Planetarium - Infinity. 1971 Italy

Planetarium's sole album isn't the first album mentioned when talking classic Italian progressive rock, and yet it was one of the very first chronologically. Mostly an atmospheric, instrumental (with wordless voice), and "quite lovely" album as the Brits would say. It is indeed cinematic in its approach, and very lush. And yes, speaking of lush, Mellotron is all over this for fans of the tape sampler keyboard instrument. Clearly a concept album of enormous proportion going from the beginning (of everything?) to Infinity... all in about 35 minutes (hey! - not bad considering what it could have been... Yes would have done the same in 9 hours over a 12 album deluxe set...). The music has this certain "looking out over the sea" quality that Italian bands seem to inherently possess. I'm reminded of Era di Acquario in their instrumental moments, and on the rare occasion when Planetarium do rock out (in Hammond organ fueled jazzy jam mode), you'll think of Latte e Miele's Passio Secundum Mattheum when in a similar mindset in relation to their own insanely ambitious concept album.

Ownership: CD: 1990 Vinyl Magic. Jewel case with no info. Acquired new upon release. Originals are very expensive as you would imagine but not as much as some of the more known Italian progressive rock classics, only because demand isn't as high. The album is housed in a textured single sleeve cover. Not that I've ever seen one mind you. This is an album I'd never even heard of when the CD hit the market 24 years ago. Even this CD has now become scarce.

1990; 12/31/14 (new entry); 9/7/23

IQ - The Road of Bones. 2014 England

And so now we arrive at IQ's most ambitious album to date: The Road of Bones. 30+ years after debuting on the scene, IQ have remarkably not only stayed true to progressive rock (not considering the middle 80s missteps), but are the rare breed to continue to actually progress, thus living up to the genre name. Perhaps most surprising is that the lineup for The Road of Bones is a major upheaval from their last Frequency album. Whereas that album was the least looking IQ lineup, with only founding members Michael Holmes and Peter Nicholls on board, on The Road of Bones these two are rejoined by the original rhythm section of Tim Esau on bass and Paul Cook on drums. It's been over 25 years since Esau was in the band, and yet he fit like a hand in glove. And not only that, but Mark Westworth's position as keyboard maestro lasted for one album, and here he is replaced by Sphere3's Neil Durant - who to my ears is probably the best choice yet for IQ, given his preference towards analog equipment. You won't miss Martin Orford (really). The album has been presented as a single, or a double, depending on one's budget I presume. It is important to note that this isn't a one album CD, with archival bonus material filling out the second disc - or some novelty item of IQ covering classic 70s rock. No... It's a double CD filled to the brim with classic IQ music. So if you do decide to get the one CD version, you'll end up with half the album. I don't recommend that to anyone. No matter your budget, wait a bit and save up the few extra dollars, and buy the CD in its full glory. You'll want it eventually anyway. I haven't spoken yet about the music, and not sure I need to. There are 100's of reviews out there already dissecting each note, theme, lyric, and purpose. This tells me IQ is bigger than ever, and the world is a better place for thinking that way. Sure, for purists not everything is "just so", and IQ utilizes too much metal, or electronic, modern production techniques, bla blabla bla bla. And yea, Nicholls sometimes has to sing a novel, and doesn't shut his yap. But the music is absolutely identifiable as only IQ. No one else sounds like them, and their music has a depth that allows for multiple listens, and new discoveries await at every turn. I found it hard to pick a favorite song, as each one was of a high quality. In some ways, objectively speaking, this is IQ's finest hour.... err 2 hours (so yes, they have one upped Frequency). For me, my life is inextricably linked to their first two LPs, and they likely will always be my favorites. If coming at this band for the first time (is that even possible?), then start here and absorb the album in full before launching into their deep catalog. For me, IQ can do no wrong. And I hope we hear from them again in the next 5 years (or sooner, eh guys?).

Personal collection
CD: 2014 Giant Electric Pea

The 2 CD version... of course. Comes in a superb thick tri-fold digipak.

