Toshiyuki Miyama & His New Herd - Tsuchi No Ne. 1973 Japan

This album was first described to me (see below) as complex horn rock meets Ian Carr's Nucleus meets Vortex (70s French underground band). I would also state it sounds like Dizzy Gillespie meets Art Zoyd with a dash of early 70s Miles Davis. Yes, it's a unique album to say the least. I've only heard one other New Herd album, the Yamataifu album mentioned below, and it was too "out jazz" for me. This album, however, is definitely within the rails, and I found it highly enjoyable.

As usual, the AC provides a full review with insights. What a treasure of information this gentleman is!

"Nippon Columbia: NCB-7023 (Adventure In Sound series), 1973, Japan

Toshiyuki Miyama - Conductor
Yasuhiro Koyama - Composer
Kozaburo Yamaki - Electric Guitar, Composer
Masaaki Itoh - Electric Bass
Isao Yomoda - Drums
Kiyoshi Takano - Piano, Electric Piano
Kazumi Takeda - Trumpet
Shin Kazuhara - Trumpet
Yoshikazu Kishi - Trumpet
Shuji Atsuta - Trumpet
Teruhiko Kataoka - Trombone
Masamichi Uetaka - Trombone
Tokura Seiichi - Trombone
Takehide Uchida - Trombone
Kazumi Oguro - Alto Sax, Soprano Sax
Eiji Toki - Alto Sax
Mamoru Mori - Tenor Sax
Seiji Inoue - Tenor Sax
Shigeru Hirano - Baritone Sax

Side 1:

1 - Youkai Kappa Konnichi Izuko Sumi Ya
- Kappa Torai No Tsuchi
- Mokuhi No Yotabi
- Bourei No Numa
- Okugidenjushiki
- Neneko No Nakibushi
- Senshouiwaiutae Shinkokka

Side 2:

1 - Kurozuka

Band leader Toshiyuki Miyama and his New herd orchestra were a ubiquitous presence in the 70s Japanese music scene, churning out album after album of mainly straight big band jazz, along with some typical pop-covers/exploitation fare. However, during the heady days of the early 70s "New Rock" boom, they did find themselves experimenting on a few interesting LPs. There was the relatively well-known "Yamataifu", a collaboration with famous pianist Masahiko Satoh, as well as the more obscure "Eternity?/Epos", working once again with Satoh along with drummer Masahiko Togashi and a percussion ensemble. They were soon to abandon this adventurous direction (along with most of the many seasoned jazzmen, studio musicians, and bewildered major label executives who had been temporarily sucked into the psychedelic vortex of New Rock Japan), but not before leaving behind one more dark jewel in the rubble. "Tsuchi No Ne - Nippon Densetsu No Naka No Shijou", roughly translates to "Sound of the Earth - The Poetry in Japanese Legends", and like a number of other classics of the era, it attempted to draw on the essence of ancient Japanese folklore and mythology as inspiration for a new and radical kind of music. But "Tsuchi No Ne" is somewhat different from its musical peers, choosing to dwell on the dark, sinister side of these myths and legends. This is quite evident in both the striking cover art and the track titles themselves, referencing ghosts, grotesque monsters (the Kappa, a hideous river-dwelling creature thought to drag unsuspecting victims to a watery grave) and a macabre Noh drama about a vile man-eating ogress. Most importantly, this theme infuses the music, a fascinating mixture of electric big band jazz-rock and what can only be called avant-prog, despite the seeming incongruity of applying that term to an early 70s Japanese jazz album. Two mammoth side-long pieces are on offer here, the first a suite divided into six smaller sections, composed by regular New Herd guitarist Kozaburo Yamaki, the second a monolithic opus penned by film and television soundtrack composer Yasuhiro Koyama. Certain comparisons can be drawn to the more rigorous side of early British jazz-rock (Soft Machine circa 5/6 and the best of Ian Carr's Nucleus) and perhaps also to the most complex horn rock works of the era, due to the heavy brass presence of the big band. But interestingly, what I'm reminded of most is classic French avant-prog/jazz-rock of a slightly later vintage. In particular, I'm thinking of Vortex's shadowy masterpiece "Les Cycles de Thanatos", as well as some of Yochk'o Seffer's great works with Zao and Neffesh Music. The strange, dark tension and compositional complexities are very similar, and quite unmistakable to my ears. However, these comparisons can only go so far. Distinctly Japanese atmospheres are palpable, and Yamaki's wicked fuzz/wah guitar-work will not let you forget what era we are truly in here. This is a special album, in my opinion, and certainly deserving of a much wider audience. Unfortunately, as is often the case with these things, it's by far Miyama's rarest LP, until now only known and cherished by the small group of Japanese collectors aware of its quality. Miyama's back-catalogue has not seen much action in the CD reissue market, so I'm afraid this album might be doomed to spend eternity trapped in its own dusky realm. Here's to hoping that I'm wrong."

And would you believe? He was wrong! And I'm sure he's happy about it too!

CD: 2012 Columbia

Here's an album that you would have no chance of finding originally, unless you could read kanji or knew what the cover looked like. There are these records from Japan that are so obscure and buried, that even hardcore collectors living in Tokyo do not know about. But they're beginning to surface ever so slowly. There were a lot of surprise CD reissues in 2012, but perhaps none blindsided me as much as this one. I suspect original LPs are of this can be found for 50 cents or $2,000 depending on where you're looking.

