Jimmy, Yoko and Shin - Sei Shonagon. 1978 Japan

Even though Jimmy, Yoko and Shin are on the cult underground Japanese jazz label Three Blind Mice, their sole album is square-on progressive rock. There are 3 long tracks that are as much informed by ELP as they are by the Japanese freaky underground of Rock Joint Biwa and George Hirota. The latter groups are more evident in the indigenous vocal led sections. And occasionally they catch a toe-tapping groove with organ and piano jamming on top. To be truthful, there really is no other album like it, and as such it's truly a rare gem. It's a grower for sure.

CD: 2013 Think! / Three Blind Mice

A very obscure album that I never even heard of until about 3 years ago. Disc Union's Think!, the same label behind the Genshi Kyodotai reissue, has come to the rescue again. I believe Three Blind Mice is under the Sony brand now and this is a co-release. Absolutely fantastic sound and it really opened up the album for me. The CD comes in the now standard paper/cardboard miniature LP sleeve. Also features the original booklet insert. A fantastic reissue.

Flight - Incredible Journey. 1976 USA-Florida

Florida based Flight's second album is a super tight and intense fusion like Return to Forever.... mixed with AOR Midwest styled 1970s FM pomp like Styx or Starcastle. Just the most bizarre blend of contrasting styles one can imagine. As if the band were made fun of for being musical wizards, so in order to be cool they put out crowd pleasing rock music. WTH? I like it in any case. One of a kind that's for sure.

Ownership: LP: 1976 Capitol. Single sleeve. Recent score at a thrift shop (2020). Love finding albums like this in the wilds, even though it's easy to find online for cheap. Cool cover. This replaces the 2013 Eastworld CD which was my introduction to the album.

8/18/10 (CDRWL); 12/28/13 (new entry); 4/4/18

Orange Peel - s/t. 1970 Germany

Orange Peel's sole album comprises of long tracks filled with improvisational Hammond organ and loud electric guitar solos. Similar to Eiliff and Inside era Eloy, though given the 1970 date: 1) Orange Peel were certainly groundbreaking for the burgeoning Krautrock movement and 2) they were more heavily influenced by the blues and American psychedelic than the two aforementioned groups. No doubt the UK bands such as Deep Purple weighed in heavily with Orange Peel as well. An extraordinary example of early Krautrock in the truest sense of the word. Long Hair LP release adds their rare 45 single, which displays their heavy blues rock disposition.

LP: 1970 Bellaphon
CD: 2003 CityStudio Music Productions
LP: 2011 Long Hair

Always a very rare album since I've been collecting from the 1980s, Orange Peel's one album was strictly fodder for bootleggers for many years. In fact, my introduction to the band was one of those pirate CDs in the mid 90s. When the CMP versions came out, there was quite a bit of doubt on the legitimacy of them. There wasn't a website, they were related to the dubious Green Tree, and the CDs came out in digi-pak's with not a lot of information, similar to the bootlegs of the day. I then inquired with a reliable music industry source in Germany, and sure enough, they are legit! They bought the rights to the Bellaphon catalog and released a few albums in 2003/2004 - and then disappeared (this is a different CMP to the label behind artists such as David Torn and Mark Nauseef). So I own that CD, and it remains the only legit CD released, which is kind of sad for such an important album. A couple of years after that, I lucked into an original LP on ebay for relatively cheap, and I will of course keep that for the duration. And finally, I did decide to go for the Long Hair LP reissue, mainly to hear the two bonus tracks, and to have the historical liner notes. And they did a fine job on both accounts. Now there is one small problem for purists, and I mentioned this on the Virus Thoughts review, and that is the colors are way too dark. The original - and the photo above is a good rendition of that - has some distinct colors to it. Otherwise they did faithfully reproduce the gatefold cover. It's just strange that the artwork is so dull on the reissues.

Museo Rosenbach - Barbarica. 2013 Italy

I have not heard Museo Rosenbach's first reunion attempt with Exit (2000), but it would seem to be a typically underwhelming reformation album, where the band tried to be relevant, and yet seemed to have no understanding of its real audience. I've seen defenders of the album as well, though no one would be willing to fall on their sword for it I'm sure.

Perhaps the Exit album was a lesson learned for the veterans of the original Museo Rosenbach. Because Barbarica not only addresses its past, but also its future. We've talked about reformations here in the past, and generally they are abject failures. From Italy, Alphataurus and Le Orme have been glaring exceptions as their respective reformations successfully captured the spirit of the original band without them resorting to caricature. Barbarica is similar - except even more successful to my ears. Alphataurus had the added benefit of an unfinished 1974 album to work with, for example. Museo Rosenbach was starting from scratch. Original bassist (and now keyboardist) Alberto Moreno and drummer Giancarlo Golzi are the only steady members across their entire discography. Joining the reunion was original Zarathustra lead vocalist Stefano Lupo Galifi. The latter himself coming fresh off the debut by Il Tempio delle Clessidre which no doubt revived his interest in progressive rock - and most certainly he was held in high reverence by the much younger band that surrounded him. Ego boosts after age 60 don't come as often as they once did I'm sure. Even for myself, I was shocked at just how great his voice still sounded. And he continues to belt it out with the best of them on Barbarica. These three old warriors were then augmented by a new quartet of two guitarists, bass, and keyboards.

