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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

4.31 | 1464 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 1228 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1892 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1325 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.22 | 911 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 1664 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 801 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 781 ratings
SNOWTORCH
Phideaux
4.17 | 966 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 750 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.18 | 512 ratings
~
Iamthemorning
4.17 | 694 ratings
THE UNDERFALL YARD
Big Big Train
4.40 | 85 ratings
SON
Obiymy Doschu
4.13 | 564 ratings
NIGHT
Gazpacho
4.10 | 1070 ratings
TUBULAR BELLS
Oldfield, Mike
4.13 | 388 ratings
HOUNDS OF LOVE
Bush, Kate
4.13 | 336 ratings
SPIRIT OF EDEN
Talk Talk
4.33 | 87 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.21 | 158 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.08 | 768 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

FOLKLORE
Pez
THE LOST ART OF TIME TRAVEL
Presto Ballet
STANDING STONE
Oliver
BROKEN CHINA
Wright, Richard

Latest Crossover Prog Music Reviews


 The Orchestral Tubular Bells by OLDFIELD, MIKE album cover Studio Album, 1975
2.50 | 174 ratings

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The Orchestral Tubular Bells
Mike Oldfield Crossover Prog

Review by martindavey87

2 stars I realise this review is kind of half-assed, but I don't really know what to say about this album. Released in 1975, just two years after the original, 'The Orchestral Tubular Bells' sees Mike Oldfield, alongside the Royal Philharmonic Orchestra, play through his magnum opus 'Tubular Bells', in what's unfortunately a rather unnecessary live recording.

While 'Tubular Bells' has never been my favourite album (I gave it a three-star rating), it's no doubt regarded as Mike Oldfield's most popular work and has become one of 'those albums' that everybody owns. So why release a live orchestral version just two years later?

I can understand touring the album with a band, but performing it with a full-blown orchestra just seems a bit overbearing, not to mention, kind of boring. The music is fine, but honestly, when it all comes down to it, just stick to the original version. It's got a charm about it that this one lacks.

 Son by OBIYMY DOSCHU album cover Studio Album, 2017
4.40 | 85 ratings

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Son
Obiymy Doschu Crossover Prog

Review by IconiK11

5 stars I have enjoyed everything about this album: pure voice of the leading singer; the way Ukrainian (I assume) language is bringing some additional magic to the vocals; tenderness and drama brought by the strings quartet and flute; dynamic riffs of the guitar. The music of "Son" brings some beautiful nostalgia and a little bit of sadness, but all of the emotions brought are saturated by the amazing aesthetics and good taste in arrangements. And it is very pleasant and rewarding that the musicians are not trying to "play" with the listener by inventing some artificial developments of the melody. The music they share with the listener is sincere and honest. It comes from the bottom of composer's heart and, therefore, touches the strings of listener's soul. This album is produced in a very talented manner and is an undoubtable gem in any proglover's collection.
 Origins by LARUE, LISA album cover Boxset/Compilation, 2018
4.00 | 1 ratings

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Origins
Lisa LaRue Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
4 stars Origins' is a collection consisting of compositions and recordings from keyboard player Lisa LaRue from as long ago as 1992, up to 2016. stemming from 1992 through 2016. It is incredibly varied, as it includes pieces such as a spoken word/keyboard collaboration with Gilli Smyth of Gong, some she composed and recorded for modern ballet, selections with John Payne (Asia Featuring John Payne, GPS, Dukes of the Orient), Michael Sadler (Saga), Ryo Okumoto (Spock's Beard), a collaboration with Italian composer/keyboardist Federico Fantacone, and solo pieces. Other musicians involved include Mitch Perry (Talas, Aerosmith), Don Schiff (Rocket Scientists, Kracked Earth), John Baker (Forever Twelve, Mars Hollow) as well as Steve Adams, Brenda K, Michael Wheeler, Merrill Hale, Svetlan Raket (Par Lindh Project), John "Yafke" Timothy, Michael Alvarez.

It is a wonderful collection of work, containing so many styles that one never knows what is going to happen next. "256 Leagues Above New Orleans" combines jazz-style electric piano with shimmering synths and wonderful flute to bring together thoughts (at least in my mind) of Native Americans riding over the plains, and then there are others where Steve Adams provides incredibly fluid electric guitar, while it is always a pleasure to hear Don Schiff in the mix. There is so much going on that the album could have become disjointed, spread over two discs it is nearly two hours in length, yet there is always the desire to know what ideas are going to come through next, how it is going to come together.

