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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 26/10/2019

kev rowland (Kev)
Evolver (Scott)
Cristi
Keishiro (DamoXt7942)

Crossover Prog Top Albums


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

4.31 | 1594 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1328 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1490 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.28 | 2050 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.22 | 970 ratings
DOOMSDAY AFTERNOON
Phideaux
4.19 | 1751 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 871 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.20 | 828 ratings
SNOWTORCH
Phideaux
4.18 | 816 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.18 | 1025 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 740 ratings
THE UNDERFALL YARD
Big Big Train
4.16 | 547 ratings
~
Iamthemorning
4.16 | 389 ratings
SPIRIT OF EDEN
Talk Talk
4.15 | 435 ratings
HOUNDS OF LOVE
Bush, Kate
4.10 | 1146 ratings
TUBULAR BELLS
Oldfield, Mike
4.31 | 99 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.20 | 170 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.10 | 592 ratings
NIGHT
Gazpacho
4.24 | 125 ratings
SON
Obiymy Doschu
4.09 | 807 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train

Crossover Prog overlooked and obscure gems albums new


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

NARROW-CASTER
3RDegree
THE LOST ART OF TIME TRAVEL
Presto Ballet
ABBANDONO DEL TEMPO E DELLE FORME
J'Accuse..!
GENERAL WINTER'S SECRET MUSEUM
Tea Club, The

Latest Crossover Prog Music Reviews


 Belief in the Machine by MILLER, RICK album cover Studio Album, 2020
4.00 | 7 ratings

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Belief in the Machine
Rick Miller Crossover Prog

Review by javajeff

4 stars This is another excellent release by Rick Miller. I am new to his music, and have been taking in many of the albums at the same time. Belief in the Machine is up there with his best releases like Heart Of Darkness, Dark Dreams, and Immortal Remains. Majority of his music is top notch, and Belief In the Machine is no exception. Anyone that enjoys the mellow side of Pink Floyd or Alan Parsons Project will automatically feel at home. Belief in the Machine mixes in some media samples and follows a theme that is modern and attainable. The guitar playing is stellar, and the compositions really shine. Starting off the album is Correct to the Core, and it is a great example of excellent composition musically and lyrically. It could arguably be one of his best tracks, but the entire album is solid and flows perfectly. Of courseit has many amazing atmospheric moments as well. If you have not checked out Rick Miller, this is an excellent place to start. Highly Recommended!
 Belief in the Machine by MILLER, RICK album cover Studio Album, 2020
4.00 | 7 ratings

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Belief in the Machine
Rick Miller Crossover Prog

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Citing his inspirations as being on the atmospheric side of prog rock (Pink Floyd, Moody Blues, Steve Hackett, etc.), Canadian Rick Miller set out way back in 1983 to create music on his own to reflect that sound. Over the years, he has released many solo albums. Over the past few years, he has made it a pattern to release an album every two years, so in February of 2020, he released the digital version of "Belief in the Machine" with plans to release the CD around March or April of the same year. This album runs close to 50 minutes and features 10 tracks with Miller playing almost all of the instruments, but he has help from a few people like Sarah Young on flute, Mateusz Swoboda on Cello, Barry Haggarty on Stratocaster, and someone known as Will on drums and percussion.

"Correct to the Core" (11:35) starts off the album with his preferred style of beautifully crafted atmospheric music, the cello and bass standing out at first creating a nice beginning landscape. The music builds and a guitar amps up the intensity a bit. After a nice solo, Rick begins to sing, and right away you notice a resemblance to the airy vocals that are similar to David Gilmour. The music is actually built quite well as a moderate tempo allows the vocal passage to float along. By 5 minutes, the music moves into a smoother, yet somewhat darker sound. The music, right off the bat, is quite appealing and it definitely would be quite appealing to lovers of Pink Floyd, especially in their later years. There should be no time needed to adapt to the music as it is very accessible, the music staying nice and smooth all the way through this track, but still changing in atmosphere with synths sharing equal time with the guitar, but getting the center stage later on in the track. It's nice and not challenging, drawing you in right away.

"That Inward Eye Part 1" (2:22) works together with the second part to bring the center part of the album together with a nice, idyllic instrumental with a lot of flute. "Belief in the Machine" (2:02) begins right away with the same style of vocalization, airy and melancholic. The melody is a lot like the beginning track, the vocals staying in a safe range, with some short burst of guitar in the middle. Another short vocal track "The Land and the Sea" uses a tonal percussion that works as the foundation for the more complex lyrics. The feeling now is of an upcoming uneasiness. "The Need to Believe" smooths things out again with a lighter than air guitar/synth interchange that gives the music a feeling of symphonic bliss. It's a nice texture that feels like something you could float away on. Now, you get the Moody Blues (later years) vibe, sort of similar to "Driftwood", but with guitar instead of sax. After those last, short and somewhat choppy tracks, this one is a welcome and better established, developed track.

The airy vocals can start to sound too much the same, even though they are nice in a way that tributes Miller's influences, but is heartfelt and not a copied sound. Just when you start to think that though, the second half of the album becomes more "instrumentally" centered. "Prelude to the Trial" (4:32) begins with a foreboding tone established by wind effects, a cello and echoing keys. Spoken word recordings fade in and out in the background as the music becomes dissonant and eerie, then things smooth out a bit and become more relaxing. Deep, Floydian guitar starts to come in with a tapping rhythm that solidifies as it continues. "Binary Breakdown" (3:40) grows from the former track with a sawing cello building intensity and then reaching its peak quickly as the guitar smoothes things over. Things pass back and forth between the cello and guitar while a nice beat is established, eventually it is dissembled and we're left with more atmospheric and flowing synths. "That Inward Eye Part 2" (3:28) includes some wordless vocals (sounds female) and then spoken word while the flute establishes its former melody from before, being pastoral again. Later, soft, Alan Parsons Project style vocals lend an airy texture.