Last listen: January 25, 2018

Heaven - Brass Rock 1. 1971 England

As noted below, I first ran into Brass Rock 1 at a local record convention sometime in the mid 1980s. With the long tracks and expanded lineup, I figured it would be right up my alley. It was only a few bucks, so I decided to take a chance. And it was indeed up my alley, except it wasn’t what I expected. This wasn’t a typical 1970s progressive rock album. In fact, the only album I had like it back then, were the early Chicago Transit Authority albums. But Heaven were different from CTA as well. The compositions were more complicated, and the horn section was more diverse (Heaven featured a 5 piece horn section verse Chicago’s three). There really aren’t any pop tracks on Heaven, the closest they get to "normal" rock were the more blues influenced numbers. And even those were because of the vocalist, who sounded like he drank an entire fifth of scotch minutes before the recording. Almost without exception, each track features lengthy instrumental bits, with quite a bit of horn interplay, changes of meter, dynamic shifts, the whole nine yards. And, maybe best of all in the horn rock genre, a wild guitarist who does his best to attack the wah wah pedal during the solo sections ala Terry Kath. Heaven could mellow out too, and weren’t afraid to mix an acoustic guitar / flute number to set the mood. Since that time of first stumbling onto the Heaven album, I’ve discovered many more horn rock bands, including the UK variety of a US original sound. Other than maybe Brainchild, Heaven is the most developed and, for my tastes at least, the best England has to offer in the brass rock genre. Heaven is wilder than Brainchild, but they do miss that band’s touch for crafting magical melodies.

Ownership: LP: 1971 CBS. As shown here, Heaven's sole album features quite an amazing multi-foldout cover. Acquired at the Dallas Record show (1988).

CD: 2008 Esoteric. Jewel case with history, photos, and the clever idea to design the booklet as multi-foldout poster, just like the original LP. No bonus tracks this time around however.

1988; 2008; 12/29/12 (new entry)

Baba Scholae - 69. 1969 France-England (archival)

The music found here is an excellent psychedelic / folk rock / proto-progressive album from Jean-Yves Labat's (a.k.a. M Frog) first band (a gentleman most known for his keyboard work with Todd Rundgren's Utopia). Recorded in London with primarily English musicians on board, though Labat himself was French. The first track '1984-Melancolia Street' (8:40), in particular, will send fans of the progressive rock genre into a swoon, with its multiple theme and metric shifts, recalling cutting edge UK outfits such as Cressida and Web ("I Spider" era). Some excellent guitar, sax, bombard (a reed instrument primarily used in Brittany), and flute define this advanced work. Perhaps not mind-blowing on the whole, but given the 1969 date, certainly one to two full years ahead of its time. Fans of the psychedelic infused progressive genre will most definitely want to own this. It's a professional recording preserved for the ages, not some muddy demo that you have to endure to fully appreciate. For something like this to be buried for 43 years is quite extraordinary. Do not miss it!

CD: 2012 Ad Vitam

Contrary to some online discographies, there is no 1969 release. It was strictly a demo shipped to labels for possible release. Perhaps unbelievably, Bearsville was thinking of releasing this one in 1973. One can only imagine this being a common US press. Actually, I wouldn't believe it.

69 is an exquisite archival release from Ad Vitam, a classical-oriented music label owned by Baba Scholae founder Jean-Yves Labat! More info here from our CD Reissue Wish List.

Stomu Yamash'ta - Freedom is Frightening. 1973 Japan-England

Stomu Yamash'ta is one of a handful of Japanese musicians who would hit the shores of England (post Yoko Ono), and in quick order, become one of those East meets West guys. Freedom is Frightening is Yamash'ta's West meets......... West album. Starting with a cosmic organ piece replete with fuzz bass, we might as well be tokin' up with the Berlin Krautrock masters or 1969 Pink Floyd at the very least. But it doesn't take long for Yamash'ta to move his new ensemble over to the flavor of the day - 1973 style: Fusion. And so it goes, we get Brian Auger's Oblivion Express meets Soft Machine playing the sound of Mahavishnu Orchestra. And really, what else can one ask for? I'm certainly buying! Boyle and Hopper would soon after form Isotope to exploit these musical concepts further. But Isotope missed out on the rawness that Yamash'ta provides on Freedom is Frightening. And while you may wish for an Osamu Kitajima Benzaiten type album here, just pretend that Stomu Yamash'ta is a pseudonym for Billy Smith, and you'll get through the mental aspect.

Ownership: LP: 1973 Island. Single sleeve. Online acquisition (2018)

CD: 2008 Esoteric (UK). While original LPs have always been relatively easy to find, this album surprisingly was absent from the CD market until Esoteric's reissue a few years back. Plenty of liner notes to provide some context around the album. No bonus tracks in this case though. This was my introduction to the album (2012). After some consideration, decided to keep the LP after all.

12/21/12 (new entry); 7/28/23

Baby Grandmothers. 1967-68 Sweden (archival)

The first two tracks presented here are from an extremely rare 45 single, and can only be considered a truly extraordinary example of what was going on in Northern Europe during this time. Incredible psychedelic guitar from future Kebnekaise guitarist Kenny Hakansson, with otherworldly voices taking you to another universe. This first track is from master tapes and is, by itself, a reason to own this CD (beyond the excellent liner notes from Reine Fiske of course). The second one is from vinyl, but no less interesting musically. A bit slower, but it's a pot boiler! The remainder of the album is made up of live guitar-fronted jams preserved for the ages in variable sound by some foresighted folks. The musical quality is hit and miss, and as with all jam albums, there are peak moments - and ones that get stuck in the ditch for far too long. So 15 minutes of 4.5 star (Gnosis 12) material and 45 minutes of 3 stars (Gnosis 9). But given the historical perspective, and that it's been presented with great care by Subliminal Sounds, this one goes into the "must own" column. If you're looking for the Swedish version of Cream, then you'll find it here.

Ownership: CD: 2007 Subliminal Sounds

12/18/12 (new entry)

Earth and Fire - To the World of the Future. 1975 Netherlands

Having found Top 40 success with 'Maybe Tomorrow, Maybe Tonight', it would seem Earth & Fire would continue down that path, perhaps full bore. To the World of the Future offers up a stay of execution. In some ways, this is their most ambitious album - both from a progressive standpoint, and a commercial one. On the pop side, the most overt pop track is 'Love of Life', which was not surprisingly their first choice for a single. Personally I think this is a great example of the pre-disco era - superb wah-wah rhythm guitar, charming female vocals, synthesizers galore. The other single from this album is 'Only Time Will Tell', which is a less obvious choice, and actually harkens back to their "Atlantis" days with organ, psych guitar, mellotron and powerful vocals from Jerney. On the other side of this coin is the 3 highly ambitious progressive meets fusion tracks: 'The Last Seagull', 'Voice from Yonder' and 'Circus', which are unlike anything the band did before or after (though I suppose 'Circus' could have fit comfortably on "Song of the Marching Children"). This gets us to the title track which is the perfect blend of everything the band is trying to do here. On the one hand there's the funky pop bits, with a chorus that I swear - I mean really swear - sounds like "ahhhhhhh FREAK OUT!" from, yes, that famed New York City disco band Chic ('Le Freak'). One had to think they may have run into this Earth & Fire album prior. Meanwhile, just when you think it's time to bust a move, out come the mellotrons, psychedelic guitar, symphonic dynamics, and complex meters to remind everyone that Earth & Fire are first and foremost still a progressive rock band.

