Sepultura ~ Brazil

Beneath the Remains (1989)

Sepultura first came across my radar while still in college, and to my ears at that time, they were just too primitive for me to get into. They were getting rave reviews in the metal mags at the time. I believe I first heard Morbid Visions (1986) which, even for fans, is some tough sledding. And that was really it for me and Sepultura. Which is too bad, because by the time of Beneath the Remains, we would have been on parallel paths for where we wanted thrash to go. I was deep into the Euro prog underground by then, and while still very much interested in proggy thrash, I guess I had already written off Sepultura. My loss.

Fast forward to 2017, and now I'm traveling down to Sao Paulo for business. In order to be on time at work Monday morning, it requires a late Saturday night flight from the US. Thus leaving Sunday afternoon open for strolling and a nice dinner. Fortunately my company allowed us to stay at ritzy hotels in safe, leafy neighborhoods. Like the Jardins. And what do people on Sunday do in Sao Paulo? They walk Avenida Paulista. There's many music acts you can catch for free while walking. Including metal. And there were at least three bands emulating Sepultura who were legend by that point. They were all fun to watch and got me into the mood to check some of their material out.

A couple of years later I ended up acquiring five titles on CD in a bulk buy, including the one I'm listening to now. I didn't write about it then, so Sepultura makes its UMR debut today. Beneath the Remains is on the heavier and darker side of the thrash genre, recalling the German groups Kreator and Destruction. The riffs are inventive and change quite a bit. While it's not really progressive in the traditional sense, the riffs are mixed up quite a bit to keep it interesting. Similar to Dark Angel in that way. The vocals are one step away from death metal, very angry and to the point. Not as powerful or accomplished as Tom Araya of Slayer, but we're in the same ballpark. Overall I think this is where I wanted to hear Exodus go, and they never did. Beneath the Remains is further proof that the late 80s were the golden era of thrash.

The first bonus track is a cover of a Mutantes song, done Sepultura style and sung in Portuguese, so there's something to ponder. 

Ownership: 2007 Roadrunner (CD). Booklet with lyrics and historical liners. Acquired in 2019.

11/23/19; 3/2/26 (review)

3/2/26 (new entry)

2026 Folk / Country Journal Vol. 1

*Crosby, Stills & Nash. 1990 Atlantic (CD) (1969). The one CSN album I can listen to. Of course not having the reprehensible Neil Young on board helps with that. As for the other guys, well, they are (or were) knuckleheads, but not so insufferable. What makes this debut successful is it's a far cry from your typical protest hippy folk rock album. A1 and B1 bring in early progressive rock ideas. A3 is beautiful. B4 is another solid effort. 'Wooden Ships' really is something special, and one is left wishing CSN had pursued this trek more often. The Ides Of March version is even more stunning. I've owned this album in one form or fashion since college (usually on LP). Just picked up this CD for a buck at an estate sale, and checking it out again. Might as well keep this first edition US CD unless I luck into an audiophile CD or LP somewhere. It's been happening a lot lately for both formats, much to my happiness (note America review below as but one example). (3/2)

Dando Shaft - An Evening With. 1970 Decca (LP). Picked this one up at an estate sale smack dab in the middle of the pandemic (2020) in a mountain town northwest of here. A most famous sale for UMR as that's where I scored my original Eden Ahbez for cheap. This was a good door prize though. I didn't write about it then, so thought I'd check it out one more time as I'm likely to sell the LP at the next record show. Though I'm usually averse to folk music, and generally find English folk as puzzling to why it's so highly prized. Comus and Jan Dukes de Grey (Mice and Rats), oh yea, sign me up. But most English folk sounds, you know, like English folk. With that premise, I find Dando Shaft better than most, which is why I kept it for the last five plus years. B1 is particularly nice. A3 is hauntingly atmospheric. I can live without the silly A4, but otherwise it's an inoffensive English folk album. Not bad at all, but sticking to my premise of selling it. (2/24)

*America - America. 2013 Audio Fidelity (SACD) (1971). This was part of that incredible audiophile CD collection I acquired back in November. Almost all of it already sold, and most went quick. I held this one back for myself to revisit. Though I doubt I ever gave it a serious listen prior, and certainly not an audiophile copy. As noted here on a journal entry about five years ago, I really enjoy a handful of America's songs, but have never really embraced one of their albums. This debut features 'A Horse With No Name' (though not to be found on first press original LPs), one of the greatest folk rock songs ever written, and I never tire hearing of it when it comes across the speakers at any store I may be visiting. The other two known songs here are the formidable 'Sandman' and the decent 'I Need You'. Is there anything else here? Ah yes, plenty as it turns out. The opener is excellent, and 'Three Roses' would have been worth adding to the Greatest Hits album, though I don't think it ever received much airplay. A6 is another excellent song. The hidden great track here is saved for the next-to-last 'Donkey Jaw', proving that America could have had a swing through the underground had they so desired. I can pass on A4, B3, and B6, but the rest is very good to great. Keeping this one. (1/3)

* - Keeping for the collection

Hooffoot ~ Sweden

Phantom Limb (2025)

Phantom Limb is the third effort from the Swedish retro prog / jazz rock band Hooffoot. I documented their debut, but never did get around to writing anything down for their second. I'll get to it eventually.

Without having the context of their sophomore effort in mind, I'll have to jump from the debut to here. Well, for one, there's no Latin culture influence this time. It's much more entrenched into the jazz rock world of the early 70s, but without the pyrotechnics often associated with the style. The music is composed with improvisation tightly controlled yet visible, making it for an enjoyable and entertaining session. Hooffoot leaves you guessing where they're going next, which is usually a hallmark of a great album and is the recipe for new results on repeated listens. The instrumentation remains steadfastly retro, sticking with analog gear pre-1980. 

As always, it helps to have a reference album to grab onto. Provides the guardrails for a comfortable listen. They aren't near as jumpy as, say, Anglagard, Wobbler, or that branch of the Scandinavian retro prog tree. I couldn't find what I was looking for in UMR, so I dug through my hard drive. Maybe Metrognom? Who remembers this Norwegian band from 2006 whose sole album Twangyluck came and went without much notice? That album also possessed four lengthy instrumental pieces. They did, however, also feature sax, so a diversion, but that may be the closest I get here. I need to revisit that album and place it here in UMR. Of course, Berits Halsband (noted below) also had four instrumental tracks as well, though they were a bit more psychedelic and featured trumpet.

For me, especially at this point. Hooffoot's Phantom Limb is extremely easy to listen to. As I said about Viima's last album, it's so very much in my comfort zone. Perhaps even more so. You won't hear me say this too much these days, but I'm very much looking forward to their next album, and I'll pounce on it quicker next time.

Ownership: 2025 Paura di Niente (CD). Embossed trifold digipak. Acquired in 2026.

3/2/26 (review)
 

Hooffoot (2015)

Hooffoot are from the southern Swedish city of Malmo, and are an excellent representation of a Swedish progressive rock band... from 40 years ago. Like their forefathers, the band is rooted in jazz, but fascinated with rock. And Latin culture. Sound odd? Not in Sweden would it. So combine Kvartetten Som Sprangde, Sabu Martinez, Ablution, and Mendoza together. Then go back exactly 40 years to one of the all-time Swedish jazz rock greats, and just now being discovered (finally): Berits Halsband. "Oh hello Miles Davis, Kebnekaise, and Flasket Brinner - nice to meet you!". And then enters the room this jumpy, kinetic 90s group called Anglagard (perhaps you've heard of them?). Funnel the lot of them into the blender and grind, mash, grate... Hooffoot. 

Ownership: 2015 Paura di Niente (LP). Gatefold. Acquired in 2016.

2/12/16 (review); 8/3/17; 11/10/25

Also own and need to review The Lights in the Aisle Will Guide You.

2/12/16 (new entry)

Spirit ~ USA ~ Los Angeles, California

Clear (1969)

The standard narrative here is that Spirit's first two albums are classics, but their 3rd was thrown together, and is a lesser (but still good) effort. Apparently the band themselves felt that way as well. 