Another instrumental "Media Gods (Including The Awakening)" creates a cinematic feels as the synths and percussion build an orchestral flair, the feeling is mysterious with an anxious edge. The flute lets some flourishes float around the atmosphere of the background. An acoustic guitar brings in a feeling of resolution and the flute helps to even things all out again. This switches from major to minor key again as it flows into the last track "The Trial" (9:56). Simple keys act as a foundation to the vocals that start off right away. The music continues to portray some story of sorts, with dramatic turns of the music moving from lovely, floating passages to darker and heavier sections, more spoken word at times and so on. The lyrics seem to indicate that paranoia is involved, the singer believe the police are coming for him for something he claims he didn't do. After four minutes, a beat is finally established, and we get that APP feeling again, nice floating and synth heavy music. Vocals return before 6 minutes with a more direct instrumental backing with atmospheric guitar and synth.

This is a pretty good album and the music definitely reflects that of the stated influences. I can't help but feel that some kind of development is missing especially in the shorter tracks in the middle. The beginning and ending tracks are great and more epic, but "The Trial" almost feels like it could have been a much bigger concept, probably even taking up an album with its ideas and quick changing themes. I think most listeners will be attracted to the music right away, but unfortunately, it tends to lose its punch after repeated listening. The music is well produced, though, and quite enjoyable. For now, I think it deserves a 4 star rating, but time will tell if it can retain that (in either direction, better or worse).

 Bernard & Pörsti: Gulliver by SAMURAI OF PROG, THE album cover Studio Album, 2020
4.51 | 9 ratings

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Bernard & Pörsti: Gulliver
The Samurai Of Prog Crossover Prog

Review by Matti
Prog Reviewer

5 stars (NB: The Samurai Of Prog is NOT "Crossover Prog", it's SYMPHONIC PROG, more and more clearly with each release, but I won't trouble the Symph team again on this matter.)

TSOP, this time namely bassist Marco Bernard and drummer Kimmo Pörsti from Finland (American Steve Unruh only guests here), continue producing multi-nationally composed and played first-rate symphonic concept albums with an amazing album per year phase. In 2019 came the anime/manga inspired Toki No Kaze, which I felt was the finest TSOP release so far. For me, this brand new album based on Jonathan Swift's classic satire isn't taking that place, but this is actually the most coherent TSOP album ever, with an easy-to-follow single narrative entity, dealing with Samuel Gulliver's adventures in four different imaginary lands.

There are six tracks on this 62-minute album. 'Overture XI' (7:42) is an instrumental composed by and featuring Andrea Pavoni on keyboards. Vintage keyboards dominate this RPI-flavoured piece, until the electric guitar (Kari Riihimäki) starts soloing after a pastorally quiet moment, later to be joined by Marek Arnold's saxophone. Excellent symphonic prog track!

'Lilliput Suite' (17:53) is the longest piece, divided into six movements. Composition and keys by Oliviero Lacagnina, and a wider guest list (e.g. violin, flute, trumpet). The music strongly resembles the Foxtrot-era GENESIS -- partly due to the Gabriel- esque vocals of Marco Vincini -- with some ELPish organ work and orchestral arrangements thrown in. The movement changes are not as seamless as they could be, but overall this is a fine symphonic prog epic in a classic style. It's important that there are delicate moments between more majestic parts, and lots of instrumental sections.

'The Giants' (8:42) is an instrumental symph prog piece, composition and keys by Mimmo Ferri. The excellent arrangement gives various instruments their own turns to play powerful melodies. 'The Land of the Fools' (14:30) is written by keyboardist Alessandro Di Benedetti and sung by Daniel Fäldt from Simon Says. I'm not very fond of the vocals as the lyrics occasionally feel too central, but on the numerous and lengthy instrumental sections the music is very versatile and nuanced, sometimes reminding of e.g. Flower Kings, sometimes Happy The Man. The delicate piano is in a classical / jazz mould. Beautiful, fusiony or Camel-like guitar parts by Federico Tetti and Massimo Sposaro.

On Luca Scherani -composed 'Gulliver's Fourth Travel' (10:17) vocalist-violinist Steve Unruh shares the bilingual vocals with Stefano Galifi from Museo Rosenbach. This very RPI-ish, dynamic piece is, especially in a dramaturgic sense, reminiscent of Genesis around 1972-4, plus the lovely violin. The album ends with Alessandro Lamuraglia's instrumental 'Finale' that indeed has a bold atmosphere of a grande finale.

As I said, "Gulliver" is a coherent album, despite sharing the composion duties between six various keyboardists. I wouldn't be surprised at all if several TSOP listeners named this one their favourite (well, the only preceding reviewer already did). My real rating is 4˝. As always, Ed Unitsky has done terrific job on the covers and the booklet. So make it 5 since one cannot give half stars.

 Nostalgia for Infinity by HATS OFF GENTLEMEN IT'S ADEQUATE album cover Studio Album, 2020
3.96 | 4 ratings

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Nostalgia for Infinity
Hats Off Gentlemen It's Adequate Crossover Prog

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars After being impressed with last year's "Ark" EP and receiving a nice "thank you" from the band, I have been looking forward to a new full album release from "Hats Off Gentlemen It's Adequate", and in February of 2020, they have released the digital version of their album "Nostalgia for Infinity" (the physical CD will be released in May). This album boasts a total of 12 tracks and a total run time of almost 70 minutes. The duo of Malcolm Galloway (vocals, guitar, keyboards, synths, and programming) and Mark Gatland (bass, guitars, keyboards, synths, Chapman stick) is joined by one of their returning regular musicians Kathryn Thomas (flute, vocals). Two of the three tracks that were on 2019's EP show up on this album, namely "Ark" and "Chasing Neon", so if those tracks are any indication, this album is already pointing in a positive direction.

According to the Bandcamp page, the album has a loose concept in at least 7 of the tracks that were inspired by science fiction author and astrophysicist Alastair Reynolds with other tracks relating to nanotechnology, World War II, and environmental destruction, basically different perspectives dealing with the frailty of civilization.

"Century Rain" (9:17) starts things off with a classical music feel bringing in the flute and then becoming cinematic with layers of synth and guitar building up a nice sweeping feeling. This builds a foundation for vocals and well-written lyrics. After two verses, guitar and flute create a nice atmosphere, and soon a synth heavy solo also brings in an up tempo rhythm and soon vocals start again repeating the chorus, and then an extended instrumental ending flows along nicely to the end, still featuring plenty of lovely flute, synth layers and guitars with a moderate beat and a symphonic attitude. "Twin Earth" (5:59) continues with the same style, but more of a rock edge than before. There is more of the flute on this one, and again the lyrics are well written bringing in the progressive feel to match the words. Strong synths drive the last 4 minutes of the track which is all instrumental which features some nice playful interchange with the keys and flute, piano flourishes and moderately fast beat.