What amazes me most about Barbarica is how much the new material represents the spirit of their past, without copying it. The instrumentation is a mix of new and old - and the latter is often represented by the former. One of the most amazing aspects of Zarathustra was their ability to write jaw dropping breaks. Those kind where everyone looks at the stereo and says: Did you hear that? Well, guess what? You'll be doing that with Barbarica too. Like all great bands, it was the synergy of the collective whole that made that 1973 opus great, rather than a collection of soloists. Barbarica is exactly that. It's a true group effort, that retains their brilliant songwriting capability. The band sounds bold and confident. I've read some bellyaching that Barbarica isn't the same as Zarathustra. Well I hope not! While I'm not willing to say it's on the same level either - there are just too many parameters to consider where it would have the same effect on me - I will say that Barbarica may in fact be in the Top 3 of all the great Italian albums released in 2013. And that's a huge achievement given the competition. For me, the best ever reformation album coming from Italy. Yea.... Wow.

Ownership: CD: 2013 Immaginifica. Gatefold mini-LP with cover art that recalls their Zarathustra past, while also looking forward. Just like the music itself.

12/23/13 (new entry)

Ars Nova - Android Domina. 2006 Japan

I realized after buying The Goddess of Darkness real time in 1996 that Ars Nova had little more to offer from a creative standpoint. Somewhere down the line I ended up with the next one The Book of the Dead, and my opinion remained unswayed. And here we are with Android Domina - a Japanese mini-LP I only bought because it was dirt cheap. Now we have the girls in full S&M regalia, and opening the album with mock orgasmic sounds. Honestly, they sound - and act - like a bunch of silly Japanese girls at a pajama party. Why they must tease the middle aged male dominated progressive rock crowd, is anyone's guess, but I suspect it is yet another "Lost in Translation" scenario. Because once that bit of tomfoolery is over, our gals get down to the serious business of keyboard dominated instrumental progressive rock. And they still have nothing new to offer. Can't dock them for the performance, it's all very good. Like Ozric in that way....

CD: 2006 Altavoz

12/22/13 (new entry); 4/9/18 (removed from collection)

Charlies - Buttocks. 1970 Finland

Had you told me that Charlies' Buttocks was from 1970 England or 1971 Germany, I would have believed you. Fantastic loud acid guitar, amplified sax, soft acoustic guitar and flute, tribal percussion and deep vocals. It's the blues-rock-jazz sound that was so popular during this era, and one of my personal favorite styles. If you like groups from Germany such as Nosferatu, Ardo Dombec, and Alcatraz or the UK bands like Diabolus and Raw Material, then this one is for you. Very energetic and superb release.

Ownership: LP: 2013 Shadoks

For over 20 years I just had a crappy bootleg LP of this (which I sold immediately), so I willingly paid the "Shadoks Premium" and bought the reissue, and I'm rewarded with copious liner notes and an overall fantastic job, as is their custom. No bonus tracks though. I'm sure I'll never own an original, and to be honest the cover... leaves something to be desired. 

For such a great album, this one deserves a CD as well - and I will most certainly supplement this LP with a legit CD if one ever surfaces (not yet as of 6/10/24)

1997; 2009; 12/22/13 (new entry)

Le Porte non Aperte - Golem. 2013 Italy

And we continue with the 2013 Italian goldmine. Now this one I waited on for quite some time. Both rating sites I belong to, Gnosis and RYM, had pretty much across-the-board low grades. The reviews were mediocre in most places. But there seemed to be a common theme amongst these reviews. "The vocals are awful..." I wondered: Could it be what I think it could be? Is it possible? So I pulled the trigger on the CD and hoped for the best.

And yes, it was just that. What exactly, Tom? Modern ears aren't as accustomed to that particular roughhewn voice, but I recognized it instantly as one of the true examples of the early 70s Italian sound: The vocals of Delirium, Odissea, and Jumbo. And the first group listed is probably the best guidepost here: Delirium. For years now, I've been screaming at the top of the mountain that Delirium's Lo Scemo e Il Villaggio and III: Viaggio Negli Arcipelaghi del Tempo are some of the real gems from the entire scene. Le Porte non Aperte has tapped into that well. Oh Hallelujah! I thought this was a strain that had gone extinct. The turn on the dime rhythms, fluttering flute, and yes those psychotic gruff vocals. Have no worry, the usual keyboards and guitar are in full force as well. There's a touch of Path of Dreams era Garden Wall here too, which is just another plus for me. And, yes, I do hear some early Osanna as well - especially in some of the bluesy jams (oh you don't think of Osanna in that way? I do, because that's what they were in essence). I love this album, and along with Ingranaggi della Valle, are probably my top two Italian picks for the year. That's saying something given the competition.

I can only imagine if Le Porte non Aperte studied Jumbo's Vietato... album and made a try at that style. Oh my heart be still.

Ownership: CD: 2013 Ma.Ra.Cash

12/21/13 (new entry)

Kvartetten Som Sprangde - Kattvals. 1973 Sweden

Sustain fuzz guitar, thick/wedgy Hammond B3, and Latin percussion. You are correct, Kvartetten Som Sprangde caught the Santana bug, and we're all the better for it. Of course I mean the Caravanserai era, so it's not like KSS had to change their evil ways... baby. Though I've seen some people vehemently disagree with me regarding Santana. Yea? Go have a listen to 'Andesamba' and tell me that's not an outtake from a Lotus era concert. C'mon... Of course they weren't content to just play the style of music of Carlos and company, but also ported that same instrumentation while adding in more traditional Scandinavian folk scales similar to how Kebnekaise employed the exact same technique. There's definitely an undercurrent of the early 70s Nordic jazz culture as well, clearly informed by the Swedish headliners of the day like Bjorn J:Son Lindh and Sabu Martinez. Fans of instrumental progressive jazz rock will not want to miss this one.

Ownership: LP: 1973 Gump. Single sleeve. Acquired in a trade from a well know Belgian dealer (1996)

LP: 2013 Subliminal Sounds. Single sleeve with  thorough liner notes from Reine Fiske.

Still no CD as of this update (6/5/24).