12/30/14 (new entry)

Skryvania - s/t. 1978 France

Complex as all-get-out symphonic progressive rock from 1970s era French teenagers. Sure, the compositions are beyond their ability; the instrumentation is cheap; the (fortunately) sparse vocals border on the atrocious, and the production isn't much better. Having said all of that, I find music like this irrésistible. The sheer audacity of these kids trying to pull this off is impressive enough. Of course they emulate their heroes Yes, King Crimson, and Genesis more than they should, but here's an album that is perfect for "relistenability". Long tracks that are very involved, twisty, crazy - and without purpose. Great stuff.

Personal collection
CD: 1990 Musea

An extremely rare album, the original run is said to be no more than 200 copies, and given the amount I've seen over the years, I would have to think that's probably true (I think these numbers are often higher than dealers like to let on - but not in this case). Musea was early to market with a CD, that comes with full historical notes (still using their old LP fonts) and bonus tracks, one of which is just as great as the album itself. This was one of Musea's earliest efforts, and already by 1990 they "did the needful" as my Indian friends like to say. I bought one immediately upon release, as the album had a great reputation even back then (and well deserved for the right type of listener).

Neo - s/t. 1980 France

The all-instrumental Neo play a style of hard hitting symphonic fusion, mixed with lighter jazz rock touches. The guitarist absolutely smokes on this record, while the saxophone provides much of the melody lines. Keyboards play a strong role in the overall atmosphere. 'Osibirsk' opens the album in pulverizing fashion. Presuming you can still sit up after that, the album has plenty more rewards, most notably the 10+ minute 'Sortie de Bain'. Neo are yet another example of the fertile French scene during this era, and will appeal to fans of Terpendre, Transit Express, Metabolisme, and Rahmann.

Personal collection
CD: 1997 Musea

Apparently the idea with the Neo album is to change the colors with each release! The colors above are true, as I've owned the last two myself (though the Omega Studio version is more pinkish than the scan above). Originals on Prodisc are pretty scarce. Omega Studio is essentially Prodisc V 2.0, and was a neat little label in the mid 80s who issued on LP a few cool items from Wapassou, WLUD, Serge Bringholf, and this album. It was this version that introduced me to the album sometime in the late 1980s. Musea completed the reissue cycle with a fine CD, with detailed historical notes, and two good bonus tracks. Given the quality of the CD, I felt no need to hold onto the LP reissue. A decision I'd still make today.

Shub Niggurath - s/t. 1985 France

When Shub Niggurath released Les Morts Vont Vite in 1986, hardcore Zeuhl fans everywhere were frothing at the mouth, dirtying their dogeared copies of Lovecraft, while frantically chanting Kobaia and envisioning a world of Magma and Univers Zero dominance. Personally, while I found the album quite good (and still do), I did feel it lacked a bit in the melody, groove, and soul departments. It was all manic depressive - all the time. And they were quite the noisy bunch if truth be told. Well a year before that, unbeknownst to but a few of the Secret Order of the Golden Fleece, there was a privately released cassette. And if you loved Les Morts Vont Vite, then this album will put you in HOG HELL. Not much variation of their classic sound, doom & gloom, and well... still a bit noisy... But, yea, that would make you happy wouldn't it?

The original had only been released as a demo cassette prior to a small tour. The tape is incredibly obscure, and I didn't even know of its existence until doing research for the CDRWL. Soleil Zeuhl's CD reissue is excellent, and would be the only copy anyone would ever need, unless they insist on a vinyl copy.

Last listen: March 5, 2018

Dies Irae - First. 1971 Germany

Dies Irae's sole album is an unusual record in that it starts off with a blues rock head fake similar to parts of Dull Knife, before launching into some creative heavy rock. I missed this originally, but I wonder if anyone else has caught a very strong semblance to one of Krautrock's most revered albums: Scorpions' debut Lonesome Crow. It's not as solid as the Brain label debut album, and does contain a couple of more straight up rockers to sit through. Makes me wonder if the Schenker boys hadn't lent an ear to First prior to waltzing into the studio for their debut album.

Ownership: LP: 1971 Pilz. Gatefold. Recent online acquisition (2024).

The original LP was also my first copy, having first obtained it via mail order (1991). It wasn't really to my taste back then, and since I still had too much to acquire, I flipped it quickly for something more to my liking. Glad to have it back.

