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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

4.31 | 1450 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 1211 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1860 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.29 | 1298 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.21 | 1642 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 903 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 790 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.18 | 770 ratings
SNOWTORCH
Phideaux
4.17 | 959 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 739 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.19 | 506 ratings
~
iamthemorning
4.17 | 688 ratings
THE UNDERFALL YARD
Big Big Train
4.13 | 554 ratings
NIGHT
Gazpacho
4.10 | 1061 ratings
TUBULAR BELLS
Oldfield, Mike
4.13 | 379 ratings
HOUNDS OF LOVE
Bush, Kate
4.34 | 85 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.21 | 156 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.13 | 331 ratings
SPIRIT OF EDEN
Talk Talk
4.20 | 160 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.08 | 763 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

BROKEN CHINA
Wright, Richard
GENERAL WINTER'S SECRET MUSEUM
Tea Club, The
ONE OF SEVERAL POSSIBLE MUSIKS
Livgren, Kerry
2. (ODCIEń CISZY)
Wozniak, Tadeusz

Latest Crossover Prog Music Reviews


 Ones & Zeros: vol. 0 by 3RDEGREE album cover Studio Album, 2018
4.36 | 5 ratings

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Ones & Zeros: vol. 0
3RDegree Crossover Prog

Review by Greg Jones

5 stars In 2015 the always adventurous 3rDegree released what I assume will be their artistic peak. A completely fresh and uncategorizable concept album called Ones And Zeroes Pt 1, it sounded different every time I played it and still does. Working within the limits of niche band economics, they achieved this unimaginable height purely on the strength of their compositional ideas. And the accolades poured in. Since this is a band who have been consistently topping themselves and surprising their fans since their comeback album 'narrow-caster', Ones And Zeroes Pt 1 was akin to a Dark Side Of The Moon to these ears, certainly in scope even if not in sonic lushness.

I was all set, then, for them to finally have a break in the winning streak. I mean, no one can keep leaping over expectations forever, right? I even told a few of the band members I'd be thrilled if they made a new record that was merely good. And when I was blessed with an advance copy of the follow up, Ones And Zeroes Part 0, I grinned and told myself as the rocking opener kicked in, 'that's better than good!'

I had no idea how much better. The first 3 or 4 listens I really liked it, feeling that they'd kept a bit of the unexpected from Part 1 and blended that with their penchant for hooks-less-travelled that made their earlier albums embed themselves so deeply into my heart. It seemed they had come up with a new gem worthy of their prior releases.

But this morning, not fully awake, I put on my trusty Grado headphones and decided to give it a slice of quiet zone-in time. And I entered an inter-dimensional anomaly of the unknown. If Part 1 depicted a freakish new world, Part 0 shows us in horrible detail how we'll get there by our own device-clutching hands. Indicting present day mankind with a mirror so clear you'll want to run, the message is matched by music that is miraculously timeless, somehow familiar but not. If people were spontaneously exploding and no one knew why, this album would be like a Unabomber manifesto where the only bombs are truth and we'd all be singing along, awaiting the inevitable.

Individual song comments won't help describe this for you; you really need to experience it as a whole. Lyrically 'Connecting' is arrow- splitting in it's accuracy. And 'Click Away!' Is a most unique 15 minute prog epic. But they're both part of a monster of an album that will give you an individual ride by touching your innermost thoughts and fears. Is it better than Part 1? Impossible to say. But to these jaded ears it's as important to our time as The Who's Quadrophenia and Queensryche's Operation: Mindcrime were to theirs. The only criticism I can possibly make is that I wish there was a section of menacing overdriven electric guitar to drive home the scary way this shoe fits. But the world we're heading for has digitized those guitars down to ones and zeroes, just like it seeks to do to all human experience. This album? Chilling. Essential. Run!

