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CROSSOVER PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Crossover Prog definition

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

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

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

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

Current Team Members as at 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 | 1191 ratings
OMMADAWN
Oldfield, Mike
4.31 | 1426 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1835 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.30 | 1282 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.21 | 1627 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 897 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 778 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.17 | 948 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.19 | 500 ratings
~
iamthemorning
4.18 | 681 ratings
THE UNDERFALL YARD
Big Big Train
4.18 | 765 ratings
SNOWTORCH
Phideaux
4.17 | 723 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.13 | 543 ratings
NIGHT
Gazpacho
4.10 | 1045 ratings
TUBULAR BELLS
Oldfield, Mike
4.34 | 84 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.12 | 373 ratings
HOUNDS OF LOVE
Bush, Kate
4.21 | 152 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.13 | 325 ratings
SPIRIT OF EDEN
Talk Talk
4.08 | 756 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.19 | 157 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

CORPUS
Talisma
2. (ODCIEń CISZY)
Wozniak, Tadeusz
NARROW-CASTER
3RDegree
ABBANDONO DEL TEMPO E DELLE FORME
J'Accuse..!

Latest Crossover Prog Music Reviews


 You All Look The Same To Me by ARCHIVE album cover Studio Album, 2002
3.69 | 102 ratings

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You All Look The Same To Me
Archive Crossover Prog

Review by poito

4 stars Don't agree to the view that ARCHIVE is a copycat of Floyd. Maybe the opener in this album is too Floydish, but this is as much as saying that all Rock music is borrowed from Chuck Berry or Little Richard. There was R&R before as there was soft atmospheric music before Archive, and it is not PF's invention either. ARCHIVE is probably one of the bands worst treated by the Prog community. True the influences are there, but it would be unfair to judge Archive that simple. Archive looks to Archive, mainly, and that's the best thing I can say of a band. What a fantastic discovery was for me. The first album I listened of this band was WITH US UNTIL YOU ARE DEAD, which I valued as masterpiece music of all times, an album that took me by surprise, and I can tell I already have quite some thousands on my bag. I will honor the title, sure I will. It is impressive how this people can build that much beauty with so few elements. Griffiths and Keeler are pair of big names in music and I hope someday they will be recognized the way they deserve.

This one was released 10 years earlier, and the way of making was already there. The opener "Again" is certainly reminiscent of PF, but PF was out there for the time, crawling in the wreck of what they once were, let's not forget that. It is an impressive theme PF would have gladly signed but it is not theirs. The rest of the album tells this band has many other influences, how else. Porcupine Tree? Maybe, or maybe it was the other way around, 'cause Steve Wilson was much closely trapped to PF than Archive ever was, and most important, PT or Wilson very rarely managed to craft the magnificent airs that ARCHIVE achieved that easily using a simple formula of slowly developing of the themes and a poor repetitive hip hop drum in the base. It is required a high dose of talent to do that. As in the 15 min long "Finding It So Hard" that others found bore. Even the shorter hypnotic "Numb", why is it hypnotic? It can't be just for the base, we all have listened lots of repetitive crap that pull us off the radio instead. And the voices, kind of read from somewhere in the air, since the style remains even in successive singers of the band through the years. ARCHIVE music has to be listened a few times to catch the essence. See for instance the inversion of instruments in "Hate", in which the usual background instruments come to the front as the two-note piano line, while the melody is carried by a subtle mandolin in the background that fuses with mellotron before a liquid trumpet takes over. This is only an example of the subtleties you may find in this album if you don't let PF and PT comparisons to drive you out and give it a chance to enjoy the music. The arrangements here are not simple ornaments, but the breaks the music is made of. Keep an ear on them.

