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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 12/24/14

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

Crossover Prog Top Albums


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

4.34 | 1141 ratings
CRIME OF THE CENTURY
Supertramp
4.34 | 930 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1287 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.24 | 757 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 1236 ratings
GRACE FOR DROWNING
Wilson, Steven
4.24 | 394 ratings
~
iamthemorning
4.20 | 645 ratings
PETER GABRIEL (3 - "MELT")
Gabriel, Peter
4.18 | 757 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.18 | 678 ratings
SNOWTORCH
Phideaux
4.18 | 553 ratings
THE UNDERFALL YARD
Big Big Train
4.14 | 572 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.15 | 467 ratings
NIGHT
Gazpacho
4.11 | 587 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.17 | 183 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.23 | 124 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.15 | 209 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.11 | 323 ratings
PASSION
Gabriel, Peter
4.06 | 826 ratings
TUBULAR BELLS
Oldfield, Mike
4.20 | 132 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.10 | 344 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.10 | 280 ratings
HOUNDS OF LOVE
Bush, Kate
4.07 | 433 ratings
AMAROK
Oldfield, Mike
4.10 | 264 ratings
SPIRIT OF EDEN
Talk Talk
4.30 | 75 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.17 | 130 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.08 | 274 ratings
PAMPERED MENIAL
Pavlov's Dog
4.08 | 286 ratings
LUNATIC SOUL
Lunatic Soul
4.21 | 98 ratings
MODRA RIJEKA
Indexi
4.02 | 725 ratings
OK COMPUTER
Radiohead
4.08 | 234 ratings
EL CIELO
Dredg
4.04 | 464 ratings
NUMBER SEVEN
Phideaux
4.31 | 65 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.03 | 506 ratings
TALES OF MYSTERY AND IMAGINATION - EDGAR ALLAN POE
Parsons Project, Alan
4.11 | 167 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.38 | 53 ratings
TIME
Time
4.07 | 252 ratings
CORVUS STONE II
Corvus Stone
4.03 | 419 ratings
TICK TOCK
Gazpacho
4.10 | 161 ratings
THE LONG DIVISION
3RDegree
4.04 | 280 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.19 | 88 ratings
THE GNOMON
Sunchild
4.06 | 198 ratings
THE DREAMING
Bush, Kate
4.04 | 230 ratings
SHINE ON BRIGHTLY
Procol Harum
4.01 | 351 ratings
PERFECT BEINGS
Perfect Beings
4.00 | 443 ratings
UP
Gabriel, Peter
4.04 | 213 ratings
FOR YOUR PLEASURE
Roxy Music
4.05 | 178 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.03 | 205 ratings
ROXY MUSIC
Roxy Music
4.06 | 140 ratings
CINEMATIC
Lebowski
4.13 | 91 ratings
AND THE GLASS HANDED KITES
Mew
4.00 | 219 ratings
GHOSTS
Frequency Drift
4.02 | 176 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
3.98 | 250 ratings
BELIGHTED
iamthemorning
3.95 | 444 ratings
EVEN IN THE QUIETEST MOMENTS....
Supertramp
3.96 | 347 ratings
MARCH OF GHOSTS
Gazpacho
4.32 | 43 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
3.93 | 566 ratings
KID A
Radiohead
3.93 | 528 ratings
BREAKFAST IN AMERICA
Supertramp
4.34 | 40 ratings
CHROMIUM
Talisma
4.01 | 154 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
4.02 | 131 ratings
AS YOUR MIND FLIES BY
Rare Bird
3.98 | 188 ratings
LAUGHING STOCK
Talk Talk
3.94 | 312 ratings
AMUSED TO DEATH
Waters, Roger
3.98 | 189 ratings
LAID TO REST
Frequency Drift
3.98 | 190 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.16 | 63 ratings
BLUE JAYS
Hayward & Lodge (The Moody Blues)
3.92 | 413 ratings
HERGEST RIDGE
Oldfield, Mike
3.92 | 447 ratings
PETER GABRIEL (4 - "SECURITY" OR "MASK")
Gabriel, Peter
3.99 | 156 ratings
BROKEN CHINA
Wright, Richard
4.11 | 73 ratings
AN OCEAN HELD ME
Mice On Stilts
4.00 | 136 ratings
RETURN TO MINGULAY
Oceans 5
3.96 | 194 ratings
NEVER FOR EVER
Bush, Kate
4.24 | 46 ratings
SELECTIVE MEMORY
Témpano
3.94 | 213 ratings
THE KICK INSIDE
Bush, Kate
4.05 | 86 ratings
MAPS OF NON-EXISTENT PLACES
Thank You Scientist
3.98 | 132 ratings
TROUBLE WITH MACHINES
District 97
3.94 | 203 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
3.94 | 200 ratings
SYNAESTHESIA
Synaesthesia
3.99 | 120 ratings
THE END IS BEGUN
Three
3.90 | 318 ratings
INCANTATIONS
Oldfield, Mike
4.19 | 47 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
4.03 | 85 ratings
THINK LIKE A MOUNTAIN
Ritual
4.13 | 55 ratings
THE PATH OF LEAST EXISTENCE
Jet Black Sea
4.01 | 93 ratings
KAYAK II
Kayak
3.93 | 175 ratings
MOMENTS
IOEarth
3.98 | 111 ratings
THE ANCIENT TALE
Fatal Fusion
3.94 | 155 ratings
THE WAR OF THE WORLDS
Wayne, Jeff
4.02 | 86 ratings
NO TENGAS MIEDO
Kant Freud Kafka
4.20 | 41 ratings
EL FIN DE LA INFANCIA (CHILDHOOD'S END)
Témpano
3.89 | 239 ratings
PROCOL HARUM
Procol Harum
4.07 | 62 ratings
TURN OF THE TIDE
Arz
3.90 | 219 ratings
CHUPACABRAS
Phideaux
3.92 | 161 ratings
WET DREAM
Wright, Richard
4.13 | 49 ratings
BURNT BELIEF
Edwin and Jon Durant, Colin
3.99 | 87 ratings
ENIGMA
Seven Side Diamond
4.10 | 53 ratings
TODD
Rundgren, Todd
3.97 | 99 ratings
SANCTUARY
Reed, Robert
4.03 | 72 ratings
WHITE ROCK EXPERIENCE
State Urge
3.94 | 122 ratings
LA QUARTA VITTIMA
Zuffanti, Fabio
4.59 | 19 ratings
PEVNINA DETSTVA
Ursiny, Dezo
3.99 | 86 ratings
I
Kaukasus