Be sure to get a CD reissue with some of the singles from this era. Most enlightening are the B-Sides to 'Love of Life' and 'Only Time Will Tell' - respectively 'Tuffy the Cat' and 'Fun'. Both tracks are progressively oriented instrumental funk tracks (with loads of mellotron, organ and Fender Rhodes), and are entirely unique for Earth & Fire - and just about anyone really. The 1975 and 1976 singles 'Thanks For the Love' and 'What Difference Does it Make' demonstrate that Earth & Fire no longer hold progressive rock intentions - and have completely sold out to the Euro disco machine. I actually think they're quite good at the style, and I'm sure gave groups like ABBA good competition - but in the end, that's not what Earth & Fire were about, and having lost their way - they ultimately collapsed under their own weight by the early 80s. A tragic, but all too typical tale.

LP: 1975 Polydor
CD: 2011 Esoteric (UK)

Earth and Fire - Atlantis. 1973 Netherlands

Continuing on from Song of the Marching Children, Earth and Fire doubles down on the progressive quotient and throws in yet another high minded concept side long composition. Of course, we all know by now that Earth and Fire is a pop band in progressive dressing, and thus these are individual songs that segue into one another with seemingly no connection beyond the lyrical theme. Side 2 sees the band unmasked for what they really are, with the stunningly simple 'Maybe Tomorrow, Maybe Tonight' - the kind of song that most aspiring Top 40 bands would sell their soul for. This track would propel Earth & Fire to pop stardom, something they were trying to achieve from the beginning, but went about it in an awkward, perhaps academically, self-conscious way. While it may seem I'm looking down my nose at this band, that could not be further from the truth. I love a good melody weaved into a more mysterious compositional style, so in some ways, Earth and Fire are my ideal type of band. Top that with competent musicianship and superb period instrumentation (mellotron, organ, flute, loud psych guitar, sweet feminine vocals), and you have yet another home run from one of the Dutch progressive rock Masters.

LP: 1973 Polydor
CD: 2004 Universal (Japan)
LP: 1973 Polydor (Germany)
CD: 1987 Polydor w/Song of the Marching Children

Earth and Fire wisely adopted the style of the inner gatefold of Song of the Marching Children to make arguably their most appealing album cover of the band's entire catalog. The second cover shown above is the dreadful original UK release that I cannot imagine anyone wanting to own in light of the original. There's also a German press, similar to the Dutch original, except it splatters the name of their hit 'Maybe Tomorrow, Maybe Tonight' to ensure they added unnecessary graffiti to a beautiful painting.

Earth and Fire - Song of the Marching Children. 1971 Netherlands

No one would ever accuse Earth and Fire of being a cutting edge group. However, having missed the psych bus by about two years, they did jump on the progressive rock bandwagon in sufficient time to have some historical impact. "Song of the Marching Children" remains one of the most beautiful of the early 70s symphonic pop infused progressive albums. Kaagman's sweet vocals along with Koerts' copious use of mellotron practically define the term lush.

Ownership: 1974 Polydor (LP). Gatefold; 2004 Universal Japan (CD). Papersleeve with bonus tracks.

Earth and Fire - s/t. 1970 Netherlands

Earth and Fire were always a pop band at heart, trying to win over current audiences with their brand of "whatever is vogue now". For their 1970 debut, Earth and Fire reached back to the psychedelic-rock-with-female-vocals music of Jefferson Airplane to find success. They do an admirable job of said sound, with a good set of tunes and some excellent acid guitar and heavy organ. Truth is, Earth and Fire's debut came about one or two years too late to have any major impact - though it really is an excellent representation of the style. 'Love Quiver' is the highlight of the 9 originals present, a track that features some glorious fuzz organ work.

Earth and Fire are one of the pillar bands of my Post Psychedelic, Proto Progressive with Female Vocals list.

CD: 2004 Universal (Japan)
LP: 1971 Nepentha (UK)
CD: 1991 Polydor (Japan)

As you can plainly see, there were many releases of Earth and Fire's debut. Each label apparently had license to alter the cover to their tastes. The top one is the Dutch original. Next is the UK version on Nepentha, in all its die-cut gatefold Roger Dean glory, and is BY FAR the most desirable (& expensive) original LP copy to own. The third photo is the German release on CBS. 4th is the original Japanese press. And finally we show the Rotation CD that displays only the matches, which is on one of the releases I didn't put up (the Red Bullet LP I believe). 20 years ago, I found the Nepentha LP in a store, but traded it for an album that was my top want at the time - and is arguably worth even more than the Nepentha release today. It was a win-win trade, as I'm certain the gentleman who has my Nepentha LP still treasures it as well. As for reissues, the 1991 press from Japan was the first to market, and I owned that version until the Japanese mini-LP came out. Generally the Japanese stick to the original release when it comes to packaging, but I'm glad they made the exception here and went with the fabulous UK copy.