1996; 12/21/13 (new entry); 1/31/16

Progenesi - Ulisse L'Alfiere Nero. 2013 Italy

Progenesi are a traditional guitar, keyboards (analog of course), bass, and drums quartet with guests on violin and cello. Progenesi took the unusual step, for an Italian band that is, to go without vocals. There are 6 tracks in all, averaging about 8 minutes each. Perhaps the most surprising aspect of this is that the band doesn't rely on loose jams or heavy repetition in order to achieve the extended length. Nor is it "overly composed" such as the Avant Prog bands would have it. And there's not even a hint that this is jazz rock fusion. No, this is just good old fashioned mid 1970s instrumental symphonic rock - and not something you hear much these days. Or in those days to be honest. Progenesi seem to have done a good job of absorbing the influences as the 1970s bands did, rather than being influenced by the 70s end product. One aspect of Progenesi that I really appreciate is their willingness to break into a good old fashioned blues rock jam, with impassioned leads and chunky organ (but never overstaying their welcome). Very few bands do that now, and usually they come from the stoner metal crowd, which has a different musical purpose. So now I have to come up with a comparison don't I? (Thinking, thinking). OK, here goes: Some Clearlight Symphony, classic ELP, a dash of Finch, King Crimson, Cherry Five (minus the vocals of course), PFM, Crucis, and SFF/Spektakel. How's that - did that help? Yea, probably not. For a modern comparison, I think SoulenginE is operating in similar territory, though they are much more geared towards Genesis than Progenesi (ironic given the name isn't it?).

This album comes highly recommend. I hope we hear more from them soon!

Ownership: CD: 2013 Raffinerie Musicali

12/20/13 (new entry)

Solstice - Prophecy. 2013 England

Prophecy is the 5th album from Solstice, and in a quick turnaround (by Solstice standards that is) of three years. There are five new, and lengthy, compositions for Andy Glass to explore his emotional progressive style, as first laid out on Silent Dance - and as a shrewd move, three of those tracks from said album have been added as bonus material, having received the Steven Wilson mix, and are included here for reflection and comparison. Prophecy finds Solstice right down the middle of their various styles. A selection of the best - and worst - Solstice has to offer (in my mind anyway). As such, Prophecy is almost certainly not the album that will change minds about them. The album artwork, and overall atmosphere, call out the American West - that of the Native American. There really isn't a more appropriate topic when considering the music of Solstice. It's an interesting anecdote then, that New Life first started sending chills up my spine while driving in Northern New Mexico on my way to Santa Fe from Denver (this was back in 1994). So perhaps I was having the same musical visual that Glass himself was. Let's get to the problematic parts, and then we'll focus on the positive. Solstice, again for my tastes, always had a tendency to retain too much "praise to the heavens" in their music. You can just picture the female singer with her head up, eyes closed, slowly swiveling her hips, palms open and arms sweeping upwards, while howling to the moon in that annoying American Idol way. Pan the camera for a profile shot in a misty light. Not for me I'm afraid, sorry. On this album, you can definitely envision this scenario on tracks like 'Keepers of the Truth' and 'West Wind'. On the flip side, when Glass and company add a little muscle, and the soaring violin and electric guitar begin to lay out the sustain chords, the entire mood shifts from quasi-religious to pure emotional ecstasy. Now in this setting, the crystal clear female voice is heavenly rather than temporal. For this style, we get 'Warriors' and especially the rousing closer 'Black Water' which is absolutely Solstice at their best. The opening track 'Eyes of Fire', like the album itself, straddles both sides of the fence. In any case, I'm a huge Solstice supporter, and would recommend this highly to fans. Otherwise, you may want to start with Spirit if curious about the band.

Ownership: CD: 2013 Esoteric Antenna

12/19/13 (new entry)

One of These Days & Thee Heavy Random Tone Colour Lab - A Peaceful Nacht in Hell. 2013 Spain

One of These Days & Thee Heavy Random Tone Colour Lab, a band that is certainly in contention for longest group name, are a new space rock / retro prog band from Spain. Specifically they are from A Coruña, located in the far northwest province of Galicia. Now that blew a cobweb off a brain cell, and sure enough, another space rock band came from the exact same town nearly 20 years ago: Kozmic Muffin. Who remembers them? They were one of the bright lights of the mid 90s psychedelic progressive scene. Not sure if One of These Days has any personal relationship with the group, but obviously the region has a propensity towards space rock acts. And there are some similarities in their music.

File One of These Days into the camp that believes music had no reason to go past 1975. You won't get much of an argument from me on that front. The all-analog instrumentation, composition style, and vinyl-only release - in a gatefold cover with lyrics and recording details of course - all point to 1971. Nektar's Journey to the Centre of the Eye or Pink Floyd's 'Atom Heart Mother' suite will certainly set your expectations correctly. The latter right down to the use of a Euphonium. Other modern day (lol) instrument call-outs include Farfisa Compact Duo, Vox Continental, Hammond Porta B, Minimoog D, fuzz bass, theremin, hurdy-gurdy... oh you get the idea. There is only one track, broken into 4 movements, split evenly across both sides of the vinyl with sub titles such as 'Nexus 2CBeautiful Things (including "Gurls & Chloroform")'. Peter Sinfield will be happy to know his legacy is secured. All the right ingredients are in play, and this is clearly a band with their atom heart in the right place. So it's perfect then? Well, no, but it's a great debut. I think the band could work more on the compositions themselves, and perhaps not rely solely on the same music that was created with these instruments 40 years ago. The beauty of the original early 70s movement is that it was way too short of a time frame to fully explore all the possibilities. And while numerous bands of the last 25 years have tried, there are still millions of possibilities. Especially when you load your studio up with only pre-1976 gear. In fact the biggest surprise came from the sequencer use on the 'Nexus...' track mentioned above - that seemed plucked more from Tangerine Dream's Phaedra rather than Dark Side of the Moon. It provided an excellent contrast to the full band performance and psychedelic guitar soloing. I think it's something Edgar Froese would have enjoyed (back then anyway).