Crossover Prog overlooked and obscure gems albums new


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

ABBANDONO DEL TEMPO E DELLE FORME
J'Accuse..!
VOICE
Capability Brown
STANDING STONE
Oliver
CONQUISTA
Alux Nahual

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Latest Crossover Prog Music Reviews


 Hand. Cannot. Erase. by WILSON, STEVEN album cover Studio Album, 2015
4.29 | 73 ratings

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Hand. Cannot. Erase.
Steven Wilson Crossover Prog

Review by floflo79

5 stars Here it is ! The album that I wanted the most for 2015 ! Two years after the amazing "The Raven That Refused To Sing", Wilson come back. And he shows that he is more creative than ever.

First Regret : An introduction song which is very cool, with gloomy piano like at the end of Nine Inch Nails' Closer, but with a typical Wilson melody. A great opening.

3 Years Older : One of the longest song of the album, and also one of the best. Pure prog, with great melodies, furious and calm sections, really cool.

Hand Cannot Erase : The title track is in fact the worst track on the album. But it's not bad. It's just pop. Pop is not really a problem, but the others songs are better, that's all.

Perfect Life : A atmospheric song, pleasant and really apperciable.

Routine : A 9 minutes great prog song, with beautiful piano and vocal work.

Home Invasion : One of the best tracks. Begin like a jazz rock jam, with awesome keyboard riffs, and great vocals.

Regret#9 : A great synth solo and a f**in amazing guitar solo. Just beautiful.

Transience : An acoustic interlude, very nice.

Happy Returns : A more pop song that I didn't really enjoy.

Ascendant Here On... An atmospheric final, great closing for a great album.

A wonderful album by the king Wilson !

5 stars !

 Hand. Cannot. Erase. by WILSON, STEVEN album cover Studio Album, 2015
4.29 | 73 ratings

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Hand. Cannot. Erase.
Steven Wilson Crossover Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'Hand. Cannot. Erase.' - Steven Wilson (81/100)

I think it is a testament to the brilliance of Steven Wilson as an artist, that the least immediately gratifying album thus far in his solo career is still one of the most impressive things I've heard in these nascent months of 2015.

While I'm altogether certain I'm not the only one who longs for a Porcupine Tree reunion one of these days, Wilson's latest flagship has long since proved itself. His 'solo' phase has not been so much a continuation of that band's sound as it has been a liberation from the expectations fans might have had for any successor to The Incident. Porcupine Treeis synonymous with the sort of melancholic 'alt-prog' they're known for popularizing, but fans with a cursory knowledge of Wilson's music should know that was only a facet of his art. His poppiest tunes went to Blackfield. His love for drone and krautrock manifested themselves in Bass Communion and I.E.M respectively, and his longstanding collaboration with Tim Bowness (as No-Man) channelled ambiance in several shades. For any of the material that fell in- between these lines, a project under his own name was perfect. In spite of the heavy praise Steven Wilson has received for his eclectic solo work, I am positive a lot of the stylistic expeditions would have been given flak, had it been released with Porcupine Tree. An audience's preconceptions and expectations can make shifting sounds a tricky thing; this is something Wilson's pal Mikael Ĺkerfeldt might have taken into account when Opeth released Heritage (to intensely polar reactions) back in 2011.

The sleepy Insurgentes and - to an even greater extent - jaw-dropping Grace for Drowning pulled in sounds from every corner of Wilson's art. With these last two albums however, Wilson has let his love of classic progressive rock guide his approach. I don't mean to imply that Hand.Cannot.Erase. is a repeat of 2013's The Raven that Refused to Sing, but the open-ended, career-encompassing variety that had me obsessed with Grace for Drowning back in the day isn't so much a part of Wilson's solo material these days.

It's not the love note to 70s' prog rock that The Raven was, but Hand.Cannot.Erase. continues to pay homage to Steven Wilson's classic influences. His pop songwriting (one of his best talents, I think) takes a backseat to longwinded prog observations, the likes of which only usually seen once per Porcupine Tree record. "First Regret / 3 Years Older" is replete with Wilsonian vocal harmonies and successfully moving choruses, but its greatest charm lies in its not-so-subtle nod to A Farewell to Kings-era Rush. Yeah- I wouldn't have ever expected to mention the Canadian trio in a Steven Wilson review (his classic influences tend to rest near the psychedelic spectrum) but the precise basswork and bright power-riffs demand the comparison be made.

The comparisons don't end there either. "Home Invasion / Regret #9" starts with chugging, quasi-metal fare (it's not the first time Wilson's love of Meshuggah has found its way into his art) before it expands into a jazzy, King Crimson-esque exploration. From there, it falls into a longform, gradually building solo showcase shared between Adam Holzman and Guthrie Govan- again, this kind of chilled and soulful soloing could be traced to Pink Floyd, but so many prog rock bands have made use of it since that it may well be considered common property. "Routine" may be the only longer track here that escapes all quickdraw comparisons to classic prog. It's soft, varied and beautifully dynamic; I've seen a few people call "Routine" their favourite cut from the album; it might be a little over the place and rhapsodic for me to call it one of my favourites, but following the beautiful minimalism of "Perfect Life" before it, it's a refreshing switch of gears.

