Rictus - Christelle ou la Decouverte du Mal. 1981 France

Rictus' debut is very much a deep underground album from France. Raw and primitive overall but with some cool compressed fuzz guitar sounds and a vintage 60's organ to go along with Fender Rhodes, Moog and even some cheap 1980's era synthesizers. At times the album recalls Nuance's Il est une Legende, especially concerning the ferocious fuzz guitar leads. There's also some dramatic Ange style vocals that are reassuring in this setting. There's almost nothing 1980s about this album, other than the aforementioned keyboards (and even at that, they are rarely deployed).

CD: 2012 Strawberry Rain (Canada)

An extremely rare album, the original LP was pressed in a limited edition of 250 copies for friends and fans, with the surplus ending up in a village record store. I can remember having this one on a curiosity list going back to the mid 1990s. Le Kiosque D'Orphee is a very similar label to FLVM, and was basically an LP pressing plant for those who could provide a master tape. The CD is housed in a nice mini-LP sleeve, complete with liner notes, photos, and bonus tracks. The bonus tracks are from later versions of the band. The leader of Rictus was directly involved with this reissue. 

Ayahuasca Dark Trip - Mind Journey. 2010 Peru

Ayahuasca Dark Trip are a psychedelic ambient band from Peru that use guitars and soft vocals to achieve a hypnotic affect. Dark and mesmerizing, the group lull you into the site of Machu Picchu ever so slowly. Just when you think it's safe to close your eyes, a pulverizing blast of metal comes plowing through the speakers to pummel you into submission. Ayahuasca Dark Trip are an amazingly patient band, who have tapped into an ancient ritual - deep in the recesses of your mind.

Ownership: LP: 2012 Cosmic Eye

1/30/13 (new entry)

Lumerians - Transmissions From Telos Vol. 4. 2012 USA-California

Being the eternal packaging loons that the Lumerians are, they decided to put a mirror image on the different LP covers, so the bird faces a different way on each. The cover above is the French version, since that's all they have on RYM and I'm way too lazy to upload the version on Permanent. Oh, the US version is on white vinyl and the French one is beige. This band loves their packaging details that's for sure.

Putting the baseball card aspect aside for a moment, what about the music? As I'd read prior, this album is indeed more loose in structure. It features 4 long jams, that are untitled. "I mean, that's such a square thing to do man... who names songs anymore? They have no meaning anyway, ya know." Side 1 contains three songs. The first is within their trademark motorik territory, recalling the Can/Neu! sound. Track 2 is really interesting, like a freakbeat 1960's track gone amok. You can just picture the Girl in the Cage dancing her brains out, with the psychedelic liquid light show flashing chaotically behind. Track 3 is the real revelation here. For the first time that I can ever recall, a band has successfully attempted the Middle Eastern psychedelic jamming of Agitation Free's "Malesch". For that alone, the album should be held in high regard. Pounding drums, hand percussion, haunting organ atmospheres, with synthesizer solos laid on top. Breathtaking. What a sublime track! Unfortunately the momentum stops on the side long track for the flip side. I can appreciate a jam with focus, but this one just meanders aimlessly with far too much noise and chaos to have any impact. Such a shame to not capitalize on the fantastic first side. Still a recommended album - just not as much as the potential suggests.

Ownership: LP: 2012 Permanent

1/30/13 (new entry)

Eclat - Le Cri de la Terre. 2002 France

On Le Cri de la Terre, it seems the band has moved away from their Minimum Vital-ish roots, which is to say there is less of the Medieval here. But in its place is a more aggressive kick-ass style guitar rock, with some nice keyboards (though not recommended for digital-phobes). Taken this further, I'd admit that the short electronic pieces are definite minuses here. On the plus side, guitarist Alain Chiarazzo can play with the best of them, his style is very much in the French school, and the Paysson (Minimum Vital) comparison continues on.

Ownership: CD: 2002 Musea

1/29/13 (new entry)

Diagonal - The Second Mechanism. 2012 England

If the debut laid down the premise that Diagonal were to be the retro progressive rock band to be reckoned with, then The Second Mechanism fulfills that conclusion. Perhaps more studied than their first opus, with even more twists and turns to keep the modern short-attention-spanned listener completely enthralled - ironic given Diagonal's 1971 disposition. But such was the state of that era - and ours. Diagonal are a band that have gone from great to greater, and I can only imagine what they will come up with next. Let's hope the group continues to explore these paths that were not as tread upon as many people might initially presume. Diagonal are walking the little known side trails from the main highway. And there are many aural treasures to be found.