LaRue isn't a flashy "look at me" extravagant player in the realm of Wakeman or Emerson, but instead has a strong understanding of arrangements and what is needed where. There are a few numbers that drift into delicate New Age territory, but there are many others which are far harder, with real presence. The album ebbs and flows, and the result is that listeners such as myself, who haven't previously heard much from LaRue, will feel inspired to search out more of her back catalogue. Now that she is with MRR, I am sure we will all be hearing quite a bit more of her activities, and I for one am very pleased about that.

 Somewhere / Anywhere by MILKY WAY GAS STATION album cover Studio Album, 2017
3.00 | 1 ratings

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Somewhere / Anywhere
Milky Way Gas Station Crossover Prog

Review by Steve Conrad

— First review of this album —
3 stars Set Your Clocks to "Unhurried"

Milky Way Gas Station, hailing from the Netherlands, consists of Rob IJpelaan, vocals, guitar Niels Hoppe, guitar Harald Veenker, drums Jeroen Vriend, bass

Several other musicians were guests on this album, their debut.

I could swear I hear keyboards, but darned if I know who plays them.

According to the band website biographies, three of the four members played in KRAMER, a band with which I am not familiar.

When I say "unhurried", this refers not only to the pace and timing of the album, but also to the process of rehearsing and recording this album. Apparently the tunes emerged and re-emerged over a five year period.

Pink Floyd references are unmistakeable.

Especially track 4, "37, Pt. 2" brought "Dark Side of the Moon" to mind, with the absurdly powerful female vocals in the mix.

Yet practically throughout, with the powerful sustained keyboard and guitar chords, fretless bass guitar making appearances, slide guitar tones, use of acoustic guitar passages, and so on, Pink Floyd could be heard.

Certainly there were differences

For instance, the vocalist had his own timbre, clear, somehow plaintive, expressive. Guitar tones were varied, from clean or slightly treated, to singing distortion, to sweep picking. One or both guitarists have great technique, tone, and taste.

The band says, and I agree: It's about the songs.

These range from 3 minutes and change long, to north of 26 minutes for the epic closing track. Each is unhurried, taking time to develop, simmer, and wind down. There is passion, but it is restrained passion. I suspect lyrics to the songs were important but didn't have access to these in time to write this review.

If I had one suggestion

Hone these down a bit! It could be most listeners won't mind seventy minutes of material and the unhurried pace- but I certainly noticed it.

Oh, and another thing

Let those ladies sing some more! Wow!

Overall, I liked this album a lot. There were lots of textures, variations, singing synth solos, and stellar guitar work. Drums and bass were terrific and in synch.

Rating- I'm saying 3.75, AWFULLY close to 4 stellar fill-ups.

 With Teeth by NINE INCH NAILS album cover Studio Album, 2005
3.14 | 67 ratings

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With Teeth
Nine Inch Nails Crossover Prog

Review by TCat
Prog Reviewer

4 stars After the huge success of 'The Downward Spiral' and 'The Fragile' along with some EPs thrown in there for good measure, Trent Reznor was riding high, but was also battling with drug and alcohol addiction. Also, during this time, Reznor faced writers block. This was not a good time for Nine Inch Nails, or the fans. The public was getting restless for a new NIN album. 'And All That Could Have Been' was released in 2002 and it was a double album, one disc live, the other studio tracks. This was an excellent album, and worked to appease the fans for the time being.

Fast forward to 2005 before Reznor was ready to release another album. Excitement was generated when news started coming in that an album was on it's way. When the album did finally come out, it shot right up the charts. People were expecting that loud and inventive music that Trent was know for, the same wildness and ingenuity that existed before.

For the most part, the critics and the fans were happy with this album. I know I was happy with it, but there was a little something missing in there that was hard to pinpoint. Nevertheless, this is a decent album, not quite as major of a release as the previous albums, but it was still satisfying. The album was originally supposed to be a concept album with songs and music dealing with the way addiction can lead to either a downfall or to recovery. By the time the album was finished however, Trent admitted it wasn't a concept album except for maybe in a loose sense where the songs could be listened to individually, but would also fit together nicely as 'friends'.