 Mighty Baby by MIGHTY BABY album cover Studio Album, 1969
4.05 | 15 ratings

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Mighty Baby
Mighty Baby Crossover Prog

Review by Progfan97402

5 stars Mighty Baby was a Savoy Brown-related band, in that guitarist Martin Stone was a member and played of Savoy Brown's debut Shake Down from 1967 (that album was unknown to many American fans of the band due to it never being released here). Mighty Baby managed two albums, this being their debut, appeared on Head Records in the UK and US (in the US it was oddly distributed by Chess Records, a label I associate with R&B, blues, and early rock and roll, like Chuck Berry, Bo Diddley, etc.). Also we get a Roger Powell on drums, not THAT Roger Powell from Utopia, a British musician with the same name. I noticed Ginger Baker was a big influence on his drumming as he did a lot of those same type of cyclical fills that Baker did (Baker would likely be less than impressed if he heard it, given his unnecessary contempt for other drummers). It's the kind of album I felt should have been on Decca (due to the Savoy Brown association), but being on Head meant the album received limited distribution at the time making it a bonified rarity. While Savoy Brown pretty much stuck to a blues format (competing with contemporaries like Peter Green's Fleetwood Mac, Ten Years After and John Mayall's Bluesbreakers), Mighty Baby obviously stretched out and took a more diverse format, in a psychedelic format. The opening cut "Egyptian Tomb" is a great piece of psych with early prog leanings. "A Friend You Know But Never See" is more in the straight up heavy psych vein, with some of those Ginger Baker type drum fills I mentioned. "I've Been Down So Long" is more in the country vein bearing more than a passing resemblance to the Grateful Dead. Even some of the vocals sound like Jerry Garcia minus his trademark guitar playing (I could even imagine the Dead playing this song live and it could easily pass as one of their own). "House Without Windows" and "A Point Between Fate and Destiny" are clearly in the prog/psych vein, while "I'm from the Country", unsurprisingly has more of that country/Grateful Dead feel to it.

While an original LP, regardless if its a UK or US pressing, will cost you a pretty penny, go seek out a reissue. This is really worth your time!

 Faced with Rage by GODSTICKS album cover Studio Album, 2017
3.88 | 14 ratings

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Faced with Rage
Godsticks Crossover Prog

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

4 stars One of the better collections of Prog Metal songs I've heard all year: tight, concise, well-composed and -performed with competent skill (though with all-too-little flash) and incredible clarity of sound (especially considering this is prog metal--a typically muddy and murky sub-genre of music). My main complaint is that the music is sometimes too conservative and too simplistic--soft around the edges--especially for djenty prog metal.

1. "Guilt" (4:31) musically a nice start, but then the singing, verses and horrible chord progression for the chorus enter into play. Some of the things going on within the music are interesting--until they get too repetitive and old. (8/10)

2. "Hard to Face" (6:10) "simple" prog metal or heavy metal--a song that would get a lot of play on XM/Sirius's Octane station. (9/10)

3. "Open Your Eyes" (5:04) nothing very new or exciting on this standard heavy prog song.(7.5/10)

4. "We Are Leaving" (6:49) opens like a delicate ANATHEMA song, drums and bass joining in during the second verse. The song then goes into KARNIVOOL realms with Ian Kenny-like vocal. It evens tells the sci-fi like story of leaving (the planet?) Things amp up (slightly) at 4:35 while never getting too crazy (or even crazy at all; it's very restrained). Pretty but nothing very special. (8.5/10)

5. "Angry Concern" (6:34) a little edgier, djentier sounding, despite some nice solos, the song never really develops into anything better than an ALICE IN CHAINS b-side. (8/10)

6. "Avenge" (3:56) solid but too straightforward with no unexpected moments, none of the nuance surprises that feed my soul. (8.5/10)

7. "Revere" (4:24) opens in a cool almost-rehearsal way before turning into a radio-friendly ALICE IN CHAINS/KLONE song. Still, the sounds, weaves, melodies, and vocals are all perfectly matched. This is a heavy pop song that I would request and replay. (9/10)

8. "Unforgivable" (5:56) Finally! some thick, heavy bass and guitar chord play. Nice subtlety touches within the music--with and without the singing. I just wish there were a few twists or turns--and a little more exciting soloing. Still, a top three song for me. (9/10)

9. "Everdrive" (8:02) A song that feels like a true prog metal song with its djenty staccato time signature changes and full-on band soundscape explorations. One of the few songs in which the music attracts my attention over the vocals. And they even take a few surprising turns along the way. More of this, please! (9.5/10)

10. "Fame and Silence" (5:03) almost feels a personalized take on LED ZEPPELIN's "Kashmir." Very nice lead guitar solo in the third minute. Gets a little more dense, heavy, and full toward the end, but still leaves me disappointed. This could be so much more! (8.5/10)

Four stars; a very good contribution of progressive rock music, one that is worth checking out by all prog lovers.

