It – Order Through Chaos. 1994 USA-Illinois

It were an obscure group from Chicago led by guitarist Todd Freeman and the keyboards of Scott Munson. These recordings are spread across the period from 1984 to 1993, with the majority of the material coming from the 1980s. Somehow these ended up in the hands of Mauro Moroni who promptly issued them on his excellent Mellow label in 1994 (though it appears The Wild Places' Michael Piper may have been involved as well). I've spoken at length on prior reviews about the Midwest progressive rock scene, and It seems to have inherited many of the traits, carefully balancing complex instrumental passages with FM radio friendly verses. In Chicagoland terms, they are by no means as progressive as Yezda Urfa or Pentwater, but not as commercial as Styx or Neuron either. And there's a bit of a modern edge here, suggesting that perhaps It was aware of what Cheer Accident may have been up to during the same period.

'The Eternal Timeclock' (9:34) from 1984 demonstrates best It's coherent mix of progressive rock and commercial sensibility. The late 1980s finds It at their most radical and progressive, demonstrated best by the 9 minute aggressive guitar driven 'Armageddon' (1987) followed by the lengthy 18 minute space rock feast 'Fictition' from 1988, and is arguably the highlight of the album.

The final 1992/1993 material (though spread evenly across the disc) shows It with a much better production but is far more introspective in nature, with a decidedly mellower tone.

Ownership: CD: 1994 Mellow (Italy). Standard jewel case release. Nice tri-fold out booklet with lyrics, dates, and interesting photography.

8/31/12 (new entry)

Niemen - Strange is This World. 1972 Poland

Not sure when SBB became the backing band for Niemen. It may have been here or the two Volume (aka Marionetki) albums (see comments from reader Bas as he clears all of this up for us). Niemen obviously was quite prolific during this period. Recently we spoke of Ode to Venus, and that album definitely seems like the SBB 0 (zero) album. Here, Niemen's vocals dominates more of the proceedings along with Helmut Nadolski's "double bass" which sounds like a cello gone mad, and (going off memory here) was also a big part of Niemen Vol. 1. Niemen's voice on Strange is This World goes beyond the blues, to an almost gospel-like croon. It's no doubt going to solicit polarizing opinions, though I definitely appreciate the passion brought forth here. As others have said, and I tend to agree, I would have preferred his native Polish rather than English. Still, SBB gets plenty of time to unleash their rock fury, and Apostolis gets in a few mean fuzz licks here and there. Organ is another dominant instrument presented. This album is a bit more unhinged and experimental than Ode to Venus, so I'd start there - though Strange is this World is well worth investigating on its own merits.

Ownership: CD: 2003 CityStudio Media Production / Green Tree (Germany). Standard jewel case reissue with liner notes from the 70s, one in German and a shorter one in English. 

8/31/12 (new entry)

Catch Up – Birth of the Second Life. 1976 Germany

The quality of Catch Up's second album isn't quite as apparent as the debut, and it takes awhile to assimilate the various styles present here. Birth of the Second Life starts off with a funky, disco-ish instrumental that recalls perhaps bands such as MFSB. This leads to a Hammond organ and piano driven track with an Andalusian theme. Followed by a moody horn and keyboard jazz track. And so it goes. Until the last 3 tracks, where Catch Up really take it up a notch. There are great Moog and organ solos, deep bass grooves, timeless melodies, and the closer that features tripped out female narrative bits against atmospheric keyboards and tuned percussion that instantly recall the early 70s Krautrock masters. A really fine album.

CD: 2012 Production Dessinee (Japan)

As with the recently featured Mike Selesia album, here's another surprise reissue we announced on the CDRWL back in June this year. And similarly it's a Japanese mini-LP, from a reputable label. When reading through the Production Dessinee discography, I found myself trying to find a musical link with Catch Up. I can't - it seems to be an anomaly for the label. As for the packaging, the original was a single sleeve, and thus this an exact miniature replicate. As is custom with Japanese releases, the only liner notes are in kanji. But barring any specialist label reissuing this, then this is a fine alternative. Not sure why Crippled Dick Hot Wax didn't release it, since they had already reissued their debut album.