Some folks point to the use of instrumentals as proof. Yea, I mean, we wouldn't want music to get in the way of a potential smash hit. B1 is brilliant, something you would think came from an English prog album a few years later. Leading the way, of course, was King Of The Clucks critic Robert Christgau, a loathsome (in many ways) holier-than-thou creature that I point to as responsible as anyone for holding back everything I enjoyed in music, especially progressive rock and heavy metal. I remember his crappy guides from the 80s where he derided every single prog album that I liked. Can you imagine what he'd say if he'd heard the hardcore Italian ones? Oh good grief. I can only imagine the reviews from future historians that state "speaking from the era in which he lived, misguided critic Robert Christgau opined the following:" Haha. How did I get here? Oh I just saw he criticized 'Ice' as "indicative of how "incredibly empty" the band can be as well." Yep, right out of his playbook. Triggers me. The Dean of American Rock Critics - my butt.

So is it correct to say that Clear is a step down? Hmm, that's a tough one. There are a few lesser songs on here, especially on Side A (3,5,6) which is their bread and butter talent. But they also bring some crisp 1969 styled psych singles to the table. And I like the classical and jazz oriented instrumentals. I appreciate when a successful band experiments with the formula a bit, regardless of the circumstances. The Beatles made a career out of doing just that. Don't hear anyone say boo about them, now do you? Right, Christgau? Ironic he has Christ in his name, actually.

The bonus tracks include '1984' which was my introduction to Spirit way back when I was an early teen. I liked it then and I still do. I just could never figure out which album it was on. Haha. I didn't know it was a 45 only release until many years later.

Ownership: 2010 Ode Epic Legacy Europe (5xCD). Original Album Classics. Acquired in 2021.

10/22/21; 3/2/26 (review)
 

The Family That Plays Together (1968)

Right from the beginning you'll hear one of Spirit's classic anthems 'I've Got a Line on You', harkening back to their strong songwriting skills displayed on the debut. Released at the tail end of 1968, Spirit demonstrated they were ahead of their time (especially in the US), eschewing standard hippie fare, embracing the psychedelic with a jazzy, and even progressive rock, slant. Unlike the debut, there are no extended pieces.

As with Blue Oyster Cult, your interest in Spirit's individual albums will fall squarely on whether or not you like their songs, rather than sophisticated arrangements or highly technical solo instrumentation. I'm not too keen on A6 or B4, but otherwise I find The Family That Plays Together a pleasant listen.

I love that respected jazzer Marty Paich was involved with these guys in their early days. Clearly Ed Cassidy's influence there. As with Sabicas and Joe Beck, you don't usually see that kind of generational interaction in the early days of rock. Though Spirit were built that way from the beginning.

The five archival bonus tracks are more instrumental in nature, and mellower. They're very much in the same style as the album, especially within the jazzier spectrum (recorded near the same time). I found that any one of these would have resulted in a slight upgrade to the album proper.

Ownership: 2010 Ode Epic Legacy Europe (5xCD). Original Album Classics. Acquired in 2021.

10/24/21; 2/2/26 (review)

 

Spirit (1968)

After the original insane lockdowns of the pandemic, the magnanimous government of Colorado "let us" have a bit of our freedom back. So glad we live in a free country. A teaser of the communism to come I guess. Hey, it wasn't safe. Ya-huh. In any case, as soon as I could go to estate sales and thrift shops, I did. With my stupid mask on. 

I bring this up on the Spirit post, because for whatever reason, the first LPs I was finding right away were from them. Most not in the best shape. A year later (still under some sort of edict), I found the five CD Original Album Classics series, and I sold off the LPs, and that was the end of my initial Spirit exploration.

Except I didn't document any of those listens, beyond some brief notes for Clear. The exception to my Spirit renaissance was the first album, as I'd randomly picked up their CD some 15 years earlier. I'll start here and also review the others in the coming weeks.

I consider Spirit a highly unique band. They didn't rely on instrumental prowess, or any other crutch, to hide their inability to write a song. And that was their strength - an innate ability to craft melodies. And they were strong arrangers. So, yes, perhaps 'Taurus' being the most famous with a chord progression most known as 'Stairway to Heaven'. I'm one to give Zep a break here, as they most certainly fleshed it out much further, and only one central theme is familiar. Best guess it was a subconscious event rather than purposeful deceit. If one is to call out an instrumentalist, it most certainly would be the guitar of Randy California. And really love his acidic tone when employed.

There's elements of psych, jazz, and early prog concepts. The Beatles songcraft is also apparent at times. The exception to the tightly woven songs is the lengthy album closer 'Elijah" that shows the band were comfortable with instrumental jamming as well. Here, the flow recalls the Doors a bit. Or vice-versa.

The bonus tracks, on the other hand, seem to refute my claim about them being songwriters first, and jammers second. Really enjoy this side of Spirit as well. I hear these bonus tracks as essential to the overall experience.

Ownership: 
1996 Ode Epic Legacy (CD). Booklet with full historical liner notes and four bonus tracks. Acquired in 2005.

2010 Ode Epic Legacy Europe (5xCD). I only kept the original Legacy CD for the liner notes, and that it possesses little value. Otherwise, the bonus tracks from all the CDs are here too. Acquired in 2021.

2005 (first listen); 2/18/18; 1/27/26 (review)

Will be reviewing albums 3 through 5 in the coming weeks.

1/27/26 (new entry)

True Myth ~ Canada ~ Ontario

True Myth (1979)

---12/14/09

Much was made at the time of release that True Myth's sole album was the first ever all digital recording from Canada. I guess it's ironic, then, that the album remains unissued in digital format. This is obviously a big budget affair, complete with a thick gatefold cover, lengthy liner notes, and a brilliant production. Musically, even though it's from Canada, it has much in common with the US Midwest prog rock scene of the mid 1970s. 1979 was a little late for an album like this, and there's the expected obvious commercial AOR moves. Excellent high energy piano work recalling Festa Mobile, for an obscure reference. A good album that is generally panned by the progressive rock community. But I have a soft spot for this kind of stuff and recommend it to those who like groups such as Ethos, Styx, and Sunblind Lion.

---3/2/26

That entry was for the CDRWL, and shortly thereafter, a CD appeared out of Japan on Belle Antique. The album now makes its debut on UMR. 

Named for keyboardist and principle songwriter Tom Treumuth, the London, Ontario based band were blessed with a large budget. How successful album sales were would be anybody's guess, but there's plenty of supply in the used marketplace. I didn't mention it above, but once again Gentle Giant can be used as a reference here, a very common occurrence for the region. In reflection this album really should have made the big time. It has everything that was expected from the era, including great songs, production, and musicianship. Special mention goes to guitarist Tony Cook who lights it up on more than one occasion. Excellent mellotron on B1. In reflection, the album is more progressive rock oriented than I had realized before. All the short form tracks pack in a lot of ideas per bar.

Perhaps it was just too progressive for its own good, and there really isn't any notable hooks that linger after the listening session has stopped. Which is why novelty records tend to do better in real time, though they rarely age well. A3 was probably their best shot, sounding quite a bit like same era Supertramp.  An impressive debut, but sadly it was to be their last. Though there's no doubt the band would have been forced to adapt to the upcoming New Wave trends or go underground. The latter option would be doubtful.

Ownership: 1979 Warner Bros. (LP). Gatefold. Multi page poster lyric and historical insert made to look like tractor feed printer paper. Acquired in 1992.

1992; 12/14/09 (review); 3/2/26 (update / new entry)

To-Mera ~ England

Delusions (2008)

Over 11 years ago I purchased the first two CDs by To-Mera and recall them being quite different from the norm. With a female vocalist. Who has the perfect name of Julie Kiss. According to my notes this is the first title I heard by them. Those listens both went undocumented, so let's see what Delusions has to offer.