Hearing Wilson place an emphasis on this kind of tried-and-tested longform composition is both impressive and frustration. Wilson's natural talents with writing, matched with his encyclopaedic interest in the genre, his warmth as a producer and cast of brilliant musicians (some of them legends in their own right) make the least- involving moments on Hand.Cannot.Erase. a joy to behold. Coincidentally (and I may strike a note of controversy for saying so) those 'least-involving' moments all fall in the stretches of time Wilson hands the reins over to his backing soloists. Guthrie Govan stands as one of the best working guitarists today (his masterpiece debut Erotic Cakes is proof of that), but I notice my attention slipping whenever another extended guitar solo rolls around. From a technical standpoint Govan (and keyboardist Adam Holzman) hit all the proper marks, but the compositions fall into the age-old issue of making added space for the solos, without creating the dynamic surroundings to make it feel more than an expression of (their admittedly superb) technical musicianship. When it comes to some of these lax instrumental passages, I feel myself reeling back to thinking of the way Wilson masterfully opened up The Raven, with "Luminol". "Luminol" offered some of the best musicianship I've ever heard in the progressive genre, and felt consistently engaging in spite of its length. There wasn't a need to create longwinded solo passages then, and I don't think there was a need for it here.

I know I could have stopped with simply saying "TOO MANY SOLOS" and risked sounding like just as much of a curmudgeon, but the talent of everyone involved is worth far more than falling on old tricks like that. Barring that, any issues with Hand.Cannot.Erase. are negligible. Steven Wilson's work with would-be prog 'epics' has seen better days to be sure, but the three 10+ minute tracks grow with every listen. "First Regret / 3 Years Older" is the most contagious opener I have heard in a long time, and in spite of my criticism towards it, "Home Invasion / Regret #9" seems to get more charming with every listen. "Ancestral" was the slowest grower of the lot for me; the darkest note on Hand.Cannot.Erase. begins with Floydian melancholy, and erupts into one of the closest skirmishes with prog metal Steven Wilson has ever had. The dark atmosphere and oppressive riffs fly close to the heavy climax on The Incident, but unlike that album, Wilson makes sure to give the aggression due time to emerge and erupt.

Also quite like The Incident, the album's final moments following the climactic storm are tender. "Happy Returns" isn't quite as heartbreaking as "I Drive the Hearse", but I'm sure it was written in a similar mindset. To be honest, this sort of Porcupine Tree-ish tenderness and beauty strikes an even stronger note with me than the more progressive and overtly sophisticated material on Hand.Cannot.Erase. To anyone who's heard the album already, it shouldn't come as any surprise that the title track is my favourite song. "Hand Cannot Erase" is, without a doubt, one of the most infectious and enjoyable songs Wilson has ever written, up there with "Trains" and "Lazarus". The melodies are crisp, the lyrics intimate and Wilson's voice fittingly warm and passionate.

"Perfect Life" was a far less intuitive choice for a single, but it's come to hit me just as hard emotionally. The anecdotal spoken word (performed by Israeli singer Ninet Tayeb) is an intimate gateway into the album's concept of isolation. Foreboding electronic beats build underneath. Halfway into the track, the atmosphere switches from tension to tenderness. Steven Wilson's voice chimes softly: "We have got a perfect life..." From underneath that, a one-man chorus of harmonies emerge, themselves building up in layer and intensity until the song ends. I describe this moment because it is completely haunting every time I hear it; I know the word 'haunting' is tossed around in music reviews as many times as McDonalds sells Big Macs in a fiscal year, but this is one of the occasions that truly warrants the description.

To date, the only album concept from Steven Wilson that really meant something to me was Porcupine Tree's Fear of a Blank Planet. Deadwing and The Incident are conceptual works, but there's not a great deal of narrative or symbolic sense to make of them. I've always loved Steven Wilson's intimately poetic lyrics, but I've rarely cared to draw conclusions about the album concepts themselves. In the case of Hand. Cannot. Erase., the concept is more clear, although Wilson's left particular lyrical meanings up for an audience's interpretation. Suffice to say, the album's conceptual foundations (of a woman who isolates herself from human contact for three years) fall in line with Wilson's recurring anxieties towards modernity. Even if the narrative's character is female, the lyrics feel too personal to have come from anything but Wilson's own experience. What are we to make of the way the story ends? The woman finally re-enters society, but sees nothing has changed while she's been away. It's a bittersweet way to part ways with a character so disenfranchised with the isolation inherent in modern living. Still, it seems a brighter ending than the one shared by the concept's real-life inspiration; Joyce Vincent (an abused woman living in London) was discovered in her apartment three years after she died. Given the anxieties Wilson explored on Fear of a Blank Planet, it's not surprising he would have been moved enough to create art based on that story.

I wonder, were she alive to hear it, what the real-world Joyce Vincent would have thought of Hand. Cannot. Erase. The essential beauty of art and music is that it allows people to share their emotional experience, conveying the hidden depths of themselves to another person they have probably never met before. Humans feel more isolated than ever, and none moreso than in cities. The kind of feeling an artist like Steven Wilson brings to his music has never been so important. No, I'm not awe-struck the way I was with Grace for Drowning or his other best work, but Hand. Cannot. Erase. feels resonant and powerful. Wilson may play with traditional progressive notions here, but unlike your Flower Kings and Transatlantics, he never succumbs to them. By this point, Steven Wilson's solo work has become a monument, increasingly independent from the legendary prestige of his old band. Part of me still hopes he'll revive Porcupine Tree one of these days and follow-up The Incident, but I'll eagerly await anything of his if he keeps up with this brilliant standard of quality. The man has no signs of slowing down any time soon.

 Hand. Cannot. Erase. by WILSON, STEVEN album cover Studio Album, 2015
4.29 | 73 ratings

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Hand. Cannot. Erase.
Steven Wilson Crossover Prog

Review by admireArt
Collaborator PSIKE Team

4 stars STEVEN WILSON, - Hand. Cannot. Erase. 2015.

Song by song perceptions-

1st one is like Steve Roach but in a lo-fi heavy/metallic world, perfectly translated into SW's idiom with an astounding and quiet complex song-writing. A 5 star song undoubtly.

2nd song- The first part of this song is something like SW meets America , the soft/folk US band, not the continent. Even though he adds up the P.T. anger, the main melody line is close to America's soft evocative passages, and the final part detours completely and turns towards YES , the way they should have ended up sounding like and not the s..t they chose to be.

The 3th song is the kind of POP/METALISH song that coud easily meet the radio-waves and catch a more undemanding audience. Of course, never pointing out to the silly parts of those audiences.