 Sledgehammer by GABRIEL, PETER album cover Singles/EPs/Fan Club/Promo, 1986
3.88 | 24 ratings

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Sledgehammer
Peter Gabriel Crossover Prog

Review by TenYearsAfter

4 stars 'FIRST REVIEW OF THIS SINGLE'

1. Sledgehammer

Peter Gabriel often reminds me of the late genius David Bowie: highly creative and innovative, great visual stage antics, musical chameleons, surprising their audience with yet another musical genre, delivering high quality pop top hits and ahead of their time. To continue comparing Gabriel with Bowie, it often comes to my mind that Sledgehammer could have been a David Bowie composition. Sledgehammer was the first single release of Peter Gabriel his fifth album entitled So (1986) and a worldwide hit: it topped the charts in Canada and the USA, and of course was the mindblowing and awarded video a huge contribution to the popularity of Sledgehammer (I can't listen to this song without seeing the images of the video). So Peter Gabriel went from the most charismatic frontman in progressive rock to a top selling solo artis, and a celebrity.

Sledgehammer starts with that very distinctive intro featuring a synthesized shakuhachi flute. Then it's swinging time: a catchy bass, Earth, Wind & Fire-like brass and Peter his soulful voice, this a perfectly structured and coloured blend of soul, funk and pop. Halfway again that synthesized flute and then female vocal harmonies join (including P.P. Arnold, once The Nice was her backing band), the propulsive percussion is great and Peter sings very powerful, with obvious hints from his soul inspiration. A masterpiece in its kind, and the doorway to international success, soon he released Big Time (also from So), another Top 10 USA hit!

About the lyrics, it's Freudian Extravaganza, a flood of hidden sex and phallic symbols! On the Internet I read: 'In the US in the 1980's local radiostations where often controlled by christian organisations. They where banning songs they ment where unsuitible for christian minds. So Peter Gabriel wrote Sledgehammer. If you listen good in the beginning of the song he says "how can anybody fool them". If the radiostations banned the song they would admit, that they themselves have a "dirty mind", so they played it...... and were fooled'.

2. Don't Break This Rhythm :

A strong blend of natural exotic percussion and modern technology (synthesizers and samplers), topped with Peter Gabriel his wonderful emotional vocals (the title is an excellent metaphor for the relationship in this song), it could have been a Peter Gabriel IV song.

P.s.: Thank you visitors and musicians for your Likes, social comments and Facebook messages! It's a huge boost to continue writing reviews here, now I am on my way to #100.

 Salinity Now! by UNAKA PRONG album cover Studio Album, 2018
5.00 | 1 ratings

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Salinity Now!
Unaka Prong Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

— First review of this album —
5 stars Man! these guys are tight! Man! is the production on this album amazing! Man! have these gotten better! Man! is this a confident band of young musicians, or what? Is this one of the best collections of entertaining, interesting, deeply layered, masterfully crafted and performed, and perfectly mastered songs ever created?!!! YES!

1. "You Want Me to Do What Now?" (5:38) high energy mania with amazing stop-and-start complexity and perfect cohesion and timing! And the sound is so good! Perfect mixes of the instrumental tracks! Jazz-rock at its funkiest best. One of those songs that simply must be heard to be believed! The drum-led section in the third and fourth minutes is awesome! The guitar solo (or is it a synth trying to sound like a trumpet?) in the fifth minute reminds me of old Jeff "Skunk" Baxter back in the early Steely Dan albums. (9.5/10)

2. "Misinterpretive Clues" (2:45) is a second spirited and amazingly intricate song construct built on some incredible drumming but this one has singing! Great phrasing and delivery of the witty lyrics by bassist Jonathon Sale! (9.5/10)

3. "Slow Dance" (6:02) starts out a little bland with it's thin, bluesy, organ-base, but the singing and lyrics are fun and the excellent chorus and following instrumental bridges make this one super special. Great slide work from guitarist Mike Welsh. Nobody in prog world is playing the Hammond like Chris Pope--and always with such amazing sense of melody! (9/10)

4. "Aibohphobia" (7:05) bouncy bass and organ open this one on a nice little cantor before wah-ed electric guitar- sounding synth and other synth sounds start alternating melodic soli over the top. Great chord and key progressions! The tempo shift at the two minute mark is a great trick. More volume pedal-controlled guitar in the background while synth solos over the top, then back to the first section's themes and pacing. Such a fun song! Definitely evokes memories of some of STEELY DAN's early instrumental work. Man, are all those keyboard sounds being performed by one man? Such fluidity and confidence! (10/10)