Something different. With a female vocalist. Who has the perfect name of Julie Kiss. I can see why I was intrigued from the off. Anyone who has read UMR for any length of time will know that I embraced tech thrash and prog metal from the beginning in the 1980s, and have always had an ear for metal bands looking to extend beyond the norm. But not too much, to be honest. Some metal bands took that idea to the extreme, and sounded more like a cut and paste exercise in random thought. To-Mera manages to make these lengthy songs interesting throughout. And they go beyond the usual prog metal twists and turns as they offer various musical forms not usually associated with the genre at all. Not as a side show, but rather intertwined within the song. That's the magic really. These guys are as nutty as another British collective going by the names of Inner Sanctum, Fifth Season, and Synaptik. Keyboards play a major role in their sound, and what I really appreciate is the different timbres applied. Not the usual digital plastic pad with the standard samples. I like the integration of soft jazz and pop here and there. And Miss Kiss can carry a tune, and not sound like the typical bird with a broken wing. They are a talented bunch for certain. The metal is on the heavier distortion side, yet another plus.

To be honest I never fully embraced the "female fronted symphonic metal" genre all that much. More inoffensive than enlightening. I remember guys in the late 90s swooning over Within Temptation, Nightwish, and that whole lot. "Could listen to Cutie Du Jour sing the phone book" as I recall. To-Mera is completely different. Much more innovative and jarring. Challenging but in a good way. Somewhat similar to Dimensions era Believer, though not really thrashy. 

Had Delusions been released in the early 90s, I'd have played it multiple times, predicted all the changes, and it would likely be one of my favorite metal albums ever. This is only my second listen, long past my impressionable stage. While no chance for nostalgic remembrance, it nonetheless passes any objective measure. Quite enjoyable.

Ownership: 2008 Candlelight (CD). Booklet with lyrics, artwork, and recording details. Acquired in 2014.

11/23/14; 2/23/26 (review)

Also own and need to review Transcendental.

2/23/26 (new entry)

Michal Urbaniak ~ Poland

Inactin (1973)

Back into the Sound Pieces set. Paratyphus B proved to be too "out" for my tastes, let's see how Inactin does.

Yes, a bit better. A little more focused, though its clear Urbaniak had no intention of going mainstream here. The German influences are more to the fore, and there's clearly some of that Krautrock experimentation going on. Mixed with free jazz. Every once in a while they catch a groove and you begin to think this might be more towards jazz rock. Then it shifts gear into atmospheric jazz, and a lot of noodling. Ursula sounds even more wacked out here. Not easy listening for certain.

Next up will be the live show. 

See Paratyphus B for ownership details. This title came from a VG record, curious why they didn't find a better one to use for their CD. Not so rare in Germany.

2/23/26  

Paratyphus B (1971)

I'm largely ignorant of Michal Urbaniak's extensive canon of work, though I've been aware of him since I started crate digging in the middle 1980s. Some like-minded friends were into him, though I never pursued in earnest. I recall very little about his music that was played for me back then.

As I listen to Paratyphus B, I can understand why I probably didn't pursue. You really have to be in the mood for stuff like this. Released only in Germany on the Spiegelei label, you can hear the avant garde jazz of the era almost immediately. Urbaniak provides a very adventurous type of electric violin, miles away from the likes of Jean-Luc Ponty. On the final track he plays the saxophone in similar fashion. Future wife Urszula Dudziak is very much into scat singing, and she is at once energetic and atmospheric, occasionally at the same time. Electric piano also gets a workout. The three piece rhythm section rounds things out. 

This title is a bit rough for my ears. The melodic jazz parts work really well in this setting, but it gets very noisy in places that I don't find pleasant or comforting. Not sure how this CD set will turn out. Depends on where I land with the other recordings. I don't mind owning music like this, as it provides a stark contrast, just not too much of it please. More to come.

Ownership: 2023 Made in Germany (3xCD). Part of Sound Pieces. Tri-fold digipak with historical liner notes inside the digipak. Obviously mastered from vinyl (or a noisy tape). Acquired in 2026.

2/9/26 (review)

Also own and need to review: Live at Lila Eule

Also once owned: Body English

2/9/26 (new entry)

Viima ~ Finland

Väistyy Mielen Yö (2024)

It's been ages since I last checked in with Viima. The 2010 revisit of their debut (below) is the last time I've heard a note from this fine band from Finland. I was quite enthused about the group through their second album, and then they disappeared after years of promising a third effort. That third album day finally arrived a couple of years ago. I broke down and decided I unnecessarily needed another Viima effort, even though I have plenty of this type of sound already. I keep saying I'm done adding to my collection more of the same. Old habits die hard.

Singing defiantly in Finnish, like fellow countrymen Sammal and Malady, Viima go about making progressive rock the 1974 way. That would include instrumentation. Flute, Rhodes, organ, mellotron, and psychy electric guitar. Along with a rhythm section that feels an obligation to provide a challenging meter or three. All Genius Hans Essentials. I've said it before, but sometimes going back to my roots maintains my collecting enthusiasm. As much as I enjoy exploring new avenues, I also appreciate returning home and curling up in the familiar bed while watching an old TV episode. With hot chocolate. And these beautiful gatefold covers also bring me back to the golden age. Comfortable. Yes, comfortable is the right word. 

Ownership: 2024 private (LP). Gatefold. Acquired in 2026.

2/23/26 (review)

  

Ajatuksia Maailman Laidalta (2006)

It’s getting to the point that everything that’s from Finland is great. They are to the current decade what the French were to the 1980s. And thank goodness for that. Wasn’t sure what to expect here. Was told it was Finnish folk prog, and about the only band I associate with that is the obscure and rare Scapa Flow. It’s not really like that however. Even though it’s sung in beautiful Finnish, the album has more of a UK feel than one from continental Europe. The female vocals are one distinguishing factor. What’s interesting to me are the guitar breaks, which are rooted in hard rock – a clear departure from the acoustic folk psych of the base material. I quite liked this one.

Ownership: 

2006 private (CD).

2018 private (LP). Gatefold with lyrics. Acquired in 2022.

12//2006 (review); 3/15/10

Also own and need to review Kahden Kuun Sirpit.

3/15/10 (new entry)

Jun Fukamachi ~ Japan

Spiral Steps (1976)

I'd heard a couple of 70s Jun Fukamachi albums back in my CDRWL research days, both rating out well, though I never purchased anything. Until now. Spiral Steps is a new title for me, and the reviews sounded promising, so I grabbed a new CD online. Let's see how it goes.

The first two tracks are, to be nice, not really what I'm looking for. Both are funky fusion of the ear friendly variety, a sound that was all too common in the mid 1970s. While expertly played, it lacks the innovation or melodic immersion I'm seeking in that genre. Starting with the title track, Fukamachi moves towards jazz fusion, with complex horn charts, and rip roaring solos. The rhythm section is insane. This leads to the three part 'Scoto Phonobine', which takes the title track as a blueprint and runs with it. Type 1 is in the same jazz fusion style, Type II is atmospheric electronic (a welcome diversion), whereas Type III goes about destroying the studio with a fiery ending. Always the best way to end an album leaving one more satisfied than they probably should be. The album is inconsistent, and at times sounds more imitative than creative.

Another way to listen to Spiral Steps is to take in the wide array of keyboard timbres. Fukamachi possesses a smorgasbord of the latest keyboard technology 1976 had to offer. Which, in todays world, would be the preferred sounds over 2026's latest and greatest. Fender Rhodes, Hohner Clavinet, Hammond Organ M-6, ARP Odyssey, Minimoog, Solina Strings Ensemble, and Oberheim Digital Sequencer all get featured, some dramatically.

Not sure where I stand on this title, but I heard enough for this CD to earn shelf space. I'm sure, at some point, other Jun Fukamachi albums will find their way here, so I'll create a page.

Ownership: 2018 Universal Japan (CD). Booklet with liner notes in Japanese. Acquired in 2026.