"Ark" (11:47) is the instrumental centerpiece from last year's EP and following is a description that I wrote in the review for the EP. "This track is inspired by Malcolm's grandfather's (Richard Galloway) WWII flight logs. Richard served on the aircraft carrier known as the Ark Royal which has an interesting history, including taking part in the sinking of the Bismark. The music specifically relates to incidents as it plays, the description of which is on the band's Bandcamp site (under the listing for the EP) for those that are interested. It does make everything interesting to follow along. The track is dedicated to Richard and those that fought against the Nazis. Malcolm plays everything on this track except for bass (played by Mark). A light, meandering section starts off the track mostly made up of keyboards and light guitar. Synths bring in a orchestral feeling and a very nice guitar plays over a beautiful twinkling piano background and the rhythm is nice and smooth giving the impression of smooth sailing. The music becomes tenser and darker at 3 minutes signifying preparation for confronting the enemy and is driven by synths and keys. At 5 minutes, the music becomes dramatic signifying the confrontation of a U-boat, which proved the vulnerability of the aircraft carrier, but it eventually sunk by a separate war ship. The music quiets down leaving just keys and light guitar work, but remaining tense as the hunt for The Bismark begins. At 8 minutes, the guitar brings back in full instrumentation for a climactic section. The Bismark is sunk, but the last section represents the sinking of the aircraft carrier. After nine minutes, the music becomes soft and twinkling again and ends beautifully." It's a progressive masterpiece with symphonic prog leanings inspired by classical music compositional style, a mini soundtrack for the mind.

"Nanobotoma" (5:34) goes for a harder, rock edge, more in a straightforward way, but with excellent, complex lyrics that are easy to understand with Malcolm's clear delivery. He may not have the best voice, but it serves the purpose by accenting the words clearly. This track also features a nice guitar solo. "Chasing Neon" (5:34) appeared on the "Ark" EP. Again I'll use my review of that EP for this track. The instrumental "is composed by Malcolm, but he only plays keys and synths while Mark takes over on guitar and also plays bass. It begins softly with synths, but soon a funky synth comes in and a steady percussion pushes it quickly forward. The synths establish a melodic, repeating pattern, and then the guitar comes in creating a darker atmosphere while the beat continues. The instrumental is quite straightforward, but it is still pretty good."

"Glitterband" (5:32) takes on a darker feel as it deals with an apocalyptic theme, again the lyrics are excellent, the vocals are more dramatic on this track. A keyboard riff carries it all forward supported by minimal guitar, a solid beat and bass line, the music flows along easily, but with a more morose and dramatic atmopshere. "Conjoiners" (4:31) is a spooky and atmospheric instrumental. A slow synth melody comes in later, but the music keeps on the dark and ambient side of things. Using electronics and synths, the music builds a bit as it continues, swirling around and then slowing down again at the end. "Scorpio" (1:19) is an even darker track, much heavier and dramatic, a short and concise statement that throws in some dissonant jazz towards the end. This track could have developed into an interesting idea, but is over too quickly. "Inhibitors" (3:25) goes into an experimental mode with great effects that also utilize the flute. Dark and foreboding, it still has some intriguing atmosphere that makes things mysterious and plays with the boundaries approaching avant garde style.

The title track "Nostalgia for Infinity" (6:59) features Kathryn doing the vocals in an echoing, spoken word style. A moderate beat takes off bringing along swirling synth riffs and melody as this continues. Soon the beat ends and the music gets atmospheric and dark again and her vocals become songlike and wordless, the beat comes back in and her lovely flute takes over. Very nice. Just before the 4 minute mark, Malcolm begins singing and finally establishing the melody. This is definitely one of the stronger tracks of the album, with Malcolm letting loose in his vocal expression. "Voyager" (5:50) is another nice instrumental, this time featuring some beautiful guitar with nice support from the flute and synths. Later, the synth also gets a solo. The melody on this one is quite lovely and heartfelt. The album ends with "Sixth Extinction" (4:06), a fast paced track with a surprsingly heavy riff and frantic vocals. Again, the strength in in the lyrics more than the vocal ability, but its all good because the lyrics are easy to understand.

This album does a great job of showing the versatility of the band and also has a great mix of vocals and instrumentals. There are some definate highlights in this album, namely "Ark", "Conjoiners", "Nostalgia for Infinity", "Voyager" and "Century Rain". The other tracks also are quite good and will keep your interest as you listen to the entire album. The music goes quite smoothly into different styles, but is still cohesive as it explores symphonic styles, ambient and experimental sections, electronic music and a few tracks that are relatively straightforward. The vocals are okay, but the lyrics are excellent. The musicianship is wonderful, though I wish I could have heard more of the jazz fusion side that they hint at in "Scorpio". The use of the flute in many of the tracks is also a big plus, yet it never wears out its welcome as it appears in various places throughout the album, giving it all the right amount of depth. All in all, this is a very enjoyable album even if it doesn't get heavily progressive, there is still a great amount of progressive traits to the music, especially in the classically influenced tracks and the ones that lean more toward the symphonic style. The album does still pique my interest as I look forward to where this band can go. This is one that should not be ignored, though some will really love it while others may like to hear more experimentation. It's hard to please everyone, but I know this album pleases me. There are masterpieces in this album for sure and that is what keeps my interest in the band, but overall it comes out as a 4 star effort with high recommendations.

 Purple Hearts Corner by C SIDES album cover Studio Album, 2020
3.50 | 2 ratings

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Purple Hearts Corner
C Sides Crossover Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars My first pleasant surprise this year 2020. Let me start with the résumé right now ... a real prog showpiece is ready to announce, no ifs, no buts. Stunning compositions, hot entertainment, tension, excellent musicianship, emotive vocals. 'Purple Hearts Corner' comes as their fourth album meanwhile, and I dare to say they have reached peak form here. Hailing from Wales the band is driven by core members Allan Mason-Jones (drums) and Martin Rosser (guitars), alongside with Kevin Dawson (keys) as well Allen McCarthy (bass, vocals). Female singer Sian Elson is aboard again, though somehow taking a backseat on this occasion, that said more restrained, providing fine background vocal harmonies predominantly.