5. "Come on Back" (5:47) a little gentle PAUL WELLER-like guitar play sets up this incredibly emotional, poetic, and engaging song. One of the best lyrics I've heard in years--beautifully performed by guitarist Daniel Stephenson as lead singer and composer; beautifully, sensitively supported by the band. (9.5/10)

6. "Fine Leather Shoes" (5:17) clever, witty, DONALD FAGEN-like lyrics with an awesome BLUE NILE-like singing style as performed by drummer John Hargett over some complex jazzy rock. (10/10)

7. "Blue Mountain" (6:30) full on STEELY DAN--only no L.A. studio musicians, these young men are all doing it themselves. Amazing drumming from John Hargett. And the instruments are so well balanced in the mix! Again, I have to repeat, the engineering on this album is superlative! One of the best sounding albums since . . . Aja! Fun percussive guitar antics in the fourth and fifth while Chris and John play off each other. And HERBIE HANCOCK would be proud of Chris's work with the Fender Rhodes sound. (10/10)

8. "Fluvial Landscapes" (7:30) opening with some Latin-infused percussives from the drums, the bass and guitars soon join in giving it an early STEELY DAN sound--but the compositional complexity is far beyond anything the Dan were doing in their early days. Again, drummer John Hargett really shines on this one. Man! these guys have grown! They are SO tight! Amazing Hammond work beneath the rhythm section throughout the fourth and fifth minutes. And I'm so glad to be able to hear Jonathon Sale's deep bass thrombosis up front and center (he's often mixed a little too deeply into the sound for my tastes). Cool note play with the lead guitar solo in the final minute. Man this instrumental has it all! And these guys definitely have the chops! Early 70s Santana: Eat your heart out! (10/10)

9. "Lake Jam #3" (5:25) a vocalized Lake Jam? Well, will wonders never cease? Doubled up vocals works, even with these long, drawn out words and syncopated pronunciations. And this chorus! It's so infectious! I love the guitar and keyboard support for the vocal melody! (9.5/10)

10. "All Aglow in the Golden Hour" (4:24) a song with a little more country feel, but it really comes off more closely to one of The Amazing's (without the vocal reverb). An unusual singer has taken the lead vocal (and lyric writing duties?) on this one (Drummer John Hargett). It's fun, catchy, upbeat, danceable, happy, and still consistent with the western North Carolina feelings and themes that the other band members gravitate to. Also weird to have a UP song that is so guitar dominated, in which Chris's keyboard work is so far in the background. What versatility these guys have! (9/10)

11. "Colossus" (5:08) a slow, bluesy rock song with a simple instrumental support for lead singer Daniel Stephenson's verses, but then the Hammond rises and the chorus (with female vocal background support!) just sucks us in and transports us back to some very emotional family roots: "Take me back to a time when friends felt like family..." Beautiful! (9.5/10)

12. "Irma" (7:57) the one true "prog" song on the album. (Was this song written for me? Is this the "Run Out" of 2018?) Every sound, every hook, turn and riff, seems straight out of some classic progressive rock band. And this is beautifully constructed, slow to build and shift, expertly fabricated and performed. Great chord progressions, surprising shifts, unexpected singing and melody choices. Again, I am dumbfounded: Is there anything these guys can't do? While John's drumming is awesome, there's something weird that I don't like about the way the toms are recorded/treated on this one (reminds me of Steve Gadd on "Aja"). Again, it's nice to hear the guitars venturing off into improvisational work--very much like REINE FISKE! (The highest praise I can offer!) (10/10)

I have loved every album these boys from Boone have ever done (three, so far) but never have they put out an album that has this consistency and amazing, amazing sound production. There is not a song on this album that I will ever skip over--they're all going to give me years of joy and surprises from the nuances in the music and from the intricate collaboration of the collective members. Though I really miss the magical dimension that Nic Pressley's trumpet adds to the UNAKA PRONG sound--and I hope he comes back when grad school is over--but it becomes obvious with Salinity Now! that this band can make it as quintet. I hope the hard work pays off for these boys with the return of prosperity for these boys cuz they sure deserve it! If you want to hear some of the finest music and musicianship happening on the planet right now, you needn't go further than Appalachia! UNAKA PRONG is the best!