1991 (first listen); 12/27/14 (review/new entry)

IQ - Dark Matter. 2004 England

IQ were always a band of the 1980s with a compositional structure that points to the '70s. With Dark Matter they finally look backward in time and marry their instrumental side with their writing style. Martin Orford will never be accused of obsequious loyalty to the analog beasts of yore, but at least here he is willing to give the heavy wood pieces a bit more attention than prior. And even if they're not authentic 1971 ware, at least the effort was made to sound as such. As with The Seventh House, the days of penning pop hits are long in the rear view mirror. This is all-in progressive rock. Dark toned opener 'Sacred Sound' recalls the brilliant 'Widow's Peak' - but with an organ dirge in the middle. 'You Never Will' possesses some fine heavy bass and synthesizer. And 'Born Brilliant' brings back the old mid-80s IQ anthem-styled stomper. The much ballyhooed 24 minute+ 'Harvest of Souls' includes a dynamic and rocking Yes-like mid section similar to the glory days of Relayer. On initial impact, I was certain that Dark Matter was an improvement on The Seventh House, but while taking in all the IQ albums in succession, I'm more of a mind now that they are of similar quality. One represents the 80s IQ, while the other gives us a peek at a potential look back in time. Both are excellent and essential.

Ownership CD: 2004 Inside Out

12/24/14 (new entry)

IQ - Frequency. 2009 England

Vocalists and bassists come and go, but IQ stalwarts Martin Orford and Paul Cook have now exited stage left, and in their stead are Frost* drummer Andy Edwards and Darwin's Radio (and Grey Lady Down prior) keys man Mark Westworth. This leaves only guitarist Michael Holmes to have weathered the entire storm to date. And so what does Frequency sound like? IQ. In fact, it sounds like IQ in 3-D. Their brand identity has been distinctly carved out now, and this is a band who knows what that identity is. Everything is bigger, louder, and more pronounced than before. So at this point, it's about the composition, and the execution thereof.  IQ are always at their best when in foot stomping mode, and 'Ryker Skies' is this album's best representation of said sound. And 'The Province' picks up on IQ's ability to go deep into the progressive rock weeds with multiple time changes and mood changes. While the nostalgic exhilaration of Tales of the Lush Attic and The Wake inevitably take those albums higher for me personally, objectively it's hard to argue that Frequency is not their best album to date. Only in that it is their most focused, and overtly progressive rock themed album yet (well OK 'One Fatal Mistake' kind of blows, self-defining the title a bit then...). Not that the latter statement of "most progressive themed" is a virtue in of itself, but when executed by IQ... maybe it is.

Ownership: CD: 2009 Inside Out

12/22/14 (new entry)

Patrick Gauthier - Bebe Godzilla. 1981 France

Patrick Gauthier's debut solo album offers up a compendium of the French underground of the late 70's and early 80's. A who's who of French luminaries grace this once in a lifetime effort, lead by keyboardist Gauthier, including Richard Pinhas (Heldon), Christian Vander (Magma), and everyone involved with those legendary bands such as the Zeuhl supergroup Weidorje. It seems the subversive underground owned the French studios at the time. Too bad they lost control, or at least we think they did. If any band above registers a positive response, then Bébé Godzilla will do similar.

Ownership: LP: 1981 Cy. Single sleeve. Recent online acquisition (2023). This replaces the CD that made up the entry above, which was purchased back in 1995.

2/4/95; 2013; 12/21/14 (new entry); 1/27/23 (LP acquire); 4/16/23

Radio Massacre International - Frozen North. 1995 England

It all starts here for Radio Massacre International (RMI). That most creative English band that almost single-handedly brought back the Berlin School trio format back to prominence. All three perform on a raft full of analog keyboard equipment (yes, of course, mellotron, Moog's, etc...), while one doubles up on electric guitar. Sound familiar? Sure it does. So if you're looking for about 20 more quality albums from the glory days of Tangerine Dream's "Virgin Baumann years", well do I have good news for you! Not that RMI was content to just sit in that same zone, as many of their albums followed other trends of German Kosmische, but primarily RMI were all about sequencer and atmospheric mid to late 70s Tangerine Dream. And the double CD Frozen North is the perfect place to start (if you can find it that is - I bought mine not long from its release date). We are talking 2 hours and 15 minutes of Encore meets Rubycon era Tangerine Dream. Not a mere copy, but yet a completely unique take on a classic sound. To say it is essential for fans of Berlin School elektronik music would almost be understating the matter.