You may recall some Magenta relations here and there, yeah maybe, albeit this is rather individual overall. Where the flow appeals, from end to end. And that counts. 'Purple Hearts Corner' is running throughout the wide border area of art and neo prog, though equipped with psychedelic respectively ambient elements too. The album title is pointing to the concept behind, necessarily. The story deals with a B-17 bomber sent to fascist Germany across the English Channel during Second World War. That means reflecting moments of awful fear, pain and tragedy. Now it makes sense if you are recognizing aircraft noises, marching drums and synths howling like sirens within this issue.

Nonetheless, or you may say even for that reason, the frame is set to the benefit of passion and playfullness. They are offering five songs, nearly all are taking the ten minute hurdle with ease. If distributed on different albums every single one on its own would reach for the particular item highlight. Now the plane is starting ... final flight, or not? Into Clouds is mirroring alertness, suspense furthermore - a very cinematic implementation. Concerning the song Bremen one may think of this as the homebase of the famous town musicians with innocence. But the title is target too, and related to the mixed feelings of the bomber pilot regarding his mortal instructions.

There are psychedelic guitars given on Engine Down, which evolves into a thriving groove soon, accompanied by striking riffs. Gripping, unpredictable, the closing title track is meandering as well as rocking through that main uncertainty with ups and downs, plus litte dissonance occuring. The story splendidly set into music. Yep, this is sophisticated melodic prog, stylistically close to The Far Meadow, Red Bazar, The Paradox Twin, if you will need some rough orientation. Considering the conceptual background not an easy case. But the band have succeeded to deliver a really compelling effort, a pleasant relief. Melody, heaviness, catchy repetitive motifs, nice piano lines, samples, all put together with inspiration. Chapeau!

 Mental Notes by SPLIT ENZ album cover Studio Album, 1975
4.12 | 58 ratings

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Mental Notes
Split Enz Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars A surprisingly collection of highly original and eclectic songs reminding me of so many bands: from early Rush, early Supertramp, David Bowie, Queen, Rod Stewart, Peter Hammill, Family, The Woods Band, Gentle Giant, Gryphon, The Strawbs, Spirogyra, Jefferson Airplane, The Beatles, The Electric Prunes, The Chocolate Watch Band, The Beau Brummels, The West Coast Pop Art Experimental Band, 10CC/Godley & Creme, Syd Barrett Pink Floyd, and even some early AC/DC, with many truly unique and innovative ideas thrown in that are all their own. The album may not be engineered and mixed very well (thus the comments by other reviewers referring to the "demo" quality of this album when compared to the versions that were re-recorded a year later with Phil Manzanera). I do not, however, comprehend the Genesis comparisons. These are not the mythological musings of young aristocrats, these are the lyrics and theatrics of Elton John and Bernie Taupin, of some Berlin cabaret, of Italian band Jumbo, of Lennon and McCartney.

As other reviewers have said, there really isn't a weak spot on the album while the two long songs, "Under the Wheel" and "Time for Change" really standout. I'm glad this is under the Crossover sub-genre, though Prog-Related would be just as understandable.

Five stars for a minor masterpiece of fresh, energetic music with many, many unique tricks and twists and an astonishing knack for creating seemingly unnatural stylistic or sonic combinations that work! If only the sound were better! I really, really like this album! Definitely a keeper! This is the kind of creative genius that we should be extolling in Prog World!

 Bernard & Pörsti: Gulliver by SAMURAI OF PROG, THE album cover Studio Album, 2020
4.51 | 9 ratings

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Bernard & Pörsti: Gulliver
The Samurai Of Prog Crossover Prog

Review by Danlsch

4 stars This could easily be my favorite TSOP (-1) album. Aiming the compositions at a common theme creates a musical cohesiveness that works really well throughout the entire album. Sure, there is plenty to recognize from vintage prog, but nothing borrowed. Kimmo Porsti and Marco Bernard have put together an album that, to my ears, seems their most dynamic work to date. It is not hindered by the desire to insert too many instruments to support the compositions. Mostly the songs sport drums, bass, keys, and guitars--with other instruments used as small embellishments or solos. The album has a more classic band feel. Porsti's drums are mixed more aggressively into the music which brings a stronger edge. Get this album. Highly recommended.
 Missa Atropos by GAZPACHO album cover Studio Album, 2010
3.76 | 378 ratings

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Missa Atropos
Gazpacho Crossover Prog

Review by sgtpepper

3 stars Gazpacho is a band that divides the listener circle even within Crossover Prog due to not always ambitious music, calmer textures and flirting with pop. The band have their undisputable qualities in their vocals, compositional skills and production work. I don't know how one of their CDs ended up in my collection and despite my skepticism, it has grown on me after several listens. The vocal has something melancholic but warm in its colour, instruments are played professionally and with emotions as witnessed in "Defense Mechanism". Keyboards in their music have ranged from multitude of synths, piano to organ, here we have a fitting electric piano in the background. "I was never here" has a light, reflective feeling with soothing vocals, subtle guitars and electric piano. "River mass for antropos 2" has a dark, disappointed spirit and great, epic-like chords, is one of the most progressive parts. "Splendid isolation" has a good cresciendo with a bit repetitive motive. Even after several listens, I can't discern songs that much and can't concentrate purely on music, it is more of a background soothing music with its quality. I rate this with 3 stars for it will certainly will its fans that like quiter, reflective but quite some depth.
 Purple Hearts Corner by C SIDES album cover Studio Album, 2020
3.50 | 2 ratings

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Purple Hearts Corner
C Sides Crossover Prog

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

3 stars The C Sides Project, originally known as just "C Sides", was founded in the early 2010s from 3 ex-members from "Magneta". In February of 2020, they released their fourth full length album called "Purple Hearts Corner". Two of the original founders, Martin Rosser (guitar) and Allan Mason-Jones (drums, percussion) are still with the band who is also made up of Allen McCarthy (vocals, bass), Sian Elson (additional vocals), and Kevin Dawson (keyboards, piano).