Five stars; an undeniable masterpiece of eclectic progressive rock music and, in my opinion, one of the shining lights of the present and future of rock music!

 Don't Give Up (w/ Kate Bush) by GABRIEL, PETER album cover Singles/EPs/Fan Club/Promo, 1986
3.77 | 24 ratings

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Don't Give Up (w/ Kate Bush)
Peter Gabriel Crossover Prog

Review by TenYearsAfter

3 stars 1. Don't Give Up

What would have happened if first choice Dolly Parton had not turned down Peter Gabriel his request to be the female singer in this duet? Anyway, Peter Gabriel his good friend Kate Bush was willing to do the job, the rest is history! On the Internet I read: 'The song was inspired by the Depression-era photographs of Dorothea Lange, showing poverty-stricken Americans in dust bowl conditions. Gabriel saw Lange's images in a 1973 book titled In This Proud Land. He felt that a song based on this was wholly appropriate to difficult economic conditions in England under Margaret Thatcher. He composed lyrics within a situation about a man whose unemployment causes stress in his domestic relationship. The verses, sung by Gabriel, describe the man's feelings of isolation, loneliness and despair; the choruses, sung by Bush, offer words of hope and encouragement.'

The song starts in a dreamy atmosphere with a slow beat, a soaring flute sound from the Fairlight digital sampler and Peter Gabriel his fragile voice, with a melancholical undertone: 'No fight left or so it seems. I am a man whose dreams have all deserted. I've changed my name, I've changed my face. But no one wants you when you lose.'

Then there is Kate Bush her voice, sweet and encouraging, a huge contrast, what a brilliant idea! 'Don't give up. 'Cause you have friends.' The music remains dreamy, with that slow beat and soaring keyboards, as a frame for the painting with words. Fragile piano runs join, wonderfully blended into the emotional atmophere.

Halfway Peter raises his voice, it sounds very emotional, even desperate: 'Got to walk out of here. I can't take anymore. Going to stand on that bridge. Keep my eyes down below. Whatever may come. And whatever may go. That river's flowing. That river's flowing.' Now soft fretless bass play joins, And then there is Kate again, she keeps on supporting him and pointing at the positive things in life, so many people will recognize this situation, from both ends:

'Don't give up. 'Cause you have friends. Don't give up. You're not the only one. Don't give up.'

And the final words by Kate Bush: 'Don't give up. 'Cause I believe there's a place. There's a place where we belong'. Wonderful words, so supportive. In the short final instrumental part a hypnotizing climate with a slow beat and in the background celestial voices that sing 'Don't give up', to emphasize the unconditional female support.

2. In Your Eyes

A romantic ballad with Peter his distinctive voice, tender piano play and a slow rhythm. The music alternates between mellow and slow accelarations and the refrain is with Peter his voice and vocal harmonies. The use of the Fairlight delivers a pleasant musical colouring. In the end a female African singer adds a special flavour.

According to many sources the song is about Rosanna Arquette, I read on the Internet: 'Actually it was a kind of response to what the band Toto did. Their keyboardist used to date ms Arquette, but she broke it off with him for Peter. So the band got together and penned the song Rosanna for her. Funnily enough, she wasn't overly impressed, and was only truely blown away when Peter Gabriel released In Your Eyes in response.

My rating: 3,5 star.

 Fall In Love With The World by UNITED PROGRESSIVE FRATERNITY album cover Studio Album, 2014
3.85 | 73 ratings

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Fall In Love With The World
United Progressive Fraternity Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars UPF stands for United Progressive Fraternity, and originally came about after the demise of Australian band Unitopia. Mark Trueack (vocals), Matt Williams (guitar, bass, vocals), Dave Hopgood (drums, vocals) and Tim Irrgang (percussion) then joined forces with Guy Manning (Manning, The Tangent etc.), who brought in Marek Arnold (Toxic Smile, Flaming Row, SSTTGG etc.) and with bassist Daniel Mash the line-up was complete. There as then the short matter of bringing in ten guest musicians, including such unknowns as Jon Anderson and Steve Hackett?