 Playgrounds Lost by SCHWARZ, NERISSA album cover Studio Album, 2016
3.68 | 6 ratings

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Playgrounds Lost
Nerissa Schwarz Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars I first came across this album when it was suggested to the Crossover team on ProgArchives that Nerissa would be a worthy inclusion. It didn't take long for us to agree, and she was duly accepted, and I discovered that this was an album that stayed with me, one that had so many hidden layers and depths that it required repeated plays to try and understand the music that was contained within. Nerissa first came to attention to many as harpist with the progressive band Frequency Drift, and although she has also worked elsewhere this is her first truly solo album where she provides electric harp and Mellotron in what is a truly atmospheric and reflective melancholic album. There are times when the music is really very dark indeed, and I wouldn't recommend playing this late at night after too many gins, as it might not put you in a mood you would relish. But, playing it late at night with a glass of Man O' War Exiled Pinot Gris is a different matter altogether, and I would recommend that as an interesting exercise.

I also found that this really is an album that benefits from being played on headphones, as the listener mustn't be distracted by any other sounds, but instead needs to be taken deep into her world. That the cover is a photo of a person in woods is not an accident I'm sure, as for me this album evokes feelings of walking deep in forests allowing my mind to wander (and not too sure if it will ever really come back). Sometimes the dappled light comes though the leaves, providing some relief, while at others it is deep and the canopy is a ceiling that cuts out the birdsong and contains just that hint of threat. If ever an album repays being paid close attention to, then this is it.

 To The Bone by WILSON, STEVEN album cover Studio Album, 2017
3.65 | 298 ratings

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To The Bone
Steven Wilson Crossover Prog

Review by Prog Leviathan
Prog Reviewer

4 stars I've often heard Wilson say in interviews that he feels with each album he releases that he loses fans, but gains new ones. Technically, this can't be correct, becuase his popularity has been steadily increasing for the past decade; however, the point is that his sound changes incrementally, alienating some but catching the ear of others.

You probably read that thinking that I'm going to talk about how To the Bone is a significant departure that will cause Wilson's prog base to abandon him--a departure which we'll look back to as the start of Wilson's commercial break-out. This is definitely not the case. To the Bone is not a pop album ... not even sort of kind of a pop album. But, it's not a prog album, at least not in the way that his early solo works were. To the Bone is exceptionally well inspired and very artistic rock music which I think will do the impossible: please prog fans AND attract new fans among people who don't obsess over the groups tucked away here on the archives.

Case in point ...

The other day I played the album while my fiancee (definitely not a prog fan), and I were lounging in the living room, each engaged in a different activity. The next day, she asked me to share To the Bone with her so she could listen to it again at work. Boom. Thank you Steven Wilson; you've done the impossible and not only pleased me (a prog snob whose 20's were pretty much defined by your music) and my soon to be wife (who thinks bands like Yes are just noise). Bravo.

Is To the Bone a masterwork? I don't think so--but its very close. But more importantly, it's approachable hooks, highly polished and emotive instrumental work, interesting and creative songwriting, and quietly optimistic lyrics make it a perfect entry point to the world of progressive (or at least artistic) music. Essential for Wilson fans, and highly recommended for everyone else.

Songwriting: 4 - Instrumental Performances: 4 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 5

 The Hemulic Voluntary Band by RITUAL album cover Studio Album, 2007
4.12 | 239 ratings

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The Hemulic Voluntary Band
Ritual Crossover Prog

Review by Warthur
Prog Reviewer

4 stars Don't be spooked by the monsters on the cover art - see, they're wearing pretty dresses, they're trying to be welcoming and unthreatening. In fact, they're probably supposed to be Hemulens, creatures from the Moomin books by Tove Jonsson (though the band probably couldn't get a licence to put Jansson's charming artwork on the cover), since the album lyrics are largely inspired by that series. Stylistically, what you get here is very much styled after the classic prog artists of the past, with Jethro Tull-esque folk influences and medieval allusions reminiscent of Gentle Giant or Gryphon.