Ownership: CD: 2012 Metal Blade. Digifile packaging. Purchased new upon release. 

1/29/13 (new entry); 10/11/23

Astrakan - Comets and Monsters. 2012 England

While the first album stayed completely in the underground, at least Astrakan's latest album Comets and Monsters is slightly more accessible, being readily available from online retailers. Musically the band stray further towards the jazz end of the Canterbury spectrum. Adding female vocalist and keyboardist Celia Lu has defined their new direction. She sings in a higher pitched fashion - perhaps even pseudo operatic at times - similar to Dagmar Krause. But with a Chinese accent. It's a bit bizarre to say the least. I personally wish they'd exploit their rock abilities, but it seems Astrakan are more intent to stay within the jazz idiom. Henry Cow circa In Praise of Learning is a major influence on Comets and Monsters, but without the annoying tuneless improvisations, thus endearing the band more to my tastes.

CD: 2012 Jaguar Steps

CD removed from collection (2022).

1/29/13 (new entry); 6/8/22

Sanhedrin - Ever After. 2011 Israel

Sanhedrin are a new band from Israel where guitar and flute are the main thrust of the music. Features Shem-Tov Levi from the legendary Sheshet on flute. Melody is first and foremost, with a strong emphasis on old school analog instrumentation and production values. I'm reminded of bands from the 1980s and early 90s underground that were highly influenced by prime Camel. Groups such as Asia Minor, Minimum Vital, Solaris, and Rousseau all come to mind here. Towards the end of the disc there's a distinct Pulsar (hence Pink Floyd) influence. The modern Japanese group TEE also could be a reference here. A superb debut.

Ownership: CD: 2011 Fading

1/28/13 (new entry)

Psychedelic World Music: Discovery

Psychedelic World Music is a compilation featuring 9 bands from around the world that have recorded primarily instrumental psychedelic space rock music - two-thirds of it unreleased until now. The most obvious comparison would be the bands coming out of  the UK Festival psych scene of the 1980s such as Ozric Tentacles, Mandragora, and Soma. But as you listen closely, the groups featured on this compilation, regardless of location, seem to have adopted the Central and Eastern European variation of said sound. It's especially noticeable in the melodies, but the rhythmic structure looks Eastward as well. So if you're a fan of bands like Korai Orom, Ole Lukkoye, and Vespero, then this compilation is a must pick up. I am myself, and I found all nine bands here to be revelatory.

The first three tracks are especially captivating. Namely Cosmic Vibration (Germany), Triptych (England), and The Misteriosos (USA). If I were a label with money to spend, I'd start right here to build up my stable of bands and know that my label would have instant credibility. The latter, in particular, is the highlight of the entire disc with its mysterious female voice, atmospheric acid psychedelic guitar, and "Saucerful of Secrets" pounding percussion. Interesting to find out, then, that this is one of the three previously released tracks on the disc (none of which I'd heard prior to this). The Misteriosos track is from an obscure 2005 album, that apparently is completely different than this one track. That's too bad as it would have been my top priority to own. Starting with Track 4, the thrills become a little less per minute, but everything on here is at least very good. Considering the remainder, the Russian group Grey Mouse, and the Belgian band The Narcotic Daffodils are of particular interest. There are three bands here that are from countries that are rarely represented in rock music: Armenia, Belarus, and China - the last one being an all-time first for me. And something tells me that we will be hearing a ton of music from China in the next 50 years. In fact, I'd bet on that.

If any of this sounds at all interesting, then do not miss out on this wonderful compilation. Trail Records is the best USA label producing space rock today.

Ownership: CD: 2012 Trail Records

1/28/13 (new entry)

Tusmørke - Underjordisk Tusmørke. 2012 Norway

One of my pet peeves is that every time a band features flute in rock music, then they must be compared to Jethro Tull. I mean seriously - there isn't a hint of Jethro Tull in the music of Gotic, Solaris, or Mythos - and I could site hundreds of examples here. So having said that, Tusmørke have a flute driven progressive rock sound that will remind you of... Jethro Tull. That is exactly what they're trying to accomplish - early 1970s Tull. But the abundance of mellotron and the dark nature of their music (they're Norwegian, they can't help it) will suddenly make you realize that the music is distinctive enough to not sweat the obvious comparison. In fact, if you're a deep diver of the 1970s Scandinavian progressive rock scene, then a couple of bands leap to mind. First is the Finnish band Tabula Rasa, especially at the time of their debut album. But even more to the point, is the archival release from Colours by a band called Hades, who released 20 minutes of really fine flute driven material that had as much in common with those zany Italians Osanna as it did with Jethro Tull. Most of Underjordisk Tusmørke is sung in English, with that gnarled-tree-Ian-Anderson inflection. But the final track and one of the bonus tracks feature their native Norwegian, which sounds more natural - and mysterious - and something I hope they stick with on their followup. This band has enormous potential.