Alphataurus ~ Italy

AttosecondO (2012)

AttosecondO finally closes the book on their unfinished second album, the previously titled Dietro L'Uragano. The Live in Bloom (CD version) concert demonstrated very competent versions of two of these tracks, and it seems the band was in top form. AttosecondO adds the final important track 'Claudette' (13:40), to complete the mystery of "what if these tracks were recorded properly"? For those who bought the Live in Bloom for the same reason as I did - that is to hear the second album performed properly - fear not. The versions found on AttosecondO have been radically reworked from the Live in Bloom concert, to arguably greater success. But that's only part of the story here, as Alphataurus have added two entirely new tracks to open the album 'Progressiva Menta' (8:29) and 'Gocce' (9:27), both of which sound like the best of the modern Italian progressive rock bands that are striving to recreate the past. Of course, it would make sense that Alphataurus would be experts at this  - since they actually were one of those original bands! However, as we all know by now, most of these reunions haven't been near the level we'd originally hoped. Alphataurus is the exception. They clearly have recaptured the spirit of their youth, and seem on the cusp of releasing another monster album like their 1973 debut. Even though the founding two members are in their 60s, let's hope they don't quit just yet and prove that the older guys can be as creative as the youngsters - of which now three of said youth are part of the Alphataurus machine.

AttosecondO once again is adorned with a stunning painting.

Ownership: 2012 AMS (CD). Papersleeve

12/11/12 (acquired / review); 7/3/25 (update)

Dietro L'Uragano (1974)

Similar to many Italian bands of this era, Alphataurus seemed to flare out after one release. But Mellow Records turned up a complete album 18 years after the fact, minus the vocal sections. Apparently the band was looking for another singer when they finally gave up. 1974 was the end of the line for most of the Italian scene, so ultimately this should come as no surprise. On Dietro L'Uragano, the music is more playful, slightly less complex, and far more dependent on keyboards than the debut effort. Parts of this remind me of the heavy but simple tracks found on The Trip's Caronte album, though overall Alphataurus is more engaging here. ELP circa Tarkus, is another obvious influence. Unfortunately it's apparent the music was written with a vocalist in mind, so there are some gaps to be found.

I sold the CD a few years ago to no regrets. The good news is that these tracks were re-recorded on their two 2012 albums, and are fantastic.

Former ownership: 1992 Mellow (CD)

1992 (acquired); 9/1/2012 (review)

Alphataurus (1973)

The Italian progressive rock scene between 1972 and 1974 seemed to foster a culture in which bands would compete to determine who could be more imaginative, which group could create the most exciting, intelligent and challenging album to date. Historically, Italy has always had this mindset. The painters, poets, sculptors and other artisans of the Renaissance dueled frequently to catch the eye of Popes, Kings, mighty nobles and other magistrates of the era. With this is in mind, Alphataurus were one of the better contenders, a clear winner to create the frescoes for the small village church.

Like all worthy Italian bands of 1973, Alphataurus on their self-titled debut, featured top notch musicians to play guitars (electric and acoustic), bass, drums, and an arsenal of keyboards (organ, synths, piano, spinet, vibraphone). And, of course, the requisite dramatic, powerful vocals in the Italian language. The music alternates between heavy and soft, and is at most, heavy rock with hundreds of time signature changes, not to mention navigating through the style changes which include classical, blues, jazz, Italian pop of the 19th century and hard rock. How this all meshes seamlessly is the brilliance of the Italian progressive rock Renaissance. The five long tracks here all display these wonderful qualities and represent yet another classic of the day. Stylistically, they compare most to Banco del Mutuo Soccorso.

Fortunately, it wasn't just the music that called for high levels of creativity. The album art work was but one more exciting component of the movement. And here, Alphataurus moves to the top of the class. The original on Magma Records features a triple fold out cover of an olive branch-carrying dove dropping nuclear bombs out of its hatch while an inferno takes place below. A jaw dropper.

Ownership: 

1992 Si-Wan (LP) Triple FOC.

2003 Arcangelo (CD). Triple FOC papersleeve.

Never did acquire the original given its exorbitant price. 

1992 (acquired); 1998; 2/12/01 (review); 8/14/12; 8/21/18

Live in Bloom (2012)

I bought this CD mainly to hear the fully realized versions of 'Ripensando E…' (7:36) and 'Valigre di Terra' (12:02), both tracks from the unfinished second album Dietro L'Uragano. As it turns out the former composition is an instrumental and so it wasn't quite as different as I expected. But 'Valigre di Terra' was the highlight of that archival release, and to hear it with vocals, makes this well worth the price of admission by itself. That along with the beautiful cover art (the CD is in the mini-LP format), painted by the same gentleman who impressed everyone with the brilliant triple fold out of the original 1973 album.

The LP leaves off these two aforementioned tracks, and IMO detracts from the primary reason to own this. The renditions of the debut album are all excellent, but not dramatically different.

Ownership: 2012 AMS (CD). Papersleeve.

7/12/12 (acquired / review)

7/12/12 (new entry)

Moonwagon - Foyers of the Future. 2012 Finland

For their followup Foyers of the Future, it appears Moonwagon are consciously moving away from their Ozric Tentacles roots, and trying their hand at slower, more melodic music - citing perhaps the influence of a group such as the Future Kings of England. 'Elsewhere' opens the album with a Pink Floyd styled atmospheric rock number. This is followed by two rave-ups 'New World Warrior' and 'Dawnwind' that recall "Night Dust", and it would seem Moonwagon are off to the races. But from track 4 on, they put on the breaks and the focus is more on melody and atmosphere, rather than rhythms and pyrotechnics. I think I prefer the former style, but it will be interesting to see where Moonwagon goes from here.

Ownership: CD: 2012 Presence

12/8/12 (new entry); 9/7/18

Truth and Janey - No Rest for the Wicked. 1976 USA-Iowa

Truth and Janey are the quintessential Midwest USA hard rock group. But like any band from the 1970s, they add progressive trimmings, and some of the compositions throw in a few more ideas than a typical bonehead rock group. In some ways, Truth and Janey could be looked upon as the American equivalent of the Aussie band Buffalo, that we featured extensively earlier in the year - especially at the time of Only Want You For Your Body. The band Truth started in Cedar Rapids, and eventually added founding member and guitarist Billy Lee Janey to the marquee when it was discovered another Truth had claim to the name. The album was recorded in Ames (where Iowa State University is located), and was initially gobbled up only by the local faithful in Eastern Iowa. Not until the mid to late 1980s when record collecting had gone world wide, did the album gain its fame. If you're looking for a perfect example of a private press hard rock group from Middle America, I'm not sure there's a better example than Truth and Janey. And Billy Lee Janey is one heck of a guitarist!

