat more reserved and less assertive musically than the first New Dance Orchestra album. There is a slightly more clear concept behind the music which is inspired by the BBC World Service - the world's largest international broadcaster. The many short tracks are named after cities and places around the globe. For the most part the separate parts meld together and feel like sections of a longer musical journey around the world.

The music has a somewhat laid back nature but it is by no means music for pure relaxation, and neither is it music for dancing (as the "New Dance Orchestra" name misleadingly indicates). Comparisons to Vangelis, Jean Michel Jarre, or even Mike Oldfield (though without guitars) suggest themselves. I find this music pleasant and enjoyable and it is as good as or better than many albums of its kind, but it doesn't excite me as much as did The Light Program. Still, The World Service it is a worthy companion to The Light Program and is recommended for those who liked that album.

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
3 United Kingdom
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
AARDVARK United Kingdom
AARDVARK' Finland
THE AARON CLIFT EXPERIMENT United States
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
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
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
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BLACK MOUNTAIN Canada
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
THE BODY POLITIC Canada
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
VICTOR BRADY United States
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
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
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THE BEN CAMERON PROJECT Australia
CANAMII South Africa
CANNATA United States
CANTURBE Argentina
CAP OUTRUN Sweden
CAPABILITY BROWN United Kingdom
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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
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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
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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
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DEMIAN CLAV France
JOE DENINZON United States
A DEVIL'S DIN Canada
DIATESSARON Canada
DICE Germany
THE DIFFERENCE Slovakia
DIFFERENT LIGHT Czech Republic
DIGITAL CHEMISTRY United States
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DIRTY PROJECTORS United States
DISCONNECT United States
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DISTRICT 97 United States
DLGZ ROCK 5TET France
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
DOPING HORNETS Canada
GEOFFREY DOWNES United Kingdom
DR FOLAMOUR France
DREAM THE ELECTRIC SLEEP United States
THE DREAMING TREE United Kingdom
DREDG United States
DRY RIVER Spain
MARK DUBERRY Ireland
FRANCIS DUNNERY United Kingdom
DW. DUNPHY United States
DUTCH UNCLES United Kingdom
DYNAMO BLISS Sweden
DYONISOS United States
DZEJBI Yugoslavia
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
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FIREHORSE Germany
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FLAUD LOGIC United States
FLICKER United Kingdom
FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
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FOBOS Argentina
FONTARABIE Canada
THE FORMER LIFE Italy
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FOSSIL EVOLUTION Belgium
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FOURTEEN TWENTYSIX Netherlands
FRACTAL MIRROR Netherlands
FRACTAL ROCK United States
FRAGILE Estonia
FRANC ALBIR Spain
FREDDEGREDDE Sweden
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FREELIGHT United States
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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
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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
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ROEL VAN HELDEN Netherlands
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HELIOTH United States
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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
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INFUSION KAMACHUI Argentina
INNER PROSPEKT Italy
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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
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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
YOGI LANG Germany
LANTINOR Russia
LISA LARUE United States
LAST TURION Germany
LAURA France
LAVIŔNTICA Italy
LAYRA Italy
LAZY DOLL France
GUY LEBLANC Canada
LEBOWSKI Poland
JOHN LEES United Kingdom
LEVIATHAN United States
LIFE Sweden
LIGHT Netherlands
THE LIGHT AFTERNOON United Kingdom
LIMPID GREEN United States
LING TOSITE SIGURE Japan
A LIQUID LANDSCAPE Netherlands
LIRD VAN GOLES Switzerland
LIVES AND TIMES United Kingdom
KERRY LIVGREN United States
LIVING STILTS Italy
THE LIVING Canada
LOBATE SCARP United States
LOGAN DWIGHT Italy
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
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