Korai Orom ~ Hungary

Korai Orom 2009

As noted on the 2001 Sound & Vision entry, Korai Orom kept going, and I kept going with them. It was a reflexive response. It was my comfort zone. In reflection, 2005 is about as far as I needed to go, and probably that was also one too many. The music is familiar across all their albums, though hardly plagiaristic onto itself, but rather an extension of a formula. Ozric Tentacles, who have a similar mindset to Korai Orom, still managed to create a few super interesting songs once you isolate the listen to the album itself, and not binge across a few. In trying that with Korai Orom, it doesn't seem to work. There are nine tracks here, so my challenge will be see if any of them transcends the expectation, which would put it in keeper status. I take a similar approach with metal bands. As you can see by the listen dates below, I was here two years ago, but didn't get any notes down. Let's rectify that.

Track 2 is a straight up psychedelic guitar space rocker, similar to the Ozrics actually, and not something Korai Orom has explored all that much as I discuss below. After that, well, it sounds like Korai Orom without much spectacular merit. Track 4 had enough changes to qualify for prog rock, but overall yea, just not enough here to distinguish itself from the others. Some of which I plan on keeping until the end.

Former ownership: 2009 IG (CD). Tri-fold booklet with a band photo. With a video. Acquired in 2009. Downsized in 2026.

2009; 2/7/24; 6/15/26 (review)  

2001 Sound & Vision

Next up in the haven't-heard-since-acquiring series is Korai Orom's 5th album. I would have been well served to have maintained pages like this as I went along because I think it would have been obvious not to keep going with Korai Orom for as long as I did. I purged a couple already and now I need to see which ones I want to keep. I'm fond of the first three albums, as they came at the right time and place for me. After that, they all tend to be blurry memories, including 2005 below (which was recent!).

And that decision will not come easy, as this 2001 outing is proving. They have a very pleasant danceable sound that just keeps the head bobbing. The insertion of heavy guitar and flute help appreciate the musical aspect and also provides much needed dynamics. If only there was more of it.

The reality is this doesn't have any particular track that towers above the rest, so it will probably get scooped out at some point without protest. But for now, I'm good.

Ownership: 2001 private (CD). Digipak with recording details. Includes a video. Acquired in 2002.

2002; 8/11/25 (review)

 

Korai Orom (1996)

This is the album that sits between their debut and 1997, both of which I've discussed here already. 1996 is the stepping stone from one to the other. It's a bit more zoned-in than the debut, but it's more measured than the kinetic 1997. It's also a bit less dance-y than the latter. I'm finding that Korai Orom is a band I must listen to while chilling at night. For dedicated, focused listening, their music tends to drag. In this way, Korai Orom needs to be approached in the same manner as Tangerine Dream or any similar type of electronic music. When hearing in this light, 1996 gets a +1.

Ownership: 1996 private (CD). Tri-fold booklet. This is a situation where the jewel case isn't modular since it has a pre-printed logo on the front piece (the one that usually breaks). Acquired in 1997.

6//97; 1/6/21 (review)

Korai Orom 1997

Korai Orom's 3rd album, the first to have a title (such as it is), is when the group really started to gel. Their combination of EDM, various culture's indigenous music, and fiery space rock proved to be a popular one, and Korai Orom made a nice career out of it. Most certainly their live shows proved to be even more exciting than the studio efforts. For my tastes, 1997 has remained my favorite of the albums I own by the band. It also happens to be their most energetic, so perhaps not a coincidence. The opener sets the mood perfectly with the hyper percussion and shimmering guitars. I can do without the "hoo ha ha" parts, but otherwise it's exactly what Korai Orom are about. This then leads to the best segue of their career, that of track 2 (they had a habit of not naming their songs) - a countdown followed by a blistering sequence of psychedelic guitar, fast percussion, and wood flutes. If that wasn't enough, the following segue into track 3 almost matches it with yet another killer beat and some awesome Moog like synth sounds. Once again the guitar is on fire here. After this it doesn't maintain this momentum (not sure it could have), but the album is still great throughout. Unfortunately 1997 suffers the same fate as all the Korai Orom albums, and that would be that the tracks are too long. Most of these could have been chopped two to four minutes and the impact would have been that much greater. Certainly if the primary purpose of the music is set for dancing, then one can understand this situation for a live setting. But for home listening, the fast forward button starts to look appealing. A minor gripe I suppose, as I still hold 1997 as one of the finest examples of the genre, and it maintains its excellent rating. If you're into bands such as Ozric Tentacles and want to explore a more exotic alternative, Korai Orom's 1997 is the place to start.

Ownership: 1997 private (CD). Tri-fold digipak. Acquired in 1998.

1998 (acquired); 12/22/20 (review)

Korai Öröm 2005

Korai Öröm 2005 is the 6th album (or 7th if one counts the first cassette) from this fine Hungarian band. Though I have dutifully picked up every album they've released (save their last 2013, so total of nine), I can honestly say I recall little about each. The one that had the great impact here is 1997. In recent years I've gone back to the debut (1995) and 2000 - Sound & Vision, and both fell into a similar pattern which I'll describe here shortly. As memory serves, 2005 was one of the very best, perhaps only second to 1997 in quality. After this revisit, I'm hoping that's not the case.

Listening to this CD now, it's as if I'd never heard the album before as I had no prior memory of it. Just the style. And I fear to say that will be the case for most of the Korai Öröm catalog. In reality, their sound hasn't deviated much from the debut, so it's really a matter of the execution and dynamism of each. So what is that sound? Organic psychedelic dance music, for a lack of a designation more official. And what I mean by organic is they they use real instruments verse just samples, synthesizers, and the like. Because of this, Korai Öröm are often compared to Ozric Tentacles, and in some ways that is a fair conclusion to make. Ozric though were more informed by the 70s space rock bands such as Gong and Here & Now than only considering modern dance music. They blended both seamlessly (and often times just went raucous space rock). Korai Öröm takes an Ozric extract and applies it more toward the rave club circuit. The instrumentation and personnel is impressive, with a variety of indigenous wind and string instruments, a raftful of modern keyboards, electric guitar, additional percussion, and a pounding rhythm section. Along with guest female vocals.

After hearing '2005/1' you'll know if this is your cup of tea or not. The band doesn't extend the style palette much, however the music definitely is varied. The biggest issue I have with Korai Öröm is that they should let loose more in the rock sections like the best bands in this genre do (Ozric, Dasputnik, Quantum Fantay, Vespero). It seems they're always holding back, constantly building the atmosphere and not allowing for more ideas and changes to come forth. It also seems there isn't much in the form of music composition but rather Korai Öröm are more about texture and sound. Yes it's still excellent in aggregate, but one begins to think how much better it should have been.

Personal favorites include the pounding '2005/4' and the exotic, psychedelic, and tuneful '2005/7'.

Ownership: 2005 1G Records (CD). Band photos. Acquired in 2006.