There's also a strong Genesis influence not so much in terms of the actual music itself (though there's the odd flash of that), but in terms of the overall pastoral mood and, especially, the strong emphasis on theatrical storytelling that early Genesis always excelled at so well. Overall, a great little piece for those who like a fat dose of whimsical fantasy and a good story nestled in their progressive rock albums.

 Next Station (as Next Station) by DE ANGELIS, MARCO album cover Studio Album, 2017
3.92 | 3 ratings

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Next Station (as Next Station)
Marco De Angelis Crossover Prog

Review by The Jester

4 stars Next station is the title of the 2nd studio album of the Italian composer and musician Marco De Angelis, which comes 4 years after the release of The River, his 1st studio effort. A few days ago, I had an interview with Marco, and he told me that he considers Next Station as the continuing of The River, thematically at least. To my ears, the two albums, share a common ground, but in the other hand are different. First of all, Next Station includes only 6 songs, with 2 of them being a lot over 10 minutes in length, wherein The River the longest track was 9 minutes long. Another important fact is that, Next Station sounds more mature and more 'free' in style, mixing influences from many different music styles. But this time, the influences are not as clear as before. There were some songs included in The River, that with the first listen, sounded similar with bands like Marillion of Pink Floyd for example. In Next Station there is not such thing. The sound and style became more personal, and this is a good thing without a doubt. For the needs of the recordings, Marco worked with some very good singers who should be mentioned. I don't know if the names Nad Sylvan, Robbie Wyckoff and G'ran Edman mean anything to you, but all of them are excellent singers, who during their career worked with some big artists/bands, like Roger Waters, Steve Hackett, Yngwie Malmsteen and Karmakanic, to name a few. As for the instruments, Marco plays almost everything by himself, with the drums being the only exception. Speaking for myself, I consider Next Station as a step forward in comparison with The River, in almost everything. This is a serious and well-made piece of work. Give it a try! My rating: 4 stars
 Seventeen by KAYAK album cover Studio Album, 2018
4.28 | 20 ratings

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Seventeen
Kayak Crossover Prog

Review by mitarai_panda

5 stars Finally came the new album "Seventeen" of the famous Dutch band Kayak! This is their 17th album too. The band was founded in Hilversum, the Netherlands in 1972, and dissolved in 1982, but reorganized in 1999 and is still active today. Initially their style was the most popular symphony of the time, but later became somewhat popular. After the revival of the 21st century, they devoted themselves to the creation of rock opera. They released three pieces, each featuring Merlin and Nostradamus And Cleopatra's story, in which Merlin that Zhang is the re-production of the old album, a medieval style. These albums have received a good rating. Their symphony melodies are very attractive, Moog and Mellotron are used frequently, and keyboardist Ton Scherpenzeel also joined Camel (it was during the dissolution of Kayak, Kayak reconstituted that he quit Camel back to the old ), Explains why Kayak's style is a bit like Camel, beautiful, meticulous, melodic, and sometimes majestic, with late-rocking and pop flavors (which is what keeps pace with the times). Last year, the band released a box called "Journey Through Time," recording all of their studio albums and two addendums, leaving a space in the box. The band explained that this was their 17th album. This year, 1 On May 12, Kayak fans are finally able to fill this space with a new album. The new album has been four years since their last album. The band said on the official website: "Kortom: het bootje slaat welens om, maar weigert voorlopig te zinken." (In short: Kayak Meaning kayak, then the name of the band with the sex) will turn, but will not sink.) Now, they are back! Speaking back to the new college, the reason for this is also because Camel guitarist Latimer also guest guest, Camel last year announced on the official website of the band assembly and explore their future path, can not think of his new special did not come out, Latimer and old friends Scherpenzeel made Kayak's new music together, and Latimer was busy himself, helping with the band's bassist Colin Bass. I have not got the exacting creator of "Seventeen" for each song, but there are many guitar solos that have the charm of Latimer ("Falling", "Walk Through Fire", "Ripples on the Water" ... oh my god! Latimer has been involved in the creation of almost all songs!), Elegant and long, soothing, and sometimes straight to the heart, soul-stirring! The album is exactly 60 minutes, the basic structure of three songs about ten minutes, plus nine more than three minutes of short songs, so that both the avant-garde and popular potential. Although such a structure is similar to the rock opera they had previously done, the band said it was not a concept album. In addition to symphony and opera blend, the new album is also some folk features, the introduction of some folk music melodies, and melodious flute (Latimer should not be the style), more than three minutes of short songs are beautiful and beautiful, some very witty relaxed, Some are rock-and-roll and form a contrast with those magnificent and complex long songs. Scherpenzeel's keyboard is still hot and pleasant, he is also used for the synthesizer as pure fire, the piano played smooth as water. For the three long songs, they are all standard symphonic shaking structures, which have brought back the feeling of the 1970s. They mainly focus on the melodious guitar solo. The piano is laid out in the back and strings are added to enhance the momentum. In addition, I must mention that the voice of lead singer Schwertmann did not show the old state, but it sounds very comfortable. The first song "La Peregrina" as its name, which a synthesizer solo very "pilgrimage" atmosphere. The second "Walk Through Fire" opening is the Latimer iconic style, followed by the Northwestern European folk style melody to join the last hot guitar, string and synthesizer have hurricane, the perfect ending in the passionate chorus. The third song "Cracks" is more conventional, without the first two so prominent, which is the album's weakness, the first half is too exciting, the second half is relatively mediocre. However, flaw does not cover Yu, the old cannon this combination has brought everyone a classic! Proper four-star semi-critical, the top10 contender of the year!
 Minor Masterpiece by TENCH PROJECT, COLIN album cover Studio Album, 2017
4.27 | 41 ratings