This album is made up of 5 fairly long tracks, and follows their usual sound (as of late) of a light progressive sound that sits somewhere between Neo-prog and Crossover Prog. You'll definitely get that impression with their first track "Fields" which tends to follow a main thematic element that doesn't veer to far away from its main melody. It's good music, but doesn't seem to offer much in the way of groundbreaking and doesn't try to challenge the listener too extensively. "Into Clouds" shows a bit more ingenuity with a nice piano solo introduction which finally brings in a more progressive theme after 3 minutes, utilizing a start/stop section that builds up a bit of excitement. The music is interesting, but tends to get bogged down in its efforts to present a progressive idea. The guitar finally gets to settle things into a more straightforward rhythm, though with a bit of complexity to it, but now it tends to lose a little steam as it utilizes a boring, ascending riff that finally brings in vocals around 6 minutes. Unfortunately, the lead singer sounds a bit bored, and adding in layered vocals doesn't help. Real excitement doesn't really appear until deep into the track as things intensify a bit more both in the vocals and the instrumental fills.

After some lack-luster sound effects, "Bremen" kicks in with a Rush-like guitar riff, starting and stopping to build anticipation for something better, but this doesn't really materialize as the music can't carry the excitement, then the sleepy vocals start again. McCarthy is trying to get a bit of a gruff sound as he sings, but it just ends up sounding tired instead of energetic, and the music tries, but can't quite carry the excitement that they seem to want to convey. After that, the synth tries to liven up the party, but it is just too little, too late.

The style doesn't change too much in the other two tracks, the music just sounds tired. I understand the inclusion of an additional vocalist who actually sings behind the lead vocalist a lot, and that was probably to add a little bit of life to it all, but she is pushed to the back. Maybe they should let her sing out front more often to give things more life. This is especially important since the songs are driven a lot by the lyrics. Yes there are some progressive elements in there, but they almost sound worn out.

Some might find some interest in this music, but I can't get over the sleepy, or lackadaisical feel of the main vocalists delivery. The instrumentalists try to pull it off by throwing interesting riffs and solos, but the enthusiasm just isn't there. However, its not a complete wash here, there is some promise in the music from time to time, but you would think with the experience the founders of the band have had that they would have a much better effort here. The sound of this album just doesn't give me the desire to investigate the band any further. 3 stars.

 Samurai by SAMURAI album cover Studio Album, 1971
3.71 | 76 ratings

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Samurai
Samurai Crossover Prog

Review by Psychedelic Paul

4 stars Banzai! SAMURAI might sound like a far-eastern band from the shogunate land of the rising sun, but in reality, they're as British as a chicken vindaloo curry from an Indian takeaway on a Saturday night. The story of Samurai is a tangled web, because they used to be known as "The Web" during the recording of their first two albums - "Fully Interlocking" (1968) and "Theraphosa Blondi" (1969) - before removing "The" definite article and shortening their name simply to "Web" for their third album "I Spider" (1970). The band were hoping a change of name would change their financial fortunes, but sadly, it wasn't to be and Samurai fell on their swords and disbanded shortly after releasing their one and only self-titled album in 1971. Somewhat confusingly, there was also a Japanese band named Samurai who also released a self-titled album (sub- titled "Green Tea") in the early 1970's. The 1996 CD re-issue of the British Samurai album added five bonus tracks to the original seven songs on the album.

The singer sounds like he's releasing some pent-up aggression on the opening number "Saving It Up For So Long", so watch out, because one gets the impression from this pounding and pulsating Jazz-Rock song that a Japanese shogun warrior might just leap out at any moment brandishing a samurai sword with a shout of "Banzai!". This is assertive, progressive Jazz-Rock with a forceful and belligerent attitude. The song features a pretty mean saxophonist too, combined with a powerful and punchy rhythm section. These guys don't sound like they're in the mood to take prisoners. The weather outlook for our next song is "More Rain" on the way, so it might be time to put those brollies up before we get wet. On the other hand, you could stay indoors and enjoy listening to this cool mellow groove. "More Rain" is so laid-back it's almost falling over backwards. This is cool Jazz to listen to whilst sipping on a daiquiri cocktail out on the verandah with a warm summer breeze blowing through your hair. Alternatively, if you're listening to this cool Jazz number in the middle of winter, you can just bask in the warm glow of the music and dream of those long hot summer days and sultry nights. Either way, "More Rain" is guaranteed not to dampen your spirits, or your ardour, if you're in the mood to get all romantic with your lover. We're off to meet "Maudie James" next and she sounds rather charming if this groovy number is anything to go by. This Jazzy saxophonic music sounds as fresh and full of vitality as a freshly-squeezed lemon, which makes it hard to believe that this album is nearly half a century old now. Yes indeed! It's amazing just how much "new" and original music is out there just waiting to be rediscovered in the modern age of the Internet. The curiously titled "Holy Padlock" is next, which is presumably the type of lock that's used to secure a church. This offbeat Jazz-Rock song sounds a little off-kilter, a bit like a runaway train careering down the tracks that's in danger of becoming derailed at any moment. Yes, Samurai are definitely in wild Canterbury Scene territory here, so be prepared for an improvisational melieu of dynamic sound and inspirational energy. This fast-paced, out-of-control kamikaze song barrels along at such impressive speed, it's hard to imagine it could ever be written down formally in musical notation, but then again, it wouldn't be wild improvisational music if it was written down on paper beforehand.

It's time to "Give a Little Love" now, although don't be fooled by the title because this is no gentle romantic ballad. No, this is a pugilistic percussive wave of thumping Jazz-Rock that hits you straight between the eyes like a sledgehammer. The guitarist is clearly having a blast on this barn-storming number, with his wah-wah pedal evidently cranked up to the max. The dynamic keyboard player deserves a mention too - he sounds like he's pulling out all the stops here to deliver a sonic blast of high octane Rock. Spare a thought too for the saxophonist who delivers a sensational solo with barely enough time to take a well- earned breather. It's time for some gentle reflection now with "Face In The Mirror", an altogether mellower Canterbury Scene- style song, given an extra dose of lively Samurai "Banzai" energy. Sadly, we've reached the final song on the album now with "As I Dried The Tears Away", but there's no need to get out a hankie because this is no romantic refrain. This is a thunderous electrically-charged, eight-minute dynamo blast of Van der Graaf Generator-style Jazz-Rock, only without Peter Hammill's histrionically expressive vocals. The song features some gentler interludes too, so it's not all thunderbolt and lightning, very very frightening. It's a suitably impressive highlight to close the album in grand style on an album that's choc-a- bloc full of great songs.

