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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 01/22/2017

kev rowland (Kev)
Evolver (Scott)
tszirmay (Thomas)

Crossover Prog Top Albums


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

4.32 | 1135 ratings
OMMADAWN
Oldfield, Mike
4.32 | 1365 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1732 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1166 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.22 | 1548 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 867 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 747 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 899 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.35 | 138 ratings
RETURN TO OMMADAWN
Oldfield, Mike
4.20 | 484 ratings
~
iamthemorning
4.18 | 748 ratings
SNOWTORCH
Phideaux
4.17 | 696 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.17 | 644 ratings
THE UNDERFALL YARD
Big Big Train
4.12 | 708 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.13 | 527 ratings
NIGHT
Gazpacho
4.35 | 83 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.23 | 143 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.08 | 998 ratings
TUBULAR BELLS
Oldfield, Mike
4.12 | 353 ratings
HOUNDS OF LOVE
Bush, Kate
4.20 | 153 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers

Crossover Prog overlooked and obscure gems albums new


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

GLOSSOLALIA
Walsh, Steve
FOLKLORE
Pez
THE LOST ART OF TIME TRAVEL
Presto Ballet
NARROW-CASTER
3RDegree

Latest Crossover Prog Music Reviews


 Stranger Heads Prevail by THANK YOU SCIENTIST album cover Studio Album, 2016
4.05 | 94 ratings

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Stranger Heads Prevail
Thank You Scientist Crossover Prog

Review by baantacron

5 stars I first encountered Thank You Scientist when they were opening for Haken in Glendale, CA. I'd never heard of them, despite their growing acclaim. Their set is one of the best shows I've seen and going into it blind was an incredible experience. This review isn't about their set though, it's about the album, so I'll move along to that.

The standout quality to Stranger Heads Prevail, and all of TYS's music is something I find severely lacking from the modern progressive scene. Their music is fun, especially so on this album. We've seemed to have become so hostile to the idea of accidentally making a catchy tune, that musicians will try to avoid it at all costs. Steven Wilson even jokes about this when discussing the track "Sound of Muzak".

On Stranger Heads Prevail, TYS maintains a complex and dynamic sound that utilizes every bit of their seven piece band, but doesn't bog itself down trying to be overly meaningful or deep. In a seven piece it's easy for instruments to begin getting lost in the mix, not so in this case. Each instrument has its time in the forefront leading the melody and then phases back into harmonies in a way that flows wonderfully through each track. I must admit a certain bias as trumpet player myself, the inclusion of lots of clean and technical trumpet definitely makes it easy for me to love this music, but lets be fair, the music is just generally easy to love.

While it doesn't have the unbelievably complexity of much of modern progressive rock, I still think that Stranger Heads is one of the highlights of 2016 in progressive rock. A move back to music for the masses without sacrificing their progressive core.

 Samsara by CHATOORGOON, RANI album cover Studio Album, 2016
4.00 | 2 ratings

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Samsara
Rani Chatoorgoon Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Canadian composer and artist Rani CHATOORGOON is at this point a fairly unknown quantity. She launched her solo career back in 2009 with her debut album "Illusions of Loneliness", and have since issued a handful of singles and EPs. "Samsara" is her most recent full length production, and was self released in the early winter of 2016.

As one might suspect from the artist name as well as the title given to this production, Rani isn't the kind of person that can trace her cultural origins back ten generations in the Canadian territories. Her background appears to be a bit more colorful than that, and the music she creates most certainly incorporate a liberal amount of cultural elements not originating from Western culture. Therein lies the strength of this album as well, the manner in which it blends aspects of different cultural traditions.

The base foundation of most compositions appears to be what I'd describe as a hard but smooth and elegant variety of radio friendly hard rock. Firm riff cascades backed by solid rhythms is a staple in the greater majority of the compositions, fairly often with orchestration details appearing in key moments to add a grandiose, majestic tinge to the proceedings. With Rani's finely controlled, quality lead vocals this results in exemplary sequences of appealing music, albeit a bit too polished and anonymous if not a part of a greater totality.

It is when the compositions feature additional details that this album starts to soar to more compelling heights. First and foremost with violin, percussion and string instrument details based on Eastern and presumably Indian traditions are used more extensively throughout. A couple of cuts also comes across as including Celtic folk music details, at least as I experience them, which also fits these landscapes quite nicely.