The use of Marek's saxophone is probably more prevalent on this than on his other releases, and the album certainly benefits from it. Musically this is crossover prog, with some interesting percussive and world influences, and in many ways it is quite different to what else is out there, although at the same time it contains some passages that are quite simplistic yet always melodic. I don't know how much impact Guy and Marek had on the writing of the music, but it is clear that they had a large amount to do with the arrangements. I haven't previously come across Unitopia, but I am certainly intrigued to hear what the band used to sound like, as this is an incredibly immediate and accessible album, and it is just a shame that it has taken me four years to come across it. The use of Jon Anderson on fourth track "The Water" on backing vocals is quite interesting, as before looking up the details I hadn't been aware who had been involved but he stands out a great deal, and puts a stamp of approval on proceedings. Hopefully his appearance will attract fans of his to try this out, as that song itself is yet another great melodic AOR progressive rock number which makes me smile each time I play it. Overall, fun and commercial with small world influences here which make a big difference when they appear. Ecological, and great fun to boot!

 Gyreland by BOMBER GOGGLES album cover Studio Album, 2018
4.20 | 21 ratings

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Gyreland
Bomber Goggles Crossover Prog

Review by FragileKings
Prog Reviewer

4 stars I have known about Peter Matuchniak's music for a couple of years now ever since he appeared on Marco Ragni's 2016 album "Land of Blue Echoes" and I then got a hold of his two Gekko Projekt albums and his two solo albums. By coincidence, I was listening to them again after a long while when he announced the release of "Gyreland" on Melodic Revolution Records, by his new band project Bomber Goggles. Certainly, I was interested!

As the Bomber Goggles band profile explains, the concept of Gyreland is based on an imagined near-future society that builds itself a home upon the floating plastic debris in the ocean. As you may have seen on YouTube or other sources, the amount of plastic floating in the ocean has become immense, and ocean currents are carrying it into places where the plastic collects and covers broad swaths and bands of the ocean surface. The story of Gyreland recounts how exiles, outcasts and refugees discover a vast amount of plastic waste captured by an ocean current known as the Gyre. They somehow feel it possible to build a new home there upon the debris and they name their new home Gyreland. But as they begin to build, they discover that they have a telepathic ability that allows them to communicate their knowledge to one another without speaking (obviously) and they are able to anticipate each other's actions and thus build much more quickly. Troubles comes soon, however, as Russia, China, and the U.S. take interest in this new colony. At last, an invading army is sent in, but as the soldiers set foot upon plastic ground, they too become imbued with the sense of communal feeling and knowledge and brotherhood.

The album features Peter Matuchniak (g/vo), Vance Gloster (keys/vo), Steve Bonino (b/vo), and Jimmy Keegan (d). Vance plays with Peter in Gekko Projekt, and Steve has appeared on at least one of Peter's solo albums. The music to my ears is very similar to Gekko Projekt, and as the album is a narrative concept, it bears similarity to Gekko Projekt's "Reya of Titan", also a narrative concept. This means that it should be very good music and indeed, if this had been a Gekko Projekt album, I would have said it's their best to date. However, as it is a Bomber Goggles album, I must say that they have started off firmly on two very fine feet on solid plastic!

Though there are no epic tracks on here and the song structures are not overly complex, the musicianship and songwriting is not only excellent, but the band members prove their skill at bending time signatures and exercise their diversity in styles, all the while coming across as very focused and concentrated, as opposed to overreaching and scattered all over the place. In particular, the music of "Building", "Renewed World", and "March of Tides" is really top notch while still keeping a conciseness about each of the tracks. I like one part in "Building" with a tricky time signature where Peter plays first two notes, then those two again plus a third, then those three again plus a fourth, and then all four again plus a fifth. This he repeats over several measures. Indeed, the note progression is building. I like it when the music takes on the theme of the title.

The songs are interesting to follow for the lyrics that tell the story but of course the music is still as important and as well-performed as in the instrumental parts. One of my favourite lyrics appear in "Uneasy Truce" with the chorus: "Lens flare / Cross-hairs / Will they dare? / Warfare / Hardware / And Peace prayers / There's trouble in the air". There's also a cool referencing of lyrics where in the first track they sing "I'll be damned if I'm damned," and later in "Wistful Waves", Peter mildly proclaims, "Well, I'll be damned!" Another bit that caught my attention is the reference to The Ides of March in the final track, which plays homophonetically on the song title "The March of Tides".