Samurai have all of the aggressive energy of a Japanese shogun on the warpath. There's no going back now, because this storming band of musical warriors are out on a mission to deliver some thunderously great music with all of the willpower and determination of a kamikaze pilot flying out on his first and last mission. In common with their last album "I Spider", when the band were still known as the "Web", this album is a powerful blend of both Van der Graaf Generator and Hatfield & the North, so if you like those two bands, then there's a good chance you'll like the sonorous sound of Samurai too.

Data cached

Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
22 Norway
3 United Kingdom
3 United States
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
A2RK United Kingdom
AARDVARK United Kingdom
AARDVARK' Finland
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACCION ROCK BAND Spain
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AGRABAH Argentina
EDUARDO AGUILLAR Brazil
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALEPH Australia
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALPHA LIGHTING SYSTEM Mexico
ALPHAJORGE Brazil
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
AMAZING MACHINE Norway
THE AMAZING Sweden
AMBERFIELD Germany
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
AMPHETAMIN France
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
THE ANCHORESS United Kingdom
ANDERSON PONTY BAND Multi-National
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
APE AMPLITUDE Germany
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
APPLESMELLCOLOUR Spain
AQUA TALK Turkey
AQUILA United Kingdom
THE ARBORIST United States
ARCA PROGJET Italy
ARCHANGELICA Poland
ARCHIVE United Kingdom
ARCPELAGO Brazil
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARID GARDEN Italy
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
ARONORA Australia
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTIFICIAL HOME Latvia
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASIMÉTRICA Mexico
ASSUAGE United States
ASTRAL BAZAAR Finland
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIO'M France
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 ELECTRIC United States
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
AUXFORD Russia
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
AMADEUS AWAD Lebanon
DAVID AXELROD United States
AZURETH Multi-National
BABAL United Kingdom
BACKHAND Venezuela
BACKWARD RUNNERS Poland
BAD DREAMS Argentina
BADWATER FIRE COMPANY United States
JOE BAILEY United Kingdom
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
BALEIA Brazil
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
THE BARDS OF ANTIQUITY United States
NICKLAS BARKER Sweden
BARNUM'S FREAK Italy
BARON United Kingdom
MARTIN BARRE United Kingdom
BARROQUEJON Chile
SEBASTJAN BARTOL Slovenia
M.M. BARTULICA Bosnia and Herzegovina
COLIN BASS United Kingdom
BAT LENNY United States
BATISFERA Russia
BAUER Argentina
BE BOP DELUXE United Kingdom
BEAD GAME United States
BEAM-LIGHT Poland
DAVID BEDFORD United Kingdom
BEDUÍNOS A GASÓLEO Portugal
BELGRAD Poland
BEND SINISTER Canada
BENJAMIN'S KITE Canada
BENT KNEE United States
THE BENZENE RING United States
ROBERT BERRY United States
EMILY BEZAR United States
BIG BIG TRAIN United Kingdom
BIRZER BANDANA United Kingdom
BITTERTOWN Netherlands
BJÖRK Iceland
BLACK CAT BONES United Kingdom
THE BLACK LIGHT United Kingdom
BLACK MOTH SUPER RAINBOW United States
BLACK MOUNTAIN Canada
THE BLACK OF SPACE United States
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
BLURRED VISION Canada
THE BODY POLITIC Canada
BOMBER GOGGLES United States
STEVE BONINO United States
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
THE BOY; THE BIRD & THE BEAST United States
VICTOR BRADY United States
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
BRIGHT BROWN United States
THE BRIMSTONE SOLAR RADIATION BAND Norway
TOM BRISLIN United States
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIČRE France
BROKEN PARACHUTE United Kingdom
DAVE BRONS United Kingdom
DUNCAN BROWNE United Kingdom
BRUTEUS United States
ROLAND BUHLMANN Switzerland
BUILT FOR THE FUTURE United States
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
BURNT BELIEF Multi-National
BURNTFIELD Multi-National
ALAIN BURO Belgium
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
C SIDES United Kingdom
CAIRO United Kingdom
CALIFORNIA GUITAR TRIO United States
CAMELION France
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 France
CAREWORN United Kingdom
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
LAURA CASALE United States
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
GUILLAUME CAZENAVE France
CEILING UNLIMITED United States
CELL15 United States
CELLULOID WINTER United States
CHALIS United States
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
RANI CHATOORGOON Canada
CHAYAN United Kingdom
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 SURVIVE United States
CIRCA: United States
CIRCULINE United States
CIRCUS PARANOIA Netherlands
CIRCUSFOLK Finland
CITADEL France
WOJCIECH CIURAJ Poland
CLARION Italy
STEVE CLARK Australia
THE AARON CLIFT EXPERIMENT United States
CLOUD ATLAS United Kingdom
