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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 | 1152 ratings
OMMADAWN
Oldfield, Mike
4.31 | 1382 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1748 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.28 | 1190 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.21 | 1562 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 876 ratings
DOOMSDAY AFTERNOON
Phideaux
4.37 | 139 ratings
GRIMSPOUND
Big Big Train
4.20 | 912 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 753 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.20 | 488 ratings
~
iamthemorning
4.18 | 753 ratings
SNOWTORCH
Phideaux
4.17 | 702 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.17 | 652 ratings
THE UNDERFALL YARD
Big Big Train
4.12 | 721 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.13 | 532 ratings
NIGHT
Gazpacho
4.35 | 83 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.09 | 1015 ratings
TUBULAR BELLS
Oldfield, Mike
4.22 | 145 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.20 | 153 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.12 | 314 ratings
SPIRIT OF EDEN
Talk Talk

Crossover Prog overlooked and obscure gems albums new


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

THE LOST ART OF TIME TRAVEL
Presto Ballet
PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof
BROKEN CHINA
Wright, Richard
FOLKLORE
Pez

Latest Crossover Prog Music Reviews


 Crysis by MODEST MIDGET album cover Studio Album, 2014
4.15 | 53 ratings

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Crysis
Modest Midget Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars

Although some EP's were released in the time following their 2010 debut album, it took until 2014 for the second album to be made available on Lionel Ziblat's own label. This new album illustrates life, portrayed as a cycle consisting of several inner cycles, and each time a cycle ends, another one starts, and these movements are often frightening, painful and traumatic, but they also offer a chance for change and for growth. The named musicians joining Lionel in this were Tristan Hupe (keyboards), Maarten Bakker (bass guitar/keyboards) and Willem Smid (drums) with yet more guests who are un-named. I love this quote from the band, which probably does a better job of summing up this album that I can, "It might seem impossible at first to have a grip on the band's musical style. How would one go about trying to explain an inconceivable mixture of Rock, Soul, Baroque, Ska, Jazz, Punk, Symphonic Rock, Sicilian Tarantella & Romanian Gypsy music? Still, it is the great pride of the band having chosen not to succumb to any particular existing category and to simply embrace music in all its glory."

As one can easily see from the list above, this is music that is defying all attempts to categorise it, apart from throwing into the crossover progressive rock as that is really the only place that fits with their refusal to accept any musical boundary and then throwing melodic pop into it as well! This is vibrant, exciting, and their quirky ska-style take on "(Oh) Pretty Woman" must be heard to be believed. It's awesome. Towards the end of 2015 Lionel issued the following statement, "In case you were wondering about the band these days, I personally took some time off to work on several different projects, composing and arranging music for different ensembles and other productions. But I'm also contemplating recording a couple of new albums. When the time comes, you will know." I only hope that we do see him back with more material at some point as Modest Midget are a quirky, nonsensical great band.

 Novum by PROCOL HARUM album cover Studio Album, 2017
3.28 | 30 ratings

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Novum
Procol Harum Crossover Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl & Neo Teams

4 stars Ok, not all the over 70 vocalists have the same extension they had when they were young. Brooker is not an exception, his voice is still recognisable and fits perfectly but nobody can expect high notes like on A Salty Dog to say one title.

Also, the songs are quite dated. It's like a fantastic album has been recorded and put into a time machine just to appear 50 years later then its time.

You know what? I LIKE IT!

It's an excellent album. The sound quality is at today's level and doesn't sound too "vintage". Of course the songwriting is not evolved, but whoever likes the classic Procol Harum will not be disappointed by this "Novum" album. There's plenty of melodies, very British I'd say, with songs like "Can't Say That" which seems to come from the Blues revival years.

In the end it's like it was a lost album and I think that Procol Harum have done the best possible thing: instead of trying to be "actual" and renewing their songwriting they have done exactly what a fan wants: be themselves, even if it's everything but a reunion of the original members. Only Brooker is survived from the first album's lineup 51 years ago.

But this is a proper Procol Harum album. Fit for purpose. You won't find a new Whiter Shade Of Pale inside, but the whole album is very consistent. Not many peaks but absoutely no lowlights. In my opinion it deserves not less than 4 PA stars.