While I do consider hard rock to be the main foundation here, the compositions does actually range from more purebred folk and world music creation to material hovering on the borderland of progressive metal. While perhaps not what I'd describe as eclectic in scope it is an exotic one at times, but also well produced and what I'd describe as generally appealing in nature and with a radio friendly sound. Quite a few cuts here appears to be ready made even for mainstream FM radio, and one can only hope that this artist somehow manage to find her way into a B-list on a substantial station at some point. The A-lists obviously unavailable for artists not already firmly established.

All in all I find "Samsara" to be a compelling album overall. Rani is a strong vocalist, her voice carrying many songs in a fine and intriguing manner, and the blend of Eastern and Western musical traditions are almost magical at best. Opening cut The Grey is the standout track here, among a dozen quality cuts this composition showcase the very best qualities of this artist and this album in an excellent manner. A perfect starting place to explore this artist in other words, and those intrigued by the notion of Eastern world music combined with sophisticated radio friendly hard rock should start right there.

 Sisyphus by TEN JINN album cover Studio Album, 2017
3.92 | 5 ratings

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Sisyphus
Ten Jinn Crossover Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars Formed in 1991 by John-Paul Strauss and Jimmy Borel Ten Jinn has seen the band live many line-up changes, but John-Paul is back for this new release. The band has adopted a symphonic style after their first album and in this one they have gone even further in that direction. Strauss has studied in theory and composition which results in this symphonic poem "Sisyphus" composed for piano and orchestra. It's a 26 minutes song close to classical music and they included here the instrumental version which is very logic considering the classical approach in structure and arrangements. If you enjoy the band Enid, you will enjoy this one as well, and won't get bored a minute here.
 Antimemory by VANETA album cover Studio Album, 2016
5.00 | 1 ratings

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Antimemory
Vaneta Crossover Prog

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

— First review of this album —
5 stars A band of young men from the Santa Gabriel mountains of California--self-proclaimed "keepers of the forest"--have decided to go with a change in direction from their previous heavy metal roots into the sophisticated progressive rock alter-ego that the band had been working on on the side. I've not heard or seen any of their previous music or concerts but I hear they were stunning, breathtaking. I, for one, am grateful for their new direction--and their collaboration with Lone Pine Records' producer Bill Fiorella, as together they have come up with one of the more unique and memorable sound styles this reviewer has heard in quite a while. The production, in and of itself, is quite unusual in that all of the instruments and voices are allowed to remain so clearly distinctive no matter how dense the music gets. Every subtle noise in the soundscape is preserved--which is something I adore in music: the subtleties. The vocal arrangements alone are worth noting as guitarist Chris Durban and vocalist/guitarist Jared Paris and keyboard player Allan Hennessy do some stunning performances in all of the lead, background, and harmony capacities. These are vocals that are incredibly complicated and yet so impressively executed! It's like listening to world class dance choreography! Also, notably absent are the computer "corrected," effected, "compressed" soundscapes that have become so prevalent in music production over the past 25 years. The acoustic guitars sound like they are in the room with you; the drums sound real and full, not gated; the vocals are natural and raw, not auto-tuned. All in all, Antimemory does a wonderful job capturing an 'acoustic' sound of an electrified rock and roll band. And it works! It's awesome! It helps remind and reinforce my love of the recording styles of those 1970s masterpieces.

Lineup:

Chris M Durbin - Vocals, Guitar Jared Paris - Harmony Vocals, Guitar Andrew C Sanchez - Drums Allan Hennessy - Keys, Vocals on Last Ray Of The Sun Wyatt Martin - Bass

1. "Son of Sorrow" (6:42) opens with a minute of heavily vibrating sacred bells before guitars, piano, and bass join in to set the stage. This bass play is awesome! Vocalist Chris Durbin bids us "hello" and sings an impassioned vocal-- which is soon joined by the amazing backing harmonies of Jared Paris. This sounds so much like the best of one of my favorite bands of all-time, DOVES from Manchester, England. The build up to the chorus at 2:40 is awesome--as is the cool down in the first half of the fifth minute--which is followed by an excellent chorus section and then by a searing 45-second long lead guitar solo in the sixth minute which is then followed up by an awesome three-layered chorale vocal section to the song's end. Incredible song! One of the best things I've heard from 2016! (10/10)