Haizea – Hontz Gaua. 1979 Spain

Picking up where the debut leaves off, 'Anderea' is a pleasant bit of Basque folk with female vocals. And then the wheels come off  - and we enter the realm that ashratom cares about - on 'Egunaren Hastapena', a dark acoustic piece with cello, recorder, chimes, acoustic guitar, and flute that I swear recalls some of the Scandinavian psychedelic acts such as International Harvester and Algarnas Tradgard. This track finishes in Gotic (a Catalan progressive rock band) mode with happy flute and a full rhythm section. 'Argizagi Ederra' opens with haunting female vocals and what sounds like a didgeridoo, and when the psychedelic guitar enters in, we are once again reminded of Algarnas Tradgard. Who and what were these guys tuned into? No way they could have known these Swedish albums - right? 'Arnaki' continues with flute and electric guitar in an instrumental psychedelic space rock setting.

And we haven't even hit the album's most transcendental piece - the two part title track that encompasses all of Side 2. Starting with male monk like chants, you already know this is going to descend into the deepest recesses of your mind. Acoustic guitar, cello, flute, chimes, wordless female voices, and hand percussion fill out part one 'Hegoa Heldu Da', and then it goes deeper down the well on the second part 'Maritxiki Korupeko', where they subsequently turn on the electricity. And the female voices become more haunting. And then... well... discover for yourself I'd suggest.

This is a special work and entirely unique amongst all the albums coming from the Basque country.

CD: 1994 Elkar / Lost Vinyl

The original is a gatefold, and has always been rare. Released exclusively in the Basque country of Spain, the album had very limited distribution. I bought the CD when it came out, and that was my first exposure to the album. It's a joint release from Basque specialist label Elkar with the progressive leaning Lost Vinyl label of Valencia. Worth noting that the CD has a purple night sky rather than the dark blue as found on the LP (the photo above is the original LP cover).

La Desooorden - Ciudad de Papel. 2007 Chile

La Desooorden are very much a modern progressive band, that utilize current production techniques as well as some dark, atonal metal guitar. So elements of Tool and Porcupine Tree can be discerned on a quick glance. That alone would not make an A-list group, but underneath this superficial view, we find a group exploring all aspects of exciting music. You find Latin percussion, jazzy bits, RIO inspired avant progressive, folk melodies, early 70s Italian progressive rock and a host of other exciting ideas. The list of instruments utilized would take forever to type out. La Desooorden are an intriguing, complex and deep group - a group that reveals something different with each listen.

Ownership: CD: 2007 private

The CD is a private release with no catalog number. It's a beautiful package with a tri-foldout digipak and a nice insert.

2008; 8/28/12 (new entry); 8/15/17

La Statale 17 / Emphasis - Sudtirol Rock Scene. 1978 Italy

1978 was a lost year for the Italian progressive movement. Polarizing politics pretty much ended the genre and there were a couple of (big) last puffs in 1977 before completely dying out. Naturally enough, the music itself continued on with small studios or in live settings despite the relative unpopularity. Most of these were released in the last 20 years as archival material. But this split LP, with two unrelated and distinct sounding bands, actually managed to get out real time. The album was recorded in Bozen, better known as Bolzano in the far north of the country, in a mountainous region bordering Austria. Then released privately in Germany - to (not surprisingly) almost no audience. Thus its rarity today.

La Statale 17 is a fine melodic instrumental progressive rock act. Nothing overly dramatic or dynamic, as would be found in the 1973 Italian progressive heyday. Just a pleasant jazz influenced romp with guitars and string synths brought to the fore. Similar to other northern European progressive groups from this time frame such as Lady Lake, Ocarinah, and Flame Dream. I'm sure had the band possessed more of a support base, they could have been a top tier group. As it stands, they are a nice historical curiosity.