The fourth song takes a different direction, even commenting on its own musical roots, which is as admirably as humble, for SW to do so. This Mortal Coil, if that means something to the expertise prog-audiophiles, if not look for this project - " band" , to understand this tribute song. (they are not featured in PA, so look somewhere else).

The fifth song is quiet in the middle of great and boring. It travels at least 4 separate directions, although perfectly threaded, performed and sung, the melodies more than once are quiet anonymous , in comparison to its elder sisters. So far, the less inspired song or in PA's terms a 3 star song.

The sixth song will make all PT's and SW's followers super happy. It delivers the kind of material, that when played live, will surely be a highlight to remember. It even includes a great electronic metal-jazz/folk prog, grand-finale (inevitably Jeff Beck comes to my mind, but that is me).

Song 7 is the showcase of SW musical virtues (literally speaking), as his aquired knowledge in these his own fields. Therefore, expect intense riffs and solos, as mellow strumming and intelligent guitar works. Another 5 stars song.

Song number 8,explores again (track 4), the gothic side of SW's heart. A mellow/bombing, soft hearted unidirectional song. Super nice!

THE 9th, is introspective at first, then it turns out to be something like the possible future for P.T. if they decided to do so. Although the song writing is not that astounding, as it could have been, in those terms.

Song number 10, could be like the synthesis of the whole record so far, but kind of cutting short on some of its own highlights, which is quiet undeserving.

Song 11, the closure song, is exactly that.

****4 PA stars, strongly inclined to a future 5 stars project.

 Bansheeface by PSEUDO/SENTAI album cover Studio Album, 2015
3.99 | 13 ratings

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Bansheeface
Pseudo/Sentai Crossover Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

4 stars A project that has no boundaries!

This is Pseudo/Sentai, a project that started by the will of Greg Murphy and Scott Baker, who have been creating music with no classification, with no labels, and despite I am reviewing their music for progressive rock sites, I wouldn't dare to say they are a prog rock project, because you'll find eclectic elements that might describe their music as Pseudo/Sentai's music, no other band sounds like them. In 2014 they created a new album named "Bansheeface", a 44-minute length baby divided in 13 tracks.

"Quantum Cardboard" starts with a helicopter's sound and then the explosive electronic sounds and drums begin, it is like having a funny journey to NES games, because the sounds will remind you of some video games. "Sleeping Closer to the Ground" brings vocals for the first time, and with them, an inherent power. Here the electronic is not the main element, here rock prevails, not in a classic way, but with a nice blend of heavy experimental rock and avant garde. The composition is very well crafted, and it is easy to sing and get on well with the music, in spite of that heavy sound. "Terraformed Transcendence" has a kind of AOR sound, but again, the music is not easy to describe or classify. The best you can do, is simply listening to it and let it do the rest, I am sure you will enjoy it, because though it has some aggressive moments, overall it brings a friendly sound that anyone would enjoy.

"Immaculation" is a wonderful track due to its awkward blend of styles. First you will listen to some electronic beats, and then acoustic guitar accompanied by hip hop like vocals. The music flows and they bring us different changes, but all of them interesting. In some moments I even remember Adrian Belew's music due to the vocals, strings, and that heavy full of energy sound. "Bansheeface" is a magnificent track, here is easy to be delighted by the talent and craziness of these guys. I love how their sound makes me feel alive, furious, energetic, and intense, they bring me back to life, and believe me, it is not that easy to find music or bands who help you that way. "Trap of Assassination" is a very nice and experimental short piece that has a strange blend of acoustic strings and electronics, with a kind of western sound, and some video game noises at the end.

"Black Matter of Machinations" drastically contrasts with its predecessor, here the mood is softer, with nice vocals (lead and back) that sing over nice atmospheric keyboards, cool strings and constant drums. I think is a catchy tune, which does not mean it is less complex or interesting. After a couple of minutes the intensity increases, the music releases a monster that screams and all the hidden energy is spread. Wonderful track! "Sleeping Closer" is a short, wild and tense track with female vocals and electronic background. "The Holy Metamorphacity" is one of the longer tracks of the album, and one of the best as well. The music created is first class prog/avant/electronic/heavy/rock that your ears will greatly receive. I love the vocals, all together make a great sound, and I love that inherent energy that provides satisfaction to one's wishes. The drums are amazing, and what they create with keyboards is fantastic.

"A Taste of Endangered" is a short instrumental track whose first seconds take me somehow to the desert, while the second part takes me to heaven, celestial voices hehe. "Classic Tactics of Geoncide" has enchanted me, mainly due to its mellotron-like background which never ceases, but also due to the vocals, tense bass lines and in- moments-dramatic-sound. It is impossible not to enjoy it and also not to move our head. It is like a hypnotic tune. "March of the Selkies" has a lot of energy on it, is a heavy piece of rage. It is normal to remember some other acts, and though I said Pseudo/Sentai has its own sound (because they do have it), bands such as Sleepityme Gorilla Museum, Adrian Belew, The Mars Volta or Rain Delay came to my head while listening to the album. The album finishes with "Mound of Seed, Seed of Earth", a shorter piece that brightly closes a wonderful record.

I know this band might not be for everyone's tastes, however, I would suggest you to give them a chance, they have their music in Bandcamp, so listen to them and you'll understand better what I said on my review.

Enjoy it!

 Corvus Stone II by CORVUS STONE album cover Studio Album, 2014
4.07 | 252 ratings

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Corvus Stone II
Corvus Stone Crossover Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

4 stars This is the second child of Corvus Stone, a multi-national band whose first album was edited back in 2012, entering to the complex progressive rock world with a daring 79-minute record. With "Corvus Stone II" they repeat the dose, because once again Pasi Koivu, Colin Tench and co. bring a daring 79-minute album, divided in 16 pieces. Personally, when I wrote the review of their first I aid it was really long, so there were moments where I felt lost, where I did not enjoy it as I would have loved to, and I have to say that this same feeling happens now with this new album, but with a lesser impact. However, I have understood they charm lies on their eclecticism, they will to compose and create prog rock whose songs might not be related to each other, but are very well crafted. Of course, I have enjoyed more Corvus Stone now.