2. "Looking On" (5:06) opens with vocal, rhythm guitar and bass creating a weave that sounds like . At the 0:25 the song kicks into second gear with a very engaging THE MARS VOLTA/STEVEN WILSON foundation. The two-voice delivery of the second verse is so innovative and fresh! Stunning! Another great guitar solo begins rather humanly at the end of the third minute but then shifts into super-man speed in the fourth. The distant acoustic guitar song in the third verse is so cool! It makes it sounds like a Dobro (which I love). The vocal arrangement over the fullness of sound from all band members in the final minute is, again, brilliant! Stunning song! (10/10)

3. "Ferroform" (5:52) opens with a familiar CORVUS STONE-like sound and guitar riff before a second guitar joins in with some fiery riffing. The effected vocal is cool in a hollow Greg LAKE/JIMI WILLIAMS/KING CRIMSON/DOVES "Moon Child" kind of way. As the voice comes to the fore--and is joined by the awesome wailing screams of Jared Paris--the song kicks into full speed--and into a nice long instrumental section in which guitar, bass, keys, and drums resonate in perfect cohesion. Then there is a drop off into a floating, dreamy section that is held together by a Hammond organ and some word being panned around in the background. Guitar arpeggi join in and, eventually, the band emerges out of the fog into it's full speed again (awesome bass line/play!) and then finishes with some thought-provoking piano and guitar notes and chords. Awesome! (9/10)

4. "Child" (8:26) the song's mini-epic opens in a kind of GUNS'n'ROSES-LED ZEPPELIN guitar-oriented way. Even the layered lead vocals have that kind of perfected classic rock feel to it. Into the third minute the Led Zep/G'n'R influences are still strong until there is a sudden shift at the three minute mark into a kind of THE MARS VOLTA/OMAR RODRIGUEZ-LOPEZ Spanish-imbued high energy rock. The guitar play is so cool! So different--like RANDY BACHMAN on "Blue Collar" (Bachman-Turner Overdrive)--before a searing double guitar solo in the sixth minute. Man! I don't know how the band keeps up this coherent, stable intensity! Amazing! There's even some growl vocals behind the lead in this section. And then horns! Awesome horns! A saxophone lead! What a brilliant touch! For the final minute the band recoups and returns to the mature sound and pace of the opening with the song title being sung a few times by the double vocalists. Great, great song! (10/10)

5. "Last Ray of the Sun" (1:26) opens with a solo piano tinkling slowly away before setting up in a kind of "Great Gig in the Sky" (Pink Floyd) chord foundation while pianist, Allan Hennessy, sings the first verse (which turns out to be the chorus). The final 45 seconds finds the rest of the band joining in on this chorus line before letting Allan's piano finish on its own. Beautiful, haunting song! Well deserving of its presence on this album. (10/10)

6. "Mountain Chorus" (5:47) opens with acoustic guitar picking away at two chords--two heavily charged chords-- while a second, electric guitar slides and squeaks around far in the background before treated Chris' voice joins in. At 1:45 the voice again 'comes out of the closet' to sing "But it won't save you." The second verse then begins with two harmonized voices singing gently. Drummer Andrew Sanchez' cymbal play throughout this second verse is mesmerizing. I find myself reminded during this beautiful section of some the recent Prog Folk greats, FLEET FOXES, LEAFBLADE, DOVES, AUTUMN CHORUS and THE AMAZING. At 3:45 the band suddenly kicks into full gear with some energized bass, drum, guitar, voice and choral work-- which plays out till the song's end. Gorgeous song! (9/10)

7. "Antimemory" (3:18) opens with sustained computer synth noise which is then joined by guitar strum, bass, and multiple voices floating and flitting in and around the soundscape. This continues for the first two minutes before all fade out in lieu of sacred bells and shakers. A perfect ending to such a spiritually gut-wrenching album. (10/10)

Despite my high marks for each and every song--(more for their exceptional creativity, originality, beauty and promise)--I still see 'room to grow' for this band and it's sound. It will be difficult to top such an 'out of the blue' debut album, but I feel that this band of so many talents and influences can definitely refine their raw and passionate sound. The excitement I feel when hearing this album reminds me of how I felt upon hearing Manchester's DOVES debut album first time in the early 2000s (my favorite album of Y2K). This is astonishing music regardless of who is performing it--made even more remarkable for the fact that this is a debut album.

Let the world know it: VANETA is here! . . . and they are a FORCE to be reckoned with!