For Side 2, Emphasis looks towards Genesis as an influence. They took the unusual step, for an Italian band that is, to sing in English. And they also employed flute and acoustic + fuzz guitar strengthening the Genesis comparison. But like La Statale 17, there's a distinct Northern European slant to their sound, most notably Hoelderlin at the time of Clowns and Clouds comes to mind. But references to Saga (Netherlands) and Neuschwanstein would not be out of place. There are some really fine instrumental passages throughout, and Emphasis represents slightly the better of the two acts to my ears.

Ownership: CD: 1994 Mellow. Jewel case. Single card insert with no data.

On the original LP label the title is Südtirol Rock Scene.

1994 (first listen); 8/27/12 (review / new entry); 7/12/24

Kotebel - Concerto for Piano and Electric Ensemble. 2012 Spain

Concerto for Piano and Electric Ensemble starts with the four part, 43 minute title track - and despite the name - this isn't an academic exercise in composition studies. Nope - it's pretty much a combination of good old fashioned early 1970s progressive rock and modern avant progressive. The abundance of acoustic piano points to the classic Italian scene like Banco del Mutuo Soccorso or Metamorfosi, whereas the constant counterpoint and modern production qualities recall anyone from Japan's Machine and the Synergetic Nuts to fellow countrymen October Equus. Concerning the latter, this is no doubt a similarly dense and complicated work, though not quite as impenetrable as October Equus can be at times. Oh, and let's not forget that Kotebel is here to rock, so this isn't some charted sheet music chamber styled tedious snoozefest. The omnipresent Fripp styled guitar leads will certainly keep you awake, if not the persistent rumbling bass and energetic percussion. The "electronic keyboards", as they are credited, certainly like to emulate the mellotron as often as possible. 3 other tracks totaling 16 minutes plus a bonus from 2008 round out the disc in similar fashion. And it's Dad who plays those fancy thing-a-ma-jigs. And he's also the group's founder and main composer. And who's that playing the piano? None other than his 22 year old daughter. You know he is beaming with pride. And he should be.

Ownership: CD: 2012 Musea . Comes with a DVD as well.

8/27/12 (new entry)

Ragnarok. 1976 Sweden

Ragnarok's debut is a soft, tranquil style of instrumental rock, based on typically Swedish themes. Somewhat like a less rollicking Kebnekaise circa their second album. Flute, acoustic/electric guitar, and Rhodes electric piano lead the instrumental parade. A fine album that aurally represents a Nordic winter by the fire. The band's later albums, coming in a full four years after this, are considerably more energetic than this debut.

Ownership: CD: 1995 Silence. Standard jewel case.

My first copy of the album was the original LP (1994). Thought about getting it again, but not worth current going rates. The CD is fine here.

1994 (first listen); 8/26/12 (review / new entry); 2/21/24

Kotebel - Omphalos. 2006 Spain

Omphalos is the album that catapulted Kotebel into a more formidable full band progressive rock operation. The addition of full-time soprano female vocals and flute greatly contributes to an entire new dimension of their sound. And while there's a bit of "progspotting" throughout the disc (in particular ELP, King Crimson, and Mahavishnu Orchestra - they all get a day in the sun), the overall package still comes across as entirely original. This is a dense work, that isn't afraid to rock out, and one that will require many listens to fully comprehend. The female vocals, piano, and flute definitely adds that Bacamarte meets Gotic esoteric reference that hardcore progressive rock fans tend to cherish. I'm guilty as charged.

Ownership: CD: 2006 Musea (France)

8/25/12 (new entry)

Zed - Visions of Dune. 1979 France

Zed is one Bernard Szajner, a French synthesist and theatrical design artist, who would later plant his own name on future recordings. On Visions he is joined by guests on guitar, bass, drums, and vocals from various members in and around the Magma camp - though this is mostly a solo electronik musik affair. Overall the music portrays an aural painted landscape of darkness, with sequencers, Moog solos, and guitar providing the ominous atmosphere - all designed to recall the Dune novel. If this all sounds familiar, it is because fellow countryman Richard Pinhas (Heldon) did exactly the same thing with his second solo album Chronolyse one year earlier with arguably better results. Both apparently shared a fixation with Frank Herbert. Late 70s Conrad Schnitzler also comes to mind here. For fans of French dark electronic music, this one is hard to pass up.