So, in the end, we have a very exciting development. Let's see if they do more with the concept!

Ownership: LP: 2013 private. Gatefold. 

12/19/13 (first listen / review / new entry) 

Gunter Schickert – Kinder in der Wildnis. 1983 Germany

Gunter Schickert's Kinder in der Wildnis was itself an archival release compiled between 1981 and 1983 and released on the obscure York House Tapes due to a recommendation from the Freeman Brothers (Ultima Thule / Audion). As such, the music has a variety of styles, but all based on the patented cosmic sound-on-sound guitar style that Schickert had been performing since his Samtvogel album. There's a bit more of a rock element here, with nods to the NDW sound that was dominating the German underground at the time. The rockier sound also points to his days with the GAM ensemble he had formed in the mid 70s. As usual, there are all kinds of echoed vocals, from various sources. These augment the non-stop psychedelic guitar patterns, for a truly hypnotic experience. One of Germany's most innovative artists - quite a compliment considering the fertile scene from which he came from

Ownership: CD: 2013 Bureau B

Originally released as a cassette on York House Tapes (first scan), it was followed by a cassette second press on Auricle (second scan), and later a CD-R from the same label (third scan). Finally the album has landed on a durable format courtesy of Bureau B (last scan). The CD comes with newly written historical notes and two very good and relevant bonus tracks. The sound is fantastic all things considered, much better than the cassette dub I had. An excellent package overall.

12/19/13 (new entry)

Solstice - Spirit. 2010 England

Spirit is the 4th release from Solstice, coming 13 years later after the disappointing Circles album. This is really all I could have hoped for from a new Solstice album. Picking up where New Life left off, but avoiding the hippy dippy tweeness of Circles, Spirit is a fine collection of beautiful songs from Andy Glass and company. All the trademarks of classic Solstice are here, including the soaring violin and the sweet female vocals. And, of course, Glass' superb guitar leads. And there's a bit of rough edge this go round, showing that Glass isn't all about peace and love after all. I'd like to see him explore his more aggressive and psychedelic side in the future. Overall, a splendid effort from one of the UK's most unappreciated progressive rock bands.

Ownership: CD: 2010 F2. With DVD

12/20/13 (new entry)

Birds and Buildings - Multipurpose Trap. 2013 USA-Maryland

Birds and Buildings are one of a handful of bands Dan Britton is involved with (others including Deluge Grander, Cerebus Effect, and All Over Everywhere). On top of his considerable music composition acumen, Britton is also a student of the progressive rock genre as a whole. He's not only aware of the surface groups, but also of the labyrinthine underground - many of the same obscure bands I feature often. This deep research shows up in all his recordings, and he seems careful to not fall into the cliche traps he hears in others bands - especially modern ones who have the luxury of history on their side. Not only are music charts well studied, but so is the instrumentation, with a careful mix of analog and modern gear applied. Birds and Buildings would appear to be Britton's vehicle geared towards the more academic approach to rock, often referred to as the Avant Prog genre. Britton states Birds and Buildings charter is: "We play a mixture of intense jazz-rock (often bordering on zeuhl), more experimental symphonic music, and occasional avant-garde heaviness." On both recordings to date, Bantam to Behemoth and Multipurpose Trap, Birds and Buildings have delivered very busy affairs. Nothing sits still for long, and multiple shifts occur across harmonic, dynamic, and metric lines. If I stopped writing here, and that's all there was, I would admire Birds and Buildings but not necessarily enjoy it. But where Britton gets it right is he never loses sight of the song - melody is as important as the structure. As well, free improvisations where various instrumentalists lose total control of what they're doing are forbidden in Birds and Buildings' world. The very best of the Avant Prog bands understand these traits. The jagged nature of the genre can be too cold and clinical for repeated enjoyment, while long stretches of atonal noise are only for those who vacuum the room while listening. As well, I appreciate that Birds and Buildings do not resort to the all-too-predictable cartoon music which is supposed to somehow overcompensate for the seriousness. Also worth mentioning is none of this could happen without the band itself - all very accomplished players who put in a very spirited performance. Kudos to all! So what you have is a band that is incredibly dense like Thinking Plague or 5uu's, but considerably more accessible. I find that I can listen to these albums over and over, which is rare for an Avant Prog album to be honest (for me that is). About the closest comparison would be a band like Underground Railroad - different conclusion, but the same premise. And Underground Railroad features another student of the progressive rock genre, so perhaps it's to be expected.  I suppose if I were to level a criticism, and not that I have to, it would be nice to see Birds and Buildings lock into a groove every once in awhile. This allows the compositions to add some space and breathe a bit, and well... rock dammit. Caravan's 'Nine Feet Underground' is perhaps the perfect blueprint for what I mean here. Complexity, melody, and good old fashioned "in the groove" jamming. As if anticipating such an attack, it is interesting to note that Multipurpose Trap adds in a funk/disco component towards the end - something that the late 70s French bands were so adept at. I thought that was a stroke of genius, completely throwing the academic disposition on its head.

Ownership: CD: 2013 Emkog

12/17/13 (new entry)

Solstice - New Life. 1993 England

With a cleaner production than their debut from nine years earlier, New Life sees Solstice at their height. Andy Glass is in top form here, with some truly majestic guitar leads. He doesn't play fast or technical, it's all pure emotion unlike anyone else I've ever heard. 'Guardian' is one of the most gorgeous tracks I've had the pleasure of listening to. Plenty of wonderful violin and female vocals as well. A rich, beautiful album.