Ownership: CD: 1995 Centaur

12/21/14 (new entry)

IQ - The Seventh House. 2000 England

And now we get to The Seventh House, which is of course, their 7th studio album. If Ever and Subterranea represent the two albums that IQ should have released for major label Mercury, then The Seventh House seems to be the album that would have come after The Wake - had they stayed in the underground that is. The tight and compact structures, combined with the anthems of The Wake and Tales From the Lush Attic, have returned on The Seventh House. Generally registered - or derided depending on one's perspective - as IQ's decent, but not great album, between their late 90s two CD epic Subterranea and their 70's throwback masterpiece Dark Matter - I personally find that The Seventh House is more a return to form to the IQ I love. While there's no 'Widow's Peak' hair raising moments, IQ have clearly shed their commercial desires here, with perhaps the exception of 'Shooting Angels', and even that track isn't too overt in its desire to attract mass audiences. I think it is on this album, more so than the last two works, where IQ realized that they are stars in their own world - but have no chance for world domination. If they did have that chance, then that ship sailed long ago. They made their try.... and failed. Sorry chaps. Now it's time to get serious about this progressive rock thing... yea, that's right, the style of music they originally made a go at some 15+ years prior. And very successfully. To my ears, it's amazing how much the 2000 release The Seventh House sounds like something from 1986... a year I could go a whole lifetime without acknowledging again, and yet they make me pine for it as if in a fit of nostalgia. I honestly mean this when I say: Only IQ could pull something like that off. With The Seventh House, IQ are back on track and ready to wow their old-found progressive rock audience.

Ownership: CD: 2005 Inside Ou. Standard jewel case issue with a nice layout including lyrics and photos. 

12/20/14 (new entry); 9/26/22

IQ - Subterranea. 1997 England

The two-CD follow-up Subterranea has always been tough for me to penetrate ever since its release in 1997 and my immediate subsequent purchase.  I know some folks don't want to hear this, but yea, it's definitely IQ's version of Genesis' The Lamb Lies Down On Broadway. As with that work, this album focuses on a concept album with specific focus on heavy lyrical content while the instrumentation and complex arrangements (if they are complex at all) take a back seat. Subterranea is one hour and 42 minutes in duration. I'd say that's about one hour too long. For an album that features 19 tracks, it's amazing not one of them really stands out in an extraordinary way. Subterranea is one of those albums that I really want to like, since it's obviously very popular with fans of the band - and I am too a fan of the band - and yet this one is lost on me. On this last listen, I was bound and determined I would get everything out of it as possible. I sat there, headphones on, dedicated to hearing the entire album in one sitting listening to every note, without distraction. But I just couldn't find any major redeeming qualities. There was no 'Enemy Smacks' or 'Widow's Peak' or 'Fading Senses' or any of the other great tracks from the first two albums and Ever. I have to say there is a lot of down time with Subterranea. Long stretches of vocals and boom-boom-bash drumming over a wall of keyboards and guitar choruses - like any respected pop band would do. They just couldn't let go of those commercial aspirations, even a decade later. If nothing else, if you start with Disc 2, you are likely to have a better experience. Yes, the 20 minute track 'The Narrow Margin' is really the best thing here, and even it doesn't really get cooking until the halfway mark. It's not a bad album mind you, not at all in fact, but it's definitely their weakest studio release beyond those two albums that I hope need not name. They were to improve from here though - dramatically so.

CD: 2005 Inside Out

12/17/14 (new entry)

Klockwerk Orange - Abrakadabra + Live at Stadtsaal Innsbruck. 1975 Austria (archival)

Klockwerk Orange were a band from Austria who released one extremely rare progressive album, and disappeared until recent times. Abrakadabra contains three long tracks that are quite Teutonic sounding, reminding me of similar era German groups such as Pancake, Madison Dyke and Minotaurus. The unique element at play here is the copious use of trumpet. So you get a little Tijuana Brass with your ELP. Gotta hear 'Tijuana Taxi' collide with 'Manticore'! A good one.