1//2006; 7/18/19 (review)

Korai Orom (1995)

Korai Öröm's debut laid down the blueprint that the band continually draws upon to this very day. They were at once influenced by the UK Festival Psych scene, as well as many of the free spirited dance cultures that came about in the 90s. In effect, Korai Öröm are an organic chill out band. While they certainly do utilize electronics as a core component, the separation aspect is the use of real rock band instruments. In particular the electric guitar is a centerpiece, and often times played with in a fiery fuzz tone manner, and sometimes in high octane mode, which creates excitement within the generally low key "chill" environment. The unusual use of trumpet is also a fascinating addition to their sound. The musical themes often borrow from Western Asian and Australasian indigenous traditions, the latter represented by the heavy use of didgeridoo. On their debut, I'm most reminded of Ship of Fools, a band that arrived late to the UK Festival Psych scene and had a similar approach to crossing over with dance. The main drawback on this debut, is that Korai Öröm stretch their ideas a bit too far, and often times boredom ensues. The group were still finding their identity at this point, and hadn't quite seen their potential yet as a dynamic psychedelic rock unit. All the same, there's a solid 30 to 35 minutes here of excellent music (out of 55), and if you're a fan of the band, it's a must pick up.

Ownership: 1995 private (CD). Acquired in 1995.

5//95; 2/24/17 (review)

2000 Sound & Vision

Sound & Vision 2000 is the 4th album from the Hungarian collective Korai Orom. At this point in their career, Korai Orom sounded like a direct cross between Can and Ozric Tentacles, but as played for Rave parties typical of the turn of the century (later to be named Indietronica). It's repetitive, danceable, and yet still very psychedelic rock influenced. Given they are a large scale band that plays real instruments, the music is far more interesting than a DJ with a massive sampler reserve bank. All the same, while the album is most certainly excellent background music, it's not as engaging on close listens as I'd prefer.

Former ownership: 2000 private (CD). Digipak. Acquired in 2000. Downsized in 2022.

2000; 2/6/16 (review); 7/4/22

Other albums I own: Korai Orom 2010

Previously owned: Live '93-'96

2/6/16 (new entry)

Fermata ~ Slovakia

Huascaran (1978)

Another one of those albums from the collection that I haven't heard in close to 30 years. My recollection is this was my favorite of the bunch, so we'll see if that holds up.

The title track opens things up in an epic symphonic prog way. There's vocals, cello, and it's synth heavy. This leads to A2 which is a monster of a track, with a killer riff about 2.5 minutes in. Some pretty mean guitar solos follow. I'm reading some bizarre reviews stating Huascaran is somehow a lightweight fusion album. One would presume they listened to each track before making such a declaration. A2 destroys any notion of the word "light". Side 2 sees the band switchover from prog to fusion. They play the heavy kind, similar to Mahavishnu Orchestra and their ilk. The second part of the title track is the better of the two and features some ripping guitar solos. The keyboard equipment these guys possessed is a dream for 70s vintage gearheads. Huascaran is a concept album built around a devastating earthquake in Peru in 1970 that took many lives, including those from Czechoslovakia. The music doesn't really fit the concept, except it's a powerful statement. So is it my favorite by Fermata? Not entirely sure, but the first three are all essential in my book.

The CD features three bonus tracks, but I cannot determine the provenance of these. There's very few keyboards on the first one (a little piano), leading me to believe it may have been a different era recording. It sounds different, though probably still from the 70s. 'Valparaiso' does sound like an outtake from Huascaran, and is very much in their fusion stage. The final track is entitled 'Perpetuum 1' which presumes it was an earlier composed version of 'Perpetuum III'. It definitely sounds more modern. There's a horn section and the keyboards point to a more modern era. Not to mention Griglak's guitar tone recalling his Simile album from 1991. In any case, all three songs are very good, and make for excellent bonus tracks. 

Now that I look at the Discogs' entry closer, it looks like some of these are from a radio broadcast from 1976. No way the last track is though.

Ownership: 1995 Bonton (CD). Booklet in Slovak. Three bonus tracks. Acquired in 1997.

First copy: 1978 Opus (LP). Acquired in 1990.

1990; 1997; 6/15/26 (review)
 

Dunajská Legenda (1980)

Fermata's 4th album Dunajská Legenda sees the band moving towards the jazz fusion center, which was all the rage back then (though probably two to three years behind the west in retrospect). Opener 'Wlkina' is the typical funky fusion piece, that at first is off-putting, but has a fine mid section. The remainder of Side 1 is quite good, more towards an instrumental prog rock, with excellent melodies and songwriting. Side 2 again gravitates toward the fusion normality. But each track, no matter how trite, manages to squeeze in a few good instrumental passages. In the end, Dunajská Legenda borders excellence, but falls a hair short. A fine album that has aged well for me.

Ownership: 1999 Bonton (CD). The CD can be a bit confusing if not paying attention. The first track 'Perpetuum III' is from their debut album (1975), and even though there are bonus tracks at the end of the disc, this title is not noted as such, and appears to be Dunajská Legenda's opening. It's incongruous to what Fermata were doing in 1980. The reason they did this is, up to that time, the track had not been reissued on CD, so they just added it to this album to complete the task. A kludgy solution at best. Those two other bonus tracks, as mentioned above, are nothing special however. Acquired in 2000.

2000; 9/9/17 (review)

Fermata (1975)

Fermata's debut is a hard hitting fusion album from arguably Slovakia's finest group. Where Fermata creates separation from many of their peers is they never take their eye off of the composition, and actually know how to craft a memorable melody. So it's not just pyrotechnics, though there's plenty of that here too. Some fine psych edged guitar, Rhodes Electric Piano, and fat 70s analog synthesizers to bathe in here. Great start for the band.

Ownership: 1997 Bonton (CD) With Pieseň z Hôľ. Unfortunately this CD compilation leaves off the 11 minute track 'Perpetuum III'. The 1999 CD of Dunajská Legenda does include this piece. And that's the way I own the first album as a whole. Acquired in 1997.

First copy: 1975 Opus (LP). Acquired in 1995.

1995; 1997; 4/15/13; 11/15/14 (review)

Pieseň z Hôľ (1977)

Pieseň z Hôľ sees Fermata taking the debut and amping it up a bit. A little bit more diverse this go round from a compositional perspective, but difficult to imagine fans of the debut - or of the hard hitting Mahavishnu Orchestra styled progressive fusion - being disappointed here. And 'Priadky' has one of those kind of hard driving bass riffs you're not likely to forget soon. What a groove. Great guitar and keyboard work as expected. Another splendid album from Slovakia's finest.

Ownership: 1997 Bonton (CD). With Fermata.

First copy: 1977 Opus (LP). Acquired in 1990.

1990; 1997; 4/15/13; 11/15/14 (review)

Previously owned: Simile

11/22/14 (new entry)

2026 Revisits of prior UMR entries Vol. 5

Wigwam - Being

Dzyan (1972)

Fantasia (1975)

Scapa Flow - Uuteen Aikaan

Agusa - Hogtid

Artcane - Odyssee

Sunblind Lion - Observer

Kayak - See See The Sun

Message - The Dawn Anew is Comin

Joe Farrell - Song Of The Wind

Puzzle ~ France

Puzzle (1983)

---9/1/10

Puzzle is a well executed all-instrumental psychedelic guitar driven album, released at a time when very little of this style was available on the market. Perhaps only Cincinnati's Ra Can Row could be called out during this era. There are some really sizzling guitar freakouts here. And actually a few well-thought out melodies, which is not something inherent within the genre. But Puzzle has one fatal flaw. And it's the only thing keeping me raving about it: The dreaded drum machine. Had they employed a real drummer, I would enthuse more about it. Naturally enough, the keyboards are all 1980's era synthesizers too, though the guitar fortunately remains the focus. A fine album overall.