Right off the bat, you can tell things are different in that the first track doesn't come blasting out at full volume like you would expect. However, there is a lot of tension in 'All the Love in the World' and it builds and builds. There was some electronics, but there was also some organic sounds that were mixed to the front, piano and percussion. This was a pleasant surprise. But the way the music builds and builds is just what this album need to start it off, and by the time you reach the end, your heart is racing and your blood is boiling, and hallelujah, NIN is back!

'You Know What You Are?' follows as an upbeat and loud track and carries on with the excitement. 'The Collector' veers off in a progressive direction with some interesting and constant meter changes, and you end up with a great track that continues in the same style as previously, and by now, you are convinced that NIN is back with a vengeance. Things would be amazing if only they would follow this same trend through the album.

But this is the point where we seem to lose the forward motion of the previous tracks. 'The Hand That Feeds' is only a straightforward rock song and sounded pretty typical for the time, so it was released as a single. This same straightforwardness continues through 'Love is Not Enough' and 'Every Day is Exactly the Same' not that these are bad tracks, they just don't have anything really different and unique about them. So things begin to get a little disappointing at this part of the album.

'With Teeth', the title track, brings the hope back however, and sounds a lot more inventive and unique, especially with the sudden drop in volume and intensity in the middle of the track where things become more ambient and spacey for a while and builds back up. Great use of dynamics in this track. 'Only' is another single from the album, and is an excellent reminder of the greatness of past NIN hits, and, even though the beat is steady and pretty standard, it is very catchy and the variation of instrumentation in the background keep things interesting and exciting. The chorus is repetitive, but it is easy to see why this song would be considered another anthem in NIN's repertoire.

'Getting Smaller' starts out with some great noisy and industrial sounding effects, but it soon lapses into mediocrity with a rapid fire beat and a song sounding too much like it's trying to repeat past successes, and only succeeding in sounding copycat more than reminiscent of the older NIN. 'Sunspots' has a great bass line, but other than that, it is nothing special again. There are some places in these two songs that approach being industrial, but the effects aren't enough to carry the song into greatness as before.

'The Line Begins to Blur' is a attempt to return to the slow, dark sound of 'March of the Pigs' et al, and it does so, but after following a couple of more commercial sounding tracks, it loses it's effectiveness. By itself, it would probably fit quite comfortable in the loudness of previous albums, but with it's placement on this album, it loses its power. 'Beside You in Time' is a study in tension with somewhat subdued vocals, and tension building over a drone. This one is better, and more unique. This would be a hint at the type of great music exploration on the album 'Ghosts'. 'Right Where It Belongs' ends the original release, but it is a little weak especially considering the previous track. Again, it isn't a bad song, but it is not the finale you expect to hear after the song preceding it.

Overall, this is still a great NIN release, and in the complete context, is a good album. Unfortunately, there are weak points among the very strong points. There is hope that the NIN of the past is still there, but there are tracks when that special something is missing, probably because Trent is experimenting with other styles and sounds. There is nothing wrong with this, and in this case, it doesn't completely destroy the album, but for a while, things won't get any better in the next album 'Year Zero'. Still, 'With Teeth' still manages to come out it all as a solid 4 star album.

 Civilisation by SOUTHERN EMPIRE album cover Studio Album, 2018
4.20 | 50 ratings

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Civilisation
Southern Empire Crossover Prog

Review by David64T

4 stars For my first review on Prog Archives, I think it's only proper to put virtual pen to virtual paper and contribute a review of a release by one of the few "prog"bands that is based in my own home town of Adelaide, here in Australia.

Civilisation is the second album released by the Adelaide-based band Southern Empire.

After a disconcerting false start to the first song (several bars of what resembles a very scratchy gramophone record), the album gets off to a punchy start with Goliath's Moon, a well-crafted song written by guitarist Cam Blokland - over it's 9 minute- plus length, this song detours into some significant guitar pyrotechnics before returning to the well-crafted chorus, which becomes something of an earworm after a couple of listens.

The remaining four songs offer the sound of Southern Empire stretching their legs into more diverse musical territory and styles. Cries for the lonely stretches out to 19 plus minutes but doesn't outlast it's welcome.

The centrepiece of the album is Crossroads, which shares considerable musical and lyrical overlap with the song Travelling Man (The Story Of ESHU) as recorded by United Progressive Fraternity; UPF is the "other" band that, like Southern Empire, can trace it's ancestry to the earlier talented Adelaide band, Unitopia. Crossroads, like "The Bridge That Binds" (from the first SE album), twists and turns throughout it's 29 minute length through a range of styles and atmospheres from world music to a heavier onslaught; like "The Bridge That Binds", I find I can listen to it over and over again without losing interest.