CD: 2007 Rockadrome

The CD has a chock full of liner notes and a few bonus tracks.

Lumerians - Transmalinnia. 2011 USA-California

Transmalinnia is the debut full length CD debut from The Lumerians, a new-ish group from Oakland, California who recall both the late 60s UK psych scene as well as the Krautrock masters. The rhythms are pure Krautrock motorik, straight from the Can and Neu! school. The dreamy vocals recall Barrett era Floyd, or perhaps more to the point, the early 90s neo psych of Sun Dial.  But the real highlight is the fuzzy 1960s vintage organ, which has this most wonderful thick and wedgy sound. As the music wears on, the albums goes deeper into the vortex. Pounding drums, celestial voices and the overall air of the original early 70s Kosmiche movement is upon us. The only thing missing is the cosmic blues guitar jamming of a Manuel Gottsching or Ax Genrich. Certainly the closest a modern American band has come to creating the original aura, energy and atmosphere of 1971 Germany. It avoids most of the hipster trappings, though not all of them. It is a bit too self-conscious to be authentic (not sure how one can avoid that 40 years later), but I'm very happy with this sincere effort and look forward to exploring more from the band. If you all are looking for a similar sound, then allow me to recommend Cranium Pie from England, a band that perhaps owes more to '69 Floyd than '67 Floyd meets '72 Can, but you get the idea.

---

I wrote the above 10 years ago after hearing it for the first time. Last night's listen confirmed my initial thoughts. This is a good one if looking for a modern interpretation of the Krautrock sound.

Ownership: CD: 2011 Knitting Factory. Simple digi-pak with recording details. Purchased new not long after release.

12/2/12 (new entry); 8/13/22

Intra - s/t. 1976-1990 USA (archival)

Over a year ago, we featured a fantastic archival find from Pittsburgh by a band called Arabesque. Prior to that, Shroom hit gold with Intra. After years of silence, Shroom has reappeared, so hopefully they have more archival discoveries like this!

This is yet another classic progressive rock album from the Midwest USA - this time Cleveland. The UK group Yes once again plays a major role in the overall sound, though snippets of other progressive rock groups enter here and there. A bit more complex, and less radio friendly than some of their peers. Hence they never found anyone to release their material in the first place! Definitely a product of the region it comes from.

The below matrix represents the recording dates:

Tracks 1-5. 1976
6-7. 1984
8-9. 1990
9-11. 1980 live

Perhaps most remarkable is the consistency of the music quality across the 15 year duration.

CD: 1999 Shroom

Hiroki Tamaki & SMT - Time Paradox. 1975 Japan

Certainly one of the more bizarre albums out there, Hiroki Tamaki & SMT provide plenty of sophisticated variation for the discerning progressive rock fan. Starting out in hoedown / Ennio Morricone "Spaghetti Western" fashion, the album seamlessly moves east to India, back to the west via a brass rock piece, symphonic rock, indigenous (Japanese) atmospheric music, and finally we get to the title track. It's the grand payoff, as the album culminates on a high note. A brilliant progressive horn rock composition, with loads of ideas, funky wah-wah guitar, violin shredding, gothic chanting, and heavy rocking bits. As mentioned, violin is the dominant sound throughout, and we are left to presume that Tamaki is indeed the main protagonist on said instrument (for the record - he is the violinist). But for a Westerner like me, it's pure guesswork as the LP is entirely in Kanji.

Ownership: LP: 1975 Nippon Columbia. Single sleeve. No obi like the Discogs photos here. This is an album I traded for at the 1994 ProgFest swap meet in from a well known Japanese dealer. I had no idea what it was, but he recommended it, so why not? I had the CD once, but sold it off since it added nothing extra.

new entry

Mo.Do. - La Scimmia Sulla Schiena del Re. 1980 Italy

Late era Italian progressive rock album created by a band compiled by a former member of Dalton. Other than perhaps the instrumentation (e.g. ARP String Synthesizer) and production qualities, Mo.Do. seems like a classic album from 1974 Italy. A perfectly blended mix of complex progressive rock and singer songwriter music, complete with flute. Overall, similar to maybe Formula 3 or Citta Frontale. The period from 1978 to 1986 was a boneyard for Italian progressive symphonic rock, and Mo.Do. may, in fact, be the sole representative from 1980 of this much loved style. We of course realize there's plenty of other Italian albums from this period like Picchio dal Pozzo's second, Confusional Quartet, Pepe Maina's sophomore release, etc... but none of these are symphonic rock.

Ownership: CD: 1994 Mellow. Jewel case with no info.

1994; 11/23/12 (new entry)

Moonwagon - Night Dust. 2011 Finland

Moonwagon are yet another instrumental band from Finland that was smitten with the Ozric Tentacles sound, similar to Hidria Spacefolk, Taipuva Luotisuora, and Dasputnik. So where does Moonwagon fit in all of this? Beyond the usual guitar rave-ups and hyper rhythms, Moonwagon offer five distinct qualities that endear them to my tastes, at the very least: A concentration on melody; bluesy electric guitar solos; copious use of acoustic guitar; spatial keyboards/synthesizers (including some fat analog sounds); and a thick / woody bass guitar that drives the music forward. Music like this is timeless: Complex, memorable, energetic, and heck of a lot of fun. Can't go wrong here, especially if you're a fan of the prior bands mentioned.

Ownership: CD: 2011 Twilight Works

11/21/12 (new entry)

Emerald Web ~ USA ~ Florida

Dragon Wings and Wizard Tales (1979)

The Florida based duo of Kat Epple and Bob Stohl debuted with Dragon Wings and Wizard Tales which is a nice mix of sequencer based electronic music, fluttering flute, airy female voice and acoustic/electric guitar. Excellent atmospheres and even a few heavy rocked out moments towards the end that are well placed to add some much needed spice. A quite varied album, that needs a few listens to appreciate.