Spalax CD sold.

8/24/12 (new entry); 7/29/19

SRC. 1968 USA-Michigan

When I think of 1960s psychedelic music, the debut by SRC is exactly what I want to hear. A 6 piece, with 2 guitarists and an organ player. The Quackenbush brothers clearly lead the instrumental sections with Glenn pounding away on his Hammond while Gary lays down these insane acid guitar solos - splattering it all over everything like The Plastic Cloud do - and just the way I like it. Meanwhile Scott Richardson's (Scott Richard Case is what's behind the acronym) vocals are spacey and trippy - a flower power voice in a psychotic setting.

From the town that hosts the University of Michigan, and it's clear the student body was TURNED ON in 1968 (which might explain why they lost to Ohio State 50-14 that year, but that's another story...).

SRC's debut is one of the gems of the major label US psych scene. Crushes most albums in this genre. Don't miss out on this one.

Ownership: LP: 1968 Capitol. Single sleeve with a great psychedelic cover. I had been in the market for an original for some years, and finally acquired this copy online in 2018.

CD: 1993 One Way. Bare bones jewel case release. But I don't care as I want this in a mobile format.

8/23/12 (new entry); 11/21/18 (LP acquisition)

Magical Power Mako – Music From Heaven. 1982 Japan

Solo artist Magical Power Mako provides us with fourteen musical interludes, that could be classified as incidental music for TV & film (aka Library Music). The music has a distinct psychedelic Eastern bent with sitars, fuzz guitars and indigenous scales. Mako also performs drums and percussion on occasion.

CD: 1994 Belle Antique

Music From Heaven was originally released on Tokyo's own Marquee Moon as a promo LP, and may have in fact been the first release for the label/magazine/store. Though the Belle Antique CD lists 14 tracks, everything is stuffed onto one indexed song making it a PITA to listen to one particular track. When listening to the CD carefully on headphones, you'll hear background music, as if the master tape contained other music before being overwritten with Mako's album.

2015 update: I sold the CD.

Group 1850 - Paradise Now. 1969 Netherlands

Wow. The first 3 tracks are psychedelic songwriting at its best. Trippy droned-out voices, acid wah-wah guitar, psychedelic organ, pounding bass, active rhythms and memorable melodies round out the opening of Paradise Now - Group 1850's second album, and a work of pure genius. 'Friday I'm Free' is my pick for the ultimate late 1960's psychedelic song . This is followed by 3 short incidental psychedelic interludes, whose placement is perfect and sets up the album's masterpiece - the appropriately named '?!'. Perhaps in 2012 they would name the track 'WTF?!'. This instrumental journey into the netherworld of your mind is highlighted by some of the most incredible organ sounds you've ever encountered. 11 minute closer 'Purple Sky' shows Group 1850 paying homage to the blues psych of Jimi Hendrix, but tripped out Amsterdam coffee shop style.

A stunning work of psychedelic music, that makes you pine for more of it. If only there was more of it....

At least one well known collector on RYM says it's his favorite album ever. That's outstanding. I'll say top 25 for me. An amazing piece of music.

Ownership: LP: 1969 Discofoon. Single sleeve with flapback cover. Online acquisition (2012). Can you believe this album was released by a department store (Vroom & Dreesman)? It blows my mind to even dream of albums like this coming out from, oh I dunno... say... Montgomery Ward. It's impossible to fathom! Incidentally the store is still going strong today, but it's been many years since they were in the music business.  

CD: 2019 Pseudonym (as part of an 8 CD box set called Purple Sky). 