---6/11/26

That was the CDRWL entry. I since acquired the LP, heard again, and then filed. So here I am once more (Fish anyone?) to enter into the UMR with a fresh listen.

I first read about this album in one of the many dealer catalogs I received in the 90s. The way it was described, talking up the psychedelic guitars, had me very intrigued. I'm sure they used Heldon as a reference too. No one mentioned the drum machines. Funny how that was a bugaboo for me back then, but today they don't distract me much, if at all. In fact I welcome it - from an historical perspective. For a new album I most certainly would expect a human drummer to participate. But for an album from 1983, I can appreciate the era in which it was released, and the constant looking forward to new technologies. Though it should be mentioned there is real percussion deployed, but the rhythms are primarily carried by a drum machine. And its usage here is pretty sophisticated for the early 80s.

Though a group effort, its nigh impossible to ignore Andre Muller's psychedelic infused guitar all over this. As with LS Bearforce and Ra Can Row (noted above), no one was reaching back into the late 60s and early 70s to achieve that tone. There are only three tracks here, yet Puzzle keeps the music hopping in all sorts of directions. In some ways I'm reminded of Tiemko's Ocean, an album that was to come along about seven years later. And Eric Delaunay had no qualms with throwing in electronic percussion here and there. Overall a really solid album and I enjoyed a +1 listen from this session.

Puzzle is a rather difficult album to categorize. Is it prog, fusion, electronic, space rock? The answer is yes. 

This is one of those albums you'd think would be worth a fortune today, but you can still pull this out of France for relative cheap. For my fellow Americans, you'll have to wait for international postal rates to recess back to normal (and they will), then you might want to mail order one. Or fly to Paris and bring it home. Might be cheaper.

No reissues exist as I create this entry on 6/11/26.

Ownership: 1983 private (LP). Acquired in 2013.

9/1/10 (review); 11/27/13; 6/11/26 (update / new entry)

Tonic ~ Germany

This Way (1980)

---Dec 2004

For the late date, this has a remarkably sophisticated sound – similar more to the classic early 1970s Italian prog scene, than anything typically associated with German rock. Complete with choir mellotron, organ, bells, speedy guitar solos, flute, sax and complex meters. When the vocals kick in, I'm reminded of Grobschnitt's Rockpommel's Land era. 

---6/11/26

Since that first review, taken from a cassette dub sent to me in the 90s, I'd acquired the LP and squeezed in a couple of listens. A mainstay of the CDRWL (reissued only a couple of years ago), it now makes its debut on UMR. 

A2 has a few incongruous Italian styled breaks, with ripping guitar, which comes as a surprise to the listener, as the lengthy A1 is mostly subdued melodic prog with sax. Same with the second half of A2. 

B1 and B2 have been mislabeled for years apparently, as no one took the time to look at the record (or listen to the music). The flute solo is clearly on the opening of the flip, and is noted as such on the label itself. The back cover has it listed incorrectly. No idea if the reissues fixed the placement of tracks. To add, B1 is a great jazz fusion number with plenty of twists and turns. B2 has acoustic guitars and Mini-Moog in the spirit of classic Yes. Lots of sophisticated rhythms here. And yea, the vocals have more in common with Grobschnitt than Jon Anderson.

The title track seemingly gets us back to the laid back opener. But then the mellotron and woody bass enters, while the rhythms go oft kilter. The closer is more Genesis than Yes, with melancholic acoustic guitars and a heavy dose of mellotron. Features a fine guitar solo, though he's more in line with a hard rocker than Steve Hackett.

Overall a fine progressive rock album, not at the highest level, but certainly a solid effort worthy of your time.

Ownership: 1980 Peak (LP). B1 and B2 are reversed on the back cover. Acquired in 2015.

1997; 12//04; 2008; 3/1/15; 6/11/26 (update / new entry)

Madrugada ~ Italy

Incastro (1977)

---3/21/07

Incastro improves on the debut in every way. Gone are the singer songwriter moments, and in its place is a more expanded instrumental approach, almost towards space rock and jazz fusion in places. Violin, flute, sax, and electric guitar are added here to great effect. Locanda Delle Fate was the last hurrah for major label Italian prog, but this can’t be far behind on that list (remember Italy’s best label of the time, Grog, wasn’t a major). 

The CD adds about 30 minutes of bootleg quality bonus tracks, that shows the band firmly in jazz fusion mode.

---6/10/26

Strange album, Madrugada's second and last effort is. Like the debut, it's very inconsistent. Rather than adding in SSW bits, Madrugada goes experimental. Even the more traditional progressive rock songs will bolt on avant garde moments, and you hear this on A1, B1, and B4 which are arguably the best tracks here (along with A2). B2 is an awful attempt at a pop song, and B3 is largely a waste of time, albeit short. But their mixture of space rock and fusion is fascinating, and there are sublime moments to be found.

Ownership: 1977 Philips (LP). Acquired in 2005.

11//05; 3/21/07 (review); 6/10/26 (update)
 

Madrugada (1974)

---2/22/07

Madrugada's debut album is a diverse mix of styles. On Side 1 the album opens with a light instrumental, which is then followed by some rather straightforward singer songwriter material - and quite off-putting and dull at that. Side 2 is far more expressive with elaborate jazzy progressive rock compositions, including some wonderful Moog runs. Of course, it’s the latter half that holds my interest. This is a quintessential Italian sounding album, so if you’re a fan of all that might encompass, you’ll want to hear it for sure. Otherwise, this obviously isn’t the perfect place to start.

Former ownership: 2006 AMS (CD). Papersleeve gatefold. Liner notes in Italian and English. The latter was done by me, but was accidentally credited to a friend of mine. Acquired in 2006. Downsized in 2018.

2/22/07 (review); 3/14/10 (update); 5/30/18

3/14/10 (new entry)

Heldon / Richard Pinhas ~ France

Un Rêve Sans Conséquence Spéciale (1976)

This is Heldon's 5th album and the first to feel more like a band effort than a Richard Pinhas solo work. Not surprisingly, we see Heldon's ratings start to go up at this point as well. The nearly 12 minute opener does not mince its sound. It's a crushing assault of your senses with raging guitar and synthesizers. Francois Auger is now on board to provide the key ingredient of rock styled drums. After such a powerful opening, Heldon reverts to a weird hybrid electronic track with Pinhas on the Moog, and Auger providing a lot of percussion. It's a new sound for them. B1 is a thick and muddy electronic number with pounding drums and added bass. The 15 minute 'Toward The Red Line' closes the album. Now doesn't that sound promising? This track could be seen as the upward ramp from 'Baader-Meinhof Blues' to 'Stand By'. It possesses the former's absolute bonkers Moog sequencing. From the latter comes the power trio aspect with Pinhas' fiery 1954 Les Paul guitar leading the way. Along for the ride is Magma's Jannick Top on bass while Auger goes crazy on the drum kit. Heck yea.

Really hard to imagine the American based jazz fusion label Inner City thought Heldon would be a big seller over here. Almost as crazy as A&M signing up Magma for two albums. At least Inner City could cut bait after only one.