Ownership: CD: 2012 Termo

1/25/13 (new entry); 1/14/14

Moogg - Le Ore I Giorni gli Anni. 2011 Italy

There isn't much of a Canterbury tradition in Italy, which should make sense given that the genre is entirely an English invention. Even still, one can find plenty of examples in nearby France or The Netherlands. Sure, I've heard bands such as Picchio dal Pozzo mentioned in this context. But that band is really their own entity, if we're entirely honest here. Moogg, on the other hand, draws directly from the deep well that produced Caravan, National Health, mid 70s Camel, and Hatfield & the North. The fat sounds as generated by the Fender Rhodes, Moog synthesizer (duh), fuzz guitar and bass leave no doubt where the music is coming from. Add to that a vocalist who has a soft affected tone like Richard Sinclair, but sings in Italian, and a strong melodic sense - well there's just no other conclusion to make. Moogg are the best new band on Mellow in many years. If you love the Canterbury sound as much as I do, then this will be one of the highlights of your 2010 decade collection.

Ownership: CD: 2011 Mellow

1/25/13 (new entry)

Moving Gelatine Plates - The World of Genius Hans. 1972 France

Everything I love about the debut is magnified and enhanced on their second and final 70s album. They cut the excess (lengthy solos, including the worthless drum bit) while increasing the complexity, the instrumentation, as well as the melodic content. Regarding the latter, an incredible 450 themes were incorporated into these compositions. The end result is nothing short of astounding. I often read reviews where the opening 14 minute title track is mind blowing, and the remainder trails off. I agree with the assessment of the first track. However the album actually improves from there. The shorter tracks allow even more ideas per second to flow through. In fact, I'd say the two best tracks are the ones they chose for a single ('Funny Doll', 'Cauchemar') which I've included in the images above. MGP can do no wrong it seems. Overall, I find the album highly memorable long after the music has stopped. Considering the complexity, that's an extraordinary accomplishment. Most of these complex instrumental albums, especially in modern times, are cold and clinical. Moving Gelatine Plates proves that does not have to be the case, and should be held up as a role model for future generations.

Most everyone has a favorite album. This is mine. A perfect 100 out of a 100.

Depending on my mood, I could also say the cover is my all-time favorite. It's completely captivating, and appeals to my sense of humor.

Ownership: LP: 1972 CBS. Single sleeve. Online acquisition from a dealer in France (1999).

CD: 1993 Musea. Jewel case. Includes a full history. As bonus tracks they complete the Moving (1980) album that they started on the first album. 

1994 (first listen); 1/24/13 (review/new entry)

Psycho Praxis - Echoes from the Deep. 2012 Italy

[1971. A major city in the USA] Me and my friend Billy went over to Peaches Record Store and I just bought this great import album by an English band called Psycho Praxis. Dude, I spent 3 week's allowance on it. Looks awesome. A killer gatefold cover on Vertigo, mannn. Features acid guitar, Hammond organ, dreamy/amplified English vocals, fuzz bass, and flute. Reminds me of that other new band we bought called Uriah Heep, crossed with Jethro Tull, Atomic Rooster, and Raw Material. Right Billy?

....Except it's 2012 and they're from Italy.

I'm most anxious to see what they come up with next! Great album.

Ownership: CD: 2012 Black Widow

1/24/13 (new entry)

Eldberg. 2011 Iceland

Iceland had a small, but productive early 1970s underground rock scene, propelled by a few interesting bands such as Svanfridur, Odmenn, Trubrot, Manar, and Nattura (apologies to diacritic purists). Eldberg is a modern band dedicated to returning the glory of that genre. I seriously doubt, if blindfolded, anyone could place this band as from 2011. Defiantly singing in their native Icelandic, coupled along with an arsenal of old analog keyboards - predominantly Hammond organ - Eldberg successfully restores this once great scene to the modern era. Musically closer to other Scandinavian acts such as Alrune Rod (Denmark), November (Sweden), and Host (Norway), the progressive rock nature of Eldberg is held back somewhat by an overly lyrical stance (perhaps recalling the poppier Trubrot or Odmenn), that can be a bit of a drag in parts - especially towards the end of the disc. No need to fret though, as this keeps them only from Gnosis 12 (RYM 4.5+) territory, rather than something truly mediocre. If they let loose instrumentally, we're talking the next big thing in retro progressive rock circles.