Innocence & Fortunewraps up the album with yet another 9 minute-plus song that I've also found lasts up to repeated listening.

In a nutshell, this album is highly recommended to anyone who enjoys the music of bands such as Spock's Beard and IQ in particular, and of course Unitopia, with distinct - but not overwhelming - detours into progressive metal. More specifically, if you enjoyed the first, eponymous, album by Southern Empire, it is extremely likely that you will also enjoy this second musical expedition by SE; I think it's fair to say that Civilisation offers a continuity of approach but with diverse song-writing that never left me thinking that I was listening to "Southern Empire v.2". If you're not familiar with SE, I'd recommend that you give both their albums a listen.

A Rating of a strong 4 - this being my first review, I am not sure that I will ever give any album a rating of 5, apart from the known shortlist of "masterpieces of progressive rock music" (DSOTM, TAAB, CTTE, etc)

 Guilty of Innocence by STRATOSPHEERIUS album cover Studio Album, 2017
4.95 | 2 ratings

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Guilty of Innocence
Stratospheerius Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars Joe Denizon is a highly acclaimed electric violinist, who performs in various different bands and multiple sessions, and when he is with progressive rock/crossover group with Stratospheerius, he also provides lead vocals. The line-up is completed by French guitarist Aurelien Budynek (Cindy Blackman, Vernon Reid), bassist Jamie Bishop (The Syn, Francis Dunnery), and drummer Lucianna Padmore. There are a few guests also involved, and I notice that one of these is guitarist Alex Skolnick, who most people will recognise as being from Testament, although he is also involved in multiple other forms.

When I look on ProgArchives I note that there are four albums, including this one, and I am somewhat at a loss to realise that not a single one has ever had a rating put against it, let alone a review. How can it be that music as good as this just never gets appreciated by the very people who would love this if they came across it? Okay, so that same is true for me as this album was released in 2017 but I have only just heard it, and already I am wondering what the others are like. One of the issues with this is where to start when trying to describe it, as there are just so many differing styles at play. The easiest is when they are in the funk groove, as that is definitely 'Slam' era Dan Reed Network, but when they head into highly complex and intricate runs all I can come up with is Steve Vai-ear Zappa, if Vai played violin instead of guitar.

At the same time all of the music is highly melodic, and just so damn enjoyable to listen to. It is polished, it is powerful, and I find it impossible to listen to it without moving some part of my body. This is infectious, with no cure in sight. The arrangements are tight, everyone bounces off each other, and is one of the most poptastic progressive album one is likely to come across. They state that their influences include Yes, Spock's Beard, Muse (there is a cover of 'Hysteria' on the album), Frank Zappa, Mahavishnu Orchestra, and King Crimson but surely we must add UK, Jean Luc Ponty and so many, many more. Awesome.

 Mind Mapping by TRAVELHOUSE album cover Studio Album, 2008
3.44 | 9 ratings

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Mind Mapping
TravelHouse Crossover Prog

Review by SonomaComa1999

3 stars REVIEW #14 - "Mind Mapping" by Travelhouse (2008). 08/10/2018

My random journey through the ever-expanding prog universe has brought me to an obscure work of crossover out of the Eastern European nation of Bulgaria. Travelhouse only released one album in its existence, that being the 2008 album "Mind Mapping". The band is led by keyboardist Kalin Tonev, whom alongside guitarist Biser Ivanov, are the two main musicians on this album, with the bass and drums largely being programmed in by Tonev. That being said there are two songs on this album that feature an organic quintet, but the bulk of the rhythm section on this album is coming from the computer.

Travelhouse markets itself as a crossover prog band which fuses many different styles from the genre. The two most evident faces of this band are the seventies-style synth based keyboard style of Tonev obviously drawn upon from genre legends such as Wakeman and Emerson, and the heavy industrial guitar riffs of Ivanov which will command comparisons to 90's-00's King Crimson or even Tool. Throughout the course of "Mind Mapping" these styles collide with each other; this is an entirely instrumental album outside of some programmed vocals in the beginning, and the band takes great care in ensuring each song has its own unique atmosphere. Travelhouse's music is very accessible on a musical level, with the band making use of catchy instrumental motifs which blend the old analog style of prog with a modern rock twist that is very refreshing to listen to.