Ownership: CD: 1993 Progressive International

1994; 12/18/13 (new entry)

Capsicum Red - Appunti per un'Idea Fissa. 1972 Italy

Capsicum Red are yet another Italian beat/pop group who attempted a jump on the Italian progressive rock bandwagon. In the same league as J.E.T., but no one killer cut like Fede, Speranza, Carita. Still a fine effort if you can look past the production.

LP: 1972 Bla Bla
CD: 2011 Belle Antique
CD: 1995 Vinyl Magic

For yesterday's entry regarding Alain Eckert Quartet, I stated that if there ever was an album where buying the CD was more preferable than the original, then that was the one. Today, I will say the opposite: If there ever was an album to buy the original LP rather than a reissue, Capsicum Red is the one. Like most people, I discovered this album via the Vinyl Magic CD. It sounds horrible. I'd always been told the original vinyl was a mess, and that the masters were gone. I was fortunate to buy an original this year for a decent price (photo above is that album), and it changed my perspective on the album. Like all originals of this title, the sound has quite a bit of background noise (the original inner sleeve has a rough inside, which causes serious scuffing) - but much of the album rocks hard enough to obfuscate the noise. The CD's of this sound terrible in comparison. As I suspected (privately), the production wasn't the problem (though let's not get carried away, it's not incredible by any stretch). There's really no reason for this - as even a straight needle drop would sound better than what it's in the market. For me, it adds a solid half star (RYM) to my rating. I also do own the Japanese mini-LP for the packaging, but it's sourced/licensed/re-engineered from the Italian CD.

Solstice - Silent Dance. 1984 England

Though typically lumped in with the New Wave of British Progressive Rock crowd (or the more common, but dreadful, "Neo Progressive" tag), Solstice were really the odd band out. No Genesis influences here. Perhaps some Renaissance due to the female vocals or even perhaps Yes, because of the generally positive vibes. Solstice play a very beautiful and relaxing progressive rock, with violin, female voice, and searing electric guitar. On this latter point, I could listen to band leader and guitarist Andy Glass all day. He plays in an expressive way like no one else I've ever heard. Recommended.

Ownership: LP: 1984 Equinox. Gatefold with lyrics in the centerpiece. Wonderful artwork. This is one of those albums I started with the CD on, picking up the Brainworks release in 1993. Even though I was following the NWOBPR pretty thoroughly in the 80s, and had visited London record stores in 1984 and 1987 looking for just that, I honestly do not recall seeing this LP anywhere, including mail order. In 2014, I stumbled onto this copy online and snapped it up. It's not really that rare (though scarce here in the States), but I'm glad I secured it anyway. This is the first time for me to hear this album on LP, some 8 years from that event. The CD is a straight reissue and can go.

Our good friend Spyros has the following observation, and since he had a boots-on-the-ground perspective, it's always great to get these first hand accounts: "SOLSTICE were a weird affair. Though by their sound one could easily label them as a neo-prog band, they belonged to the festival scene (being regulars to the most famous free festies of the times with bands like OZRICS, HERE & NOW, HAWKWIND etc). Sonically however, they had nothing in common with the festival bands by being a pure progressive rock combo. They had also little to share with the pomp rock neo-prog clan as they deviated towards Renaissance's folkier edge and the 60s psych prog style. Add to this the fact that in their beginnings they had a late 60s hippy image. Probably the reasons of their limited success; no scene really embraced them as their own... Great band Tom. Count me among their loyal followers."

12/15/13 (new entry); 12/27/21

Alain Eckert Quartet - s/t. 1981 France

When I think of terms like "avant progressive", the music of the Alain Eckert Quartet is exactly what I expect. Like an earlier version of Forgas Band Phenomena, or a more playful and less serious Univers Zero. Compositionally strong, with a penchant for jazz, though a bit academic, without a strong sense of a groove. A good one for the brain, but perhaps lacking a bit in excitement.

The 31 minutes of live material as only found on the Soleil Zeuhl CD absolutely DESTROY the studio material. Here The Alain Eckert Quartet is ON FIRE, in the same zone as you might find Magma on their Live album - with killer Zeuhl bass, wild fuzz guitar soloing, insane drumming, and staccato piano. Stunning really.

CD: 2013 Soleil Zeuhl
LP: 1981 L'Amanite (Belgium)

The original vinyl is housed in a typical early 80s austere single sleeve cover. My first exposure to the album was buying a copy off of ebay in the mid 2000s. If there was ever an album to get the reissue CD of rather than the original LP, it's this one. Not only do you get the usual Soleil Zeuhl high quality production with great sound, liner notes, and photos - but you also get two critical bonus tracks that are not to be missed. Read above. This album was on our CDRWL as a Priority 3 for many years. Had I known about the bonus material, most assuredly it would have been Priority 1. 2017 update: I decided to part with the LP. The CD is all I need here.

Last listen: August 6, 2019

Les Goths - Reve de Silence. 1968 France (archival)

Here we have an insane psychedelic blues archival album from France, not a country normally known for such things - at least not in the late 60s. There's not a whole lot in the way of song craft here, but who cares really when you have this kind of insane fuzz guitar coupled with the frenetic drumming. Not to mention the spaced out vocals in English, French, and Mitterrand's personal burden: Franglais. Had Chico Magnetic Band released their album in 1968 rather than 1971, then this would have been a reasonable facsimile of such a fantasy. Quite an incredible find from the good folks at Shadoks. Highly recommended.

CD: 2011 Shadoks (Germany)

This fine archival package was released on both vinyl and CD by Shadoks. Features full liner notes regarding the history, and plenty of photos.