The bonus tracks on the CD are not to be missed. They are labeled Live 1978, so I don't think they are the same as what was on the Perspectives compilation. 'Perspective 4ter MUCO' isn't on any other Heldon archival release. It may just have a unique name. But it's a banger of a track, capturing Heldon in full power trio mode. 'Marie Virginie C.' has been represented live prior (the aforementioned Perspectives), though this is from one year later. It's faithful to the original from the album proper, and will light your stereo in flames.

Ownership: 

1976 Cobra (LP). Acquired in 2011.

2005 Captain Trip (CD). Papersleeve with two inserts and two bonus tracks (one more than the US reissue). Acquired in 2006.

First copy: 1977 Inner City (LP). Acquired in 1987.

1987; 2006; 6/4/26 (new entry)
 

Third: It's Always Rock'n Roll (1975)

The tongue-in-cheek titled It's Always Rock'n Roll, is Heldon's third effort, this time spread across two LP's. Like most of the early Heldon albums, the music is primarily a Richard Pinhas solo album with guests helping out here and there. Opening up with a strictly sequencer based electronic number, the second cut is classic Heldon: Tortured electric guitar searing over the electronic base. Helping out here is Georges Grunblatt, later of K-Priss fame. Lard Free's Gilbert Artman adds drums to A3, and with Pinhas' fiery guitar, gives it a rock band feel. A4 is a cold and icy multi synthesizer piece, predicting where Pinhas was to eventually go on Rhizosphere and Iceland. Pinhas develops this further on 'Aurore', which takes up all of side 2. This track begins rhythmless, and could be considered a forefather to ambient music. About nine minutes in, the sequencers begin to rumble. So for 29 minutes, starting with A4, the album is entirely electronic. LP #2 opens with Pinhas back on guitar, both electric and acoustic. C2 is similar and brings back Grunblatt on mellotron for haunting effect. C3 is a unique track in Heldon's canon. Heavily distorted electronics and guitar create the framework for a blistering experience. It was the logical conclusion of where Pinhas had taken the group to date. 'Doctor Bloodmoney' takes up all of Side 4. Repetitive sequencers are augmented at the end with some fine drumming from Jean-My Truong. This track has a conclusive feel, and it seems Pinhas would consider it a definitive statement on his career to that point. With history on our side, we now know that Richard Pinhas was just getting started on his career trajectory.

This was the last of the first seven Heldon albums for me to obtain, as originals were expensive even back then. Because of this, Third didn't have the impact on me like the others. I was largely familiar with their sound by 1992, and thus the album was comforting, though not enlightening. Had I heard it first instead (as with Agneta Nilsson in 1986), it would be one of the treasures of the collection, no doubt. No matter, as all of them are still what I would consider essential in my book.

Ownership: 

1975 Urus (2xLP). Gatefold. Acquired in 1992.

2005 Captain Trip (2xCD). Papersleeve gatefold. With two inserts. Acquired in 2006.

1992; 2006; 4/27/26 (review)
 

Stand By (1979)

Not an everyday occurence when a band releases their best album on the seventh try and then calls it quits (for all intents and purposes). That's what Heldon managed to accomplish, and closed out the 70s decade in style. It's also a new direction for Pinhas and company, as much of the album is more progressive rock oriented than prior. There's also a parallel effort with Tangerine Dream's Force Majeure, mixing Berlin School sequencer based electronics with rock instrumentation. Though Pinhas was more on fire than Froese at this time. B1 adds in some Zeuhl vocals from Klaus Blasquiz, hey why not, they're going for it. The energy level remains high, and the sequences fast.

Then comes the title track, one of the most blistering, unrelenting, guitar power trio instrumental tracks ever made. It's no wonder why Pinhas closed off the Heldon name here. There was nowhere else to go!

Ownership:

1979 Egg (LP). With insert. Acquired in 1987. 

2005 Captain Trip (CD). Papersleeve. With three inserts. Acquired in 2006.

1987; 2006; 12/8/25 (review)

Agneta Nilsson (1976)

Agneta Nilsson was the first Heldon album for me to hear, and like so many foundational albums, it helped shaped my tastes in music rather than validate them. I was very familiar with Tangerine Dream, Ashra, and Klaus Schulze by this time (early 1986), but little else outside of Germany in the electronic field. When I saw the cover, it seemed like a can't miss proposition. Used import records back then weren't expensive so I took a chance. And was rewarded, though once again it took a long time to fully appreciate. 

The opening track is more like Richard Pinhas' Iceland (an album I'd hear a few years later), which is a long.. cold... electronic landscape. This is followed by the second Perspective which is a wild combination of synthesizers and atmospheric percussion. It's the third Perspective that enthralled me initially (and to this day). 'Baader-Meinhof Blues' is an incredibly intense piece of music and it's here that I was introduced to Professor Pinhas' 1954 Gibson Les Paul guitar. When one uses terms such as anguished, tortured, or nightmarish electric guitar, then this is the textbook definition of that. And while Pinhas is conjuring up the evil side of Hendrix, the Moog playing is magnificent. It appears to be completely improvised with the unpredictable analog instrument threatening to blow up at any moment. Like a washing machine that's about to topple over. This is followed by the one peaceful track 'Bassong' which is a guitar bass duo from two players not on the rest of the album, but both part of Pinhas' world (Gerard Prevost and Michel Ettori). The long Perspective IV is a summary of the contents before it with added doomanality (new word). Pinhas can really crush your spirit with his guitar and "melodies". After this album, Pinhas added permanent members to create more electronic rock sounding albums, that are even better (especially the last two). But these semi-solo electronic experiments prior are not to be missed. Pioneering in every way. 

Ownership: 

1976 Urus (LP). Acquired in 1986.

2005 Captain Trip (CD). Papersleeve. Acquired in 2006.

1/6/86; 9/15/06; 1/5/24 (review)

Rhizosphere (1977)

Heldon were one of the early obscure European electronic groups that I got into during my college years. While in Chicago a couple of years afterward, I stumbled upon the US pressing of Rhizosphere (on Aural Explorer), which is Pinhas' first solo album. Not surprisingly, there isn't that much difference between a Pinhas solo work and a Heldon album. Similar in that way to Edgar Froese and Tangerine Dream in the mid to late 70s. One could argue that Heldon essentially is Pinhas. However, Rhizosphere didn't excite me much on initial impact as it was a bit more static electronic than the more active and full bodied Heldon. Over the years though, I've come to appreciate his dark and heavy sequencer style, which makes the entirety of this album. Though it must be said that Pinhas' tortured trademark 1954 Les Gibson guitar is sorely missed.

What makes this CD more special is the 1982 live material from a concert in Paris. From an artistic standpoint, the two periods of music are incongruous. L'Ethique was the current album then, and Pinhas had more or less shut down Heldon by that point. In effect, it's more of a group effort and the guitar was back out front and center. And the concert is very spirited. While not a perfect soundboard recording, the type of music on display here will distract you from any sonic limitations. 

Ownership: 

2006 Captain Trip (CD) Papersleeve. Bonus tracks as described above. Acquired in 2018.

First copy: 1978 Aural Explorer (LP). Acquired in 1989.