2/23/26 (review)

2/23/26 (new entry)

The Spirit Of Christmas / Christmas ~ Canada ~ Toronto, Ontario

Lies To Live By (1974)

Lies To Live By was one of my earliest discoveries of non-English progressive rock. Found the LP at one of the Dallas record shows while still in college (likely the summer since I was in Lubbock otherwise, and I had intern earnings to spend). For whatever reason I have yet to document the album in any forum, so best to get on that.

I wasn't sure what to make of the music back in '86. It wasn't immediately likeable, at least for my tastes then. There was one exception, which I'll cover below. A couple of years later I traded it for something more to my liking, only to obtain it again (brand new as it turns out) in a collection buy in 1994. By then I had secured the CD, and wheeled and dealed a sweet return that I'm sure I still have today (did that a lot from '94-'96). A few years ago I paid handsomely for a super nice original, and that will be its resting place.

Today I hear the album as a bonafide progressive rock classic, so what was the original problem? For one, it does take a bit to get going. A1 and A3 are more in the folk rock vein, though A2 certainly introduces proggy concepts. Today I hear all three as excellent, as they are all subtlety progressive. It isn't until 'War Story' that The Spirit of Christmas gets into The Spirit of Progressive Rock. The way the track is structured, and the mellotron use, recalls the great Kestrel. The latter a band I wouldn't know for some years later. Not sure my brain was around any kind of AOR concepts at that time.

The major exception to my initial ennui was 'Factory'. This is Rush before Rush was Rush. Make sense? That is to say, what Rush became in the late 70s, not how they started. A mixture of hard rock and prog, the track moves in multiple directions with some dynamite guitar and tricky rhythms. A whole album in this style would have likely been labeled an all-time classic by just about everyone. Unfortunately it was the only highlight for me at the time, likely due to its heaviness.

This takes us to the 11:30 minute closer, for which I was expecting an epic closer. And didn't get it. From a flow perspective they probably should have flipped the two B-side songs for a stronger ending. I was younger and more impatient at age 21, so it wasn't what I was hoping. Today, knowing full well the contents throughout, I find it an excellent way to go out. It's more English sounding than North American, and demonstrates the maturity the band possessed at that time. And that was the end of the various incarnations of Christmas. Band leader Bob Bryden went in various directions after this, which he's taken the time to well document.

Ownership:
1974 Daffodil (LP). Gatefold. Reacquired in 2022. First acquired in 1986.

1990 The Laser's Edge (CD). Includes an insert with historical liner notes and lyrics.

1986; 1995; 11/29/17; 2/23/26 (review)

Once owned both Christmas and Heritage. They were boots and I long sold them off. Need to revisit both at some point.

2/23/26 (new entry)

2026 Metal Journal Vol. 1

Blackfinger. 2014 The Church Within (LP). Looks like I added this to my Discogs collection in Aug 2024. You think I'm running behind here? At least I know when I added my LPs. The CDs are piling up without an acquire date on them - some going back to 2015. So who is Blackfinger? One of a handful of vocalist Eric Wagner's bands. He of Trouble fame. As soon as the vocals appear, you'll recognize his trademark Ozzy interpretation immediately. The music is, as expected, heavily influenced by early Black Sabbath. More like a distilled version of the metal aspects with included stoner tendencies and even a little Pink Floyd. Modern revisionism without the charm of the past. There's not much new under the sun, especially in the doom metal genre. If a diehard fan of Trouble, the allure is there, though it doesn't have that 80s mystique. I'm a huge fan of the first three Trouble albums, and while this album felt comfortable, I didn't derive much excitement from it. (2/20)

Moxy Roxx - Victims of the Night. 1986 private (EP). Even without looking at the cover, just the moniker alone should clue you in as to the type of music on display. Then you see the four dudes with makeup, eyeliner, teased hair, and that clinches it. Moxy Roxx, hailing from Milwaukee, Wisconsin, were like hundreds of 80s bands hoping to jump on the glam metal train. Victims of the Night is notable for how lightweight the metal is, focusing more on getting radio airplay. On the plus side, the EP does contain a much stronger than normal keyboard presence (including organ, which is unheard of in this genre). The guitar talent isn't half bad honestly, though one wishes for a bit more grit. Overall it's a decent entry for hair metal, though the bar remains pretty low here. As with the Black Flag that I wrote about recently, this came from the same clueless chain that couldn't find it in their own database, so it was considerably cheaper than current market value. (2/11)

Falconer - The Sceptre of Deception. 2003 Metal Blade (CD). Another year, another attempt to tackle that 2016 metal buy. One decade in, and I haven't made a dent. Will this be the year? Doubt it. But we'll continue to pick at it along with the other full drawers of CDs that are laying around here. The Sceptre of Deception is listed as Power Metal, and it's from Sweden. Oh boy. "Raise a pint ye downtrodden and we shall arise with might, and defeat thy enemy!". Chugga chugga chugga. I sense cynicism. Nah. If AI created a power metal album from Europe, would it sound like this? Hey, you never know. I'm beginning to despise the European variation of power metal. I shouldn't be so harsh, as the music is, as usual, very well performed. Based on what I'm reading, Falconer are well respected within the style, that of Viking folklore metal. I have another title by them here, maybe it will fare better. As an aside I don't think I've ever seen a CD that was harder to read. Dark green on dark green is not what one would call... good contrast. (2/9)

Queensryche ~ USA ~ Seattle, Washington

The Warning (1984)

---11/8/21

I embraced Queensryche at the very beginning with their brilliant Judas Priest styled EP. When word surfaced that their first full length was going to be more "progressive" I could hardly sleep I was so excited. In 1984, progressive rock mixed with metal was still more of a fantasy than a tiresome burden. After buying the LP on Day 1, I was so very disappointed. Some years later I ditched it. OK, there is the CD on the thrift shop shelf, let's try it again. Hey, this is pretty good metal actually. Not progressive of course, but not too far off the NWOBHM sound they had perfected a year earlier. Geoff Tate was (is, I suppose) a great singer.

---2/20/26

I sold off that CD only to get both the LP and CD back in recently. The LP condition wasn't the best, so into the show box it goes. Let's try this album one more time.

I'm also creating a page here, since I know I will speak highly of that aforementioned debut EP whenever I get around to listening to my copy again. And I'll try to be more patient with their more commercial breakthrough albums that were still a few years away (I wasn't too keen on them real time). Two of those titles are here in my vast inventory, so who knows when they will be touched. Queensryche, like Metallica, are a band who has a great following, and then suddenly fell out of critical favor and put out a series of low rated albums (seven straight according to RYM). At least in Queensryche's case it appears they have rebounded nicely in the last decade plus.

When hearing early Queensryche with an Iron Maiden perspective, the music opens up nicely. They had similar approaches during this era, though Maiden were far more advanced with Powerslave in 1984. But if I consider the previous Piece of Mind instead, then we have some parallels worth considering. I mean, seriously, Geoff Tate was something special as a talented singer. As was Bruce Dickinson. The metal quotient, that is the heaviness of the guitars, is somewhat muted. That would be another resemblance with the almighty Maiden. Judas Priest gets thrown out as a comparison all the time, but that was more considering their EP, and Priest were a different (and lesser) animal by 1984 themselves. To tie the Maiden knot is the closing track which is also The Warning's progressive rock statement. One has to remember that in 1984, metal bands had mostly steered clear of prog for fear of losing street cred or whatever image one had to project in those days.

The problem was... Iron Maiden were something of an exception in that era. The metal movement had moved on to heavier realms as Metallica, Slayer, Exodus, and the German contingent of groups were taking everything to the next level. Meanwhile bands like Fates Warning were prepping the world for a true mix of prog rock and metal. Where does Queensryche fit? I read a review where someone felt the band was "holding something back". I feel the same way. Not heavy enough, not progressive enough, not innovative enough. Yet it's a solid effort throughout. From an historical perspective, including my own personal history, I think I should hold onto the CD this time.