A masterpiece of progressive rock music and official winner of the title, ALBUM OF THE YEAR, in my books!

P.S. I want to have bass player Wyatt Martin's babies. Or, at least his autograph!

 Hair In A G-String (Unfinished But Sweet) by TENCH PROJECT, COLIN album cover Studio Album, 2016
4.17 | 177 ratings

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Hair In A G-String (Unfinished But Sweet)
Colin Tench Project Crossover Prog

Review by Mozart

5 stars I keep getting dragged back to this album. I do believe it's the best album for many years from anybody. If a single member of many different early progressive rock bands got together to see what happened, this might be the result. It is simply sublime. I see there are a few others who say the same in reviews, so I thought I would add my own. There is not one moment on here that I get bored or the feeling there is any pointless noodling going on. All of the vocals are brilliant and that rarely happens on any album. A perfect combinatoion of songs and pure music ranging from Beatles, Santana to Piano and almost classical pieces to classic guitar rock. Didn't this kind of record get banned 40 years ago? The Opening Part 1 draws you in and Part 4b blows you away as a finale. Great great music guys!
 Excerpts from Jane Eyre by MITCHELL, KENNY album cover Singles/EPs/Fan Club/Promo, 2012
3.18 | 2 ratings

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Excerpts from Jane Eyre
Kenny Mitchell Crossover Prog

Review by Shuggie

3 stars This album is very different from this artists other offerings and isn't prog by any description. It is however a nice little listen if you fancy a reflective quieter moment. It's quite orchestral and has lots of gentle piano work in it, and no guitars or drums at all. In terms of composition it's not the most highly technical of works, and it's not going to appeal to the most diehard of prog fans who prefer to listen to outstanding feats of syncopation and time signature wizardry, but as I say - it's really just not that type of album, and it is a pleasant little listen for late night background chilling out.
 Lost in the Ghost Light by BOWNESS, TIM album cover Studio Album, 2017
3.63 | 40 ratings

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Lost in the Ghost Light
Tim Bowness Crossover Prog

Review by admireArt
Prog Reviewer

3 stars A natural turn of events.

Tim Bowness' "Lost in the Ghost Light", 2017, musical language displays an ellaborated simplicity very much in tune with the best of Pop and Rock's easily radio waveable friendly songs. Of course this styling falls naturally in his slow paced, dream like ballads as in his most precious attribute his bare naked, fully emotional lyrics, where music as such is at their command.

It will be totally unwise to bash this project because of the before mentioned closeness to mainstream audiences, worse considering how narrow the borders between Prog and white Pop/Rock eventually turned out in these modern times and if anything (as always) his guest ensemble is quiet a dream team!

Clean, attractive and showing a healthy unpretentiousness, this release does not break any kind of unexplored grounds but emphasizes the well established and focused side of Tim Bowness' personal, atmospheric and melancholic moods and his up front approach in their musical expression as in his unmistakable narrative, moving, as told, towards detailed simplicity and transparent perfection.

*** 3.5 PA stars.

 Rain Tree Crow by RAIN TREE CROW album cover Studio Album, 1991
3.54 | 42 ratings

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Rain Tree Crow
Rain Tree Crow Crossover Prog

Review by Freddie Valentine

4 stars I was a big fan of Japan at the time and subsequently loved Sylvian and Karn's solo work and when this album appeared - hyped by the music press as a 'Japan reunion', it certainly wasn't what I expected on first listen. Rather than deliver a commercial album loaded with a few pop hits, what you got was a very atmospheric and experimental album consisting of a lot of meandering instrumental pieces. It's one of those albums you have to be in he right mood to listen to but when you are - it's a masterpiece. It's more new age and ambient as opposed to new romantic and is more akin to the feel of some of Sylvian's solo work but it's certainly something that's best digested as a whole. Much of it was created from studio improvisations and some tracks work as a link between some of the more composed pieces. According to reports, Sylvian took the whole project over but to me it sounds like a band given free rein to experiment and come up with something interesting - which they did. Anyone looking for a catchy single will find solace in 'Blackwater' but the majority of the album consists of what can be termed atmospheric mood music and often that mood is quite bleak. Rain Treet Crow was initially meant to be an ongoing project but, possibly due to the disagreements that have been well documented and the lack of commercial material, they left us just this one singular album. It's certainly one that repays repeated listening and you could envisage Rain Tree Crow making very evocative soundtracks for arty films. Personally, I like this album a lot and is worth investigating if you are prepared to accept it's a radical departure from Gentlemen Take Polaroids and Tin Drum!
 A Lullaby for Mankind by SAN MARTIN, RODRIGO album cover Studio Album, 2014
4.23 | 8 ratings