5/24/89; 3/16/18; 6/14/22 (review)

Single Collection (1972-1980 / 2006)

A much needed single compilation from one of France's electronic pioneers. In short form, Pinhas proved to be quite the rocker more so than his electronic focused albums with Heldon and as a solo artist. I've heard most of these in bits and pieces, some sitting on cd-r's. So it's really great to have them all in one place.

The first Schizo 45 from 1972 is a real foot stomper. Heavy wah wah bass and guitars and gravelly vocals similar to the guy from Ergo Sum. It's a long way from anything Pinhas ever did afterward, but it would have been a great path to follow, had he chosen to. The second Schizo 45 (1973) is really the first Heldon work and gone are the vocals (though there's narration). The a) side finds itself on Electronique Guerilla with a different mix, but no less haunting. Patrick Gauthier's 'Torcol' is the b) side, and foreshadows Heldon's more progressive rock tracks. Both Schizo 45s are excellent and not to be missed.

The 3rd single is Heldon's Soutien a la RAF. At 15 minutes, it's really an EP (and it's 33 rpm). Released in 1975, this is where Pinhas gets back to his rocking roots of Schizo, and contains heavy Moog sequencing with his patented tortured 1954 Les Paul. One has to laugh that these were released as "singles". Not exactly AM Bubblegum here. The 4th SP release (1976) is where the Perspectives title takes hold. Recorded during the Agneta Nilsson sessions, once again it's more on the rocking side than the album proper.

T.H.X. (1978) was Pinhas' attempt to join in with JP Massiera and others for the Parisian disco set. A long way from New York's Studio 54, France had some very interesting electronic artists playing in that field. Once you get your mind around the time and place - and don't expect Heldon - then this is a very fine 45 as well. And the b) side is more traditional Pinhas solo fare, with Rhizosphere back in the limelight.

The next single is a complete mystery. I cannot find evidence it exists anywhere. There is a scan of it in the booklet, but it's too small to read. From 1977 (and they put a question mark on that too) on Cobra (catalog number 10.019), the single features two edited tracks from Rhizosphere. My best guess is this is a test press that was never released, and was in Pinhas' personal collection. Anyone know more about this?

This is followed by two singles from the East West era (1980). Arguably this is Pinhas' most commercial effort, and brings back vocals and a slight new wave edge. I was harsh on that album back in the 80s, but I found myself really enjoying the music here on this go round. 'West Side' is on both singles and is the same track, so it's only represented once here.

It should be noted that most of these - if not all - are taken straight from the vinyl, and it's obvious at times. All the same, this collection is a can't miss item for Heldon and Pinhas fans.

Ownership: 2006 Captain Trip (CD). Papersleeve. With booklet showing the credits and pictures for each entry here. There is an essay as well, but it's in Japanese. Acquired in 2021.

5/18/21 (review)

Iceland (1979)

As one can probably guess by knowing nothing more than my avatar, I'm a huge Heldon fan. They were one of my initial discoveries when first digging deep into the European underground of the 70s. It was 1985 and I was all of 20, at quite the impressionable age I might add. So Heldon is one of those bands that helped shaped my tastes in music for the future.

However, Richard Pinhas' solo works didn't have the same impact on me as his band proper, even though he was the undisputed leader of the group. In this way he deviates considerably from, say, Edgar Froese and his comparable solo efforts to Tangerine Dream. Until recent times, the only two Pinhas albums I kept from the 80s were Chronolyse (where side 2 is as heavy as anything Heldon ever did), and L'Ethique (a diverse but also powerful Heldon-like release). So what was the issue with the others? Well from my perspective the key to the greatness of Richard Pinhas is his ability to mix fat analog synthesizers with searing electric guitar (usually played on his trusty 1954 Gibson Les Paul).

It's this latter element that is missing greatly from Iceland. It is, as the title and everyone else's reviews suggests, a icy cold landscape of droning synthesizers and almost-industrial like percussion. Take away 'The Last Kings of Thule', especially Part 2, and the guitar is entirely absent. In effect, it's a static release, missing much of the dynamism of Pinhas' best efforts. In reflecting back as I hear the CD, the music is quite good for what it sets out to do - basically begging you to put a coat on even during a sunny summer afternoon. 'Greenland' is also a very fine electronic piece, definitely recalling Pinhas' trademark sequencer sound with a fine melody throughout. The 25 minute CD bonus track 'Wintermusic' is basically a long extension of 'Iceland (Part 3)', and if anything, is even more sterile and cold than the album proper.

Overall a mixed effort, worth owning for fans, but I'd save hearing this one until you've digested all of the Heldon's and the two aforementioned Pinhas solo works first.

Ownership: 2006 Captain Trip (CD). Papersleeve. Acquired in 2018.

First copy: 1979 Polydor (LP). Acquired in 1989.

1989; 6/28/18 (CD acquired / review)

Chronolyse (1978)

Richard Pinhas' second solo album is an absolute classic of progressive electronic music. The music is very much in line with what he was accomplishing with his primary vehicle Heldon at the time. The album contains seven vignettes of aggressive Moog sequencing, and one longer electronic piece on Side 1. And on the flip, there's a 30 minute brain blaster of guitar-bass-drums and electronics in the best Heldon tradition. A fine companion album to Heldon's Stand By. Brilliant.

Ownership: 

1978 Cobra (LP). Acquired in 1991.

2006 Captain Trip (CD) Papersleeve. Acquired in 2017.

1991; 1998; 8/10/17 (review)

L'Ethique (1982)

Unlike the 1970's era Heldon albums, all of which I can unconditionally recommend, the same cannot be said for Pinhas' solo works from the same period. Rhizosphere is a static electronic album, Iceland is as chilling as its name, whereas East West shows Pinhas trying his hand at more commercial material. But two albums stand out: Chronolyse (1978) which is perhaps the best of the lot and the album of today's post: L'Ethique.

L'Ethique was an excellent way for Pinhas to close shop (and he didn't truly resurrect for at least another 10 years). It's a concise summary of his musical career to that point. The four part title track, spread evenly throughout the disc, demonstrates what I think he was trying to do on East West, except with far better results (and it helps immensely that he buries some of his patented tortured guitar into the mix). The two part 'The Wailing Wall' follows down this trek, but is even more powerful, especially the smoking guitar and sequencer runs of Part 1. 'Melodic Simple Transition' represents his pure electronic side. But best of all, is the return of his King Crimson inspired heavy rock jams, as found on the last two Heldon albums and 'Chronolyse'. These are represented by 'Dedicated to K.C.', 'Belfast' and the bonus track 'Southbound' (taken from the Perspective compilation). This is one of those albums that opened musical doors for me.

Ownership: 

1982 Pulse (LP). Acquired in 1986.

1992 Cuneiform (CD). With bonus track as noted above. Acquired in 1996.

1986; 1996; 5/19/11 (review)

Allez-Teia (1975)

Continuing our trek through the Heldon catalog, we enter the famed number II. Of all the Heldon albums, this is by far the most mellow, with a proliferation of acoustic guitar calming down the proceedings just a little. The subversive feel of the debut is maintained throughout however, and anarchy seems just around the corner. Deep, heavy, thoughtful music. While heavily influenced by Robert Fripp, Professor Pinhas was trekking down an individual path, and is now considered a legend in his own right. A lot of name dropping in the track titles, something that became vogue in the 2000s, but wasn't as common in the 70s. Amongst the more obscure, 'Fluence' references Pascale Comelade, where Pinhas was featured heavily on the self-named album for the Pole label. While 'Michel Ettori' refers to the sometimes Heldon guitarist. A highly regarded album and rightly so. The real underground of the 70s is featured here.