Ownership: EMI-Manhattan (CD). Acquired in 2026.

Former ownership: 1984 EMI America (LP). Acquired in 1984.

9//84; 11/8/21 (notes); 2/20/26 (review)

2026 Fusion / Jazz Journal Vol. 1

Matrix - Tale of the Whale. 1979 Warner Bros. (LP). Last year I wrote about Harvest, their late era big band jazz rock 1981 album. On Tale of the Whale the Wisconsin based band were still, remarkably it would seem, on a major label. The music is a mix of jazz fusion, funk, and big band. Much more on the jazz side of the equation than Harvest. More soloing as well. No highlights to speak of, though as I listen through, it seems like ECM would have been a better fit for the album. Pleasant though non consequential. The last track has some killer bass work. (2/5)

Robin Crow - Electric Cinema. 1992 Rendezvous (CD). We were in the middle of nowhere Arkansas, and one of the thrift shops had a great deal: 10 CDs for $1. 10 cents a piece for those that struggle at math. I found a few goodies right away, but then I needed to fill in the rest. Then I saw Robin Crow. No idea who he is, but he's featured on the front cover with a double neck guitar. I looked him up and it said he performed CCM - Contemporary Christian Music. Hmmm. After finding nothing else, I reluctantly tossed this on the stack. Much like David Diggs that I featured last year, Crow may be a mover and shaker in the CCM world, but this is no CCM album. It's instrumental jazz fusion all the way. With a progressive rock slant. And none other than fellow Christian music traveler, Kerry Livgren, is one of the participants. One of the tracks is a cover suite - that encompasses Yes, U2, and Pink Floyd. A very well done fusion album. Had Crow brought just a bit more edge to the proceedings I would have kept this. But there's no more room for just very good fusion albums. I have too many as it is. Interesting to note that he thanks Compassion International as a cause he truly supports. Their headquarters is a stone's throw from Casa UMR, and the Mrs. and I run their well maintained dirt trails sometimes. (1/23)

Dixie Dregs - Free Fall. 1977 Capricorn (LP). Dixie Dregs, from Miami, are a band I've chosen not to write about in the past. Their albums come and go through Purple Peak Records, but I can never generate any enthusiasm surrounding them. I don't have a rating on their debut, so might as well at least get some notes down about it. I have an old friend that absolutely adores them, much of it going back to his own youth. Time and place, I talk about that often. I didn't have that history, so there's no nostalgic pull for me. Their albums are something like a jazz fusion hoedown. The musicianship is at a very high level, though I'm not a big Southern rock or Country guy, so the melodic quotient score goes down. That's personal taste versus an issue with the band's approach or performance. I definitely understand why they are popular. I found the second side more preferable. (1/22)

*Horacee Arnold - Tales of the Exonerated Flea. 2011 Wounded Bird (CD) (1974). One of the more heralded of the early 70s heavy fusion albums, drummer Arnold's second and last solo album gathers up some marquee names and let's loose a fiery set of jazz rock tunes. Jan Hammer, John Abercrombie, Rick Laird, Sonny Fortune, Art Webb, Ralph Towner, and many others contribute. The compositions are on the high energy side, which I consider a plus. Track 2 is a banger. I'd heard this album back in the day, but it struck me as rather ordinary fusion. Which it may be, but in the context that was 1974, that's still a high compliment. Mahavishnu Orchestra and Weather Report fans would me amiss not to check it out. CD adds one very good undocumented bonus track, which is more jazz oriented than the fusion based album. (1/5)

The following are jazz albums that I've been finding around town for $1 or less. Not necessarily in my interest wheelhouse, but they make for fine late evening listens. I'm not rating or reviewing these anywhere, since it doesn't seem the right thing to do. I'm keeping some of these for now, though probably not permanent. Any titles that capture my imagination will be rated and elevated to the primary collection. This is an ongoing project.

*Sonny Clark - Leapin' and Lopin'. Blue Note (CD) (1962)

John Coltrane - Stardust. 1997 OJC / Prestige (CD) (1957)

*Miles Davis - Round About Midnight. 2001 Columbia Legacy (CD) (1957)

*Cal Tjader - La Onda Va Bien. 2003 Concord (SACD) (1980) This one I rated. Excellent.

Jack McDuff / Joey DeFrancesco - It's About Time. 2003 Concord (SACD) (1996)

* - Keeping for the collection

Radio Massacre International ~ England

Emissaries (2005)

---Oct 2005

What an outstanding release this is! RMI had hit a bit of a rut in my opinion, starting with Planets in the Wires (ED: since rectified - see review below). All their (proper) albums are good, but they were missing some oomph recently. This has some amazing sequencer, mellotron action. Some real drums and pulverizing guitar add to a great album. Their best in a long while.

---2/16/26

And it's been a long while since I heard this - as in the day I received it 20+ years ago. As pointed out elsewhere, I loaded up on Berlin School albums in 2005, so the fact I was offering high praise to Emissaries in that same year is notable, given the huge potential for overload.

Radio Massacre International were an unusual choice for the avant prog focused Cuneiform, but it proved to be a fruitful relationship that lasts until this day. Emissaries is RMI's debut for the label. And a whopper at that, a sprawling two full CDs. The first CD is a studio recording while the second is a live concert in Philadelphia.

What does one seek to hear on a Berlin School Electronic album? The creativity of sequences, the texture of sounds, the atmosphere, and the melodic songcraft. As a bonus, if one gets more analog non-keyboard instrumentation, especially electric guitar and drums, then you probably have a winner on your hands if the group executes on all the above.

And that's exactly what Emissaries does. The band also adds a few brushes from the style palette. This isn't 1977 Tangerine Dream emulation, as they might have done in the past. Though there's no mistaking their Berlin School roots, one gets to hear an almost progressive rock approach to the compositions. The second disc is looser in structure and there are many cosmic blues segments created by the guitar.

Two hours and 16 minutes is a lot of music to absorb. RMI are to be commended for keeping it varied throughout so as to not be a monotonous listen. I'm guessing my initial enthusiasm came from that perspective, as it was a deviation from the norm. There are more moments of dithering about than I had realized on initial impact. Now I'm not so sure this is a top tier RMI release. Certainly it's a keeper for now, and once all of my RMI collection has been heard, I should be able to discern what are the best titles for me to keep.

Ownership: 2005 Cuneiform (2xCD). Booklet includes liner notes. There's also a comic strip in .pdf that I have yet to view. Acquired in 2005.

10//05 (notes); 2/16/26 (review)
 

Republic (1996)

---2006

It’s been awhile since I’ve listened to any Radio Massacre International, and even longer on the earlier ones that got me hooked initially. I think Republic is the first one I bought in 2001 and started me on a tear of picking up retro Tangerine Dream style bands from the UK (Red Shift, AirSculpture, Arc, Under the Dome, Arcane, etc…). Tangerine Dream laid out an interesting framework from Phaedra to Encore, one that wasn’t copied by anyone, including themselves, for over 20 years. There were some mild attempts, usually by solo artists (which is near impossible to do – you need the synergy of at least two people to accomplish some interchange of ideas). Then finally some of the groups I mentioned above started getting serious about it. Another key ingredient is the use of analog synthesizers (Moogs, VCS, Elka, Mellotron). What I like is that RMI and the others don’t exclusively go retro and will use modern technology to their advantage. But they didn’t abandon the past either. Then there’s the development of each piece. No cruise control sequences for these guys, they’re always twiddling knobs and adding / reducing sounds as they go. Just sit back and watch the world go by. Here’s your soundtrack.

---12/1/25

Another album I haven't documented in the UMR era, even though I snuck in one listen in 2014. Not that my viewpoint has changed in the near 20 years since that review. Some more detail though. There's only three tracks. Each over 20 minutes, filling up the entire CD. It doesn't start off in bombast mode however. The opening track is a slow buildup, with plenty of sequencers and mellotron to set the tone. 