Psicomagia. 2013 USA-California

As with another modern US group - Ampledeed - Psicomagia pay homage to one of my personal favorite styles of music. Not Canterbury this time, but rather the freaked out - yet still highly melodic - early 1970s European jazz rock scene. There were many bands operating in Continental Europe that had been influenced by Frank Zappa's landmark 1969 Hot Rats  masterpiece. Perhaps that's why San Diego based Psicomagia chose a Danish label to release their album? Ha! Not really of course, since El Paraiso is responsible for similar retro artists coming from contemporary Denmark like Causa Sui and Papir. And Psicomagia are no strangers to the retro play either, as saxophonist Brian Ellis also plays in Astra (on lead guitar) - a band that I personally adore.

There are only 4 tracks on Psicomagia's debut, and the centerpiece is the two part 27 minute 'El Congreso'. The Spanish titles are not insouciant additions, but rather foreshadow the Spanish poetry interlaced throughout (in very small doses, so don't worry instrumental fans). But the delivery is  deliciously psychotic, yet another reverent memento to the early 70s masters. There are some truly sublime moments interspersed throughout, that achieve supreme peak moments. Sudden shifts in meter is intersected by tight wind charts and insane synthesizer soloing, which are seriously head turning material. Worth noting there isn't any guitar here, but the keyboard tones are such that you won't miss it. At times I was reminded of Larry Young's organ sound on Love Cry Want.

There's only a couple of grumps here from my side: 1) The bass is way too high in the mix and tends to drown out the other instruments. If it were played in the crisp pulsating Zeuhl style, then OK, it would be warranted. But it really sounds muddy - which is a shame since Trevor Mast seems to be putting in a very fine performance. 2) There's no sense of editing, which is a problem for many modern bands. It's straight heroin. Some of the solos could have been trimmed a bit, and a little more subtlety applied on these instrumentals would have been much welcomed. Going full blast / screaming loud all the time is not a virtue, except perhaps in certain fields of metal, punk, and electronica. Regarding 2), this is where I would think a studied listen to an album like Moving Gelatine Plates' The World of Genius Hans or National Health's Of Queues and Cures would pay enormous dividends. I think fixing both of these issues would produce a modern masterpiece. They're close as it is - despite these flaws. Highly recommended.

Ownership: CD: 2013 El Paraiso (Denmark)

12/13/13 (new entry)

Polyphony - Without Introduction. 1972 USA

Polyphony are a complex and intense American progressive rock band from Virginia Beach, Virginia. Without Introduction brings forth an enormous amount of energy. Loud guitar, shredding organ, two hyperactive percussionists, and hazy psychedelic vocals is what you'll find here. ELP's Tarkus suite seems to be the main influence here, with a bit more of that American rough and tough edge, not to mentioned the heavy guitar presence. 'Juggernaut' is the pick of the litter, but the entire 37 minutes is well spent. I've always found it a bit surprising this album isn't more revered, as I find it among America's finest progressive rock albums from the early 1970s along with Metaphysical Animation and Ram's Where In Conclusion.

LP: 1972 Eleventh Hour
CD: 2011 Belle Antique (Japan)
CD: 2011 Gear Fab

For years this album had more boots than a shoe store. I ultimately plunked down some serious coin for an original LP, which is certainly worth it when you consider the artwork of the cover. Plus it sounds great! The Gear Fab CD finally gave the album a legitimate release. It's obviously taken from vinyl (masters are long gone) that inexplicably skips the first 10 second or so, and the overall package is typical of Gear Fab: Single tray card with liners... and that's it. But at least those notes cleared up the date issue, stating it was from 1972 rather than the assumed 1971. My guess is they were printed up before they received Glenn Howard's liners. Mike Diana's story corroborates the 1972 date. But it's legit and we'll take what we can.

2016 update: I've also since picked up the Belle Antique CD version. The good news is that even though Belle Antique licensed it from Gear Fab, they did remaster the contents, and fixed the screw-ups that Gear Fab produced. And with the beautiful cover reproduced precisely, I would recommend this as the CD route to go.

After All - s/t. 1969 USA

Put me in the contingent that claims After All's sole album to be unheralded. I also have to agree with those that say this sounds more like what was coming out of England during this time, rather than the capital of Florida. A superb example of psychedelic rock within a jazzy framework. Fantastic Hammond and guitar leads. Side 1 is particularly excellent, and the opener 'Intangible She' has to rank amongst the best tracks I've heard in the genre. Side 2 drops off a bit, but there's some fine songwriting throughout.

CD: 2000 Gear Fab

This is an album that I somehow missed entirely until a couple of months ago, so I just picked up the Gear Fab CD, which is pretty scarce nowadays. The CD is typical barebones Gear Fab fodder, with a single tray card. But at least they utilize that one slip with unique liner notes. And it's legit, and sounds great.

Major Surgery - The First Cut. 1977 England

From my point of view, there is a big difference between fusion and jazz rock. Fusion, as typified by bands like Return to Forever or Weather Report, is instrumental rock music played by jazz guys. It would almost seem the perfect marriage of the two genres: Virtuoso players tackling the meatier rock angst and sounds. But like any genre, there are some albums with depth and others that are pretty transparent. Jazz rock, on the other hand, is usually a jazz album with rock instrumentation sprinkled throughout. Fusion was more of a mid to late 1970s thing. Jazz rock was more typical at the turn of the 1970 decade, when the creativity of rock was capturing the imagination of jazzers tiring of the same ole, same ole. Major Surgery is a great example of jazz rock, and very much a sound out of vogue for 1977.

The AC sums up: "Jazz-rock rarity from this largely unknown unit, led by saxophonist Don Weller. He and drummer Tony Marsh would go on to become fairly well-known figures in the UK jazz scene, but of perhaps greater interest to prog fans is that the guitar here is handled by Jimmy Roche, who once played with the great East of Eden. His playing here is in a sort of jumpy, Larry Coryell-esque style that I find highly appealing. This stuff is definitely coming from the jazzier end of the jazz-rock spectrum, and being sax-fronted and lacking any sort of keyboard presence..."