The duo went on to record a few more albums, though supposedly in the new age genre. I remember seeing these 80's albums back then and avoided like the plague, but I haven't heard them to be fair.  Tragically, Bob Stohl died in a drowning accident in 1989.

Ownership: LP: 2012 Sebastian Speaks. The cover has been slightly altered from the original. The back cover has been changed around as well (the original is white, the reissue black, and many other alterations with the content and layout). There are no bonus tracks, but it sounds great. There are no inserts or essay's, making this a straight reissue. This reissue is authorized by Kat Epple, the surviving member of the duo. I found this comment from her on the web, that I think is interesting: "The label “Sebastian Speaks” is the one who contacted me about “Dragon Wings and Wizard Tales” re-release..... Man…….it has been a long time since I listened to this album! Some cool OLD synth sounds on this one, for sure! - Kat".

This album has yet to be pressed on CD as of 2/21/25.

4/21/11 (first listen / review)

11/21/12 (new entry)

Dun - Eros. 1981 France

For my tastes, Dün's Eros is most certainly a Top 75 album ever. Maybe even Top 50. There are tons of reviews out there already that will provide you all the detail you could possibly want about this album. I think it's a bit miscategorized as a Zeuhl album, which seems to be the main source of the detracting vote. While those elements are present (primarily represented in the bass work), I think the album is truly unique. Instrumental Frank Zappa, and the Canterbury scene also get call-outs, but again these are faint references rather than direct influences. It's complex, very complex in fact - but also very melodic. And it rocks hard in places, so it's not an academic snoozer. About the only album I can think of even close to Eros is Picchio dal Pozzo's 1976 debut. Not that they sound alike, but rather they both attack music composition in an entirely unique way. Music like this is wonderful to my ears, as each listening session provides a different result. Truly a brilliant work of art.

Ownership: LP: 1981 private. Single sleeve. Mail order acquisition (1992).

CD: 2000 Soleil Zeuhl. Jewel case with history and four bonus tracks

LP: 2012 Soleil Zeuhl. Single sleeve. While purists scoffed, I was pleased that Soleil Zeuhl altered the look of the reissue ever so slightly, which gives the release a uniqueness about it. Some examples include: The lettering is gray instead of blue; the top "frame" line has been removed; a different photograph on the back cover; and the band name and title are now on the spine. The LP also comes with an insert, a download card (to retrieve the detailed CD booklet and bonus tracks), and is pressed on white vinyl. A great package overall.

Musea had announced their intention to reissue the album on CD as far back as 1991, but they apparently had trouble locating all the members. After many years of waiting, it was Soleil Zeuhl who finally stepped in.

1992; 11/20/12 (new entry)

Flor de Loto - Imperio de Cristal. 2011 Peru

I suppose it was inevitable, but Flor de Loto seems to have gone "whole hog" for prog metal on their 4th and latest album. While it would be unfair to classify this as Dream Theater with pan pipes, there is no denying the band's conscious move to the metal world. There's also many more vocals than prior, which detracts from their former focus as a creative instrumental band. Tracks like 'El Jardin Secreto' show that Flor de Loto haven't forgotten their past, and are more than capable to put together an instrumental psychedelic piece in the grand tradition of the masters like Los Jaivas, with gobs of wah wah fuzz guitar and flute. Still, it seems the band have painted themselves into a corner, and the concept is becoming monotonous. If reviews of any future albums state that Flor de Loto is moving even closer to the center, then I'll probably stop here at Imperio de Cristal. Too bad the band hasn't explored further their psychedelic ambitions that they hinted at on their first two albums. They were definitely unique among bands. Not anymore it appears.

Former ownership: CD: 2011 Mylodon 

11/19/12 (first listen / review / new entry); 2/25/24

Flor de Loto - Mundos Bizarros. 2009 Peru

After two albums of pretty much perfecting their brand of instrumental heavy psychedelic rock meets Los Jaivas sound, it was obvious to Flor de Loto that they probably needed to alter their sound a bit, or they would begin down the road to irrelevancy. And that's just what they did. The collection of songs on Mundos Bizarros explore new directions in two different ways. One, they expand the compositions with more complexity and anted up the progressive quotient quite a bit. On the other, there are far more vocals here, adding some song craft that was missing prior. Not to say they've completely abandoned the sound of their first two opuses. In fact, when they do reach into their musical past, Flor de Loto are able to seamlessly mesh it within the context of their new direction, giving it a new fresh perspective. As well, the guitars are slightly heavier this go round, indicating a move to the prog metal camp on occasion. It will be interesting to see where Flor de Loto goes from here.

Ownership: CD: 2009 Mylodon (Chile)

2010; 11/18/12 (new entry)

Flor de Loto - Madre Tierra. 2007 Peru

Largely an extension of the debut, with perhaps a bit more extending of both of their distinctive styles, making the pole that much longer. On the one hand, the "Western" part of their sound is heavier with more jamming guitar and psychedelic solos. And then their Peruvian indigenous side is given more space for the variety of pan flutes and traditional melodies to be played out. Not surprisingly, Flor de Loto are at their best when melding the two for what becomes a pure fusion - a term that is often misused in the modern day lexicon. Overall Madre Tierra shows enough growth to distinguish itself from the debut. Hence, another recommended title.

Ownership: CD: 2007 Mylodon (Chile)

09/17/07; 11/18/12 (new entry)

Flor de Loto. 2005 Peru

The Mylodon label has been responsible for turning up some great bands from Chile, and it’s nice to see them reach over to their northern neighbors in Peru, where we find the excellent band Flor de Loto. Peru had quite the psych scene in the late 60s and early 70s, and they possessed one of the world’s most exciting music movements of the day. But political conflicts were particularly hard on Peru, and the country degenerated into chaos throughout most of the 70s and 80s. Stability seems to have returned, and now we’re getting a new crop of music acts. Flor de Loto are very much a modern band, but one with two feet in the past. One foot goes to the heady days of the early 1970s that produced the progressive rock scene. The other "feet" goes way back to the indigenous tribes, and their musical traditions and folklore. So along with the usual rock instrumentation of guitar, bass and drums, they have a dedicated winds performer who plays on a variety of flutes, both classical and traditional. Somewhere between the aggressive Japanese band Naikaku and the classic Chilean group Los Jaivas is where you’ll spot the sound of Flor de Loto. Their formula is one that can go in many different directions and still be exciting.