The second composition is similar, though the sequencers become more powerful about eight minutes in. And then you can hear that the guitar is gearing up to let loose. And then he does just that, with roaring synthesizers in the background, at the same moment they unleash the dark choral mellotron. That combination is a tough one to beat, no matter what genre of music you're hearing. This piece gets very intense in places, like we hear from Tangerine Dream on their archival live releases from 1977. The ending of this incredible track sounds more like Heldon than T. Dream.

Not to be outdone, Republic then goes into that same dark cavern with a lake, as I describe on my Rubycon review. Choral mellotron defines the haunting mood. The question becomes, are we going to exit along the river or stay there forever? The sequencers then begin to provide the light so we can see our way out. Optimism is reflected in the flute tapes of the mellotron. The pace of the sequencers continues to increase. By the 19 minute mark everything is louder and more intense. For the last six minutes we have a chance to reflect on all that has happened.

If you're going to get into Radio Massacre International, then I'd suggest Republic to be at the top of your list.

Interesting to note, this album isn't listed in ProgArchives though most of them are. This is one of their landmark albums, so a strange absence for certain.

Ownership: 1996 Centaur (CD). Acquired in 2001.

2001; 2006 (review); 12/23/14; 12/1/25 (update)

Planets in the Wires (2001)

According to my database, I have accumulated 14 RMI albums to date, and sold one (Zabriskie Point). Too much of the same thing you ask? That's kind of where my head was at going into this listen. Of all their albums that I do own, I've held this one with the least regard.

Now I'm not so sure of that assessment. I will say that it is too long, and the 75 minute length could have been trimmed by 20 minutes, easy. Some of the lengthy "ambient" sections don't add much to the recording and get away from what Radio Massacre International does best: Essentially copy Baumann-era Tangerine Dream. But once the sequencers begin to roar and Gary Houghton begins to wail on his guitar similar to Edgar Froese, well it sure is hard not to appreciate the contents within. I probably do have too much of this kind of stuff. Where to draw the line? I dunno - kicking that can down the road some more. I have other fish to fry.

Ownership: 2001 Northern Echo (CD). Acquired in 2002.

2002; 6/24/22 (review)

Solid States (2003)

Solid States is made up of four live and studio concerts during November of 2002, performed in both Philadelphia and the Los Angeles area. This is one of Radio Massacre International's more psychedelic releases, and that's primarily due to the abundance of electric guitar. Basically what we have here are long journeys of Berlin School electronic music with fat analog sequencers, mellotron, and loud acid guitar solos. If this sounds like Encore-era Tangerine Dream, including the concerts-in-the-USA theme, then yes, you have tracked the scent indeed. One cannot possibly get enough of 'Coldwater Canyon' in my book, and here you'll swim in roughly two and a half hours of it. Essential.

Ownership: 2003 Northern Echo (2xCD). Acquired in 2003.

2003; 5/26/16 (review)

The God of Electricity (1994 / 2000)

In effect, The God of Electricity is Radio Massacre International's earliest album, though not released until 2000. The album was recorded throughout the summer of 1994, and later pieced together, which is a bit different than the normal RMI protocol. It's a darker work, with synthesizers dominating the proceedings even more so than later in their career. The sequencers remind us once again that Baumann-era Tangerine Dream is the blueprint for all future RMI recordings. The God of Electricity is yet another excellent album from RMI, though I wouldn't recommend it as a starting place. Better to try their actual debut Frozen North to get the true Radio Massacre International experience.

Ownership: 2000 Centaur (CD). Acquired in 2001.

2001; 11/1/16 (review); 4/3/25 (update)

Septentrional (2006)

Radio Massacre International have to be viewed as one of the most innovative of recent groups. Certainly within the electronic music space, a field that has the same devotion and non-wavering loyalty to sub-genres as does heavy metal. You're either "Berlin School" or "Ambient" or "Techno" or any other such labels, but you shouldn't be all of them - say many fans. RMI, who started out pretty much strictly "Berlin School", are now all the above and more, with recent excursions into tripped out Krautrock, and whatever else they feel like doing. Septentrional is one of their most polarizing CD albums (their privately released CD-R's are even more controversial). Produced by Ian Boddy, and released on his DiN label, Septentrional is RMI at their most modern and cutting edge. But in a paradoxical way. See, Septentrional has more of that ancient mellotron than any of their other albums. Of course it's put through the production grinder and is echoed, techno'd, phased, manipulated, and ultimately tortured through Boddy's mad scientist lab. It's all rather fascinating. Headphone music for the modern age. If looking for just one composition to leave your jaw hanging, may I suggest 'Trident', which is truly a beautiful thing to hear and behold.

Ownership: 2006 DiN (CD). Acquired in 2008.

2008; 10/18/15 (review)

Frozen North (1995)

It all starts here for Radio Massacre International (RMI). That most creative English band that almost single-handedly brought back the Berlin School trio format back to prominence. All three perform on a raft full of analog keyboard equipment (yes, of course, mellotron, Moog's, etc...), while one doubles up on electric guitar. Sound familiar? Sure it does. So if you're looking for about 20 more quality albums from the glory days of Tangerine Dream's "Virgin Baumann years", well do I have good news for you! Not that RMI was content to just sit in that same zone, as many of their albums followed other trends of German Kosmische, but primarily RMI were all about sequencer and atmospheric mid to late 70s Tangerine Dream. And the double CD Frozen North is the perfect place to start (if you can find it that is - I bought mine not long from its release date). We are talking two hours and 15 minutes of Encore meets Rubycon era Tangerine Dream. Not a mere copy, but yet a completely unique take on a classic sound. To say it is essential for fans of Berlin School elektronik music would almost be understating the matter.

Ownership: 1995 Centaur (CD). Acquired in 2003.

2003; 12/21/14 (review)

Knutsford in May (1997)

The hardest part about writing on Radio Massacre International, is that they have so many doggone great albums, it's near impossible to determine what is great from what is really great. If you're a fan of the Berlin School of electronic music (Tangerine Dream, Klaus Schulze, etc...), and you like sequencers, mellotron and electric guitars (and even real drums on later albums) - then do not wait another second - don't walk, but run out, and buy at least one RMI album. You almost cannot go wrong, though as I said in the prelude, there is a bit of separation on their respective titles. Knutsford in May is one of their can't miss titles for fans of the genre. This one has more than its share of mellotron and guitars, and while listening to this you'll feel like someone dropped you into Edgar Froese's studio circa 1975. RMI have completely mastered the style, and if you're looking for a starting place - Knutsford in May is as good as any.

Ownership: 1997 Centaur (CD). Acquired in 2001.

2001; 10/10/06; 5/17/11 (review)

Rain Falls in Grey (2007)

As stated in my review for Septentrional, Radio Massacre International are one of today's most innovative groups. Case in point: Rain Falls in Grey. On this outing, RMI pay their respect to Syd Barrett. Musically this is RMI's most overt space rock effort, with raging electric guitars, and ferocious drumming. As well, RMI have successfully created those magical atmospheres that one would typically find on an old German Ohr release, who themselves were enamored with late 1960's Pink Floyd. This being RMI, one is never too far from classic mid 70's Tangerine Dream, and the combination of the early Krautrock sound with "Berlin School" electronics is highly fascinating. After a bit of a lull at the beginning of the decade, RMI has created a triumvirate of classic releases starting with Emissaries. Each represents an entirely different sound. Rare is this kind of innovation found, much less from a band whose recording history was almost 15 years old by this point.

Ownership: 2007 Cuneiform (CD). Acquired in 2008.

2008 (review)

Other albums I own and need to review: Organ Harvest; Borrowed Atoms; Upstairs Downstairs; Walking on the Sea; Time & Motion

And they have tons more than this, especially when one considers all the downloads and cd-r's.

5/17/11 (new entry)

Octopus ~ Germany

The Boat Of Thoughts (1977)

The Sky label was originally founded by a former Brain label executive, and their early roster of bands focused just as much on progressive rock as it did electronic music. The latter more representative of the label in future years, and its overall legacy. Octopus were one of those early prog rock signings.