There is an indy feeling to this album as there is to Gekko Projekt but at the same time it sounds like prog alumni have come together to make this album. I find the overall quality of the sound and the vast collection of (plastic- wrapped) ear candy makes this album easy to listen to on repeat. Even if one track doesn't have my ears on their toes, by the time the next track comes on I'm, uh, all ears again.

Imaginative. Talented. Unpretentious. Easily addictive. Just damn fine music! Well, I'll be...

 Ones & Zeros: vol. 0 by 3RDEGREE album cover Studio Album, 2018
4.36 | 5 ratings

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Ones & Zeros: vol. 0
3RDegree Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars New Jersey's gift to intellectually stimulating eclectic and crossover prog is back with the follow-up (or predecessor?!) to 2015's wonderful Ones & Zeroes, Vol. 1.

1. "ReInstall_Overture" (3:57) fast, brash, and poppy, this one let's me know that we're in for a more rock operetta- like adventure here. I'm reminded here of XTC or some of the poppier KING CRIMSON or ASIA music from the 1980s. It's very nice, but not great. (8.75/10)

2. "Connecting" (4:53) bleeds over from the opening overture, quickly adding singing to the mix. There's a cool intensity to this one while the vocals are going on, but then it gets weird between. "You are the [&*!#] tonight" is an odd lyric to throw in there before going back to stronger intensity. The intricate weave is pretty cool in the next section. This is almost feeling like a visual song, a vehicle for a story to be told on stage. (9/10)

3. "Olympia" (5:15) again bleeding over from the previous song, I like the flow of this section of the album. Great melody line for the first verse followed by a nice little instrumental and decent call-and-response chorus. The story is again feeling as if it's being delivered (or should be delivered) on a stage. And a good story it is with Olympia being some kind of AI servant/slave (who goes off like the OS in the film Her). (9/10)

4. "The Future Doesn't Need You" (5:50) continues the story in a much more delicate, emotional way, with the album's best music, best melodies and powerful lyric. (10/10)

5. "Unintended Consequence" (3:35) Broadway, anyone? (8/10)

6. "Perfect Babies" (4:43) Despite continuing the clever tongue-in-cheek story, despite getting stronger as the song goes along, this one just misses. (7.5/10)

7. "Logical Conclusion" (6:40) despite two awesome instrumental sections (from the end of the second minute to 3:18, and 3:55 to 5:15) and a great choral section near the end, this song fails to "hook" me with any melodic or lyrical lines. (8.5/10)

8. "Click Away!" (15:28) an epic that opens with a sound very familiar to those who have luxuriated in the sonic magic of THE FLAMING LIPS' 2002 masterpiece, Yoshimi Battles the Pink Robots. The lyrics (referring to modern humankind's obsession with quick-access information and entertainment) are great but the melody and song dynamics fall a little flat. Despite several shifts and nice injections from chords, riffs, arpeggi, and interesting instruments/sounds, the song never really rises to a level deserving of superlatives. Great sound and melody in the chorus at 3:50. As a matter of fact, it's the "Thank you Click Farm" choruses throughout that are the most engaging highlights of the song. (8/10)

9. "Ones & Zeroes" (7:07) reminding me of a lot of some music by the CARS, this one gets into my brain enough to bring me back for more. For the finale of the story line, I'm not quite sure what the point has been: "It's always been binary code," means ... what exactly? (8.5/10)

I think the failing of this album is in the band's decision to try to be cleverer and quirkier than they needed to be-- especially with vocal melody lines; just too busy! The best song has the most stable and simple melodies.

Four stars; an excellent addition to the prog lexicon--especially to the necessary conversations regarding the values and priorities of "civilized" society. Too bad the album doesn't maintain the high and engaging standard that is sets forth with the first four songs.

