Radio Massacre International ~ England

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)

2001 (acquired); 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)

2002 (acquired); 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)

2003 (acquired); 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)

2001 (acquired); 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)

2008 (acquired); 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)

2003 (acquired); 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)

2001 (acquired); 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)

2008 (acquired / review)

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

5/17/11 (new entry)