With history on our side, we can hear that Octopus were very much part of the German prog rock scene of the mid to late 1970s, most of them released on private or small labels. In this scenario, Octopus would have been one of the more successful bands by the sheer fact they were on a label with some marketing muscle. The bigger prog names of the day, many of them on the aforementioned Brain label, included Jane, Birth Control, Eloy, Grobschnitt, Amon Duul II, with up-and-comers like Anyone's Daughter on the horizon. Within these parameters, the music of The Boat Of Thoughts becomes familiar. The two distinguishing traits of the album would be: 1) The decidedly melodic approach, including some beautiful guitar and synthesizer work. It's here that we notice more of a Camel-like approach rather than the expected Pink Floyd. And 2) the vocals of Jennifer Hensel. Generally female vocals were only heard on the folk rock or Christian oriented albums. Hensel's approach is more from an aggressive earlier era, like Tomorrow's Gift or Frumpy. If the music was drenched in early 70s instrumentation, then this could be considered a late era addition to my "Post Psychedelic, Proto Progressive With Female Vocals" RYM list. Take her out of the mix, and the band Trilogy of Here It Is fame comes to the fore.

If one were to absorb the reviews out there, you could be forgiven to think of The Boat Of Thoughts as a mediocre to poor effort. I cannot agree with that whatsoever. Highly melodic progressive rock always has a place here with Genius Hans.

Ownership: 2009 Sireena (CD). Booklet with historical liner notes in English and German. Acquired in 2010.

Former ownership: 1977 Sky (LP). Acquired in 2000.

2000; 5/19/09; 3/7/10; 2/16/26 (review)

At one point I owned An Ocean Of Rocks. I need to hear it again. Also intrigued by the archival The Lost Tapes (1974) that came out a few years ago.

2/16/26 (new entry)

Flamen Dialis ~ France

Symptome - Dei (1979)

---7/30/18

A very unique album - one that inspires polarizing reviews. In spirit, Symptome - Dei seems very much like an Edgar Froese solo album - except it's not really an electronic album per se. Nor is it a type of progressive rock or folk. Avant prog? If taking the name literally, then yes. But not for what the genre has come to mean, not even close. This is a very spacious music, created mainly with mellotron and percussion. Symphonic sound sculpture? Whatever it is, I quite like it. 

---2/9/26

The notes above were penned for a journal entry that remained unpublished. So Flamen Dialis makes its UMR debut here. This is an album I've had in my possession for 30 years, though I'm still largely unfamiliar with the contents. Mostly from the imagination of Dominic Le Gallic, he gathers no less than seven others to join him on his journey. Though it seems natural to categorize the album as part of the electronic genre, it offers too many diversions to fit comfortably in that space. The spirit of exploration is very much alive on Symptome - Dei. Elements of Fille Qui Mousse are apparent, without the annoying free improv bits. The music is from another era, that of the early 1970s. When I made the Froese solo reference, I was thinking very much of the mellotron use. Symptome - Dei is absolutely drenched in it, similar to Froese's Macula Transfer in that way. The interesting phenomena about this album is it's actually melodic. Most of these type of albums tend to go tuneless in a rush to create cacophonous noise. This is miles from the Fred Frith / Tim Hodgkinson mindset. Franco Battiato is an artist that is sometimes referenced, and his early experimental works surface here as well. As I concentrate on the music, one can hear the brilliance that is Algarnas Tradgard, minus the psychedelic jams. Had this been released in 1972, perhaps those psych moments would have been in here too. One of a kind for certain. Where to place in the collection? In the same cube that stores albums on the Ohr label, for example.

The CD adds their 1978 single. Both sides are excellent, and demonstrate more of an ensemble effort. Would have loved to hear more from this era of the band.

Ownership:
1979 FLVM (LP). Acquired in 1996.

2004 Mio (CD). Booklet with liner notes in English and French. Two bonus tracks from a 45. Acquired in 2004.

1996; 2004; 7/30/18 (notes); 2/9/26 (review)

According to the liner notes, there was a 45 single released in 1971 as the Yecta Plus Band, which was the ancestor to Flamen Dialis. I've spent a good amount of time searching for this record, including asking other like-minded collectors. Never for sale on ebay, Discogs (nor listed), catalogs, etc... Nothing has turned up. I'm guessing it doesn't exist, or at the very least, it wasn't released to the public or even as a promo. Perhaps an acetate exists. Would love to hear it, if true.

Didier Le Gallic resuscitated the Flamen Dialis brand name for two more albums in the 2010s, which I've not heard.

2/9/26 (new entry)

The Headhunters ~ USA

Survival Of The Fittest (1975)

My CD emphatically states "THE Best Space-Funk Album". No room for negotiation, you just have to accept that premise. Funny to see that from a major label reissue.

Formed by Herbie Hancock, though he isn't a participant, The Headhunters go about making a funk album with a heavy jazz component, most notable in the free-ish saxophone playing from Bennie Maupin. Blackbird McKnight's guitar is more subdued here than on Straight From The Gate, except on B3 where he finally lets loose. There's more than a nod to the same sound Embryo and Missus Beastly were pursuing in Germany during this era. My favorite cut is the atmospheric flute / funk rhythm of 'Rima'. While Maupin has the burden of holding up these compositions, my MVP vote goes to bassist Paul Jackson, who puts the "funk" in this album.

Yea, I think I can go on record here and debate the CD's declaration of Best Ever Space Funk album. Regardless, it's still a fine effort in the style.

Ownership: 2025 Music On CD (CD). Essentially a repress of the 2001 Arista / BMG France release. Acquired in 2026.

2/9/26 (review)

Straight From The Gate (1977)

A mix of hard hitting instrumental jazz fusion and funky vocal numbers. They succeed on all accounts. Some great guitar from future P-Funk member Obsidian Blackbyrd.

Ownership: 1977 Arista promo (LP). Acquired in 2024.

7/3/24 (notes) 

The band reformed in 1998 and have released five new studio albums since. Haven't heard any of them, but if I do, I'll report back here.

2/9/26 (new entry)

Protos ~ England

One Day A New Horizon (1982)

---2006

Sometime around 1992 or so, England’s Record Collector magazine had an article on the rarest UK items ever. For the 1980 decade, Protos was named #1. And their over the top praise of it made me put it at the top of my curiosity list – where it remained for 14 years. Then out of the blue I hear from Rory Ridley-Duff, who was the keyboardist, and he obtained my info through the reissue website. We start a dialog and before you know it I have a cd-r copy of Protos at my doorstep. The only other album I know on the Airship label is Gemini’s Counterbalance, and I did get a cassette copy of that rather quickly after learning of it. Not surprisingly, Protos album has a similar vibe and feel (i.e. underproduced, with lesser quality equipment). However, whereas Gemini is more melancholic and straightforward, Protos is very much a complex effort – like an instrumental Yes during their classic period. But played with early 1980s equipment. I really can’t think of anyone doing this kind of progressive music in 1982 – closest might be The Body Album. Or Sweden’s Autumn Breeze minus the vocals. This was during the heyday of the NWOBHM movement. So wonderfully out of touch this is.

---2/9/26

And that was my last listen, a few years prior to UMR. On this session I'm getting more of a Camel vibe rather than Yes. The Enid is also a good guidepost. The wonderfully-out-of-touch reference above is spot on, as Protos were existing in their own world. While influenced by the 70s, it's not born from it. The music belongs to the cassette culture of the early 80s, where anything and everything goes. The knee-jerk reaction would be to place Protos in the middle of the New Wave of British Progressive Rock movement. However, Protos does not play in that tight, urgent manner we hear from those bands. And the music of Genesis is hard to find here. These guys were following their own lead, and were likely headstrong in getting this out on vinyl in the first place. The amateurish nature of the recording, especially considering the primitive digital keyboards, is more in vogue today than it was in 1982, much less in 2006 when this was reissued. One of those strange forward-looking from a backward-disposition albums.