1993; 1/17/01; 2009; 8/21/12 (new entry); 12/21/17; 7/18/19

Holy River Family Band - Welcome to Riverhouse. 1997 Sweden

Welcome to the Riverhouse is the second album from Sweden's Holy River Family Band. They took the ambitious step of releasing a double CD that is chock full of space rock and psychedelic music, offering up an exhausting 108 minutes. Despite the length, I found Welcome to the Riverhouse more digestible than the debut, which was only a mere hour long. There are more actual songs here rather than the - at times - insufferable long psychedelic jams the debut brought forth.

What's most disconcerting about Welcome to the Riverhouse, is that there are no obvious sublime moments to be found here. That one track that makes you drop everything you are doing and focus intently on the stereo. There's plenty of great to go around, but not exceptional. It seems a bit more thought should have gone into the pacing, and of course some obvious editing would have helped. The vocals are also not an asset, often times you'll find yourself hoping they will end quickly. Overall, the album still falls into the "excellent" category, but on the low side. The good news is there are no clunkers here, so this is a good album to hit play, and let it reveal itself in the background. Without question if you're looking for a place to start with the Holy River Family Band, this is the CD to go with, though I'm just as fond of the debut rating wise.

Ownership: CD: 1997 The Wild Places (USA). Purchased new online upon release. If you want the full album, you'll need to get the double CD. There is a truncated version on LP, but I cannot imagine the allure beyond owning it in that format. How times have changed. In 1998, new albums being pressed on LP were rare - only a bare few labels still engaged in that practice. The Wild Places/Gates of Dawn owner Michael Piper was a major LP collector, so he would press albums on LP where he could. But there wasn't much demand honestly (including me - still the case for new albums!). Today it would be the opposite. One would expect a 5 LP set with different colors for each vinyl. And then a simple slip case CD would be included, and that would be truncated! Crazy world.

8/19/12 (new entry); 5/24/19

Holy River Family Band - Haida Deities. 1996 Sweden

Haida Deities is an excellent debut album by Holy River Family Band, a group born from The Spacious Mind, and shortly thereafter also bred Kundalini. The album starts off, perhaps predictably, more peaceful and tranquil before launching its first full force acid guitar fronted jam on 'Eztetl'. The 29 minute closing track is like eating only the frosting on the cake - especially if you're a psychedelic instrumental freak. There's quite a bit to take on at once, and watch out for the sugar rush if not careful. Guitars, organs, synthesizers, hand percussion, and a slew of exotic stringed and percussive instruments are on display. If you love the 1990s Swedish psychedelic sound, itself spawned from the early 70's works by Flasket Brinner, International Harvester, and Algarnas Tradgard, then Haida Deities is a no-brainer purchase.

Ownership: CD: 1996 The Wild Places (USA)

8/19/12 (new entry) 

Anyone’s Daughter – Piktors Verwandlungen. 1981 Germany

Anyone's Daughter return to their progressive roots on Piktors Verwandlungen, the band's 3rd effort. In fact, this was a pre-Adonis composition brought to fore for the first time on album. As such, the instrumental sections here bring back the Teutonic take on the mid Genesis sound similar to other German bands of their era like Ivory and Neuschwanstein. The German narration can be a bit much to take in, as they sort of give off the feeling of "going to church before enjoying lunch" type of delay. And that's with consideration that I actually enjoy narration as a musical vehicle - as found in bands as diverse as Flaming Bess, Latte e Miele, and Pholas Dactylus. But here the fact remains there are over 11 minutes of Hesse's poetry to endure. All in all a very good album, but with notable demerits.

The Tempus Fugit CD adds a 26 minute version of the same track from the late 70s, and has to be considered an improvement. The narration has been cut back and the instrumentation is more analog. The trimmed time seems to have highlighted more of their instrumental capabilities, and because of this, is better on the whole. And the definitive version to own.

CD: 2008 Tempus Fugit / SPV
CD: 1994 Music is Intelligence

The Tempus Fugit CD is the definitive edition. It comes in a slip case, with an essay, photos, and the aforementioned 26 minute bonus track. The CD also includes a replication of a poster from a concert in Stuttgart, resembling the album cover art.