Ownership: CD: 2011 Mylodon (Chile)

1/23/13 (new entry)

Moving Gelatine Plates. 1971 France

I suppose it was inevitable that I would eventually blog about my all-time favorite group from the 1970s. I know that's a strange thing to say for a band that only managed two albums in a two year period. However, Moving Gelatine Plates has the perfect recipe for my aural appetite. They feature the rare combination of being both memorably melodic and academically complex. They are affable, fun, and approachable. They were all about music and not about leftist politics (hard to find bands like that in the early 1970s French political landscape). The sounds they chose were thick, fat and wedgy - fuzz bass, loud acid guitar, trumpet, sax and flute. And perhaps best of all: They rocked like a motherf*cker. The opening track 'London Cab' is absolutely perfect, and a great example of MGP's overall sound. The only weakness found on the album is the overlong drum solo on 'Last Song', that I'm sure the band would agree on reflection, is completely unnecessary. There is no doubt that they were influenced by the Canterbury bands of Soft Machine and Caravan. But Moving Gelatine Plates takes the concepts of melody, composition, and rock energy to its logical extreme. They are Canterbury extract, in the same way that Presents From Nancy era Supersister were - but MGP was even more fleshed out considering the expanded instrumental lineup. All the good stuff stayed in, while the waste was filtered out. And to think they actually improved on their next album!

Ownership: LP: 1971 CBS. Single sleeve. Online acquisition from a dealer in Norway (1998). 

CD: 1992 Musea. Purchased not long after release and was my introduction to the album and group. As usual Musea closes the door on all potential competition with a high quality release, complete with detailed liners and photos. As a bonus, they provide half of the Moving album from 1980 (to be completed on the second MGP reissue).

1993; 1998; 1/21/13 (new entry)

Litmus - Planetfall. 2007 England

Continuing on from You Are Here, Litmus ups the intensity level on Planetfall. Once again, Litmus trades in on the Hawkwind meets Omnia Opera market, though this time everything gets the "turned up to 11" treatment. 75 minutes of brain blasting fun. Hard rock thrash, aimless wah wah solos, Moog tweets, mellotron interludes, and monotone vocals. It's sooooo English spacerock. Not sure there's anywhere else Litmus can go with this concept - they've exhausted the possibilities of the style.

Ownership: CD: 2007 Rise Above

1/21/13 (new entry); 12/29/23 (removed from collection)

Shaa Khan - The World Will End on Friday. 1978 Germany

Before Sky became an almost exclusively electronic label, they experimented a bit with symphonic progressive rock. Shaa Khan, Octopus, and Ramses are three of their most known bands in this specialty area of music. Shaa Khan is yet another laid back German progressive rock band. Bands like Novalis, Jane, Eloy, and Grobschnitt were huge influences in their day and Shaa Khan draws directly from this well. Of course Pink Floyd must be also mentioned in this context, simply to note their global influence at the time. The English vocals are awkward, a feeble attempt at performing both a Peter Gabriel and/or David Gilmour style. Nice guitar leads, copious mellotron/Hammond organ use, and the album features five long compositions, so an easy recommendation to traditional progressive rock fans. File along with Faithful Breath, Indigo, Pancake, Fly, Minotaurus, Albatros, and a host of others from the late 1970s German scene.

Interesting to note that Conny Plank would have agreed to produce this, had they chosen the German language. As such, it was recommended they record with Dieter Dierks, who was recording The Scorpions' Taken By Force at the same time. Apparently some spirited soccer matches between the bands occurred during the recordings.

Ownership: CD: 2009 Sireena. Digipak. Booklet contains history in both English and German, with photos. No bonus tracks.