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A Lullaby for Mankind
Rodrigo San Martin Crossover Prog

Review by Anesthetized

5 stars After the success of his third album (Eyes), Rodrigo San Martín was in a tough place: how do you follow such a critically acclaimed masterpiece? This might seem like an overstatement to you, but his figure in the argentine prog scene was becoming more and more important, specially after his breakthrough album Eyes, and the formation of the super group Vanished from Earth (which had released a fantastic album the year before)

San Martín chose to rely on his strenghts: the long songs. And he wrote his longest to date. A Lullaby for Mankind is a one song album much in the vein of Thick as a Brick, but it was divided into 18 shorter tracks.

To back him up on this ambitious project he chose a few recurring figures from his latest album (Jelena Perisic and Fernando Refay) and a few new faces: Osvaldo Mellace on vocals, Robert Lynch on Bass and Michael Black on drums.

The result is fantastic but the album was, mostly, overlooked even on the argentine prog scene and I can't understand why. Maybe the attention was drawn into Vanished from Earth. Maybe it was because the album was never presented live (and up to this day San Martin has never performed any music from A Lullaby for Mankind). Maybe it was because of it's deeply antireligious content. Or maybe it was just because the promotion was non existent. Playing the whole album on a radio station was impossible, and the 18 tracks in which it was divided where not really independent enough to work well on their own. Eyes, on the other hand, has very strong short songs that were completely independent of the bulk of the album and that worked fantastic as singles.

1 - A Lullaby for Mankind I (Intro): instrumental introduction to the album featuring some amazing keyboard passages by Fernando Refay, as well as guitar solos and riffs by Mr. San Martín. This is a typical Sanmartinian overture (like Chao's Obertura and The Veil is Broken's Before my Eyes), featuring many passages that would be developed later on the album. At least it seems that way in retrospect, but it's the first time this compositional technique (which would be much more polished on future releases) appears on a Rodrigo San Martín album.

2 - A Lullaby for Mankind II: the first vocal piece (sung by the lovely Jelena Perisic, one of San Martín's main partners in crime) is a nice acoustic section with a slown buildup and a steady rhythm. The melodies, as expected, are deeply beautiful and are the focal point here.

3 - The Sky Falls Down: the electric guitar and hammond organ make an entrance, followed by the powerful vocals of Osvaldo Mellace (who is considered the Argentine Greg Lake, in my country). Here the album starts taking a metallic Jethro Tull sound and we are presented with a great guitar solo.

4 - The Masterplan: after the storm we are faced with the calm once more. A beautiful guitar arpeggio over which Mellace sings a heartfelt melody. The melodic bass work by Mr Robert Lynch is the centerpiece of the first section of this track. The second part of it is comprised of a crescendo revolving around a vocal line sung by both Mellace and Perisic that is breathtaking.

5 - Intermission I: when we think we would have a resolution to the beautiful crescendo of the last piece we are interrupted by this short jazzy interlude which the band pulls with grace and groove. San Martín guitar sounds like Pat Metheny and Refay's piano solo puts him up there with the best keyboardists in Argentina. Nice Walk section in a weid time signaure at the end.

6 - The Dark Ages: this section sounds like San Martín's first albums. It's dark prog metal, filled with strange time signatures and mellotron, the hindu vocal intersections by Perisic and the synth solos have the trademark Sanmartinian sound. It's odd that the chorus itself, sung by Mellace, was chosen to be calm rather tan continue the power that came before and after. Great track, one of the best parts of the album. Kudos to Mr Refay once more for his excelent moog solos.

7 - Colonization: how can you follow such an epic number? By doing something completely different. Colonization is a flamenco piece sung in spanish by Mellace (about the conquest of the Americas) and has San Martin kick ass (Paco de Lucia style) on the nylon string guitar, as well as a terrific piano solo by Refay.

8 - Intermission II: a nice bass riff by Mr Lynch is followed by another grand hammond solo by Fernando Refay. This is a great rock intermission before...