Ownership: 

1975 Urus (LP). Gatefold. Acquired in 1988.

2005 Captain Trip (CD). Papersleeve gatefold. Acquired in 2005.

2//88; 2005; 6/18/10 (review)

Electronique Guerilla (1974)

All of the Heldon albums are special, and the first is no exception. It's more raw and primitive, and that's part of its charm. Moog synths with searing electric guitar work define the album. An anarchic left wing vibe gives it a radical student atmosphere, befitting Professor Pinhas' role.

I found an unpublished summary that I wrote in 2006 about Heldon's early albums: A proper discussion of French electronic music cannot be had without at least a passing mention of Heldon. Lead by the mercurial Richard Pinhas, a professor of Philosophy at Le Sorbonne, and master of electronics and guitar. The early albums, generally accepted as the first three, exude the feeling of the underground - a true rebellion to all things that are commonly accepted. Subversive. One can only wonder what role Pinhas would’ve had in the French Revolution, but I get the impression he would’ve made the history books. And, in some ways, he has made the history books, even if the subject in question are more for connoisseurs than the general public.

Ownership: 

1975 Urus (LP). Acquired in 1987.

2005 Captain Trip (CD). Papersleeve. Acquired in 2006.

1987; 2006; 2/10/10 (review)

Also own: Interface; Fossil Culture

2/10/10 (new entry)

Tiemko / Eric Delaunay ~ France

Parade (1992)

Parade is the 3rd effort from Tiemko and is largely a continuation of Ocean, as described below. No changes in tonality whatsoever, Tiemko were decidedly a band of the early 90s. Their ability to craft complex compositions with a high melodic content remained, much to their credit. The songs are more compact this go round and filled with counterpoint. This all plays to their strength and doesn't force the band to improvise as much. The description of electronic jazz fusion is apt, while fitting very comfortably into the genre of instrumental progressive rock. The album closes with its strongest cut 'Hymne'. It's difficult to decide which is the better of the two albums, Ocean or this. But these are definitely the two to obtain if curious about them.

BTW, this title never came out on LP either, so there.

Ownership: 1992 Musea (CD). Booklet with silly interpretive drawings featuring our trio. Acquired in 1992.

1992; 11/20/17; 6/4/26 (review)

Ocean (1990)

When Tiemko's Ocean and Minimum Vital's Sarabandes were released, I was still an LP-first buyer and the only CDs I was considering were the stray reissue of (usually) impossible to find rarities. The label (Musea) said that they had no intent of issuing either of the above on LP. So I needed to make a very important decision: Was I going to maintain that stance and miss out on the new CDs? Or get with the program and join the CD revolution? I chose the latter, a decision I do not regret for a second some 33 years later, as a good portion of my collection remains full of CD-only albums. And interestingly enough, Musea stayed true to their word. Both of these albums remain without an LP release, even though they are single album length. I believe they might be the oldest albums in my entire collection that are in that state (i.e. CD only).

Regardless of the media format, how has the music of Ocean held up? It's been forever and a day since I last heard it, certainly not in the last 20 years. Happy to say it has aged very well for me, and I recognized most of it immediately, indicating I had heard the album quite a bit when I first received it. While collectors continue to mine the 1960s, 70s, and early 80s, it appears no one cares about this era of progressive rock today. But for me and a few others it was an exciting time when bands from around the world suddenly woke up to a style that barely had a heartbeat only a few years prior. I already owned their debut Espace Fini, so I had an idea of what to expect. In those days we weren't so obsessed with hoping that bands would recreate the past with analog only instrumentation. As long as the music was of a high quality. It's not easy to maintain interest for close to 50 minutes with an all instrumental release performed by a trio. But they're a talented bunch and both the guitar and keyboards are well played. And yes, even some vintage Mini Moog can be heard. Veteran drummer Eric Delaunay keeps things hopping to ensure boredom never sits in. Strong melodies, well crafted compositions, some good jamming with undertones of fusion and electronic. A time proven recipe for a good prog album. Music like this receives mucho nostalgia points from me.

Ownership: 1990 Musea (CD). Acquired in 1990.

1990; 9/24/23 (review)

Eric Delaunay - Antagonisme! (1980)

---8/25/10

Not much is known about drummer Eric Delaunay's past. We learn from the liner notes of Musea's reissue of the second Asia Minor album that Delaunay had been an early member, but left prior to any recording. Then time passes, and he finds himself with a group under his own name on major label Vogue! How he was able to achieve this remains something of an unknown. Especially when one considers how noncommercial Antagonisme! really is. 

The album itself is all instrumental, built upon complex structures and themes. There's some fantastic guitar and keyboards here, along with Eric Delaunay's driving rhythms. Special kudos go to bassist Paul Amar who plays a major role throughout. Other than a couple of short keyboard atmospheric pieces, Antagonisme! is an energetic, well produced, instrumental progressive rock album. Well worth pursuing.

After this album, none of the other members resurfaced again, beyond Delaunay himself. He later formed Tiemko and one can easily hear his songwriting and approach being applied. Especially on their debut Espace Fini, but with more modern equipment (for better or worse).

Ownership: 1980 Vogue (LP). Acquired in 2019.

No (legit) reissues exist as I update this post on 6/4/26.

8/25/10 (review); 3/16/19 (update) 

Also own: Espace Fini

Previously owned: Clone

3/16/19 (new entry)

2026 Classic Rock / AOR Journal Vol. 2

Rage - Run For The Night. 1983 Carrere (LP). Yet another one of those UK bands that used to fill up the stacks of the heavy metal bins in the early 80s, and yet were no such thing. They had the right moniker, and came around at the perfect time to cash in on the burgeoning NWOBHM movement. But they took the easy route, presuming their brand of juiced up AOR would attract the same audience that Journey and REO Speedwagon did. Bad move. Even the coked-up American label execs could smell this fraudulent attempt. So they took a pass, and the album was released everywhere else but here. You would think that if a band decides to make radio hits, they'd actually make an effort at decent songwriting. Love these type of 80s hyper sexed album covers, which made total sense to all of us back then, and now are looked at with disdain (now if it was a guy in heels, well then, that's OK). Unfortunately that's the highlight of the release. (6/1)

City Boy - The Day The Earth Caught Fire. 1979 Atlantic (LP). I remember recording this off the radio and came pretty close to buying the LP real time. In 1979 I was very much into this kind of proggy AOR, as noted on this blog many times. Bands like Styx, Alan Parsons Project, and Sweet were still front and center for me. City Boy fits rights into that model. In fact, the excellent title track, which I loved back then too, recalls ELO at their very best. A3 and B1 demonstrates the guitar crunch that is present while mixing in some sophisticated piano. B2 could be considered hard rock and I think City Boy would have been successful in that market as well. A2 and A4 can be skipped over as obvious pop slop attempts. A5 reminds me of Queen and is only tolerable. This all leads to B3, which clocks in at an incredible 12:36, released in an era when that was unheard of for a major label, especially for a band looking for a hit record. This opus, appropriately titled 'Ambition', has the same kind of vibe that Supertramp brought on Breakfast For America, though much more stretched out. I also think City Boy may have heard a little bit of Camel while they were at it. This album is razor thin close to finding room in the collection, just due to the nostalgia and the oddness of the time and place. But there just isn't any track here that I'd insist on hearing a few more times, so I'll let it fly. Too bad it's not worth anything. (5/24)