The band starts off with the expositional "Route No.1" which opens in an ambient haze alongside an ad nauseam repetition of the track title. When the music hits, we are treated to a very heavy guitar riff with some rather simple and prodding drums in the background - typical of the drum machine. Tonev comes in with some well-placed and catchy synth interludes that diversify the soundscape in a good way. The band blends the old and new of prog with these dynamics; it's not a bad opening track at all. After about three minutes they make a hard shift, stopping the music entirely before embarking on a gradual reprise coda that brings us to the end where we segue into "A Guru In Love." This is a rather radical changeup from the rocking title track, as we drift away from dark and industrial themes and towards a more upbeat and symphonic style. Here we get a lot more of the synth in a rather fleeting tempo that evokes images of a Bohemian valley; one good thing Travelhouse does is aptly naming their pieces in a way that fits with the overall mood and tempo. Not only does this help the listener keep track of the movements the band goes through over the course of this hour-long album, but it also gives the listener a canvas on which to envision a subliminal theme to go along with the instrumental music. For example, we can imagine a more psychedelic landscape on this tune. While the band is notably doing work on this tune, the overall motif is retained over the course of almost seven minutes, which rather tapered my interest as I dug into the middle portion of this one. I feel that Travelhouse is definitely better off in that industrial fusion groove that we saw on "Route", and at this point I was sort of rooting for the band to return to those motifs later on in the album. My request is partially granted with the third track "Black Coffee Mornings" which features more of that burly guitar. Similar to "Guru" we get a fast-moving tempo on which the band moves over at a good pace. At this point it seems that Travelhouse moves off in a more modern and digital direction; I'm not trying to say that the previous piece sounded old-fashioned, but rather the band seems to be exploring themes that we would commonly see in modern lounge rock while giving it a progressive twist. In many ways the band tows the line between progressive and peasant rock, but they definitely make an effort to challenge the listener, which is good to hear. I generally like the themes on "Coffee" and the abject length of the tune does not make me weary as the band projects more of that heavy modern prog onto my eardrums. Tonev provides a very solid keyboard outro; I feel that when the keyboard is used sparingly at the forefront of the music, the band gets the best results. We get a shorter yet equally modern interlude track titled "Clouds" where the band brings on another guitarist in Daniel Eliseev; one major thing I sense from this performance is that it draws heavily upon the work of rather mainstream rock guitarists such as Satriani. It's not the style that is being copied here but rather the general theme of eloquent, soft, and cool twenty-first century guitar work; that being said the song title makes sense. Not much else to say on this one.

I feel that the band begins to get a little off track with "More Magic From Oz", which is notably more experimental and evokes rather scary and dark musical themes with the keyboards to boot. Out of all the tracks on "Mind Mapping" this was the one I was least impressed with; I just feel there's no method to the madness despite such progressive dissonance. It's almost as if Travelhouse was trying too hard to be progressive here, but I think the biggest issue I had with this track is that it features too much keyboards just like "Guru". We get some sporadic guitar here and there, but this is largely a keyboard-centric piece. The nine-minute "Dark Gentleman", the longest track on the album, provides much more alluring sound structures. Immediately we get this eclectic intro that rings heavy in your ears, and you can tell that the band is going to delve into the heavy side of their music right before the riff hits. This ring goes in tandem with Ivanov's riffs to make for a really grandiose background. As is the case with prog songs that vault the eight- minute mark, there is a lot to absorb, but Travelhouse keeps it strictly dark and industrial. This is really where I feel the band is at their best, and they milk every second of it. One thing you will immediately notice with the band's individual tracks is that they don't feature radically different parts that are separated by interspersed tempo breaks, but rather each song works off the same motif for the entire run time, something we would associate more with generic rock music. Overall "Gentleman" is a very solid track, which provides a solid rebound from its predecessor. To cap things off we get another short fleeting interlude in the one-minute "Blink" which is like a less-interesting version of "Clouds" without the guitar. Not much else to say about it.