I didn't mention the live tracks from 1982 and 1983, but they are a worthy bonus additive. The recording quality is from the audience, but is mostly listenable with obvious mastering flaws later in the set. It features four of the tracks from the album plus three others, one original and two are covers from known prog entities.

Ownership: 2006 private (cd-r). This version was put out by Rory Ridley-Duff. It's unique in that the seven live bonus tracks are not to be found anywhere else. This is different than the cd-r Discogs shows. It sports a different front and back cover; has different live tracks and an additional guitarist as well. I'll add it to the site soon. There also exists a manufactured CD that includes two studio tracks not on the cd-r but without the live tracks. Acquired in 2006.

2006 (review); 2/9/26 (update / new entry)

Flotsam and Jetsam ~ USA ~ Phoenix, Arizona

No Place For Disgrace (1988)

I figured it wouldn't be too long before I became reacquainted with No Place For Disgrace, and that day has finally arrived. I talk about this album in the Doomsday For the Deceiver review as being the only real time exposure I had to Phoenix's finest Flotsam and Jetsam.

This was the era that was transitioning from straight up thrash to more progressive realms, in particular the technical metal movement, sometimes known as progressive thrash. I remember being pleased with the album upon first listen, but as time went by, I began to hear it as more ordinary thrash. Today the phrase "ordinary thrash", especially from the late 80s, is a much welcomed guest. I was rather certain I would enjoy this album far more than my contemporary rating suggested. And that prophesy has held true.

The opener packs a wallop, and I think even when I was at my lowest point with the album, I would concede it was the highlight here. No Place For Disgrace catches the band at the professional Metallica level, perhaps two years too late to truly cash in, but certainly a great addition to the second wave of bands coming through like Testament and Death Angel. It's definitely heavier than their debut, and arguably more technical. The songwriting isn't quite at the Metal Church level, but it's certainly thought through. Listen to 'Escape From Within' as but one example. This isn't bonehead metal in the slightest. I think a few more curveballs per track would have placed them at the vanguard with the more proggy thrash bands of 1988. Regardless, still an excellent representative of 80s thrash.

Ownership: 1988 Elektra (LP). First acquired in 1988. Reacquired in 2026.

1988; 2/5/26 (review)
 

High (1997) 

As noted below: "These are the type of albums I hope to find in a thrift bin CD pile." And here we go! I only knew the first two F & J albums, and I documented Doomsday for the Deceiver below. High is their 6th album released at a time when thrash was completely out of vogue. As such there are some trendy groove metal insertions. Eric AK isn't screaming anymore, sounding more like Hetfield during this era. Plenty of wah wah pedal bluesy solos and stoner rock moves. Back cover shows song titles using famous band logo fonts (Iron Maiden, Judas Priest, Metallica, Van Halen, etc...), but it doesn't appear the music matches the style of these bands. In any case High is fairly ordinary heavy metal, an all too common problem for the late 90s. It's good, but nothing more.

Source: 1997 Metal Blade (CD)

8/29/23 (review)

Doomsday For The Deceiver (1986)

My only exposure to Flotsam and Jetsam real time was No Place For Disgrace (1988), an album I picked up and enjoyed but it never bowled me over. I kept it for a long time before ultimately letting it go. I wouldn't have done that today, but it's not a big deal. Only in the last few years did I finally obtain a CD of their debut. Of course I knew who the band were back in the day. If you were a thrash metal fan, who didn't? As any dedicated fan knows, this is the album that bassist Jason Newsted debuted on. Within that same year he would famously replace Cliff Burton in Metallica after he died in a tragic accident. But when this debut album was released, it was a rather obscure and typical Metal Blade thrash release, of which one a week were coming out back then. Doomsday For The Deceiver is meat and potatoes thrash. It's not particularly heavy for 1986, certainly nowhere near Master of Puppets. The dual guitar lines are crisp and melodic, and Eric A.K. breaks glass with the best of them. Newsted does show his massive bass chops here, and at times it seems he's the lead instrument. The guitar solos are a slight cut above, as Flotsam and Jetsam always had an ear for melody. As the years roll by, I do get a nostalgia pull out of this era of thrash, so I enjoyed a +1 listen.

This along with No Place are still the only two albums I've heard by the group, and they are still around to this day. These are the type of albums I hope to find in a thrift bin CD pile. Or vinyl in some cases, but of course they are now price prohibitive if paying retail.

Ownership: 1986 Metal Blade (LP). Lyric inner bag. Acquired in 2022.

First copy and since sold: 1994 Metal Blade (CD). Acquired in 2016.

9/1/16 (first listen); 12/23/22 (review)

Flotsam and Jetsam continues to this day with 15 original studio albums under their belt. As noted above, I'd be up for hearing any that have yet to cross my stereo.

12/23/22 (new entry)

Agropelter ~ Norway

The Book Of Hours (2025)

So what is an Agropelter anyway? AI tells us: "A legendary "fearsome critter" from North American lumberjack folklore, said to inhabit hollow trees in coniferous forests from Maine to Oregon. It is depicted as an ape-like creature with a slender, wire-like body and long, muscular arms used to break off and throw branches at loggers." Leave it to the Norwegians to reference an obscure American folklore legend. One I'd never heard of, for certain. No takers for Punxsutawney Phil, huh?

I had been told that Agropelter were exactly the type of retro prog I would enjoy. I was certain that was true, though I have so much of it already, I hadn't pursued the title with earnest. The label owner had a different point of view considering my apathy, and so here we are.

Agropelter are, at this point anyway, an instrumental project surrounding a one Kay Olsen, who is the composer as well as providing much of the salient instrumentation (guitar, bass, organ, synths). He surrounds himself with some prog rock A-listers to ensure a built-in audience awaits. Many guests are on hand to provide anything from grand piano, flute, cello, mellotron, duduk, and beyond. The instrumental palette is rich and wide. 

The opening 'Flute of Peril' brings in that familiar melancholic dark and misty mellotron heavy Scandinavian flair that Jordsjo has so completely mastered. Ah, but we get our first curveball on 'Leviator'. A more direct sound, with synthesizers played in the mid 70s style. An almost American approach, perhaps even Kansas when in their instrumental flights of fancy mode. Or Ethos for a more obscure reference. The synthesizers often recall early 80s Tangerine Dream, a welcome diversion from the usual early 70s recipe. It's no surprise, then, that Olsen name checks Vangelis. The latter when in rocking mode I hasten to add. The other artist Olsen references is Terje Rypdal, and one can here that especially in the bass heavy atmospheric portions. Though, to be clear, The Book of Hours certainly doesn't veer into fusion territory all that much. This is symphonic progressive, true to the meaning of the first word. In fact the rhythms are rather straightforward for this kind of album, once again pointing to an 80s heritage. I'm reminded of many a Dutch band operating in this space. When hearing it in this light, the ghost of Camel appears from the hallowed halls. The Par Lindh Project also comes to mind, especially considering the classical leanings.

Retro prog can mean many things, though it has become a euphemism for the darkened prog that Anglagard started and groups such as Wobbler, Agusa, and Jordsjo have taken forward and further mastered. Agropelter is decidedly not of that branch of the tree. The Book of Hours reminds me of the optimistic time in the 80s when much was still left to be discovered, and yet the corporate world of music was holding most everyone back. There were shoots of green grass everywhere though. Agropelter would have been one of those. Hard to capture that time and place so well, as it was far more subtle than the grandiose and well documented progressive rock scene of the early 1970s. This is one of those niche within a niche albums that is almost always worth exploring.

So yep, as predicted by those in the know: It's exactly the type of retro prog I enjoy.

Ownership: 2025 The Laser's Edge (CD). Digipak with recording details. Acquired in 2026.

2/2/26 (review)

Hopefully this isn't a one off project.

2/2/26 (new entry)