 The Great Prophecy of a Small Man by MODEST MIDGET album cover Studio Album, 2010
3.74 | 62 ratings

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The Great Prophecy of a Small Man
Modest Midget Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars Modest Midget was a project put together by Lionel Ziblat, a classically trained composer, multi-instrumentalist and singer. This the debut album was released in 2010, with Lionel playing most of the music himself, along with a few guest musicians (most of whom aren't named ore recognised, so it isn't possible to even say how many people were involved). This really is one of those albums that is a reviewer's nightmare as not only are the songs quite different to each other, but there is such a fractured mix of styles going on that it is hard to pin down what is going on, apart from knowing that it is excellent (and then being frustrated at not having the words to hand to describe it).

The one band these guys do get compared to more than any other is Gentle Giant, but of course they sound nothing like them, although I can understand where some people may say that given some of the arrangements. It is spiky energetic music that at times brings in Zappa and Cardiacs, as well as plenty of British pop. I can imagine The Kinks having fun with this, but really have no idea why, nor why Traffic should also be included. But, I swear that if you hear this then it will all make sense, maybe. It is progressive, but in its truest sense, and mixed with so many Sixties pop sensibilities that one can almost see the Carnaby Street suits and swagger. It certainly sounds like an album that has come out of London, with some American influences, and not from an Argentinian who lived in Israel before settling in Holland. Confused? You should be, but all you need to know is that this is awesome.

 Murderock- Uccide A Passo Di Danza by EMERSON, KEITH album cover Studio Album, 1984
3.03 | 15 ratings

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Murderock- Uccide A Passo Di Danza
Keith Emerson Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Don't go in the shower!

Murderrock is the title of an Italian film for which the present album is the official soundtrack. I have not seen the film (which I'm guessing is some kind of horror movie), but I was positively surprised with the high quality music found here. Of course I am a massive fan of Emerson, Lake & Palmer, but I was never much impressed with Emerson's solo output until I came across this very nice soundtrack album. The best that I have so far heard from Emerson's solo works (not counting the Keith Emerson Band).

If you are a fan Alan Parsons Project you might like this album which has a similar mixture of electronic instrumentals and vocal numbers featuring different singers. The vocal numbers are certainly a bit on the cheesy side, but the instrumentals are mostly great! Some themes recur throughout the album.

I enjoy this!

 Forever Comes To An End by RIIS, BJěRN album cover Studio Album, 2017
4.10 | 11 ratings

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Forever Comes To An End
Bj°rn Riis Crossover Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars As it is with any of Bj°rn Riis' solo or Airbag drafts, in either case there's always some sort of highly melodic ambience and nordic melancholy to state. The given front cover image is exemplary for that, isn't it? This paired with a splendid Steven Rothery and David Gilmour inspired guitar playing, how could he fail? Well, it's somewhat astonishing anyhow, seemingly this main recipe won't wear off. While never ever sounding like pure repetition. Hence after being positive about 'Disconnected' recently, one year ago, Karisma Records are now providing another delicious offer with 'Forever Comes To An End', when it comes to my taste.

Airbag fellows Henrik Fossum (drums) and Asle Tostrup (programming) are collaborating for the seven songs too. Regardless, 'I guess it is much more personal and me than anything I've done before', Bj°rn Riis affirms. So designed for his first solo album actually, the title track is showing some real contrast program. I mean the hard riffing uptempo parts either way, taking turns with this well-known atmospheric prog charm we're already perfectly acquainted with. And then Absence and the following The Waves are smoothly gliding into a No-Man feel somehow, nice piano lines alongside with acoustic guitar and ambient patterns. Simply brilliant!

Have to confess that I really was anxious for the announced vocal support entering the stage, namely by Sichelle Mcmeo Aksum ... it takes some time ... except some female laughter(?) I'm effectively able to recognize her for the first time on Winter, another pleasant facet for sure. Perfect voice added, she definitely could have been more present anyhow. This track finally represents the album's beauty at best. I'd say 'Forever Comes To An End' marks his most varied and successfull effort (Airbag included). I'm steadily following Bj°rn's steps for a while now without getting tired, and this one, including all participants as well as the production, seems to be his masterpiece so far.