9 - A Lullaby for Mankind III: the reexposition of the themes from track two. The crescendo from track four comes as well, but this time it's not interrupted by anything and flourishes beautifully into a Grand Prog Climax featuring San Martin´s trademark epic guitar sound (reminiscent of his own Con los Ojos Abiertos). This is the moment of the piece we have been teased and when it actually arrives is just fantastic.

10 - Two Children are Born: Pinkfloydish ambient sounds, Oldfieldean piano riff and crazy interruptions by the band in full power that make you jump off your seat.

11 - He's Here: this one reminds me of pre-The Yes Album Yes. Verse sung by Perisic and Mellace over a moving rhythm, chorus sung by both. There's a flute intersection presenting one important melody that would become recurrent on the album, and a terrific solo, once again, by Rodrigo San Martín, where he showscases both his clean and distorted sounds. There is also a Tull vibe somewhere in there.

12 - No One Knew: ALL CHANGE. Groovy bass, electronic drums and rhodes chords over which Mellace sings sensually. The chorus is completely different: acoustic guitar, string arrangements, mellotron and Jelena Perisic singing a precious melody. What's keeping this giant song together since it features so many different styles? The fantastic development of the core themes, that appear thruought all the album, giving logic and consistence to the Song as a whole.

13 - Mass: a perfect example of what I was saying. Rodrigo manages to pull of a gregorian chant section, sung by Canela Sol (who will appear much more in later albums), how does he does this? Well the main theme from Colonization appears, not in a flamenco style this time, but played in a moog synthesizer and backed by a church organ (making it sound completely logical after the gregorian a capella chant).

14 - The Sky Falls Down II: the vocal piece from track three appears, this time sung by Jelena Perisic instead of Mellace, and it's followed by crazy solos by San Martín and Refay.

15 - For Everyone to See: A weird waltz (in an odd time signature) sung by the always lovely Perisic. The polyphonic section at the end sounds like Queen.

16 - We Will Drown in a Sea of Ignorance Until We Evolve Into Something That Can Turn It To Oxygen I: the track turns rockier once more witha strong guitar and flute riff. Nice vocal line delivered by Perisic.

17 - We Will Drown in a Sea of Ignorance Until We Evolve Into Something That Can Turn It To Oxygen II: All the intensity that has been building since the beggining finds it's climax here as the bands let's all it's power loose in an instrumental track featuring the virtuosic duel between moog and guitar.

18 - Coda: after the progressive explosion of the previous track we are left in creepy fade out where San Martín plays in his trademark Gilmour style over the piano riff from track 10. The album ends in a sad manner and it's beauitiful.

So, did San Martín manage to beat his own Eyes? I don't really know. He did manage to pull off the one song album and showed a remarkable inspiration to do something so different but still being in touch with his own sound (that had come to perfection in the preevious album)

Like all this guy's discopgrahy, it's free on bandcamp.

 OK Computer by RADIOHEAD album cover Studio Album, 1997
4.04 | 862 ratings

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OK Computer
Radiohead Crossover Prog

Review by mlkpad14

5 stars I'm proud to say that "OK Computer" is one of my favorite albums of all time, and that Radiohead is one of my favorite bands.

What "OK Computer" is to Radiohead is a bridge. Any material before "OK Computer" sounds nothing like "Kid A," and other albums and EPs after it. The actual album is somewhere in between - probably more accessible, too, than the before and the after.

"OK Computer" is to Radiohead what "In The Court of The Crimson King" is to King Crimson. Both of different eras and by completely different bands, the albums represent landmarks in their age. Sure, ITCOTCK was their first album, and is largely regarded as the first progressive rock album... On the other hand, "OK Computer" is one of the most important albums of the 80s. It has given way to a lot of new wave, alternative, and prog music.

It goes without saying that the album created a very pleasing atmosphere. Tom Yorke's vocals are timeless. Pieces such as "Karma Police," "Paranoid Android," "Airbag," and "No Surprises" shine on their own. On the other hand, "Exit Music," "Fitter Happier," and "Electioneer" elevate the album to new heights and act as individual bridges inside the album. Not a single track is out of place.

Radiohead's best album? That may be opinion... One of the most influential albums of the 90s to today? That is fact!

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
3 United Kingdom
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
AARDVARK United Kingdom
AARDVARK' Finland
THE AARON CLIFT EXPERIMENT United States
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
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
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
AMAZING MACHINE Norway
THE AMAZING Sweden
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
AMPHETAMIN France
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
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