It starts with "The Simple Life", a very nice two-minute introduction to Corvus Stone's eclectic journey. The first that caught my attention was the keyboards, and then the vocals with a sweet symphonic sound, so the beginning is bright, let's see what happens next. "Early Morning Call" has some cadency, it is a nice instrumental track that could be used as a film soundtrack, it is easy to put some images in one's head. "Boots for Hire" is the first long composition, reaching almost the nine-minute mark. The sound is pretty interesting, a kind of bluesy introduction with a soft spacey background. At minute 2 vocals by Stef Flaming enter, opening the gates to a brand new song, because it turns into a psychedelic piece, at least for the next two minutes. Then it slows down and morphs again, and again. This is one of the virtues of Corvus Stone, they change in every single second, they dare to change, which is something good.

"Sneaky Entrance to Lisa" is a 30-second interlude by Colin Tench. It leads to "Purple Stone", whose first seconds are dedicated to a car speeding up. Later the music enters in a rocky mood, with vocals by Blake Carpenter, so the sound is a bit more theatrical. It has nice details such as the bass lines, but I must say this is not my favorite song at all. "A Stoned Crow Meets the Rusty Wolff Ratt" is a longer composition, which contrasts a lot with the previous one. Here the sound is more delicate, it has acoustic guitar and nice atmospheric keyboards at first; later it changes and becomes rockier. After four minutes there is a nice passage where keyboards take leadership, adding that symphonic sound. The song runs and flows nicely, with maybe one or two pauses that I would omit. Of course, drums are great in this particular track.

Another short interlude comes with "Lisa has a Cigar", a classical track by Pasi Koivu. "Mr. Cha Cha" comes right away, a nice instrumental song with a cool rhythm and a rock style, I assume it is a kind of rendition (or maybe mockery) to the Cha Cha Cha genre, I don't know. "Dark Tower" is another interlude, a very nice one, this time with Carpenter's voice. "Scandinavians in Mexico" shares a nice even danceable tune, it actually sounds delicious, it is like a blend of rock, jazz and Latin rhythms. I have to say these guys are very talented, they have the capacity of creating great eclectic music through online ideas, and they have are capable of complementing each other's ideas, which give as a result these so different songs.

"Mystery Man" has again Carpenter's vocals. This track is pretty nice, atmospheric and melancholic; I liked how they slowed down here and show a slighter face of Corvus Stone, though after some minutes the song becomes deeper, more passionate, with a great guitar work. This is one of my favorite tracks. "Camelus Bactrianus" is sung by Timo Rautiainen and if I'm not wrong, lyrics are in Finnish, and though it is impossible for me to understand, the music and the vocal color makes it truly enjoyable, with a kind of somber mood, interesting. "Uncle Shunckle" is a wonderful instrumental track, another one of my favorites here. I think the musicianship is excellent, each and every instrument makes its own party, but at the same time, one leads to another and so on, I mean, they perfectly complement each other.

"Eternal Universe" is another very good track, this time sung by Phil Naro, and it returns to the softest side of Corvus Stone. But well, the epic comes next with "Moaning Lisa", a 14- minute piece where Sean Filkins sing, so it is pretty reminiscent to Big Big Train. The first five minutes are pretty sweet, pastoral, easy to dig and I would also say, beautiful. Then it begins to morph, the electric side appears (it was acoustic-driven at first), so a great blend of guitars put a wonderful atmosphere, while Filkins vocals become more passionate little by little, adding a nice diversity of elements such as Spanish folk, jazzy keyboards and heavier percussions. The music flows, I love how the song does not let you go, I mean, you remain interested and expecting new and new surprises. Their richness of sounds will keep you enthusiastic while listening to it, so what you have to do, is relax, enjoy the passages and let the music do the talking. Finally, "Campfire" provide the last two minutes of this excellent, challenging record.

I invite you to discover Corvus Stone's music, it is an amazing blend of genres and elements with a positive and satisfying result. Enjoy it!

 Belighted by IAMTHEMORNING album cover Studio Album, 2014
3.98 | 250 ratings

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Belighted
iamthemorning Crossover Prog

Review by Kjarks

5 stars This young russian ensemble takes us to an enchanting promenade amid very original musical landscapes, sometimes soft and quiet, sometimes tormented and even furious. Marjana's sensitive and sensual voice is a perfect guide to follow and it is made more moving again by Gleb's omnipresent, subtile and skilled keyboards play.

In my opinion, "Delighted" is more mature, more accomplished than their very promising debut album. The combination of classical instruments and rock elements is not an innovation in itself, of course. But, here, it's not only an addition (like it has been so often since rock bands want to prove they can create elaborate music !) ; it is a total fusion. We can not conceive this music in another way. And that is very innovative.

Moreover, icing on the cake : the packaging is splendid and that can not be neglected.

 Kaikki On Hyvin by RIUTTA album cover Studio Album, 2013
3.00 | 1 ratings

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Kaikki On Hyvin
Riutta Crossover Prog

Review by Matti
Collaborator Neo-Prog Team

— First review of this album —
3 stars RIUTTA (Finnish word for reef) comes from Oulu, Northern Finland, and the title of their debut album means "Everything is OK". The little dark squares on the front cover are windows and balconies of a huge house. I wanted to mention this as I sense some quiet urban desperation in the lyrics. Here are a couple of translated citations: "Should the spine break / so that I could see the colours of the city? / paralyzed on the spot / (...) / I grow towards inside / inside the wall of fear / inside blindness" ('Vihan sidon silmiini' = I tie hatred into my eyes). "And no one can / no one can / take away from me / the moment / I saw a light on your window" ('Kaupunki ennen talvea' = City before winter).

Riutta have named e.g. TOOL, RADIOHEAD and KING CRIMSON as their influences. Expectedly the music is edgy, angular and slightly depressed, dominated by distorted guitars and a powerful rhythm section. The first three songs are heavily oriented towards this angry bleakness, and the unprofessional-sounding production with some clumsy arty-farty details (especially on the vocal treatment) doesn't always hit the target. The saxophone on the opener is not convincing at all.