Shooting Star - Silent Scream. 1985 Geffen (LP). Shooting Star were an interesting classic rock band from the Kansas City area. Their 1980 debut certainly borrowed from megastars Kansas, mostly with radio hits in mind. But the album's closer 'Last Chance' is an absolute banger, and proves they were proggers at heart, just like their leaders. We'll never know for sure, because the 80s were upon us, and the band made just enough of a commercial mark to keep going with their Journey and REO Speedwagon inspired AOR music. I honestly didn't expect to listen to this album in full. The new arrivals box is crammed as it is, not to mention two full boxes of the prog rock collection I obtained earlier in the year, that I still need to get to. So I've just been scanning albums such as this before putting these in the record show boxes. But I heard enough here to keep listening and will append a rating. Of course I won't keep it. I like that the violin is still hanging in there, definitely not an instrument likely to improve their chances for radio exposure. The second side adds more energy which I preferred. Incidentally I found a sealed copy of Shooting Star (1980) last weekend. Feel like keeping it. (4/18)

2026 Metal Journal Vol. 2

Warrior - Fighting For the Earth. 1985 MCA (LP). I've had this one sitting in the listening box for well over a year now. For some reason I thought this was one of those late 70s hard rock / AOR albums (like TKO) that labels like MCA would put out to an audience of 10. The cover looks more like an arena band logo. But it's clear from the beginning this is heavy metal. Strange I'd never heard of it before. But then again, 1985 is waaay late to the party for this kind of straight up metal. Seeing reviews comparing them to Malice, though the latter is supposedly better. To me they both are standard issue for the era. This is the sound of Judas Priest circa 1980-1983. Which is the problem. The metal world had moved on significantly by this time. Had this come out while I was still in early high school (say, 1981) then I could see this hitting a chord with me back then. Nice listen for certain, though nothing here to earn shelf space. (6/1)

Cellador - Enter Deception. 2006 Metal Blade (CD). OK I'm making a determined effort to go through my inventory, especially these 2016 CD buys. Anything that reads interesting, or on a sample sounds interesting, then I put the listen off for another day. Cellador, though from Omaha, Nebraska, was labeled as Euro Power Metal. This could be a quick exit. I can see why they appended the tag, but I found the album much more interesting than that may imply. The music is fast - very fast in fact - and mostly resembles Helloween in nitro mode. The vocalist does a reasonable Bruce Dickinson emulation. Not hearing those annoying choruses that bug me about Euro Power Metal. The biggest issue here is all the songs pretty much sound the same. Not in a boring sense, but the style meter goes from alpha to beta and that's about it. I hadn't initially intended to hear the whole thing, but I found something to do while it played in the background. Nodding my head throughout. Good stuff, but no, not keeping it. (2/26) 

6/1 update: I sort of gave up on some of these albums like the above. The same sound time after time. After sampling, I started moving these out without a rating or writeup. I know there are some gems in these stacks, and I plan on mining them out. But the rest is "waste rock" for me.

Warlung - Optical Delusions. 2020 Heavy Psych Sounds (LP). Warlung are from Houston, Texas, and are decidedly a stoner rock band, though much more rooted in the 70s than the 90s. The riffs are from the Sabbath school and the guitar solos more towards the mid 70s style. Vocals have a slight Ozzy tinge and are pleasant to the ear. Warlung doesn't take any chances here, staying in the pocket throughout. Only a few years ago, I would most certainly have kept this LP (great cover), but gotta let go sometimes. Good one for fans of 70s heavy rock though. (2/24)

2026 Revisits of prior UMR entries Vol. 4

Embryo - Turn Peace

Radiomobel - Gudang Garam

Vos Voisins (1971)

Kama Loka (2013)

Catalyst (1972)

Cai - Mas Alla de Nuestras Mentes Diminutas

High Tide (1970)

Ange - Caricatures

Emerald Web - Dragon Wings and Wizard Tales

Mekong Delta - Wanderers On the Edge Of Time

Terje Rypdal ~ Norway

Terje Rypdal / Miroslav Vitous / Jack DeJohnette - To Be Continued (1981)

Strange one here as I completely forgot I owned it. It was a recent pickup just as the below was, but I didn't have it registered in all my databases. Once I added it to the Collection Rankings sheet, it fell right to the bottom. Oh dear.

No major surprises here, as the album is largely a continuation (no way) of the debut album from these three veteran jazzers. Essentially an atmospheric chamber styled outing. Very mature and sophisticated. Of which I'm neither. But I can pretend at least. Another one of those albums that I'm sure if I had a spiritual "moment" with it sometime in my past, then I would hold it in the highest reverence. Those moments just don't happen as much as they once did. Title track offers up a more fiery fusion, a welcome diversion.

Former ownership: 1981 ECM USA (LP). Acquired in 2023. Downsized in 2026.

6/13/23; 5/31/26 (review)

Terje Rypdal / Miroslav Vitous / Jack DeJohnette (1979)

Terje Rypdal / Miroslav Vitous / Jack DeJohnette is an all-star international trio made up of contemporary jazzers doing what they do best: Modern atmospheric instrumental jazz. The cover is indicative of the chilly isolated tones. Scattered and abstract. David Torn was later to explore the style found here on his fantastic Cloud About Mercury album. It's best to go into a listening session with music like this in the same manner as you would with electronik. Sit back, chill out, and the let the music take you to places you haven't been in awhile. Or ever.

Former ownership: 1979 ECM USA (LP). Acquired in 2023. Downsized in 2025.

3/24/23 (review)

Odyssey (1975)

I first found this album while still in college in the middle 80s. It just wasn't for me at the time. In reacquiring the album and hearing it for the first time in over 25 years, I can understand why. I was expecting a more active jazz rock / fusion, fields of music I was just getting into in my early 20s. That's not what Odyssey is about. It's a sprawling double album made up of primarily late night noirish jazz. The kind that is usually the sole reserve of the saxophone. But Rypdal substitutes his electric guitar and it's thick, rich, and wonderful to hear. As mellow as it comes but with an acidic tone that gives it a back-end bite. Also worth pointing out are the longer tracks that feature hypnotic bass and drums. This aspect recalls Joe Henderson or Miles Davis. Or even fellow Norwegians Tangle Edge, who would apply this same technique many years later but for the psychedelic jam audience. Odyssey is an investment of time, and is best taken in on a quiet peaceful evening.

Ownership: 1975 ECM USA (2xLP). Reacquired in 2022. First purchased in 1986.

1986; 12/21/22 (review)

What Comes After (1974)

Like with John Abercrombie's Timeless, I thought I'd already heard Rypdal's 3rd solo album What Comes After. But this listen confirmed that I had not. One of his more abstract works, the album is very spacious and a bit on the noirish side. Great for late night solo listening. There's a bass heavy focus, while Rypdal adds plenty of atmospheric electric guitar. Fine album if in the right mood - which apparently I was.