 Irritant by SCHNAUSER album cover Studio Album, 2017
4.00 | 1 ratings

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Irritant
Schnauser Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
4 stars

With a twelve-year history and five full albums to their name, Alan Strawbridge, Duncan Gammon, Holly McIntosh and Jasper Williams are veterans of the music scene, and now they have embarked on the next step of their journey by bringing on board saxophonist Dino Christodoulou, and by signing with those nice chaps at BEM. Vocalist and guitarist Alan Strawbridge says: 'We're all really looking forward with Bad Elephant; enthusiastic and like-minded chaps with great taste and even better facial hair.' This is my first experience of Schnauser, and I am already starting to wonder what the other albums sound like, as this strange hotch-potch of styles is incredibly appealing, even though I'm not sure why.

Trying to describe this is, um, difficult. Okay, so let's get the obvious ones out of the way first ' they're heavily influenced by the Canterbury scene, and I am sure that the addition of the sax has exacerbated this, but there are heaps of musical references taken from the psychedelic scene of the late Sixties. Add to that a power pop sound that has elements of The Mothers of Invention, as well as the beat scene, and a wicked sense of humour then you may be getting close. I think I deserve a prize for picking up on the single melody line from 'Roobarb' which appears on 'Re-Mortgaging The Nest of Hairs' (did I mention humour?).

This is a very British album, there is just no way that any other country could bring together a mess of influences like this and make it into something that is quite special. There is a real 'indie' feel to much of this, and there will be plenty of progheads aghast at this being described as progressive, as they sound nothing like Yes or Genesis. No, they don't, they are Schnauser, and they're great.

 This by VALDEZ album cover Studio Album, 2017
3.96 | 4 ratings

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This
Valdez Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars Whichever way you look at it, Valdez are a super-group formed by some of the finest of the progressive scene. The singer/guitarist is none other than Simon Godfrey (Tinyfish, Shineback and solo artist) who emigrated to the States in 2014, bassist/singer Tom Hyatt was of course in the much-missed Echolyn, while keyboard player/singer Joe Cardillo is from Cold Blue Electric and drummer Scott Miller (Stone Jack Baller) completes the band. If that wasn't enough, Echolyn's Brett Kull produced it as well as providing additional guitar and vocals. Tom and Simon met by chance at a comedy club in Philly and got on so well that they decided to jam the following evening at an open mic night. The duo were an instant hit with the crowd and as they left the stage, they agreed to form a band that would go on to become Valdez.

It is almost as if Tinyfish have joined forces with Echolyn, and in many ways I guess they have. For many of us following the scene in the Nineties, Echolyn was one of the most important prog bands to come out of America, with 'As The World' making a huge impact on everyone. Simon first made his presence felt with his brother in Freefall, but it was some years later that Tinyfish came to everyone's attention, with two incredibly well-received albums, and now here we have Simon and Tom working together in this new entity. This may also be the first time that Tom is back working with Brett in more than twenty years, given that Tom didn't rejoin Echolyn when they reformed in 2000.

So, enough history, what about the album? Well, it's a masterpiece of course. The worry when well-known musicians get together is that they can rest on their laurels and rely on their reputations to get them through, but here the guys have left their egos at the door and instead have concentrated on as wonderful a piece of crossover poptastic progressive rock as one could ever wish to hear. To say that this is a joy to listen to is to understate it immensely, and Simon in particular is a revelation. I don't think I've quite heard everything he has released, I've certainly heard most of it and based on that I can say that it is easily the best thing he has ever been involved with. It oozes class, has hooks aplenty, loads of space and room to breathe, and is just awesome.

I refuse to pick a favourite, as whatever song I am listening to is the best, whether it is the melodramatic or bouncy and vibrant, there seems to be nothing that these guys can't excel at. It really is an album that is packed full of songs, no over the top soloing or unnecessary note density here, it is all about what is best for the music as a collective whole. And I love it (in case you hadn't guessed). Truly essential.