Ownership: CD: 2005 Mylodon (Chile)

6/12/07; 11/17/12 (new entry)

Deformica - H. 2006 Argentina

Interesting debut by Deformica who hail from Argentina. Clearly the post rock bug has bitten them and one can hear influences anywhere from Tortoise through to Don Caballero. To my ears, that would imply they are a bit boring, but Deformica take the music much further, with many changes of mood, texture, metrics and dynamics. On this point, one can hear mid 70s King Crimson and their current following channeled by groups like Yang, Exsimio and Djam Karet. Deformica are not afraid to experiment and it’s interesting to note the band will throw in a loose improvisation at the very end of most tracks, providing a relaxing interval for the next blast off. I’ve never heard a band systematically improvise on the last minute of each track like this. It’s a winning idea. The keyboard tones tend to be digital emulations of electric piano and are far too timid for what this band needs. The dual guitars generally play in unison or in counterpoint rhythm mode, but occasionally break into a nice solo, though it doesn't seem to be their forte. The guitar tones tend to the psychedelic which I find highly appealing. The rhythm section is solid, and the bass player demonstrates some massive potential, that isn’t yet completely realized. A very impressive debut, though I would like to see them blow the lid off a composition once in awhile - in a place where you’d find Nebelnest maybe.

CD: 2006 Viajero Inmovil. Standard jewel case release

10/23/07; 11/15/12 (new entry)

Hidria Spacefolk - Astronautica. 2012 Finland

Space rockers Hidria Spacefolk return five years after Symetria with Astronautica, an album that has been highly anticipated by many, including myself. A couple of changes have occurred in the interim. The original keyboardist moved to Germany and has been replaced by Veikko Sutinen, who seems to favor the Fender Rhodes a bit more than his predecessor (that's a good thing). Hidria Spacefolk have also expanded to a sextet (yet another good thing) with the addition of percussionist Olli Kari, formerly of the much respected Uzva. Olli plays marimba, vibrafone, xylosynth, and sundry percussion. Despite these changes, Astronautica is largely a continuation of the style found on Symetria. Broader strokes, larger sound, simpler compositions, with more emphasis on atmosphere rather than tricky intricacies. However, there's no mistaking that this is a Hidria Spacefolk album, and they continue with their lively instrumental melodic psychedelic music, with plenty of tempo changes and electric guitar solos. Great driving the highway music! Overall an excellent album, though still not up to the high standard (IMO) of Symbiosis and Balansia. I'm already waiting anxiously for the next album!

Ownership: CD: 2012 private

11/14/12 (new entry)

Hidria Spacefolk - Balansia. 2004 Finland

Picking right up from Symbiosis, Hidria Spacefolk deliver another set of smoking space rock tunes. All of the first 5 tracks are near or above the 7 minute mark, and each add a unique twist to their classic Ozric/Hillage/Gong inspired sound: 'Kokkola' features heavy percussion; 'Modus Operand Hermetik' goes east to India (at the break) for inspiration; 'Astroban' loads up on the wah-wah funky guitar and features some wild extended jamming; 'Pajas' adds bluesy Krautrock styled guitar and sampled organ; 'Pako Originaux' shows a remarkably researched track, full of classic 1970s French references (Clearlight, Heldon, and a host of obscurities). And then there's 'Tarapita', Hidria Spacefolk's one attempt to date at the extended atmospheric and exotic early 70's Kosmiche Kourier styled composition, with plenty of high energy jamming at the finish to polish it all off. Agitation Free meets Ozric Tentacles. An amazing album by an amazing band.

Ownership: CD: 2004 Silence. Purchased new upon release. Comes in a cardboard digipak with a unique opening. This Silence is not related to the more famous 70s Swedish label. They later changed their name to Silenze.

11//04; 5//05; 11/13/12 (new entry); 6/12/22

Hidria Spacefolk - Symetria. 2007 Finland

Symetria shows Hidria Spacefolk cutting back on the edgy complexity of their first two albums, while adding more of a steady post-rock sensibility. These changes are somewhat understated, so it's more like a trimming of the hedges, rather than a replanting of another bush. The title track and 'Futrur Ixiom' demonstrate quite well this movement to the center. Gone are the high powered psychedelic sequences and ripping guitar solos, and its place is a more staid melodic and atmospheric approach. That's not to say the band has moved away from mid-tune meter shifts, it's just a bit more toned down. '322' seems inspired by the stoner metal movement, as no doubt the band performs live with many acts that represent that genre. However they do manage to avoid the standard trappings of stoner rock (slabs of metal guitar distortion, raw drunken vocals, etc...), and instead inflect the typical Hidria Spacefolk treatment, that as a bonus inserts midstream a cool funky rock sequence complete with horns. 'Flora/Fauna' is a new twist for the band, calling out their Scandinavian heritage - in this case the region's penchant to produce a type of [i]rural rock[/i], a favorite style of nearby Denmark, especially in the early 1970s. To be honest, at this point of the album, Symetria is a bit of a disappointment. However, Hidria Spacefolk saves the best for last, and the last two tracks, totaling close to 20 minutes recall the superiority of Symbosis and Balansia. All the same, I hear this album a full star less than its predecessors, though still quite excellent obviously. It's probably no surprise that Hidria Spacefolk decided to break at this point, probably realizing they were beginning to hit a rut. Fortunately they reconvened in 2012 for a new album.