10/4/07 (first listen); 1/19/13 (review / new entry)

P. P. Zahl - Alle Türen Offen. 1978 Germany

German polit-rock albums are typically a tough minefield to navigate. From the punk angst of Checkpoint Charlie to the theatrical Floh de Cologne to the earnest Ton Steine Scherben and onto the always changing Oktober, all these bands are a challenging listen. The German language is much welcomed, though the meaning is lost on me. P.P. Zahl are closer to the Oktober recipe (and apparently related as well), and that’s a good thing for those who are going more for the music than the lyrical component. Other than the usual rock instruments, a distinctly Spanish acoustic guitar makes numerous appearances. Fellow German language compatriots Novalis seem to also have played an influence, primarily the spacey texture of sound. And Minotaurus comes to mind on the synth bits. Picked up some counterpoint ala Gentle Giant on Side 2. One of the best for the style. Named after poet Peter Paul Zahl.

Ownership: LP: 1978 Antagon. Gatefold

No reissues exist as I update this (6/9/24)

2006; 1/18/13 (new entry)

Tamarisk - Frozen in Time. 1982-1983 England

Tamarisk reminds me of everything I like about the NWOBPR scene. They're tight, melodic, fast, and reasonably complex. The vocalist sounds like every other UK vocalist who spent a wasted youth with his dogeared Genesis albums (I mean that as a compliment). The guitar playing, in particular, is well done. And lots of mellotron on Lost Properties. All in all, very satisfying material.

CD: 2012 private (as Frozen in Time)

The two cassettes are very obscure, and I personally had never even heard of Tamarisk back in the day, even though I was already deep diving the NWOBPR scene in the early 1980s. Moe Curly turned me onto them via a CD-R only a few years back, and thus they became a feature on our CDRWL site. Frozen in Time is a well done private CD reissue of Tamarisk's two albums made by the band. The first 4 tracks are from the Lost Properties EP cassette (1983), whereas tracks 5 to 7 are from their debut EP cassette (1982). There are no bonus tracks.

Zoppo Trump - s/t. 1971-1972; 1976 Germany (archival)

The first two tracks here are when Zoppo Trump still existed as a guitar/keys-bass-drums trio. The music has a certain sophistication, but is also quite informed by the West Coast USA psych sound. At this point, they could be considered a parallel group to Walpurgis. Summary: Good not great. However change was on the horizon. Adding dedicated guitarist Ulrich Beck in 1972, which freed up band leader Ferdi Eberth on the Hammond organ, resulted in a remarkable progression for the band. As represented by tracks 3 to 7, Zoppo Trump sound more like their Krautrock contemporaries who adopted jazz characteristics as additives to their psychedelic Krautrock stew. Comparisons to bands such as Out of Focus, Thirsty Moon and Eiliff would not be an exaggeration here.  This gets us to the two previously released tracks from 1976, that were initially on the "Scena Westphalica"* compilation. Eberth rebuilt the band from the ground up, himself switching back to guitar, while adding three new members on keyboards/sax, bass, and drums. Here the band trades in their psychedelic Krautrock chips for a sound entrenched in more standard forms of jazz rock. Overall, an extraordinary musical document, which clearly demonstrates that Zoppo Trump could very well have released one of the all-time great Krautrock albums had they the proper chance. Only drawback is the less than stellar sound quality throughout (though still very listenable and miles better than bootleg standard).

*According to the liner notes, Garden of Delights states clearly that "Scena Westphalica" was released in 1976. They also opine that, in addition to Zoppo Trump, "the other tracks on the compilation album, by the way, are not of any interest for progressive fans." I have not heard the album myself, but I'm inclined to believe them all the same. I'm going to guess then, that the Electric Mud Orchestra, while no doubt related to the 1971 band (and bass player Udo Preising was the owner of the label Förderturm and a member of Electric Mud - and later was in Zoppo Trump - hence the connection), is in no way musically similar. As of course the Electric Mud album itself is "of interest" to progressive fans.