Concerning the archival Live at Stadtsaal Innsbruck - The first three tracks are new compositions not found on the actual LP, and demonstrates that Klockwerk Orange were rapidly becoming more ambitious as song composers. They also introduce an earlier progressive sound, as would be found on Pink Floyd's Meddle perhaps. The highlight track is 'Vlad Zeppesch', surely a tale about Dracula, which contains many twists and turns in an almost Italian progressive rock style. Only downfall is of course the sound quality, which is of high bootleg standard. But it's good enough, and we'll take what we can get. One can only wish they had the time to lay these tracks down in a studio. Or that they reform ala Necronomicon and Alphataurus, and finish the job they started nearly 40 years ago.

Personal collection
LP+CD: 2013 Digatone

As long as I've been collecting, Klockwerk's Orange sole album has always been rare and expensive, frequently changing hands for over $800 (or more). The double LP above is housed in a lavish gatefold and comes highly recommended.

The LP has 5 bonus tracks and the attached CD contains 3 of them. The double Japanese CD set on Belle Antique has all 5 bonus tracks as well. These additional songs are sometimes known as Live at Stadtsaal Innsbruck (see notes above).

Trance Lucid - Palace of Ether. 2013 USA

Palace of Ether is a very unique instrumental work that sounds like a jazzy neo-psych cocktail album. This isn't challenging fusion with complicated meters or an album filled with fiery buzz-saw psychedelic solos. The music creates a calm mood to soothe the soul, thus befitting the name of Trance Lucid. I haven't really heard anything quite like it, but it fits comfortably within a handful of genres I do listen to often*. Definitely a cool niche Dave Halverson and band have going here.

*I've read reviews that inevitably compare it to post rock, and that's probably fair, but to me Trance Lucid points to an earlier era. Palace of Ether comes off as authentic late 60s cool jazz, played with rock instruments, rather than a 2000 facsimile of it. I'll let the genre warriors fight over that, but wanted to express my own feelings about it.

Ownership: CD: 2013 private

12/16/14 (new entry)

IQ - Ever. 1993 England

By 1993, progressive rock had found its roots again, and with new-on-the-scene bands like Anglagard and Anekdoten blowing everyone away with their modern take on 1972, a group like IQ didn't seem to have an audience anymore, especially after such a long silence and having released two commercially oriented, and arguably failed, albums. The logical choice would've been for them to join what was now known as the Neo Prog movement, which already had quite a large niche audience itself. Bands such as Marillion and Pendragon were enjoying a cult-like status and they had many emulators. Peter Nicholls was back at the microphone, with Jadis' John Jowitt now on bass, but could IQ regain their fans? Ever was the result. This is the album, of course in retrospect, they should have released for Polygram. Picking up right where The Wake leaves off, with the near 11 minute opening 'The Darkest Hour', IQ climbed back on that tightrope of balancing complex progressive rock with a more poppy approach. There are plenty of quirks and complicated meters to please the more discerning listener, while still delivering accessible melodies and structures for the more commercial oriented. The opener is followed by the two-part 'Fading Senses', which is as good a track as IQ had ever recorded up this point (other than 'Widow's Peak' of course). A multi-segmented piece with some stunning atmospheric keyboard work, impassioned vocals, and driving electric guitar. The 14 minute+ 'Further Away' brings back the epic opus, with all its sections/meter changes/dynamics/climaxes - and demonstrates that IQ are ready and willing to sign back up for all-in progressive rock. They hadn't quite given up their pop aspirations, as can be heard on 'Out of Nowhere' and 'Came Down' (good examples of commercial rock, however). With Ever, IQ were back in the saddle. And they never strayed again. In fact, they would turn the dial even more towards complex progressive rock, while moving further away from any thoughts of commercial stardom. Except perhaps one last look back.......... said Lot's wife.