Last listen: May 9, 2019

Christian Boule - Photo Musik. 1978 France

Christian Boulé had previously played guitar on albums and in concert with French underground rock royalty such as Clearlight, Dashiell Hedayat, Gong, Lard Free, and Delired Chameleon Family, so it was only natural he'd get his chance at a solo career. At the height of the French progressive rock movement in 1978, Boulé released his debut Photo Musik on Polydor - the current label of Clearlight at the time (and no coincidence as Cyrille Verdeaux personally made the arrangements). Adding female vocals in English, the album mixes the psychedelic space rock and electronic music of Clearlight with the oncoming New Wave styles that were just approaching on the musical landscape. At once Photo Musik recalls Ash Ra's New Age of Earth combined with more obscure French bands such as Superfreego and even Eskaton (stripping away the Zeuhl of course). All throughout, Boulé's fuzz guitar is sublime. Only misstep is '22 Broad Street' while all of Side 2 is great, especially 'Orange Climax'. Those familiar with Phillippe Besombes and Hydravion will find much to enjoy here. A hidden treasure of 1978 France.

Ownership: CD: 1999 Musea. Jewel case release that contains a booklet filled with historical liner notes. In addition, there are two newly recorded (1999) short tracks from Boulé, Verdeaux, Tim Blake, and others. Both are surprisingly relevant and very good.

8/18/12 (new entry)

Mike Selesia - Flavor. 1976 USA

Fresno, California based jazz musician Mike Selesia (who plays sax and flute) presented this fascinating hybrid of early 60s Coltrane, early 70s Miles Davis, Ravi Shankar and Jimi Hendrix. Album starts with the former and gradually moves to the latter. By the end we have an almost Kosmische Krautrock type sound, something that would have been comfortable on the Ohr and Brain labels. Wild fuzz guitar, fluttering flute, sitar & tamboura, hand percussion, haunting voices and reckless experimentation. As if the drugs kicked in about half way. Excellent album.

CD: 2012 Shout! Deep Jazz Reality (Japan)

As mentioned in the CDRWL, talk about a surprise reissue! Deep Jazz Reality is a respected label out of Japan, who reissue obscure US based jazz albums. The package is very nice - an exact replica of the original single sleeve cover (presumably, as I've never actually owned one). There's an interview with Selesia in the liner notes. The bad news is it's been translated to Japanese, so not much help for us English readers. Maybe someone can translate it for us one day.

Alphataurus. 1973 Italy

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 Succorso.

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.

LP: 1992 Si-Wan (Korea)
CD: 2003 Arcangelo (Japan)
LP: 1983 Seven Seas (Japan)
CD: 1992 Crime (Japan)

One of the most extraordinary covers of them all (as stated above), the original is a amazing triple FOC, and is now extremely rare and sought after. I was never fortunate enough to own one, and now the price is exorbitant. My first copy was the single sleeve Japanese LP on King that I picked up the late 1980s. I eventually replaced that with the triple FOC on Si-Wan, and still own this copy today. Si-Wan later repressed this as a single sleeve and is relatively common. One of a handful of original LPs that I don't have, and that I'd consider spending major money for to obtain.

Last listen: August 21, 2018
Originally reviewed: February 12, 2001

Manfred Mann Chapter Three. 1969 England

Manfred Mann leaps from his mod pop days and into the murky waters of the British rock underground. As such you have a seasoned veteran who bridges the gap from other pros such as Ian Carr's Nucleus with newcomers like Locomotive, Raw Material, Ben, and Tonton Macoute. The songwriting is top notch, and you get some great jazz inflicted background music complete with sax/flute/trumpet solos and a horn section. But of course it's Mann's creaky organ that puts it all together, and sends this one to a higher level. It does get a loose in places ('Devil Woman', 'A Study in Inaccuracy'), which can be annoying depending on your preference. For my tastes, the best track is 'Snakeskin Garter' followed by 'Time' and 'Mister You're a Better Man Than I'.