Ownership: CD: 2007 Next Big Thing

2007; 11/13/12 (new entry)

Hidria Spacefolk - Symbiosis. 2002 Finland

---11/12/12

The obvious comparison to Hidria Spacefolk is of course Ozric Tentacles, but that's only part (albeit a large one) to the entire equation. What's left out of most reviews is what comes after the plus sign - the early 1970's Scandinavia song craft - a certainly melodic sense that adds the key ingredient which makes Hidria Spacefolk so special. As someone who has listened to countless hours of the early 70s Scandinavian progressive scene, it's apparent immediately. From Sweden, you hear snippets here and there of Algarnas Tradgard, International Harvester, Lotus, Kvartetten Som Sprangde, and Saga. From Finland, there's Kalevala, Nimbus, and Haikara. The driving rhythms, electronica bits, synthesizer sequencers and riffing guitar point to a modern era. The bluesy guitar solos, sometimes with a Latin Santana influence, the Indian Eastern mysticism, the lead melodies, and the Hammond organ samples all point to a different era - one these lads most certainly absorbed growing up, even if unwittingly (though I suspect they are quite aware of their origins). If Ozric Tentacles is the post graduate course, then Symbiosis is the perfect score - 100%. 'Nasha Universo' is my favorite short-form progressive song for the entire 2000 decade.

---5//05

I remember 1989 being an exciting time. New bands were starting to crop up, playing a fascinating combination of old school space rock (Gila, Hawkwind, Gong) with modern sensibilities, sounds and structures. Ozric Tentacles, Tangle Edge, and Djam Karet provided some fresh sounds in a musical era where all hope seemed lost. And not a single one of them, or even any of their followers, ever seemed to live up to that promise. Oh sure, there’s been plenty of great  albums in the style (including by the three bands above), but they never transcended their initial impact. It wasn’t until the Hungarian ensemble Korai Orom emerged (and to a lesser extent the Russian combo Ole Lukkoye) that a new perspective was brought forth. But even Korai Orom stagnated after the almost perfect 1997 album. I say all of this as Hidria Spacefolk is, at least for me, the full realization of all the promise set forth by these bands. I constantly think I will drop my score, that maybe I was just swayed by the moment or caught up in a mood towards the sound. But it always survives these lingering doubts, and that’s because this is one heck of a deep album. I marvel at how much happens within each track (witness ‘Nasha Universo’), while never losing focus of the melody, nor the energy level. They never fell prey to the usual trappings (reggae, static electronics, loose jams, incessant atonal noise). It’s focused, it’s tight, it’s energetic, it’s memorable, it rocks out. It’s why I collect music. Perfect, just perfect.

---12//04

The album Ozric has in them, but can’t seem to get even close to making. I remember the first time I heard this, I kept waiting for it to flounder, to add same sounding filler, to have long drawn out sections of atmosphere or, even worse, just make cacophonic noise. Never happened. The whole album maintains its energy, while no two tracks sounds the same with emphasis on quality melodies, which in itself is a lost art. For me, one of the best albums of the last 20 years.

Ownership: CD: 2002 Silenze. Tri-fold digifile. My CD says it's on Silence. My guess is the label changed their name to Silenze later to avoid confusion with the legendary 1970s Swedish label of the same name.

2003 (first listen); 12//04 (original notes); 5//05 (more notes) ; 4/16/10; 11/12/12 (review / new entry); 7/16/24

Eskaton - Fiction. 1983 France

Quite simply a brilliant fusion of dark 1970's Magma inspired Zeuhl and early 1980's bright New Wave sounds. Our two angelic gals are joined by main songwriter Marc Rozenberg on vocals here, adding a bizarre male narration to the proceedings. Perhaps even better is the heavy use of that wonderful compressed French fuzz guitar sound, an instrument largely missing from Zeuhl music in general. Unless, of course, you've heard that incredible brilliant debut by Eider Stellaire. And there you have the storyline for Fiction: Early Eskaton meets Eider Stellaire. I will tell you this - there is no other album like Eskaton's Fiction. Not one. Nada. If the early 80's were filled with albums like Fiction, it could have well been my favorite era of music. Alas, it was not meant to be. Folks, you really need to listen to me while I shout from the mountaintops here: Eskaton were the embodiment of pure genius. Do not miss anything the band released. Buy them all. Listen to them repeatedly. You cannot go wrong here. If everyone thinks you're nuts, then you know you've found gold.

Ownership: LP: 1983 private. Single sleeve. Mail order acquisition (1994).

CD: 2005 Soleil Zeuhl. Jewel box reissue with excellent sound, photos and lyrics. Different song order than the LP. As bonus tracks, the reissue includes 'Le Musicien', which is a rare track from a compilation called Preludes (1985). As well, the reissue contains 4 tracks from the unreleased 1985 album Icare.

1994; 2//05; 11/9/12 (new entry)

Versailles - Blaise et Benjamin. 1998 France

Hearing this again tonight reaffirms my position below. 

Taking the sound of Le Trésor de Valliesres even further along their 1970's French heritage, Versailles have now fully embraced the space rock sound of Pulsar. Especially on the two opening lengthy epics  'Blaise et Benjamin' (15:21) and 'Poison de Passion' (19:19), whereas the two shorter tracks (short being a relative term here as both tracks clock in well over 9 minutes each) return to their theatrical Ange and Mona Lisa roots. There is more room given to the instrumentals, and space is created for guitar riffs and solos, along with keyboard atmospheric sequences and organ demonstrations. If looking for English equivalents, or bands you may be familiar with, what you have here is classic Genesis meets Pink Floyd, both within their respective most progressive era. However, there's no mistaking Versailles' Gallic roots, and to repeat what the true influences are: Ange meets Pulsar. 'Poison de Passion' I believe to be Versailles' most 70's inspired track of their career.

This was to be the last album from the great Versailles, and they fortunately finished at the top of their game. However, the band essentially continued under the legendary Mona Lisa moniker for one final album, as they fulfilled the instrumental sections for lead vocalist Dominique Le Guennec. And Versailles' de facto leader Guillaume de la Piliere pushed on with three solo albums, though all missed the synchronicity of a full band effort.

Ownership: CD: 1998 Musea. Purchased new upon release. Jewel case. Booklet has French lyrics and photos.

11/8/12 (new entry); 9/9/18; 6/6/21