The brief title track is dark but serene Ambient. It is followed by a highlight song 'Hashima', in which the sincere guitar played on high register and the pulsative flavour of Electronic/Ambient, together with some poetic images in the sparse lyrics, form an emotionally effective, interlude-like moment in the middle of the album. 'Kaupunki ennen talvea' would nicely continue in that direction, but the use of vocoder is quite irritating. Luckily the last three songs work better than the early tracks, especially on the emotional level.

One Finnish critic said that this strong material would have really needed a finishing touch of a visionary producer. Partly I totally agree, but on the other hand the result could have become more clinical and have lost its personality. The finest song is the last one, 'Etsijä' (=The seeker), in which the ambience, melancholia and Post-Rock flavoured ed´giness blend in perfect balance.

 The Invisible Line by SUNCHILD album cover Studio Album, 2009
3.83 | 69 ratings

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The Invisible Line
Sunchild Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

4 stars Artists like Antony Kalugin, Fabio Zuffanti or Neal Morse are born once in a decade, people involved in plenty of projects as leading figures, putting up consistently impressive music.Kalugin put Hoggwash and Karfagen a bit aside to focus on his Sunchild project in the 2008-09 period.The masterful ''The gnomon'' was then followed by ''The invisible line'', released on Caerllysi Music label and featuring some 15 guest singers and musicians with Kalugin handling multiple instruments.

While not that magnificent as the ultimate opus of ''The gnomon'', ''The invisible line'' is another work showcasing Kalugin's amazing capabilities as a composer.This is closer to the classic Symphonic Rock style as performed by SPOCK'S BEARD with some Neo Prog sensibilities, sounding overall more modern than the works of the Americans, but offering solid instrumental and vocal work both in long and short arrangements.The standard rock and keyboards instruments are often surrounded by surprising sax, oboe, trumpet, accordion and flute parts and for this reason Sunchild recall also Italian veterans HOSTSONATEN minus the ambiental and folky soundscapes.The material is great to say the least with evident GENESIS and CAMEL inspirations, lacking the true presence of vintage keyboards and being based on hard-edged guitars and powerful synthesizers, but the orchestrations are absolutely convincing, the melodies come as instant and memorable and grandiose parts are all over the place.Plus all vocals are sung in English with a set of amazing singers.I am excited to say that even if the music is highly symphonic and very energetic, the pinches from instruments like the sax, flute etc. are incredible adapted within the Classic Prog frames, without hurting the consistency of the album.No weak tracks in here, but there are a few standouts, like the title track, separated in two movements, with the emotional melodies, symphonic overtones and fantastic singing lines, absolutely awesome.

''The gnomon'' was simply a masterpiece, this one is also an excellent work on modern Symphonic Rock with nice variations, bombastic tunes and laid-back textures.Definitely among the year's highlights, do yourself a favor and grab this fine piece of art, especially if you love SPOCK'S BEARD, THE TANGENT, APOGEE, TRANSATLANTIC, HOSTSONATEN and the likes.

 Future Man by SOLTERRA album cover Studio Album, 2014
4.15 | 6 ratings

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Future Man
Solterra Crossover Prog

Review by Finnforest
Special Collaborator Honorary Collaborator

4 stars The future rocks

Could it be that Denver is becoming the next American city I need to focus on? After being thrilled with the Denver metal act Seris I now stumble upon the Bandcamp page of a four piece rock band called Solterra. The cool cover art sucks me in as I lament that if left guy is supposed to be Future Man I'll hate the future even more than I do the present.

So here we have a 4-piece combining elements of instrumental rock, post-rock, jazz, and metal. Influences such as Rush, Tool, Mars Volta, and Zeppelin are all listed. Their previous album "Umbra" (2012) had more of a spacey vibe with less aggressive guitar leads and inclusion of recorded spoken word narrative. With "Future Man" Solterra (featuring a new lead guitarist) are pushing a much heavier sound. The soaring aerial sound replaced by much more aggressive chops and crunch in the guitar chords.

A reviewer for Sputnik criticized the band for the somewhat erratic/eclectic blender of a song structure that Future Man employs. It is true, many of the tracks feature multiple styles changing herky jerk from one to the next, with starts and stops, and sudden mood changes. While his point is taken I don't agree that the manic nature of the style degrades Future Man, in fact the unease that sometimes comes through may be playing directly to the album's themes.

With no vocalist or keyboardist to flesh out dynamics, it's a challenge to hold an audience for an hour. Solterra more than nail it down. These jam happy songs are completely engaging and do not trade away their groove for the cold pursuit of technical chop. I think they move quite effortlessly from raging near-metal fury to light and nimble fusion, with elegance and mood in between. Even some lovely slow, clean chord progressions set to thoughtful bass lines and post-rock inclinations. I hate to single people out because the whole band is great, but the lead guitar here is beautifully done, often knocking me out with emotion and exuberance. And I'm just as impressed with the drumming. Very organic, quite busy, but a nice combination of monster fills with ample gut punch right when you want it.

This is quite obviously a band that is well on the early side of the arc in terms of being enraptured by the joy of playing....you can hear that they absolutely love to play. As instrumental rock bands go these guys are every bit as thrilling as D.F.A., Ohm, or Mushroom Giant. A super effort and a consistent one.

 Palam by SAMMELSURIUM album cover Studio Album, 1998
3.00 | 1 ratings

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Palam
Sammelsurium Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

— First review of this album —
3 stars Not many people know about this overlooked German act from the southern part of the country, formed in 1972 and being active until 1986 with drummer and flutist Ulrich Steurer as the leading figure.Sammelsurium had a cult following around the time, but took a long break in mid-80's due to family and job commitments.Ten years later the band was revived with the farewell line-up, these were (besides Steurer) Raimund Goeppert on guitar, Gerhard Friedrich on keyboards and Thomas Schwarz on bass, plus female singer Viola de Galgoczy.In 1997 they eventually put out their first prodution ''Palam'' on the unknown Roundabout Music Records.