CD: 2009 Garden of Delights

My Brother the Wind - Twilight in the Crystal Cabinet. 2010 Sweden

Formed by guitarists Mathias Danielson (Gösta Berlings Saga, Makajodama) and Nicklas Barker (Anekdoten), My Brother the Wind (named after an obscure Sun Ra album from 1970) exists as the musician's vehicle for improvised space rock. I had feared initially that My Brother the Wind would join the Post Rock ranks, given the lengthy free associated album title favored by the genre, and the fact that Danielson had recently formed (and disbanded) a similar type group with Makajodama. But my fears were wiped away early on, as the guitar sounds are heavily affected in a psychedelic manner, and the group clearly is influenced by the 1970s masters. All the same, Twilight in the Crystal Cabinet takes some concentrated listening to work through the details in your mind. Because of the hour long length of the disc, there are many moments that probably could have been filtered out for a more compact and enjoyable experience. Like with many modern space rock bands, My Brother the Wind subscribes to the "if you can't find it, grind it" mentality to push an idea forward in a non-convincing manner. Interestingly enough, the one band that My Brother the Wind most resembles - and I haven't seen anyone mention this before - is the Californian group Djam Karet, especially if you consider titles such as Still No Commercial Potential. Nearby Oresund Space Collective would also have to be considered a reference, especially in the overall approach department. That is to say: Record hours of improvised space rock, and then edit it down for public consumption. It will be interesting to see where the band goes from here.

Ownership: CD: 2010 Transubstans. Colorful digi-pak.

Removed from collection (2022).

11//10; 1/12/13 (new entry); 12/29/21; 7/4/22

Mathematicians - Factor of Four. 1996 USA-Indiana

In the late 1980s through the early 90s, there was a movement for rock/jazz instrumental albums (think mid 70's Jeff Beck here), that brought on a slew of interesting releases, most of which are long forgotten today. The indie label I.R.S. started a series call No Speak, of which the majority of their roster was made up of top level electric guitarists whose commercially viable days were at least 15 years behind them (Jan Akkerman, Robbie Krieger, Wishbone Ash, Ronnie Montrose, etc...). They also had a series of compilation albums called Guitar Speak that were highly revered back in the day. In parallel to this, Relativity Records was pushing out albums by more trendy artists such as Steve Vai, Vinnie Moore, and Joe Satriani, while also signing up the middle generation guys like Steve Howe and Gary Moore.

Indianapolis based Mathematicians were clearly a product of this movement. It's hard edged guitar fronted fusion, with mild complexity, and a few good melodies. Keyboards are there primarily to provide accompaniment to the guitar pyrotechnics. Make no mistake, Mathematicians aren't a "guitar hero" band, as the compositions are fleshed out enough to enjoy in a listening session rather than as a "how to record" for budding guitarists. While the debut is well done, the level of intensity and songwriting improves on Factor of Four, and thus is the recommended place to start.

If you're a "man of a certain age", then this review will most assuredly bring back memories of that era, and you'll probably want to investigate this CD (or at the very least go digging through your closet for the IRS/Relativity albums you own... somewhere). As noted above, I bought this in the 1990s, and it's held the test of time well. In fact, the music has improved with age.

Ownership: CD: 1996 Acme. Basic layout with photos of the band. 

1/11/13 (new entry); 8/6/20 

My Brother the Wind - I Wash My Soul in the Stream of Infinity. 2011 Sweden

While the debut album traded in on some familiar modern concepts of space rock, I Wash My Soul in the Stream of Infinity reaches further back into the recesses of time, and adds a dollop of atmospheric Krautrock to the proceedings. This is exactly what the band needed, thus providing the proper context for the inevitable psychedelic jamming parts. There's an art to setting the table before dinner, and it appears many bands just want to jump into a bucket of chicken, and call it a meal. While the first album appears to have been a spontaneous jam session, followed by the idea that maybe it would be worthwhile to edit and release - I Wash My Soul in the Stream of Infinity starts with the knowledge of why the band exists, and where it wants to go. It may be improvised, but this time it was "planned randomness". So a bit more thought was applied before starting, rather than just plug in, find a key to play in, and wail.  The atmosphere here is much more dense and exotic, including a propensity to look East, just as their forefathers had done 40 years prior. My Brother the Wind is bordering on the brilliant here, and one hopes they follow this path further to release something truly incredible. I think this album also benefited greatly from an expansion of the instrumental palette - including Hammond, Mellotron, acoustic guitar, percussion, and electric sitar. So while I have rated both these albums the same (for now that is), I Wash my Soul in the Stream of Infinity is near the top of the range while the debut is at the bottom. Let's see what happens next.