Ownership: LP: 1977 Next. Single sleeve. Acquired from a friend (2012).

CD: 2013 Next!. Papersleeve

3/5/12 (first listen / review); 12/11/13 (update / new entry); 2/12/24

Caillou. 2013 France

---12/10/13

Caillou are an all instrumental group from France that is firmly within the confines of the jazz rock wing of the Zeuhl factory. Fender Rhodes and electric guitar lead the solo parade (and both will occasionally fuzz out, much to my glee). Drumming is scattered in the jazz tradition, while the bass rumbles along, trying to hold it all together. Analog synthesizer definitely adds much needed color. Comparisons I've read to One Shot are spot on. Caillou are their best when they attempt songwriting, and throw in a memorable melody or two (such as on 'Victor F.' and '200 Toiles'). It stands as a fine debut, though they can certainly improve in the composition department, while adding a bit more complexity and trimming off the solo excess. It can seem a bit monolithic over the course of the 55 minutes on display. I look forward to where they go from here.

---9/20/24

Well... they didn't go anywhere obviously, but they have reformed as reported on Under the Radar. So we still have a chance for a follow-up. In hearing this album tonight for the first time since that initial experience, I find myself enjoying the sloppy jazz rock aspect of the album. I mean sloppy in a positive way, not one of incompetence. The music has a layer of rawness that was prevalent in early 70s jazz rock, especially within Germany and some of the private recordings here in America. The label - Soleil Mutant - indicates it wasn't intended to be a pure Zeuhl album. And that would be correct, even though there are certainly elements of the genre, namely the bass work. 'Les Carpates' is one example that brings the heavy Magma intensity. So with that... I look forward to where they go from here. :-)

Ownership: CD: 2013 Soleil Zeuhl. Digipak with recording info.

12/10/13 (first listen / review / new entry); 9/20/24 (update)

Gringo. 1971 England

Gringo on their sole album present a very intriguing mix of UK styled proto progressive with female vocals, and American harmonized pop-psych. With the progressive opener 'Cry the Beloved Country', Gringo can easily be placed with contemporaries like Room or Goliath for example. But Gringo also look back in time to fellow countrymen The Animals and their edgy psychedelic work. And then there's the pop psych angle, and the female lead harmony work recall The Mamas & The Papas, as well as The Association at times. Gringo is worth seeking out for serious progressive rock archivists.

Ownership: CD: 2013 Gonzo. Jewel case. Features unique liner notes written from each member of the band + many photos. Also two short bonus tracks. I love the Art Deco styled painting that adorns the cover. 

11/04 (first listen); 12/10/13 (review / new entry)

Cosmic Circus Music - Wiesbaden 1973. Germany (archival)

Cosmic Circus Music is a fantastic find. It possesses that unique cosmic Krautrock blend that recalls luminaries such as Agitation Free, The Cosmic Jokers, Dom, and Yatha Sidhra. Cosmic Circus Music is essentially a jam band, but is absolutely dripping with atmosphere that was typical of early 70s Germany. If you're a fan of this style, then you won't want to miss this CD.

CD: 2013 Garden of Delights

It's hard to discern if the cassette was ever available for purchase. I had been lead to believe you could obtain it via mailorder back in the 70s. The GoD liner notes mention the cassette, but mainly as the private property of the one who recorded it (see the bottom of this section for more explanation). Apparently the tape is filled with 90 minutes of music, and they had to shorten it for the CD to 82 minutes. (As as aside, I learned that they now have CDs that can go as long as 90 minutes, but not many of the players can replay that much back. I'm not familiar enough with the technology to understand that aspect). As well, we learned the concert was longer than 90 minutes, and some of the missing time was between "Side 1" and "Side 2" when they had to flip the cassette over. Ah, the good old days...  Anyway, the CD is fantastic, filled with informative liner notes and photos. And most certainly the best sound possible, though it will never be perfect. It wasn't meant for release in the first place.

UMR's friend Achim from Germany further clarifies the situation above: "I just picked up the Cosmic Circus CD. As I understand from the German booklet notes, there are (or were) two tapes. Or, that is the most logical explanation of the text. One was recorded at "some festival" in 1972 (featuring a 45 minute version of Sternenmaskerade) was supposed to be released as tape by Andromeda Press (and mentioned in the article by German magazine Sounds). This got never officially released, but apparently some copies exist, maybe privately distributed by the band members. Another one was recorded in July 1973 by Muck Krieger and was not meant to be released back then. This was rediscovered some time ago, now shortened to 80 minutes and released  by Gardens of Delights." Then it must have been the "Andromeda Press" album that I believe I first heard. Which explains the difference between the 1972 and 1973 dates. And would seem to indicate they are different albums! I will leave everything here in any case. I don't think I have the energy to update RYM and Gnosis :-)

Space Debris - She's a Temple. 2013 Germany

Space Debris also have at least four live albums not included above. It would appear that Breitklang is the house label for the band.

Space Debris are a German band that have been releasing albums for over a decade, and if the debut title is an indicator, have been recording for close to two decades. Their albums have never been for sale here in America, or if they had, only from a specialist mail order house and for a short time. Which is surprising really, as I think they'd sell pretty well here - relatively speaking of course. Since I was already ordering from Green Brain in Germany for the Cosmic Circus Music (see UMR site), I decided to throw this one in to save on postage.  Besides it was co-released by Green Brain, and the European write-ups I'd seen gave this one a big thumbs up. As you can probably tell by my album cover display protocol, "She's a Temple" is the only album I own by them - though I do still have a CD-R copy of "Three" which was my introduction to the band. I found both albums to be similar which gives me no reason to believe the remaining albums are any more different than the other. Though I'm sure each album has their peaks and valleys. I would certainly enjoy hearing them all at some point to see for myself.