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Minor Masterpiece
Colin Tench Project Crossover Prog

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

4 stars An exceptionally well produced album of confident and masterful songcrafting which somehow comes up short-- especially emotionally--when compared to last year's amazingly powerful and relevant collection of songs on Hair in a G-String (Unfinished but Sweet). Whereas that album never led me to question its inclusion within prog world, this one, I fear, had me often asking myself if the music here was truly representative of progressive rock music; Minor Masterpiece feels as if it belongs more clearly within the realms of classic rock music.

1. "See How She Runs" (4:46) a fairly proggy soundscape is here used to tell a story in a Beatles-kind of way--at least until 3:23 when the sound shifts to a more straight on rock to its end. Solid but nothing new here. (8/10)

2. "Darkness Falls" (2:33) I really like the pathos in the lead singer's voice for this song--it alone is very engaging-- almost to the exclusion of the rest of the music and instrumental performances. (9/10)

3. "Didn't Even Wanna Do It. Did It Anyway" (7:30) the instrumental section between the vocals are the high points of this one for me. The song during the verses sound a lot like Steppenwolf's "Born to Be Wild" verses. The orchestrated end section is great. (8.5/10)

4. "He's Gone" (1:31) another little Colin Tench lament for the loss of someone...but whom? (4/5)

5. "Waiting for Gordo" (4:01) opens as an awesome semi-orchestral (keyboard generated) soundtrack piece. More, please! (You do write awesome soundtrack-type music, Colin--going back to that first Corvus Stone album!) (9.5/10)

6. "Still Solemn After all These Years" (1:51) piano, guitars, and synth-orchestra weave of pretty music--a kind of jazzy soundtrack ode. It could go on. (Maybe it does: the next song) (5/5)

7. "Gran Finale" (4:26) a Spanish-infused or even -grounded song that bristles to life in the second minute as first one and then two and even three electric guitars vie for the listener's ear. In the middle of the third minute piano and acoustic guitar take a little walk on the wild side before the electric axes jump back in to try to assert themselves. Vocalise from multiple voices try to join in. This one, too, could have jammed longer--especially to explore further that interesting infusion of vocals. Still, a CTP masterpiece. (10/10)

8. "Welcome to Your World" (4:48) a late-night friendly bar song with multiple voices, multiple instrumentalists. Could almost be an Alan Parsons Project or Jimmy Buffet song. (8.5/10)

9. "Squeaky Door Time" (3:07) a spicy Latin-infused instrumental showcasing Colin's lead guitar prowess--on both electric and acoustic! The rhythm tracks of this song are so lively and fun that it makes you want to be there watching them, dancing with them, playing the cowbell. (9/10)

10. "Under the Conker Tree" (2:51) an instrumental with multiple acoustic guitar tracks. Nice background music. Colin's excellent sound engineering is so evident on songs like this. (8/10)