70 minutes of music, five tracks are 10/10+ min. long and the whole album follows the vein of 70's Classic Prog with dominant symphonic and jazzy influences.Despite the use of modern keyboards they do sound quite old-fashioned in terms of arrangements and stylings, recalling many of the late-70's/early-80's German groups like WERWOLF, ANYONE'S DAUGHTER, ROUSSAEU, REBEKKA and the likes plus a touch of HAPPY THE MAN during the jazzier moments, pretty reasonable of a direction, as the band has matured in the 70's decade.The song structures are quite complex and pretty fascinating with tasteful female vocals surrounding a huge instrumental sound, featuring melodious themes, pre-Neo Prog stylings, symphonic arrangements and strong Fusion interplays.The sound is mostly based on guitars and keyboards with a little flute in the process, copying the Teutonic Symphonic Rock standards, with ethereal atmospheres followed by rich textures and some impressive tempo changes and breaks.Definitely a great work for all fans of Classic Prog, there are some nice and emphatic guitar/keyboard fests in here, supported by lovely atmospheric passages and a really cool vocalist with a clean singing, which comes mostly in English.Most of the bands playing this particular style had a grandiose epic sound and Sammelsurium belong to the list as well, the sometimes spacious synths and the FLOYD/CAMEL-influenced guitar solos are dominant prooves of the fact.Some fine piano work with delicate interludes is included as well and the overall result is always dense and diverse.

Around 2000 Gerhard Friedrich was replaced on keyboards by Christian Steurer, who had been a member of the band during the 1975-84 period.The band is still around, performing and rehearsing regularly, can't wait for their second album.

For fans of Classic Prog, you should look no further.Long tracks with symphonic overtones and multiple variations, enlightended by a gifted female singer.Strongly recommended...3.5 stars.