CARY CLOUSER Canada
CLOVER SEEDS France
CLUB MERANO Finland
SUSAN CLYNES Belgium
COATSWORTH-HAY United States
STEVE COCHRANE Canada
COHEED AND CAMBRIA United States
COLLECTING SPACE United States
COLOR Hungary
COLOURATURA United States
COMA ROSSI India
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 PUPPETS United Kingdom
THE COSMIC REMEDY Multi-National
COSMIC SINGULARITY Multi-National
COSMOS DREAM France
ROB COTTINGHAM United Kingdom
COZHE Finland
BEN CRAVEN Australia
CRAZY DUMBSAINT United States
CRAZY WORLD Finland
CRÉPUSCULE Germany
CRIMINAL CATERPILLAR Canada
CRIMSON STARS EYES Italy
CROSS Sweden
BEPPE CROVELLA Italy
CRYPTEX Germany
CRYSTALWOOD United States
CUAC! Spain
CUPRUM Czech Republic
PAUL CUSICK United Kingdom
THE CUSTODIAN United Kingdom
CYNOSURA Switzerland
CYRIL Germany
LAREN D'OR Hungary
NICK D'VIRGILIO United States
DAEMONIA Italy
DAMANEK United Kingdom
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 DÉCAMPS France
DEEP FEELING United Kingdom
DEEP LIMBIC SYSTEM Mexico
DEERHOOF United States
DELIRIO SONORO Italy
DELIRIUM Mexico
DELTA SLEEP United Kingdom
DELUSION SQUARED France
DEMIAN CLAV France
JOE DENINZON United States
DESTROY ALL PLANETS 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
DIRECT DIVIDE United States
DIRTY PROJECTORS United States
DISCONNECT United States
DISSONATI United States
DISTANT LIGHTS United States
DISTRICT 97 United States
DLGZ ROCK 5TET France
DOC'S FERMENT United States
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
EARTHKIND United States
EATLIZ Israel
ECHO Romania
ECHOES OF GIANTS United States
ECLIPSE Canada
ECLIPSE SOL-AIR Multi-National
EDEL Multi-National
EIDÔLON France
ELDBERG Iceland
ELECTRA Germany
ELECTRIC LIGHT ORCHESTRA United Kingdom
ELECTRIC SORCERY United States
ELECTRUM United States
ELEND France
ELEPHANT PLAZA Norway
ELIPHASZ Canada
ELORA France
ELYSIUM THEORY United States
KEITH EMERSON United Kingdom
GERT EMMENS Netherlands
EMPEROR NORTON United Kingdom
EMPIRE United Kingdom
EMPIRICAL TIME Italy
AARON ENGLISH United States
ENINE Russia
ENNĎS TÓLA Australia
ENTITY PARADIGM Pakistan
ENTRANSIENT United States
EOS Chile
EPIICYCLE United States
ESAGIL Greece
ESFERA Portugal
ESP Multi-National
ETHERS EDGE United Kingdom
EVELINE Italy
EVEN HORSES Germany
EVENT United States
EX-WISE HEADS United Kingdom
EXISTENCE Canada
EXOVEX United States
EYEVORY Germany
FACE THE DAY Czech Republic
FAINT SIGNAL United States
FAIR TO MIDLAND United States
FAIRY TALE Slovakia
FALSTAFF France
ALESSANDRO FARINELLA Italy
FATAL FUSION Norway
LA FE Chile
FEED ME JACK United States
ALI FERGUSON United Kingdom
FEROZ Mexico
FERVENT MIND Norway
FIBONACCI SEQUENCE United States
FIELD MUSIC United Kingdom
FIELDS OF NĆCLUDA France
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
FINALLY GEORGE Germany
HEATHER FINDLAY United Kingdom
FIRE GARDEN United States
FIRE ON DAWSON Germany
FIREHORSE Germany
FISH ON FRIDAY Belgium
FLAMENCS Argentina
FLAUD LOGIC United States
FLICKER United Kingdom
FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
FLOWER FLESH Italy
JEREMY FLOWER United States
FOBOS Argentina
FONTARABIE Canada
FORMATIV Multi-National
THE FORMER LIFE Italy
LORENZO ESPOSITO FORNASARI Italy
FORWARD SHAPES United States
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
FRENCH LICK United States
FREQUENCY DRIFT Germany
HASSE FRÖBERG & MUSICAL COMPANION Sweden
FROSKULL United States
FRUTERIA TONI Spain
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
GALAXY-LIN Netherlands
GALERIA DE RAICES Argentina
GALIJA Yugoslavia
GALLERY Norway
GAMMA REPEATER United States
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
THE GENTLE STORM Netherlands
GENTLEMEN WITHOUT WEAPONS United Kingdom
GEPPETTO'S RETRIBUTION United States
THE GHAITANELLIS-TASSI PROJECT France
GHOST CIRCUS Multi-National
GHOST COMMUNITY United Kingdom
GIANNOTTI United States
GIANT THE VINE Italy
IL GIARDINO ONIRICO Italy
GIDEON Canada
KEVIN GILBERT United States
KRISTOFFER GILDENLÖW Sweden
GINTONIC Spain
GIRAFFE United States
GIZMO United Kingdom
GLASFROSCH Australia
GLASS KITES Canada
YIANNIS GLEZOS Greece
GLORIE United States
GLORIOUS WOLF Netherlands
VICTOR GO Ukraine
GODSTICKS United Kingdom
GOLDEN CAVES Netherlands
GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
GOTHIK SERPENT Singapore
GRAMONAUTUS Argentina
PHILIPPE GRANCHER France
THE GRAND SILENT SYSTEM Australia
GRANDVAL France
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
GRILL Australia
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
THE HALLUCINANT TELEPHERIQUE United States
HALO BLIND United Kingdom
HATS OFF GENTLEMEN IT'S ADEQUATE United Kingdom
JASON HAVELOCK France
HAYWARD & LODGE United Kingdom
HEADS IN THE SKY Canada
HEARTSCORE Germany
HEATWAVE Italy
ROEL VAN HELDEN Netherlands
HELICOPRIA Multi-National
HELIOTH United States
LUC HENRION Belgium
HENRY FOOL United Kingdom
HERESY United States
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
STE VAN HOLM Denmark
HOLON Norway
THE HOME GUARD United Kingdom
HOMESICK FOR SPACE United States
HOT HEAD SHOW United Kingdom
HOUR OF THE SHIPWRECK United States
HOUSE OF RABBITS United States
STEVE HOWE United Kingdom
HYPNOMEN Finland
I AM THE MANIC WHALE United Kingdom
I.AB United States