11. "Viva Vitale" (3:11) obviously a showcase for drumming legend Joe Vitale (BARNSTORM, JOE WALSH, EAGLES, CROSBY, STILLS & NASH). The song allows for many subtle fills and flourishes while the rest of the band play a nice instrumental Latin-blues-rocker over the top--Colin again performing his wizardry on multiple tracks on multiple guitars, both acoustic and electric. I find myself listening to this one purely for the wonder and awe of trying to comprehend the planning and editing of those guitar parts. (9/5/10)

12. "Your Song is a Nightmare" (4:00) for me, the violin and multi-instrumental melodies steal the show on this one (though the vocals do a nice job of not over-performing--at least for the first half). The tongue-in-cheek self- deprecating humour can only be played out for so long. (8/10)

13. "Now Get on Your Way" (5:18) a total album-ending finale (with its repetition of the opening song's "we won't get fooled again" line), there is, unfortunately, nothing here that would have be play this one again. A little too murky with the wild, bar-room chorus feel of the vocals. (7/10)

Four stars; a polished, great-sounding collection of rock songs--several of which are sure to provide repeated listening enjoyment.

 Hustle & Bustle by HABELARD2 album cover Studio Album, 2017
4.09 | 3 ratings

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Hustle & Bustle
habelard2 Crossover Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Italian keyboardist and multi-instrumentalist Sergio Caleca not only keeps busy with his `day job' band Ad Maiora (who've put out two superb albums being `Ad Maiora!' in 2014 and `Repetita Iuvant' two years later, if you haven't investigated them yet), but he's also devoted to his own solo project Haberlard2, and just this year (2017) alone he's offered two complete studio albums! The earlier one `Maybe' proved to be a joy for symphonic and eclectic prog music fans with a touch of vocal pop-rock where Sergio was backed up by a range of notable Italian prog guests both of the vintage and modern era, but `Hustle & Bustle' sees the man go it alone, yet still managing to deliver another colourful and diverse collection of fully instrumental pieces across an eclectic range of styles.

Looking at some of the highlights, the album opens infectiously with a full-blown unexpected jazz-fusion take on classic ditty `Frčre Jacques', coursing through everything from jangling guitars, funky murmuring bass and dizzying fuzzy keyboard runs! That unpredictability will maintain the rest of the album, and the laid-back whimsy with a touch of playfulness and warmth from Sergio's electric piano touches gives `Dolce' a light Canterbury flavour in parts before more strident and dramatic rises. `Giada' is a quirky electronic/symphonic hybrid, and `Alice' is a darker Hammond organ-powered symphonic workout with jazzy accompaniment courtesy of keyboard emulation (with the real instruments this could have easily popped up on any of the recent Tangent albums).

The longest piece at almost seven minutes, `Folk e Martello' is lavished with prettiness and dignified pomp, `Tragico nr.2' bristles with classic Genesis and Steve Hackett-esque symphonic majesty (and Sergio's glorious guitar soloing would have fit in nicely on a Flower Kings piece if Roine Stolt needed a day off!), and `Celtic Dream' is, sure, enough, a lovely Celtic theme both gentle and proud. Much of `DeboleFortePiano' is a sparkling electric piano-led piece with a bouncy spring in its step that means it could have shown up on many Alan Parsons Project albums, lovely Canterbury sound flavours waft through `Cinc Ghei Pusč Ma Rus' and `Seventies' is a shorter reflective interlude. The title track `Hustle & Bustle' finds a good balance of dramatic and quirky moments as it brims with colourful keyboard soloing, and album closer `Finalino' is a mix of grand symphonic rises and sprightly jazzy piano touches.

While the album would have greatly benefited from being performed with all real instruments as opposed to being constantly aped on keyboards (how about getting some musical friends to re-record some of these pieces together over time, Sergio?), `Hustle & Bustle' is no less grand in scale and ambition than its predecessor, as well as being more intimate with a thoroughly admirable `anything-goes' approach. If you want to hear a superb modern musician displaying a huge range of his technical and compositional skills, Sergio Caleca/Haberlard2's `Hustle & Bustle' has plenty to offer progressive music lovers!

Four stars.

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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
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