CD: 1999 Cohesion. The CD above adds 4 bonus tracks which are pretty much worthless as they are single and/or mono versions of tracks from the album. The CD features a nice 2 page essay in English and full recording details. A very nice reissue that is still widely available.

8/13/12 (new entry); 4/15/18

Psiglo - Ideación. 1973 Uruguay

Psiglo's debut starts out in a rather typical fashion for the 1960s (noting this is indeed from 1973), with straightforward blues based psych rock tracks and hippie styled vocals (in Spanish). 3rd track 'Catalina' is a pleasant ballad with organ and orchestration. By track 4 'Vuela a mi Galaxia', the drugs must have kicked in as the band experiments with wild sounds on the organ and guitar. Not to mention the phasing and other studio effects. Side 2 opens with the instrumental 'Nuestra Calma' and perhaps not surprisingly is the highlight of the album. Album ends on a fine note with the aggressive Deep Purple styled number 'Piensa y Lucha'. Overall the album reminds me somewhat of the very early Italian post-psychedelic / pre-progressive bands like Il Balletto di Bronzo on Sirrio 2222, Formula 3's Dies Irae, or maybe Gigi Pascal e La Pop Compagnia Meccanica. A short, but fun, album. BTW, the missing track as noted above is currently on YouTube, so be sure to check it out if you haven't heard it. It's a varied piece that combines big band, free jazz, and blues rock to mixed results.



CD: 1997 Record Runner (Brazil)

Worth noting that while the Record Runner CD combines both of Psiglo's albums, it does exclude the track 'Es Inútil' from the debut which, at close to 9 minutes, is a pity. However it does add the 1972 single 'Gente sin Camino' (6:07), which is arguably a better composition. There isn't enough space to include both unfortunately so they made the hard choice to go with the single. The CD also features all the lyrics, band snapshots and a newly written short essay in English. This is the version I own and was my introduction to the band.

Omnia Opera. 1993 England

With Omnia Opera, we get a glimpse into the possible scenario of what would Ozric Tentacles have sounded like had they used Hawkwind as a blueprint rather than Hillage era Gong. Omnia Opera is a seriously heavy bunch, with over-distorted riffing guitars leading the charge. But they're also quite cosmic, with early Pink Floyd style build ups, wordless voices, psychedelic ambient guitars - and finally ferocious climaxes with wild fuzz guitar soloing similar to Ed Wynne and crew. Best tracks are 'The Awakening' and 'Each Day', but every track is a winner.

Ownership: CD: 1993 Delerium

1993; 6/11/12 (new entry)

Bonfire - Bonfire Goes Bananas. 1975 Netherlands

The comparisons to Focus and Finch are hard to avoid when talking Bonfire's sole album. The melodic nature of the former is met with the driving guitar fronted fierceness of the latter. I would also throw in the playfulness of another Dutch group - that of Pantheon (of Orion fame), which Bonfire perhaps shares more in common with (minus the saxophone). Worth noting that the 3 bands above are all instrumental, as is Bonfire. In addition, some of the humor-in-rock recalls the Flemish band Kandahar as well as the Danish group Dr. Dopo Jam. An excellent album.

Ownership: LP: 1975 EMI. Single sleeve. Recent online acquisition (2022). Some of the online reference sites show a yellow "Bonfire" on the turntable portion of cover, but that was later appended to the Pseudonym CD. 

CD: 1994 Belle Antique. Jewel case with obi. Gold disc and is limited to 500 copies. Has recording details and notes in Japanese. Also includes over 17 minutes of bonus tracks. Of these, the first two are from a single that I reviewed over at The 45 Revolution. The last two fast forwards to 1980 and introduces vocals. Much better than you might think with those parameters, as the music remains progressive even though there is a pop element. The final track brings us back to the style of the album proper, and the bass work recalls Zeuhl to some extent. A super close to the package.

1994 (first listen); 8/10/12 (review / new entry); 1/25/25