I would consider Space Debris a Jam Band first and Krautrock band second. Their approach to music is based on the long form improvisational jam centered around the soloists for guitar and organ. On "She's a Temple" there are eight tracks of which only two are less than 8 minutes. Melody and composition are non existent, except if they accidentally stumble into one. The guitarist plays in a fairly heavy style, fortunately just short of the stoner fuzz standard, and certainly not metal. The keyboardist lives for his Hammond organ and 70s era synthesizers and it is he, more than anyone else in the band, that gives Space Debris their Krautrock undertone. While not exactly Orange Peel and Eiliff, one could potentially see those bands playing in a similar style 40 years later. The rhythm section keeps things moving along, and it's clear they have a background in rock rather than jazz. I found myself enjoying the album most when they locked into a solid organ groove. Perhaps it's just not something I hear as much nowadays, compared to the dozens of guitar-centered bands out there. I would say for comparison sakes that Electric Orange, another contemporary German band, is just the flip of Space Debris - that is Krautrock first / Jam Band second. The brooding and hazy atmosphere of the classic German underground is mostly missing here. Perhaps the biggest giveaway was the English spelling of "Temple". Haha - well maybe?

I think by now you can tell if Space Debris are for you or not. Maybe not my favorite type of band, but certainly I found this album enjoyable.

Ownership: CD: 2013 Beitklang

12/8/13 (new entry)

The Worm Ouroboros - Of Things That Never Were. 2013 Belarus

The Worm Ouroboros are a band from Belarus, a country that up until now has yet to make an appearance into my collection. No doubt they came as a reference from Rational Diet, a popular Belarusian chamber rock group, also settled within the AltRock canon.

The Worm Ouroboros are clearly informed by the classic Canterbury scene, and it's most apparent with regards to the fuzzy keyboard tones, copious use of flute, complex meters, kinetic electric guitar, and a melodic disposition.  All of which automatically elevates the album to top tier status in my world. Certainly other classic early 70s progressive influences come to the fore where one can easily spot Steve Hackett, Pink Floyd, Camel, Genesis, Jethro Tull, and even Magma! Some of the acoustic guitar and flute duo's reminded me of Solaris. The Worm Ouroboros should only improve from here, as they start to shed the obvious influences, and their own identity commences to emerge. They're off to an excellent beginning!

Ownership: CD: Fading (Italy)

12/5/13 (new entry)

Kikagaku Moyo. 2013 Japan

Kikagaku Moyo is Japanese for Geometric Patterns, and is a perfectly fitting name for this promising up and coming psychedelic space rock group from Tokyo. Fantastic artwork adorns the cover and is appropriate for the music within. According to the label, Kikagaku Moyo set out to recreate the magic sounds of the early 1970s Japanese underground. From this listener's perspective there cannot possibly be enough bands to attempt that! Kikagaku Moyo have done an admirable job of creating that unique Oriental atmosphere (by way of Eastern scales, Japanese wind instruments, and sitar), while adding layers of strummed acoustic guitar, anguished wah wah guitar solos, echoed female narration, pounding drums, and theremin. And while the goal may have been to recreate the music of four decades ago, there is no mistaking this to be a modern recording - especially when you consider the slabs of fuzz distortion that come blasting from the speakers. Have no fear, Kikagaku Moyo are a million miles away from Stoner Metal. As well, there are no unhinged solos ala Acid Mothers Temple that would have you screaming STOP! and running from the room in seconds. This is indeed the underground of the 70s, the world of bands like Far Out, Far East Family Band, Love Live Life + One, and Genshi Kyodotai. Time is taken to create the hazy atmosphere, but musical climaxes are delivered at just the right time - similar to the 70s masters.  Probably the 90s Japanese band Ghost is a good guidepost, but I feel Kikagaku Moyo has already surpassed them in quality. This is an exciting new band that I hope we will hear more from soon.

Ownership: LP: 2013 Cosmic Eye (Greece). Single sleeve

12/4/13 (new entry)

Beyond-O-Matic - Relations at the Borders Between. 2013 USA-California

San Francisco based Beyond-O-Matic (though leader Fuhry now resides in Austin, Texas) were one of many US space rock bands to emerge on the scene in the 1990s, only to disappear into the ether without a trace. So I was quite surprised to see they have re-emerged, and on America's preeminent space rock label Trail Records no less. This isn't my first experience with Beyond-O-Matic, as I once did own Sonic Reclaimator, but I recall little about it sadly, and it seemed to blur with other bands from that era (ergo Farflung, F/i, Escapade, Salamander, etc...) - many of which I sold back in the 1999/2000 era.

While fully admitting that Sonic Reclaimator isn't on top of mind, I can say with some certainty that Relations at the Borders Between demonstrates growth for the band. It's clear the band is operating with album creation in mind, rather than releasing whatever-we-record, which was in vogue in the 90s (and still is in some circles). So that allows for some judicious editing, and the addition of overdubs allows for much need color. In particular, front man Peter Fuhry's flute is much welcomed. At their core, Beyond-O-Matic remains a jam band, and aren't going to win any conservatory awards for composition anytime soon. But that's not what they're about. As such, the order of the day is long, rambling space rock tracks with guitar, synthesizer, and drums carrying the instrumental load. There are vocals, performed with a hazy high pitched sound to presumably achieve a psychedelic effect.  The music moves forward with a constant slow and relaxed pace. Five of the seven tracks are between 10 and 16 minutes, so I think it's safe to assume that concise meters and sharp breaks are not in the cards. Early 70s Pink Floyd is the blueprint here, but stretched considerably beyond - perhaps to the point of endgame.

Ownership: CD: 2013 Trail

12/4/13 (new entry)