IAMTHEMORNING Russia
IF / IFSOUNDS Italy
IGAYON Israel
IGNATIUS Spain
ILLUSIVE LIGHT Germany
ILUZJON Poland
IMMUNE United Kingdom
IN CONTINUUM United States
IN LIMBO France
INDELIBLE Norway
INDEXI Yugoslavia
INFICTIONS United Kingdom
INFINITE MONOPOLY United States
INFINITE ORCHESTRA United States
INFUSION KAMACHUI Argentina
INNER PROSPEKT Italy
INNERSPACE Canada
INSPIRATIONAL CORNER Austria
INTENTIONS Netherlands
INTERGALACTIC TOURING BAND Multi-National
INTO THE PRESENCE United States
THE INVISIBLE PRESENCE Multi-National
IO EARTH 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
JESTER United States
JET BLACK SEA Netherlands
JHIMM United States
JODY GRIND United Kingdom
JONO Sweden
JORM Sweden
JOUIS United Kingdom
KADDISFLY United States
KANT FREUD KAFKA Spain
KAOS MOON Canada
KAPREKAR'S CONSTANT United Kingdom
KARIBOW Germany
KASSINI United States
KASSIOPEIA Germany
KAUKASUS Norway
KAYAK Netherlands
KAZACHSTÁN Czech Republic
KEDAMA Switzerland
KEEP IT DEEP Belgium
KEL LOCH & GOLD United States
TOM KELLY United States
MIKE KERSHAW United Kingdom
KERYGMATIC PROJECT Italy
DAVE KERZNER United States
KEVLAR RED United Kingdom
KIAMA United Kingdom
KID COUSIN United States
KIMURA France
KINESIC Spain
KING RAT United Kingdom
KINO United States
KINZOKU-EBISU Japan
KISS KISS United States
KITSUNE NO YOMEIRI Japan
KNIFEWORLD United Kingdom
KOI Sweden
GLEB KOLYADIN Russia
KOMPENDIUM United Kingdom
KOSKA Spain
KOYO United Kingdom
KRÁSNÉ NOVÉ STROJE Czech Republic
KRONER CIRKUS Poland
KRUNKELSTILTSKIN United States
DAVE KULJU United States
KUMM Romania
KUNDABUFFER Argentina
KURKI Finland
KUUSUMUN PROFEETTA Finland
KVARTETTEN SOM SPRANGDE Sweden
LA YNE Finland
LABORATOR France
LANDSCAPE Poland
YOGI LANG Germany
LANTINOR Russia
LISA LARUE United States
LAST KNIGHT Multi-National
LAST TURION Germany
LAURA France
LAVIŔNTICA Italy
LAYRA Italy
THE LAZARUS TRIO United States
LAZY DOLL France
GUY LEBLANC Canada
LEBOWSKI Poland
JOHN LEES United Kingdom
LEVIATHAN United States
LIFE Sweden
A LIFELONG JOURNEY Italy
LIFT Germany
LIGHT Netherlands
THE LIGHT AFTERNOON United Kingdom
LIMPID GREEN United States
JONAS LINDBERG Sweden
LING TOSITE SIGURE Japan
LINGUS France
LION SHEPHERD Poland
A LIQUID LANDSCAPE Netherlands
LIRD VAN GOLES Switzerland
LITTLE TYBEE United States
LIVES AND TIMES United Kingdom
KERRY LIVGREN United States
LIVING STILTS Italy
THE LIVING Canada
LOBATE SCARP United States
LOGAN DWIGHT Italy
LONELY ROBOT United Kingdom
LONG EARTH United Kingdom
LOONYPARK Poland
LOST WORLD BAND Russia
LOTUS AUREA Brazil
JEAN-PIERRE LOUVETON France
LOVE DE VICE Poland
ARJEN ANTHONY LUCASSEN Netherlands
THE LUCK OF EDEN HALL United States
LUCY IN BLUE Iceland
LUDUS United Kingdom
JOHANNES LULEY United States
LUMINOUS NEWTS United States
LUNA ROSSA United Kingdom
LUNATIC SOUL Poland
PHILIPPE LUTTUN France
LÜÜP Greece
WILLIAM LYALL United Kingdom
LYRIAN United Kingdom
MACARTHUR United States
MACHINES DREAM Canada
MADAME BLAVATSKY OVERDRIVE United States
THE MADCAP LAUGHS United Kingdom
MADRIGAL United States
MAGELLANS GHOST United States
JOOST MAGLEV Netherlands
MAGNATAR United States
MAID MYRIAD United States
BRUCE MAIN United States
MAJESTIC X United States
BARIS MANCO Turkey
MANCUNIAN CANDIDATE United States
MANDILLO Italy
MANDRAKE PROJECT United States
IL MANISCALCO MALDESTRO Italy
MANFRED MANN'S PLAINS MUSIC South Africa
MANSUN United Kingdom
MANTIS Canada
MANTRA VEGA Multi-National
MAOBI France
MARAKESH Netherlands
MARATON Norway
MARGARITAS ANTE PORCOS Latvia
LUC MARIANNI France
MARIANUS United States
MAROON(ED) Spain
MARQUETTE Germany
MARS HOLLOW United States
RHYS MARSH Norway
MARTINI HENRY United States
COLIN MASSON United Kingdom
MASTERS OF THE AIRWAVES United States
MATERIA GRIS Argentina
MATERYA Italy
ALEJANDRO MATOS Argentina
MAVARA Iran
MAXIMUM INDIFFERENCE United States
THE MAYAN FACTOR United States
MAYFAIR Austria
JIM MCCARTY United Kingdom
MCDONALD & GILES United Kingdom
SIMON MCKECHNIE United Kingdom
MECHANICAL BUTTERFLY Italy
MEDULLA United States
MEKHLIN Denmark
MELODY France
MERGING CLUSTER Italy
STEVE MERLIN Netherlands
MERMAID KISS United Kingdom
MERRY GO ROUND Italy
MESEGLISE Italy
META United States
METACONCIENCIA Mexico
METHEXIS Greece
METRO EXPO Belgium
METRONHOMME Italy
METUS Poland
MEW Denmark
MICE ON STILTS New Zealand
MIDIAN Italy
MIGHT COULD United States
MIGHTY BABY United Kingdom
MIGRATION PERIOD Russia
LAS MIL DE ZAFIRO Argentina
MILKY WAY GAS STATION Netherlands
MILLENNYA Norway
MARK MILLER United States
RICK MILLER Canada
MILLPLAT Japan
MIND United States
MIND FURNITURE United States
MIND SPLIT EFFECT France
MINDMOVIE Germany
MINDSPEAK Austria
THE MINSTREL'S GHOST United States
PERE MIRALLES Spain
MIRRELIA Canada
MIRROR PEOPLE United States
VLADIMIR MISIK Czech Republic
KENNY MITCHELL United Kingdom
MODEST MIDGET Netherlands
MOEBIUS CAT Canada
MOETAR United States
BARAK MOFFITT United States
MOGADOR Italy
MONJOIE Italy
MONNAIE DE SINGE France
MONTECHIARI PROJECT Brazil
THE MOODY BLUES United Kingdom
MOONLIGHT Poland
MOONLIGHT SKY Slovenia
MOONSHINE BLAST France
MICHAEL MOORCOCK United Kingdom
MOPHO Brazil
PATRICK MORAZ Switzerland
MORDECAI SMYTH United Kingdom
MORRIGAN France
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