Now that we're about 2/3 of the way through "Mind Mapping" we delve into the first part of a three part series titled "Archived Travels: Neutron I" which lasts for just over six-minutes. We immediately get thrust into a rather erratic guitar intro that is backed by some organic drums. Yes, for the first time we get a real drummer in Pavel Milenov alongside a return performance by Eliseev; only the bass now is programmed. Travelhouse delivers once again with some well-timed riffs and Camel-esque symphonic style which makes for an enlightening listening experience. The advent of double guitars works very well, and when the three-minute mark rolls around I am blown off my feet by perhaps the most sick Ivanov riff of the entire album - too bad it only lasts very shortly. If this track is any first impression as to what this prog-style musical mini series pans out to be, then it makes a very good one, and I'm cautiously awaiting the other two parts which make it up. However, before we get to that we are treated to "Travels of a Son of a Gun [Dark Gentleman Unleashed]" which presents itself as a sequel to the nine-minute tune we listened to a few tracks ago. It opens up with a brief reprise of the "Route No.1" programmed vocal recital, before giving us a teaser of "Gentleman's" motif, namely the industrial drum-driven part. I was personally expecting a little bit more from this reprisal, as the band ultimately decided on replaying sounds that we've already been introduced too without much modification. Even the ambient keyboard part which I enjoyed the most from that song is only sparingly used and hardly elaborated upon, and really, things don't get much better as we pull into "Keeping the House: Neutron III [Coda]" which I consider to be a part of the "Archived Travels" series. In reality, the band uses the song as a musique concrete closing piece which reuses many themes from previous songs. Given that this is supposed to be the official end of the album, I strongly feel that it wasn't as strong as it could have been, even though I applaud the effort to go with musique concrete as I typically feel it is a safe way to end an album in a unique way.

The band does add a bonus track which completes the link between the "Archived Travels" series, that being "Archived Travels: Neutron II" which is finally performed by an entirely human band, with Mario Ivanov entering on bass behind Milenov on drums and the double guitar formation. With a quintet assembled, the band gets to work making what is probably the strongest song on the album, even though it is ironically not "actually" considered to be a part of "Mind Mapping" in its original incarnation. Seriously, I would consider this to be an amazingly strong song by general prog standards; it continues on the path set by the first part but is way more aggressive, which really suits the band's sound. There is an obscene amount of guitar on the first part, and after a hard tempo break we get a very spacey sounding middle section which immediately screams David Gilmour; once again I am impressed as the band really takes all of the raw materials at its disposal and constructs them properly throughout the entire runtime. I feel that if you include this piece as an actual part of the album you get a much more cohesive and grand ending to the entire shebang if that makes any sense.

Travelhouse's sole studio album is a rather pleasant listen out of the crossover sub-genre. It is a good collection of instrumental music that is easily accessible and listenable. Kalin Tonev organizes a sound that fuses traditional keyboard-driven prog with that of modern prog metal, and it comes out rather refreshing, but sometimes monotonous and unchallenging. I think the biggest drawback apart from some rather long and unimpressive songs is that of the lack of a true bassist or drummer throughout the album's duration. This problem became immediately evident on "Neutron II" which is by far my biggest takeaway from the album. With the real people playing instruments, you get a deeper and more eclectic sound that cannot be reproduced by a computer. I feel that if Travelhouse featured the lineup from this tune across all the songs we would have had a very solid album, but otherwise it is a "good" piece which really fails to resonate. Surely there are some good motifs used here, but it is not really worth delving back into an obscure album for it, as it seems there are a plethora of bands making this kind of modern sound these days. I give "Mind Mapping" a respectable three-star (72% - C-) rating that shows it can compete with contemporaries and even some average works by the prog elite, but lacks the oomph that allows it to separate itself from the pack in a very large and diverse prog universe. Would recommend to any fan of lighter prog metal with a retro-prog touch.

 Sistema Solar by WERLANG, GERSON album cover Studio Album, 2015
3.41 | 8 ratings

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Sistema Solar
Gerson Werlang Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars Originally released through Musea Records in 2015, and now reissued digitally by Progshine, this is the second solo album from Brazilian composer and musician G'rson Werlang. Werlang is probably more well-known for being a member of Po'os & Nuvens, who have released half a dozen albums to date, as his only other solo album was back in 2008. Musically this is quite a pleasant album, with a good combination of electric and acoustic, and he is a fine guitarist. It feels incredibly relaxed, with seeming swathes of keyboards layered to provide a backdrop for either his guitar or vocals to be put against. It is the vocals that really let the album down in many ways. I generally don't have any problems with lyrics not being in English, but here the vocals are often pushed to the front and they really aren't very strong. With them also being in a foreign language I found them quite a distraction, so much so that I soon found myself wondering what an album of his would sound like if he decided to release one that was purely instrumental. He has loads of ideas, and the use of accordion combined with electric guitar and striking piano on a tango is inspired, as it fills the mind full of streetwalk cafes and feels incredibly genuine. But, for me the vocals are a real issue, and I just couldn't give this the attention that the music really deserves.
 Son by OBIYMY DOSCHU album cover Studio Album, 2017
4.40 | 85 ratings