Data cached

Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
3 United Kingdom
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
AARDVARK United Kingdom
AARDVARK' Finland
THE AARON CLIFT EXPERIMENT United States
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
THE AMAZING Sweden
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
ANUBIS SPIRE United States
ANYWHERE United States
APATHEIA Czech Republic
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIOCRACY Multi-National
THE AURORA OBSERVATORY United States
AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
AUTUMN CHORUS United Kingdom
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
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
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
BLACK MOTH SUPER RAINBOW United States
BLACK MOUNTAIN Canada
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
THE BODY POLITIC Canada
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
VICTOR BRADY United States
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
BRIGHT BROWN United States
THE BRIMSTONE SOLAR RADIATION BAND Norway
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIERE France
DUNCAN BROWNE United Kingdom
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
CALIFORNIA GUITAR TRIO United States
THE BEN CAMERON PROJECT Australia
CANAMII South Africa
CANNATA United States
CANTURBE Argentina
CAP OUTRUN Sweden
CAPABILITY BROWN United Kingdom
CAPTAIN MARRYAT United Kingdom
FRANCK CARDUCCI Netherlands
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
CEILING UNLIMITED United States
CELL15 United States
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
CHEETO'S MAGAZINE Spain
CHILDREN IN PARADISE France
CHIMPAN A United Kingdom
CHOICE Germany
CHOKE THE WORD United States
CHROME HOOF United Kingdom
CHURN MILK JOAN Multi-National
CINEMA SHOW Brazil
CIRCA United States
CIRCA SURVIVE United States
CIRCUS PARANOIA Netherlands
CIRCUSFOLK Finland
CITADEL France
CLARION Italy
STEVE CLARK Australia
CLOUD ATLAS United Kingdom
CARY CLOUSER Canada
CLOVER SEEDS France
CLUB MERANO Finland
SUSAN CLYNES Belgium
STEVE COCHRANE Canada
COHEED AND CAMBRIA United States
COLLECTING SPACE United States
COLOR Hungary
CONSPIRACY United Kingdom
CONTRACTION Canada
THE COOPER TEMPLE CLAUSE United Kingdom
CORALSPIN United Kingdom
COREY & MAPLE Finland
CORRAL Poland
CORVUS STONE Multi-National
COSHISH India
THE COSMIC REMEDY Multi-National
COSMOS DREAM France
ROB COTTINGHAM United Kingdom
COZHE Finland
BEN CRAVEN Australia
CRAZY WORLD Finland
CRIMINAL CATERPILLAR Canada
CROSS Sweden
BEPPE CROVELLA Italy
CRYPTEX Germany
CUAC! Spain
CUPRUM Czech Republic
PAUL CUSICK United Kingdom
THE CUSTODIAN United Kingdom
CYRIL Germany
LAREN D'OR Hungary
NICK D'VIRGILIO United States
DAEMONIA Italy
DAPHNE Italy
DAVID'S LODGERS Italy
DAYMOON Portugal
DDNZ Serbia
MARCO DE ANGELIS Italy
DEADWOOD FOREST United States
DEAMBRA United States
THE DEAR HUNTER United States
FRANCIS DECAMPS France
DEEP LIMBIC SYSTEM Mexico
DEERHOOF United States
DELIRIO SONORO Italy
DELIRIUM Mexico
DELUSION SQUARED France
DEMIAN CLAV France
JOE DENINZON United States
A DEVIL'S DIN Canada
DIATESSARON Canada
DICE Germany
THE DIFFERENCE Slovakia
DIFFERENT LIGHT Czech Republic
DIGITAL CHEMISTRY United States
DIN WITHIN United States
DIRTY PROJECTORS United States
DISCONNECT United States
DISSONATI United States
DISTANT LIGHTS United States
DISTRICT 97 United States
DLGZ ROCK 5TET France
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
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
EYEVORY Germany
FAINT SIGNAL United States
FAIR TO MIDLAND United States
FAIRY TALE Slovakia
ALESSANDRO FARINELLA Italy
FATAL FUSION Norway
LA FE Chile
FEROZ Mexico
FIBONACCI SEQUENCE United States
FIELD MUSIC United Kingdom
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
HEATHER FINDLAY United Kingdom
FIRE ON DAWSON Germany
FIREHORSE Germany
FISH ON FRIDAY Belgium
FLAUD LOGIC United States
FLICKER United Kingdom
FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
FLOWER FLESH Italy
FOBOS Argentina
FONTARABIE Canada
THE FORMER LIFE Italy
FORWARD SHAPES United States
FOSSIL EVOLUTION Belgium
FOSSIL EVOLUTION Belgium
FOURTEEN TWENTYSIX Netherlands
FRACTAL MIRROR Netherlands
FRACTAL ROCK United States
FRAGILE Estonia
FRANC ALBIR Spain
FREDDEGREDDE Sweden
FREEDOM TO GLIDE United Kingdom
FREELIGHT United States
FREQUENCY DRIFT Germany
HASSE FRÖBERG MUSICAL COMPANION Sweden
FRXHO Mexico
FSB Bulgaria
FUCHS Germany
FULL CODE New Zealand
FUTURUM Czech Republic
GABRIEL BONDAGE United States
PETER GABRIEL United Kingdom
GALACTIC COWBOY ORCHESTRA United States
GALIJA Yugoslavia
GALLERY Norway
GANDALF Austria
GANDALF'S PROJECT Italy
GAP PARTY Italy
ANJA GARBAREK Norway
GAZPACHO Norway
KEVIN GEIER United States
GEKKO PROJEKT United States
GIO GENTILE Italy
GENTLEMEN WITHOUT WEAPONS United Kingdom
GHOST CIRCUS Multi-National
IL GIARDINO ONIRICO Italy
KEVIN GILBERT United States
GIRAFFE United States
GLASFROSCH Australia
GLASS KITES Canada
YIANNIS GLEZOS Greece
GLORIE United States
GODSTICKS United Kingdom
GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
GOTHIK SERPENT United States
GRAMONAUTUS Argentina
PHILIPPE GRANCHER France
THE GRAND SILENT SYSTEM Australia
GRAVITY TREE United States
GREEN Italy
THE GREEN VIOLINIST Belgium
MARK GREEN United Kingdom
DAVE GREENSLADE United Kingdom
GREY EYE GLANCES United States
GREY LOTUS Netherlands
GRICE United Kingdom
GRIME France
GROUP 309 Russia
LA GUERRA DELLE FORMICHE Italy
ID GUINNESS Canada
GUITAR GARDEN United States
GUNGFLY Sweden
HA' ARNAV HA-LAVAN Israel
HABELARD2 Italy
HABITAT Argentina
HADDAD Brazil
HAGGARD Germany
HALO BLIND United Kingdom
JASON HAVELOCK France
HAYWARD & LODGE (THE MOODY BLUES) United Kingdom
HEARTSCORE Germany
HEATWAVE Italy
ROEL VAN HELDEN Netherlands
HELICOPRIA Multi-National
HELIOTH United States
LUC HENRION Belgium
HENRY FOOL United Kingdom
HERMETIC SCIENCE United States
HEYOKA United States
HIIDENSOINTI Finland
HIPGNOSIS Poland
STEVE HOGARTH United Kingdom
JOANNE HOGG United Kingdom
MARK HOLLIS United Kingdom
HOLLOW BRANCHES Multi-National
HOMESICK FOR SPACE United States
HOT HEAD SHOW United Kingdom
HOUR OF THE SHIPWRECK United States
STEVE HOWE United Kingdom
HYPNOMEN Finland
I.AB United States
IAMTHEMORNING Russia
IF / IFSOUNDS Italy
IGAYON Israel
IGNATIUS Spain
ILUZJON Poland
IMMUNE United Kingdom
IN LIMBO France
INDELIBLE Norway
INDEXI Yugoslavia
INFICTIONS United Kingdom
INFINITE MONOPOLY United States
INFINITE ORCHESTRA United States
INFUSION KAMACHUI Argentina
INNERSPACE Canada
INTENTIONS Netherlands
INTERGALACTIC TOURING BAND Multi-National
INTO THE PRESENCE United States
IOEARTH United Kingdom
ION United Kingdom
IRRGARTEN Canada
ISLANDS Canada
ISOS Canada
ISZIL Chile
IT BITES United Kingdom
J'ACCUSE..! Italy
J21 Spain
JAÉN KIEF Colombia
JANUS United Kingdom
JASPER WRATH United States
JAUGERNAUT (A.D.) United States
JAZ France
JEBEL United States
JEREMY United States
JEREMY IRONS AND THE RATGANG MALIBUS Sweden
JET BLACK SEA Netherlands
JHIMM United States
JODY GRIND United Kingdom
JONAS LINDBERG Sweden
JONO Sweden
JORM Sweden
KADDISFLY United States
KANT FREUD KAFKA Spain
KAOS MOON Canada
KASSINI United States
KAUKASUS Norway
KAYAK Netherlands
KAZACHSTÁN Czech Republic
KEDAMA Switzerland
KEEP IT DEEP Belgium
KEL LOCH & GOLD United States
MIKE KERSHAW United Kingdom
KERYGMATIC PROJECT Italy
DAVE KERZNER United States
KEVLAR RED United Kingdom
KID COUSIN United States
KIMURA France
KING RAT United Kingdom
KINO United States
KINZOKU-EBISU Japan
KISS KISS United States
KNIFEWORLD United Kingdom
KOI Sweden
KOMPENDIUM United Kingdom
KOSKA Spain
KRÁSNÉ NOVÉ STROJE Czech Republic
KRONER CIRKUS Poland
DAVE KULJU United States
KUMM Romania
KUNDABUFFER Argentina
KURKI Finland
KUUSUMUN PROFEETTA Finland
KVARTETTEN SOM SPRANGDE Sweden
LA YNE Finland
LABORATOR France
YOGI LANG Germany
LANTINOR Russia
LISA LARUE United States
LAST TURION Germany
LAURA France
LAVIŔNTICA Italy
LAYRA Italy
LAZY DOLL France
GUY LEBLANC Canada
LEBOWSKI Poland
JOHN LEES United Kingdom
LEVIATHAN United States
LIFE Sweden
LIGHT Netherlands
THE LIGHT AFTERNOON United Kingdom
LIMPID GREEN United States
LING TOSITE SIGURE Japan
A LIQUID LANDSCAPE Netherlands
LIRD VAN GOLES Switzerland
LIVES AND TIMES United Kingdom
KERRY LIVGREN United States
LIVING STILTS Italy
THE LIVING Canada
LOBATE SCARP United States
LOGAN DWIGHT Italy
LOONYPARK Poland
LOST WORLD Russia
JEAN-PIERRE LOUVETON France
LOVE DE VICE Poland
ARJEN ANTHONY LUCASSEN Netherlands
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