 Yesterlife by MELODY album cover Studio Album, 1977
4.00 | 2 ratings

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Yesterlife
Melody Crossover Prog

Review by Progfan97402

4 stars I'm happy to finally see Melody included in Progarchives. I bought Yesterlife on a recommendation, and glad I did. OK, so the cover is terrible, it's the main reason the album isn't known to a larger prog audience. In 1976 they released Come Fly With Me on the Pole label, which were more of demo quality (although be careful of the Tapioca version as it also contained material from Mahogany Brain). They got a deal with a proper label, Vogue and in 1977 released Yesterlife. A good portion of the album was actually remakes of material from Come Fly With Me, but now benefiting with a professional production. The music is dominated by the vocals of Diana Chase, apparently an American (which I don't doubt, given there is absolutely no accent in her voice, since English is her first language). Basically, nice, song-based prog there's often compared to the likes of Renaissance and Genesis, the latter coming from Gabriel-like male vocals from Patrick Frehner. Nice use of synths used throughout the album. The remakes are pretty recognizable from the originals, although the lyrics were frequently changed. "Merry Go Round" and "Welcome to Wonderland" were accidentally switched in the credits, as the album actually starts with "Welcome to Wonderland", then "Merry Go Round". The music is really nice, perhaps my favorite being the lengthiest one, "Wailing Wall". Not too often to find Jewish themed lyrics in a prog setting, but this is a rare example. Really love that one lovely vocal passage from Diana herself, plus there's some nice use of Mellotron flutes (too bad the Mellotron wasn't used elsewhere in the album).

Whatever the case, don't let the album cover scare you off, this is a nice album of semi-symphonic prog (no wonder it's considered crossover) with really nice female vocals. It probably won't set your world on fire, but worth your time.

 Open Fire by ROOM, THE album cover Studio Album, 2012
3.19 | 15 ratings

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Open Fire
The Room Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars Having recently reviewed The Room's 2015 album 'Beyond The Gates of Bedlam" I now find myself listening to their 2012 debut, 'Open Fire', which is available through Bandcamp (I believe it was originally released in the States on Melodic Revolution Records).I don't know why it took them three years to follow up on this debut, but it certainly wasn't down to lack of quality or songs as yet again this is another really strong release. Martin Wilson has a memorable voice, and this melodic rock crossover neo progressive rock sound gives him plenty of room to shine. Andy Rowe and Andrew Rae keep the rhythm section nailed down, knowing when and what to play to either provide the others a backbone or dramatic emphasis, while guitarist Steve Anderson and keyboard player Steve Checkley are both adept at providing harmonies or solos as required.

It may have been released in 2012, but the heart of this album belongs twenty years earlier when the progressive scene was insular, robust and full of vigour. True, it was often the same people attending all the gigs, but back then there were loads of gigs to go to! With no internet, and virtually no press, the only way to get people to hear the music was by getting out there and gigging, and this music is very much at home with what was being released back then. Of course, Martin and Steve Anderson were very active during that period, and with this album it is as if the years in between just never happened. I can "see" The Room out there playing with Grace, Galahad, Landmarq and all the others from back then, but it is wonderful to know that music like this is still being performed and played with such passion today, and that The Room are a gigging outfit getting out there and showing the crowds that progressive rock is as relevant as it ever has been.

 Folklore by BIG BIG TRAIN album cover Studio Album, 2016
4.04 | 399 ratings

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Folklore
Big Big Train Crossover Prog

Review by lazland
Prog Reviewer

4 stars Folklore is the ninth studio album released by BBT, and was an instant top five album for me in 2016. It develops the themes inherent in English Electric, particularly the second part, and sees, for me, the band developing very nicely into the natural successor to one of our finest, and best loved, pastoral progressive rock acts of the classic era.

What, another Genesis tribute allegation, you ask? No, not a bit of it. This band, not particularly in terms of approach, but most definitely in terms of their use of English lore and joyous storytelling of our heritage are, to me, the modern day Jethro Tull. Think of that band's wonderful folk rock period between Songs from the Wood and Broadsword...., transport it into the 21st century, and here we go. London Plane, with its tale of a boat squadron on course to Runnymede, could quite easily fit in on any one of those Tull masters. The chorus of this soars.