BUY
Son
Obiymy Doschu Crossover Prog

Review by AndrewNazarenko

5 stars A nicely and very professionally done progrock, I dare to say - a masterpiece! After a long pause another milestone from Obiymy Doschu. It might be a surprise for someone, but their previous studio album Elehia gave a feeling that it was a birth of something important. Strong melodies, excellent sound, classic background, attractive and somewhat minor mood - in this album the Ukrainian group reached another level - they are now deserve a fair place among the best European progrock bands. Give it a listen and enjoy the Album. P.S. Interesting, Ukrainians know how to compose and play progrock!
Data cached

Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
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
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
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
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
APPLESMELLCOLOUR Spain
AQUA TALK Turkey
AQUILA United Kingdom
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
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
BACKHAND Venezuela
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
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
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 BROGUIERE France
DAVE BRONS United Kingdom
DUNCAN BROWNE United Kingdom
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 Netherlands
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
CHANCE France
CHANCE:RISIKO Italy
CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
SPYROS CHARMANIS Greece
CHASM Norway
RANI CHATOORGOON Canada
CHEETO'S MAGAZINE Spain
CHILDREN IN PARADISE France
CHIMPAN A United Kingdom
CHOICE Germany
CHOKE THE WORD United States
CHROME HOOF United Kingdom
CHURN MILK JOAN Multi-National
CINEMA SHOW Brazil
CIRCA United States
CIRCA SURVIVE United States
CIRCULINE United States
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
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COLOR Hungary
CONSPIRACY United Kingdom
CONTRACTION Canada
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CORALSPIN United Kingdom
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CORRAL Poland
CORVUS STONE Multi-National
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ROB COTTINGHAM United Kingdom
COZHE Finland
BEN CRAVEN Australia
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CRAZY WORLD Finland
CRÉPUSCULE Germany
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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 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
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
PASCAL VAN DEN DOOL Netherlands
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
FIBONACCI SEQUENCE United States
FIELD MUSIC United Kingdom
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
HEATHER FINDLAY United Kingdom
FIRE GARDEN United States
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
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
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
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
GIANNOTTI United States
IL GIARDINO ONIRICO Italy
KEVIN GILBERT United States
KRISTOFFER GILDENLÖW Sweden
GIRAFFE United States
GIZMO United Kingdom
GLASFROSCH Australia
GLASS KITES Canada
YIANNIS GLEZOS Greece
GLORIE United States
GLORIOUS WOLF Netherlands
GODSTICKS United Kingdom
GOLDEN CAVES Netherlands
GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
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GRAMONAUTUS Argentina
PHILIPPE GRANCHER France
THE GRAND SILENT SYSTEM Australia
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
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
ANNA VON HAUSSWOLFF Sweden
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
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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 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
INTENTIONS Netherlands
INTERGALACTIC TOURING BAND Multi-National
INTO THE PRESENCE United States
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
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
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KAPREKAR'S CONSTANT United Kingdom
KARIBOW Germany
KASSINI United States
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KEDAMA Switzerland
KEEP IT DEEP Belgium
KEL LOCH & GOLD United States
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KEVLAR RED United Kingdom
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KIMURA France
KINESIC Spain
KING RAT United Kingdom
KINO United States
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KISS KISS United States
KITSUNE NO YOMEIRI Japan
KNIFEWORLD United Kingdom
KOI Sweden
KOMPENDIUM United Kingdom
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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 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
LIGHT Netherlands
THE LIGHT AFTERNOON United Kingdom
LIMPID GREEN United States
LING TOSITE SIGURE Japan
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
JEAN-PIERRE LOUVETON France
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ARJEN ANTHONY LUCASSEN Netherlands
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LUDUS United Kingdom
JOHANNES LULEY United States
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BARIS MANCO Turkey
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MANFRED MANN'S PLAINS MUSIC South Africa
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MEDULLA United States
MEKHLIN Denmark
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