 Rise by SCHOOLTREE album cover Studio Album, 2013
3.84 | 16 ratings

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Rise
Schooltree Crossover Prog

Review by thesmokingman

4 stars A step up from the formative content on "My Metal Mother" but not nearly as realized as "Heterotopia", Rise is a bridge between what was, and what currently is going on in the art-rock universe of Lainey Schooltree. The singing and vibe is evocative of many female-fronted powerhouse albums of yore, yet unique in its own drama-laden delivery and intimate, dusky tone. Each song feels like its own musical play, laden with smart lyricism and poetic verse.

Without going into details that would spoil the discovery for others, and without belittling the greatness of other tracks on the album, the standouts are the introspective "After You're Gone", the anthemic "Heavenside", the sultry, viscous "Let's Dance" and the haunting pseudo a capella title track, "Rise".

For those unfamiliar with Schooltree, I would recommend listening to this album first, as it will serve to make your dive into the absolutely brilliant Heterotopia even more unforgettable.

 The Swan Song by SERVANTS OF SCIENCE album cover Studio Album, 2017
4.00 | 3 ratings

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The Swan Song
Servants Of Science Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars A new band of prog veterans from Brighton, UK, presenting us with a concept album that sounds a lot like THE FLAMING LIPS with lots of reminders from bands like PINK FLOYD, THE CHURCH, Hawkwind, Eloy, The Enid, Nektar, and Babylon. The album tries to present the story of a man in space who witnesses the "end of the world."

1. "Another Day" (5:35) cymbal crashes and thick, multiple layers of Mellotron open this one. Things quiet down at 1:20 for the entrance of STEVE KILBEY/ROBERT SMITH-like voice to start singing over some spacey keys and delicate guitar picking/strumming. Each verse is bridged by return to full 'tron. Nice vintage sound--reminding me of Ft. Lauderdale band BABYLON's 1979 debut album. Simple yet impressive. (9/10)

2. "Kaleidoscope" (3:43) electric piano, spacey synth incidentals, and gentle electric guitar strums back the STEVE KILBEY/ROBERT SMITH-like singer for the first verse until Mellotron and synths and heavily-effected drums join in for the chorus. The second chorus flows into an instrumental section that incorporates recordings of human communications from space with eerie incidentals. Nice. (8.5/10)

3. "Tedium Infinitum" (4:08) setting up as a kind of FLAMING LIPS/80s pop song ("Hold Me Now" by the Thompson Twins) with an appropriate female lead vocal from Helena DeLuca. She sounds a lot like singer Malkah Spigel from the 1980s Belgium-based Israeli band MINIMAL COMPACT. Not enough surprises in the song development for my tastes. (7.5/10)

4. "Peripheral" (8:37) opens with slow chord bounces from electric piano and synth supporting a DANIEL ASH (Love and Rockets, Bauhaus)-like vocal. Overall it's a very FLAMING LIPS/ROGER WATERS-sounding song. The occasional appearance by a Robert-Fripp-like guitar note excites and draws attention but never really goes anywhere after its initial slide up the fretboard. There is a shift at 5:20 in which the band moves into an uptempo straight-time rock beat while multiple guitars, tuned percussion, and synths jam along until the "How will you fall from here" chorus returns around 6:40. Solid crossover prog song. The final minute has the music fall away as distorted electric guitar plays a few rounds of a single chord with arpeggios. (8/10)

5. "Servants of Science" (5:48) here--including the voice! Opens with chimes before "cello" synth sound enters and settles into the background while guitar notes are picked and eerie saw-like synth move into foreground. A multi- voiced Polyphonic Spree-like choral voices enter at the 1:15 mark, surprising me. Nice. At 1:50 the song bursts into a section that is pure ROGER WATERS/PINK FLOYD. The vocal is very forceful (and angry?) The music returns to calm between first and second Waters-like vocal verses. Screaming lead electric guitar and synth-generated orchestral strings enter to support an instrumental section. By 5:20, the anger and force is spent and guitar arpeggi and lead notes turn soft, somber, and sad. Cool song! Clever/creative. (9/10)