Ownership: CD: 2011 Transubstans

1/11/13 (new entry)

Quaterna Réquiem - O Arquiteto. 2012 Brazil

O Arquiteto is Quaterna Réquiem's first new studio album in 18 years. And really, as far as I'm concerned, it's the first new album by the band since 1990. Quaterna Réquiem has successfully reunited Wiermann and Vogel, along with long time drummer Cláudio Dantas and two new members on guitar and bass, to continue on the legacy they began on Velha Gravura. Unlike the Sithonia reunion that we just wrote about, Quaterna Réquiem eschewed the temptation to go retro with all analog instrumentation. Rather they decided to continue on exactly as if it were 1991 and it was time for a followup album. Still, the production standards are definitely 2012 and the keyboard tones are fatter and better recorded than the 1990 album - so fear not as they wisely upgraded in the production department. The highlight, of course, is the compositional quality which is richly layered and deeply thought out. Violin, piano, synthesizers and guitar all take their turn at leading the instrumental parade. It's a long instrumental album, as 22 years of ideas come pouring out, that requires close listening to fully appreciate. Quaterna Réquiem were at the forefront of the 1990 progressive movement, one that never really had much chance to spread its wings as the commercial neo-prog bands were dominating the contemporary audience at that time. If you long for the progressive rock sound of the 1990 era such as Solaris' 1990, Nuova Era's Dopo L'Infinito, Minimum Vital's Sarabandes, and Tribute's Terra Incognita, then Quaterna Réquiem's O Arquiteto will fill that void. It brought a rush of memories back for me. Highly recommended.

Ownership: CD: 2012 private

1/8/13 (new entry)

Quaterna Réquiem - Velha Gravura. 1990 Brazil

Quaterna Réquiem were one of the first bands of the late 1980s/early 90s progressive rock renaissance to review the works of the Mediterranean bands such as Quella Vecchia Locanda and Gotic, rather than the standard English "Big 3" of Genesis, Yes, and ELP. As such, their in-depth research of 1970's progressive rock adds a dimension sorely missing from most works of this time frame. Quaterna Réquiem performs a new interpretation of a much missed genre of music - what was once known as "Euro Rock". And the only thing keeping Quaterna Réquiem from classic "retro prog" status, that which is all the rage in 2000+, is the lack of analog keyboard instrumentation. But the compositions, skillful playing, and youthful exuberance carry the day here, so that Hammond organs and mellotrons are hardly necessary. A very fine work from a band that dissolved all too quickly in its original form.

Ownership: CD: 1992 Faunus

My original copy was the LP purchased upon release. It was an easy decision to switch it out for the CD not long after.

1990; 1/8/13 (new entry)

San Michael's - Nattåg. 1972 Sweden (archival)

Honestly I wasn't too impressed with the sole LP from San Michael's (also reissued in 2009 by Transubstans). But this archival recording of their second album from 1972 shows considerable improvement. Here the arrangements are more sophisticated, the instruments (especially the Hammond organ, electric guitar, bass, flute, and horn section) are allowed more latitude, and the album is definitely geared towards the burgeoning progressive rock movement, rather than the bubblegum orientation of their California label album. Of course, it should come as no surprise to us, since San Michael's is the root system for none other than Kaipa - who themselves later spawned The Flower Kings (which begat Kaipa's own reunion, and is still active as I write this). And while San Michael's clearly hadn't shed its pop orientation, most of these short tracks are still quite complex in their own right.

The reason the album wasn't released in its day was due to the bankruptcy of the California label, and the unwillingness of any other label (major or minor) to sign them. They were about 2 years ahead of their time for Swedish audiences, but no doubt a band as majestic as Trettioariga Kriget would have lent an ear to this group while touring throughout the land.

CD: 2009 Transubstans

Victor Peraino's Kingdom Come - No Man's Land + Were Next. 1975; 1981 USA

Despite being originally associated with Arthur Brown's Kingdom Come as their flamboyant keyboardist, Victor Peraino is a denizen of Detroit, and his sole LP length album is clearly a product of the 1970's US Midwest. That is to say, a mix of radio friendly AOR music, and all out progressive rock compositions. The difference between the relatively simple 'Demon of Love' (2:30) and the ultra complex 'Empires of Steel' (8:25) back-to-back is jarring to say the least. At once Peraino puts together a radio friendly anthem and then follows with a mellotron fueled hyper-complex progressive piece with fluttering flute and psychedelic guitar solos, right out of Osanna's "Palepoli" songbook. This is followed by the trippy 'Tru' (2:15), an Eastern mystic mellotron piece that no doubt could have been found on a Timothy Leary inspired Kosmische Kourier album. And I suppose it's no surprise that Leary was considered a guru by Peraino himself. Perhaps 'Lady of the Morning' (6:10) is a concise example of the entire USA Midwest progressive movement. The songcraft and choruses are all radio friendly, but the instrumentation (some amazing mellotron, guitar, flute sequences here folks) and progressions point to a more arty pretension. This album could have only come out in the mid 1970's and from a place like Michigan. Really. Nowhere else. It's critical to understand the background of an album like this to truly appreciate it.