Former ownership: 1974 ECM USA (LP). Acquired in 2021. Downsized in 2026.

12/18/21 (review)

Once owned: Whenever I Seem To Be Far Away; Chaser

Both of the above are fine albums, and I'd like to hear them again.

12/18/21 (new entry)

Saxon ~ England

Saxon (1979)

If you look at the listen dates, you'd think I haven't heard this album since I was in high school. I know that's not right, but have I heard it since the late 90s? Nope, probably not.

Saxon's debut was one of the first metal import albums for me to purchase. European imports were very expensive back then, at least for a pauper like me whose sole income at the time came from a summer job working in an industrial warehouse (in Dallas no less - unbearable heat). At minimum wage which was bupkis in 1982. So every dollar spent had to count. I was looking for heavier, faster, and meaner metal on each purchase. And with that cover of a blood soaked sword, I figured I was in safe territory.

Uh, no. What a strange album Saxon's opening move is. Like I say about Manilla Road's early works, this is Saxon before they were Saxon, if that makes sense. With the opening two tracks titled 'Rainbow Theme' and 'Frozen Rainbow', you'd think they were some kind of psychy prog band. And it's not really that far from the truth. It's not until A3 that you hear the first riffs, though definitely more hard rock than anything metal. 'Judgement Day' is another song that has psychedelic overtones, and is my pick for best track, unrepresentative as it may be. 'Stallions of the Highway' is the first sign of the blueprint Saxon were to follow on their next three albums. Mid-paced biker metal with solid riffing and good solos. B4 is another example of this.

This is a very special album to me for the time and place aspect, and the history as noted above. But for musical content, it's borderline passable. I wouldn't give it much credence had I discovered this album for the first time today.

Ownership: 1979 Carrere France (LP). Acquired in 1982.

1982; 5/25/26 (review)  

Unleash the Beast (1997)

I was an early adopter to Saxon, having bought their quirky debut album, followed by Wheels of Steel, Strong Arm of the Law, and Denim and Leather. And that was it for me. Didn't even follow the band out of high school. It was only within the last seven years that I completed their early 80s classic run with a purchase of Power & The Glory (LP). What they did after that, I really don't know. I've certainly read a lot. It's apparent that Saxon made a go at "capturing" the US market, to no avail (as to be expected). And at some point in the mid 90s, got back on their (iron) horse and went about making music in their former early 80s NWOBHM style, but updated to modern heavy standards.

From my perspective, one of the issues that plagues Saxon is their image and moniker. If one didn't know better (and I didn't at first either), you'd think Saxon to be a band similar to Manilla Road, capturing the ethos of Medieval times, and creating mysterious semi-progressive heavy metal. Nope. Saxon are a biker band, through and through. A creative one, yes, but they're very much in your face metal. 

If Unleash the Beast (1997) is an example of what I can expect to hear going forward, then I'm in store for at least 11 more great albums! Band leader and lead singer Byff Byford is now 70 years old, and by all accounts, he hasn't lost a step. And right next him is his trusty aide and guitarist Paul Quinn, of which the same can be said. Right from the get of the title track, you'll know that Saxon are back from the grave, and packing heat! Every track here is classic NWOBHM music: Melodic, yet heavy riffing, with high quality guitar solos. Byford sounds like Byford, his distinctive higher pitched voice soaring peacefully (he's no screecher) over the racket underneath. Unleash the Beast is yet another pleasant surprise. Obviously I need to hang out more in the CD bins to see if I can find more of this! Interestingly enough, this is the only Saxon album I own - or have ever owned - on CD.

Ownership: 2007 SPV (CD). The hype sticker is hilarious: "Bonus Tracks, Unseen Photos, Liner Notes, Original Artwork, New Booklet!" OK, the last two are probably fair. Bonus tracks? Yes, there are two three minute live cuts. Liner notes? A very small paragraph written by Byford. Unseen photos? There's only one photo! lol. Acquired in 2021.

3/7/21 (review) 

Also own: Wheels of Steel; Strong Arm of the Law; Denim and Leather; Power & The Glory

3/7/21 (new entry)

Thule ~ Norway

Natt (1990)

If Natt isn't the album in my collection with the longest span since I last heard it, then it most certainly is in the running. Bought it not too long after release, and heard it a few times that year, filed away, and here it is for a relisten some 35 years later. To underscore this, I've since moved my entire collection seven times, back and forth between Colorado and Texas - and within each state as well. Have too much stuff, Genius Hans? Yea, methinks so too.

In any case my reaction real time, and today, is that Natt's opener is far more aggressive than the spacey Ultima Thule, as documented below. It's really hard to know what Thule were up to at this stage. Despite their progressive rock heritage, it appears the band were moving into other musical areas. The Hammond organ and electric guitar tones are reminiscent of the past but the compositions are more song based. It's been suggested they were playing a type of gothic rock, and I'm inclined to agree. The darkened atmosphere required for the latter is sorely missing here, and the tracks sort of plod along without purpose. For my tastes, B1 is the highlight.

I remember being very disappointed with their subsequent Frostbrent album, as they had largely abandoned prog rock altogether. Though I suspect it may have been more committed to goth, and perhaps in the end, it was the better album. I no longer own it, so that evaluation will have to be for another day. ProgArchives, for their part, rate Natt as their finest hour. I'll vote for the debut.

Thule were one of a handful of contemporary Scandinavian progressive rock bands on the Norwegian Colours label, one of the earliest of the prog specialty labels. Most known for breaking out Anglagard, Landberk, and Anekdoten - on vinyl at least - they also promoted more obscure bands such as Utopian Fields and The Smell of Incense. They were swimming upstream with their (mostly) LP-only stance at a time when everyone was switching to CDs. They were obviously too far ahead of their time, as they had the right idea for the future.

Ownership: 1990 Colours (LP). Gatefold with native lyrics on the inside. Also comes with a lyric booklet in multiple other languages. Acquired in 1991.

1991; 5/25/26 (review)
 

Ultima Thule (1987)

I bought this from Eurock not long after it was released, and to say it was anachronistic at the time, would have to considered an understatement. While certainly not as retro-prog conscious as Anglagard, Thule do seem to have fallen out of a 1970s time machine. Probably the same contraption that fellow northern Norwegians' Tangle Edge fell out of near the same time. The album is comprised of two side long compositions, that flow together as one long piece (and that supposedly tells a tale of colonizing a new continent - yea, yippee yayhoo). Without a doubt, mid 70s Pink Floyd and / or Ocean era Eloy seem to be the primary influence here, though sung in their native tongue complete with some dark narration bits. There are some 1980s references to be found though, such as the fat digital production with wide open drum beats, as well as an occasional period synthesizer sound. The album pretty much plods along at a slow to mid tempo pace throughout, and the focus falls squarely on the dark atmosphere provided. Thule probably should have experimented a bit more with complex rhythms and dynamics to allow for a more kinetic experience. While this was never what I would consider a great album - it's not one I would be willing to part with either and, in fact, it has aged quite well.

Ownership: 1987 private (LP). Acquired in 1988.

1988; 6/19/10 (review)

Once owned: Frostbrent

6/19/10 (new entry)