6. "Epilogue_Prologue" (3:57) kind of continues the spacious, soft, somber, thought-provoking section from the previous song as recorded voice from 1950s American radio/television broadcast RE birth of the Atomic Age plays. Neil's KILBEY-like voice takes a turn singing before exiting for cool human-voice-aided spacey section finished off with another old voice recording and "explosion"-like sound before radiowave sounds fill the sonicscape. Great song--truly in the same vein as THE FLAMING LIPS' Yoshimi. (9/10)

7. "Burning in the Cold" (10:00) opening with softly strummed electric guitar chords over which DOROCCAS-like voice eventually joins in during the beginning of the second minute. At 1:50 mark synth flute leads just before drums, bass, and rest of band join in. Band pauses mid-fourth minute for an interlude of organ, synth French horn, voice samples and other random industrial and post-apocalyptic incidental sounds. At 5:15 we're back to the opening sounds and pace. At 5:50 a cymbal crash leads into a Mellotron-drenched section with full rock band support over which Neil sings with the emotion of a pissed off Roger Waters. This is then followed by a solid rock guitar solo before we break into a very gentle, airy choral sing of "to the sun, come along" which then repeats to the final minute--which plays out like the droning hum of a large turbine engine. Perfect PINK FLOYD send off. (8.5/10)

So the question is: Is this album more similar to THE FLAMING LIPS, PINK FLOYD, or THE CHURCH? I have no vested opinion in any of the cited sound-alikes. I do, however, truly enjoy and appreciate the choice of album theme and the way it is presented. High marks for this. I will say that I think the sound engineering and production could have been of a higher quality--though I did enjoy the retro-sounds that this album harkens back to, my standards remain snobbishly high--especially with the technologies so readily available in this the 21st Century.

Four stars; a solid contribution to prog world and a welcome addition to the space/psychedelic subgenre.

 Biko by GABRIEL, PETER album cover Singles/EPs/Fan Club/Promo, 1980
4.03 | 23 ratings

BUY
Biko
Peter Gabriel Crossover Prog

Review by TenYearsAfter

4 stars "FIRST REVIEW OF THIS SINGLE"

1. Biko

Peter Gabriel in an interview: "The musical side of the song 'Biko' was inspired by hearing a shortwave Dutch radio station playing the soundtrack to a not very good Stanley Baker epic called Dingaka. There were elements in the choir and grooves which made me want to explore further. I started to listen to various bits of African music.'

The intro and outro are South African funeral music that was used on Biko's funeral, including the words by the crowd singing 'Bakhala uVorster! Ngomhla sibuyayo, kophalal igazi! Ngomhla sibuyayo. Ngomhla sibuyayo. Ngomhla sibuyayo, kophalal igazi!' (intro) and 'Senzeni na! Senzeni na!' (outro), very impressive and it highly contributes to creating a typical African atmosphere.

The music starts with Brazilian drum beats, distorted guitar play and a synthesizer bagpipe sound, this creates a hypnotizing atmosphere with an ominous undertone. Then Peter Gabriel his emotional voice joins: 'Port Elizabeth weather fine. It was business as usual. In police room 619. Oh Biko, Biko, because Biko. Oh Biko, Biko, because Biko. Yihla moja, yihla moja (which means "descending spirit", TYA). The man is dead. The man is dead'.

"Because Biko', brilliant alliteration.

'You can blow out a candle. But you can't blow out a fire. Once the flames begin to catch. The wind will blow it higher.' Wow, what a splendid metaphore and indeed, the Apartheid kept on killing, but in the end that brutal South-Africa government system was stopped, in 1994 Nelson Mandela became the first native president of South- African people, 14 years after the song Biko.

Biko ends with "Oh Oh Oh", it sounds like an archetypical cry for freedom, for justice, what an end, what a song, what a great composer, singer, performer and human being Peter Gabriels is!

2. Shosholoza

"Shosholoza (Go In Peace)" is a song from the movie Dingaka, that delivered Gabriel a few ideas for his song, "Biko." Originally just a chant, Gabriel added music, a fine example of Gabriel his interest in African music, but not really a song with Peter Gabriel vocals.

3. Jetzt Kommt Die Flut

Peter Gabriel used a phonetic transcript, the translations were done by German director and author Horst Konigstein. To me it sounds a bit clinical, it lacks the emotional undertone of the original English lyrics.

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