Despite many website's efforts to the contrary, as one can plainly see, the EP was released with the grammatically incorrect Were Next title. Or it's just a misspelling, as the first track is called 'Where Next' (many get this wrong too). But as we listen to the lyrics, the song continues with these gems: 'We're next in line'. OK, so Victor Peraino wasn't an English major. Those that were English majors are doing other things now too...

'Demon of Love' is as awful as the album version, but reduced to 1:11, so it's palpable. 'Fire' (2:53) is... well you know the Arthur Brown classic - so it's a cash-in for the related Peraino. Deal with it. 'Athena' (2:06) is an embarrassing Devo styled number (hello Akron!), with a cool progressive rock break. Were Next (sic) serves well only as the bonus tracks on the Black Widow CD.

CD: 2010 Black Widow (Italy)
CD: 1994 private (Japan)

One of the more mythical of the US privately released progressive rock albums, originals of Victor Peraino's Kingdom Come will set you back well over a $1,000 - probably a multiple of that. For many years, all that existed was a hastily done cheap vinyl transfer CD bootleg out of Japan from 1994. I owned that CD for years and, despite its legal status, was also one of the rarer CDs in my collection. I gladly sold it once the official CD finally surfaced from the great Italian label Black Widow. The Black Widow version is excellent, with superb sound, liner notes from Peraino along with photos, original album covers, etc... They did alter the original cover art (top) by adding psychedelic colors, which isn't a bad idea really. If you want the original art, the Japanese mini-LP restores it exactly. As well, both of these CDs include the 1981 EP Were Next (as did the boot actually), which would only be worth getting as bonus tracks anyway.

Ornithos - La Trasfigurazione. 2012 Italy

Ornithos are a sextet that is culled from the excellent ensemble Il Bacio delle Medusa. Like many new progressive bands from Italy, Ornithos looks back to the classic 1973 era for inspiration. On that front, Ornithos will remind the listener of other such groups like La Maschera di Cera, La Torre dell'Alchemista, and Il Tempio delle Clessidre. But Ornithos doesn't stop there, as they also have one foot in the classic Vertigo label heavy rock sound of 1971 England. In this way, they recall groups such as Areknames (Italy), Diagonal (England), and Astra (USA). With an equipment setup straight out of the 70s (Hammond organ, mellotron, sax, flute, loud psychedelic guitar) along with female/male vocals and a songwriting style from the past, Ornithos are the perfect recipe for a heaping dish of Retro-Prog. So if you have a craving for such a meal, then be sure to stop by Ornithos. They're open all night!

Let's hope that Ornithos doesn't take the classic Italian concept too far - that is to say - we are requesting another album! Too many of the best bands from 1972-1974 Italy were "one and done".

Ownership: CD: 2012 AMS/BTF. Papersleeve gatefold.

1/2/13 (new entry)

Sithonia - La Soluzione Semplice. 2011 Italy

It's a rare case indeed when a band that possesses a full 6 piece membership reforms after 13 years with all attendees still accounted for and present. Perhaps even more surprising is that it sounds like Sithonia picked right up where Confine left off, especially from a compositional standpoint. And, best of all, this time the band showed up with some old-fashioned analog gear, allowing Sithonia to showcase their immense songwriting talents with the proper (or preferred I should say) instrumentation. So I had asked the question in my Spettacolo Annullato review what that album would've sounded like with a less tinny and digital sound. And we get our partial answer here. It's different material, but the style is similar, and thus I think we know that the album in question would benefit with the addition of organ and mellotron, as presented here. Not to mention the fatter production.

All the trademark sounds of Sithonia are present: Great songwriting, an impassioned vocal performance (appropriately done in Italian), and excellent instrumental work which also now benefits from a larger palette of sounds to choose from.

In short, La Soluzione Semplice is Sithonia's best album to date. Quite a remarkable achievement for a band that was gathering mothballs for over a decade. Let's hope they continue this reunion with another effort!

Ownership: CD: 2011 Locanda del Vento. Jewel box with lyric booklet.

9/22/12; 1/2/13 (new entry); 11/4/18; 10/18/23