The album explodes into sound with the title track. Pure folk prog, with Longden's flute and Rachel Hall's exceptional violin playing right to the fore. The latter, to me, is a very welcome addition to this band. Her playing on this and the live set released on Stone and Steel are exceptional, and her backing to Longden's feeling lead vocals complement each other very well.

The band now boast eight members, living in disparate areas of not just the UK, but literally the world, with Rikard Sjoblom adding important textures on guitars and keyboards, and the drummer from America who I regard as being the finest modern exponent of the trade, Nick D'Virgilio. His work shines on this, and both also contribute backing vocals, making the band sound throughout as a vocal and instrumental symphony.

Along The Ridgeway uses both Hall's violin and the welcome return of the brass section to great effect. It segues effortlessly into Salisbury Giant, a huge figure which one adorned pageants in medieval Wiltshire, now housed in a museum there. These are gentle pieces, with intelligent use of orchestration creating a solemn, thoughtful, mood. Longden sings it beautifully. I fell in love with his voice on the wonderful Martin Orford swan song, The Old Road, and he is, to me, a world class vocalist.

Brass and violin also introduce us to the exceptional The Transit Of Venus Across The Sun. The lyrics, vocals, and music take me back many years to when I was a young man fascinated by the vastness of the visible night sky, and wondering just what it would be like to fly there, a la James T Kirk. You are taken to this place on the "so many words left unsaid" sequence, before Dave Gregory produces a scintillating guitar solo leading the entire outfit in a symphonic burst of pure noise. Quite lovely.

Wassail has attracted some criticism. It is beyond me why. When I first heard it on the EP release of the same name in 2015, I knew we were in for a real old treat with the forthcoming album. Whilst the accompanying video, costumes and all, might seem a tad corny, this is prog folk at its most powerful, with swirling keyboards and thunderous riffs, led by Spawton on bass and D'Virgilio on drums moving things along at a fair old pace. The story itself is of pagans travelling between houses and orchards wassailing, boozing to hearty effect on Wassail, a rather strong mulled cider.

There is one track on the album that I still struggle to "get", and that is Winkie. The story behind the song is straightforward enough, that of a World War Two flying hero. It is played well enough, with the drums especially moving things along swiftly, and Longden evokes true emotion in The North Sea passage when radio contact with the plane is lost. However, it is, to me, slightly too breathless and wordy at times to truly impress. Great in parts, but not as a whole.

The epic length track on the album, clocking in at 12.40 minutes, is Brooklands. This venue, of course, was the world's first motor racing circuit, and the track evokes all of the romance and thrill which that venue brought to the pioneers who raced there, the smells of the engines, and the crowds who followed the sometimes dangerous exploits of the participants. I love the thoughtful guitar lead, whilst D'Virgilio excels on a tuneful drum pattern, with Spawton producing a deep, growling, bass line. A great story and tribute to a time long passed away, this is intellectual prog folk at its peak. The section leading to the denouement has the entire band, keys, flute, violin, rhythm, guitar stretching themselves to the limit, before we come down to earth gently with a delicate vocal.

All which precedes, though, leads up to the biggest thrill, the final track, the sumptuous and beautiful Telling The Bees. I didn't think that the band could better Hedgerow, to me a highlight of prog rock in all the time I have listened to this great genre. This one does it, in spades. It plays to every strength this great band have. It aches with emotion, and has, at its heart, the memories of a loved father, honoured in old custom by telling the bees of a life and love. "The joy is in the telling", and the telling is a wonderful noise. This song evokes memories of loved ones no longer with me, and I sing it at the top of my voice, but with love and fond memories, not sadness, the way such fond memories are meant to be. This is a gloriously uplifting track, and yet another reminder of why this band are so special. Listen and let the emotion wash over you.

This is yet another fine release by a band who I hope will continue to carry the torch of quality English progressive rock for many years to come. Four stars, and simply excellent.

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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
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
ASIM╔TRICA 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
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
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
BEDU═NOS A GASËLEO 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
BJÍRK 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
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
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