Ownership: CD: 1993 Giant Electric Pea

12/14/14

IQ - The Wake. 1985 England

There was heavy anticipation for IQ's second album and they delivered in grand fashion. No sophomore slump can be found on The Wake. There can be no doubt that the heavier moments from their debut were better received by a live audience, and IQ began to move away from some of the subtle brilliance of Tales From the Lush Attic and more towards aggressive anthem rock structures. The title track itself is proof that IQ could pack a wallop, and still be interesting to progressive rock listeners, while the opener 'Outer Limits' is a great mix of progressive and accessible rock (listen to those synthesizer solos alone!). The analog keyboards from the past were starting to get minimized (except for the glorious mellotron) and traded in for modern, cutting edge synthesizers, and samplers. While in today's world, old vintage equipment is highly revered, the 1985 mindset was much more anxious to ditch the heavy, clumsy, and unpredictable hardware, for more sleek - easy to tote - and cleaner sounding instruments. Even for dyed-in-the-wool hardcore mellotron addicts, The Wake is not to be missed. Side 2's opener 'Widow's Peak' is IQ in all its glory. From powerful head banging anthems and atmospheric flute, to guitar loops meshed with anguished vocals - the track delivers on a number of fronts. The 6 and a half minute mark of 'Widow's Peak' delivers one of the most powerful musical statements in my entire collection! 'The Thousand Days' demonstrates their move to commercialism, while not abandoning their progressive integrity, and it all fits the era in which it was released so perfectly. Overall, The Wake was a bold move forward to a larger audience while not compromising their overall creativity. In conclusion it is indeed another classic. The band seemingly could do no wrong. IQ were on the tightrope of accessible progressive music, balancing everything perfectly here.

It was a rope, though, that they were to fall off - oh so very off - shortly thereafter.

Ownership: LP: 1985 Sahara. Single sleeve. Acquired new upon release at University Records in Lubbock

CD: 1994 Giant Electric Pea

1985; 12/12/14 (new entry)

Altona. 1975 Germany

Altona play a tight, energetic styled jazz rock, similar to other Kraut fusion bands such as Moira, Missus Beastly, and Release Music Orchestra. The vocals are gruff in that bluesy way, more akin to what you would hear in the early 1970s from similar genre bands operating in Germany and England. An excellent addition to the collection, if 70s jazz rock with vocals is your fancy.

Ownership: LP: 1975 RCA. Single sleeve. Recent online acquisition (2023). The cover features an interesting contemporary single sleeve cover with manikins mocking American bus tourists (stereotyping of course) visiting the Hamburg section/town of... Altona. I first bought this album in 1991 at a record show in Dallas, but I wasn't as keen on the German jazz fusion sound as I am today. I sold that LP well over 20 years ago, though this one would definitely be an upgrade to that first copy.

CD: 2000 Disconforme (Andorra). The CD itself comes from a vinyl transfer, and could benefit from a new remaster. The liner notes appear to be translations of German newspaper articles that were added. Overall, the reissue will suffice, though I may pickup an original again if I run into one at a reasonable price (mission accomplished - probably will be sold soon).

12/9/14 (new entry); 1/24/23 (LP reacquired)

Spontaneous Combustion - Triad. 1972 England

I had the below review previously combined with the debut on one UMR entry. I'm now separating those apart since I just got in the LP for Triad. I didn't relisten to it, so these notes remain nine years old. A recent relisten (2024) confirms these findings.

Triad, released later in the same year of 1972, picks up where Spontaneous Combustion leaves off, and is more in line with that era's music. There is still some psychedelia left in the recipe, but Triad is geared more towards hard rock, as well as showcasing their progressive compositional acumen. It would seem that Spontaneous Combustion's Achilles' heel was their inability to focus on what they did best, and their albums can be confusing to listeners. Perhaps that's what they hoped to achieve, but history tells us they failed to gain an audience - and only were later discovered by curious collectors of early 70s UK underground rock. Many consider Triad the better of the two albums, and I'm inclined to agree, though they grade out roughly the same regardless. Three years later, the band reformed into the group Time, and it was there the group showed their true colors of being an all-out progressive rock outfit. Though it too never caught an audience.

Ownership: LP: 1972 Harvest (USA). Single large holed sleeve where you can mix and match the front and back covers in a variety of ways. Recent acquisition (2023) from a friend in Los Angeles.

CD: 2012 Esoteric. Jewel case. Booklet with a full history. Adds three bonus tracks taken from 45s.

11/24/14 (first listen / review / new entry); 2/12/24

Spontaneous Combustion. 1972 England

Spontaneous Combustion's debut sounds more like an album from 1969/70, and still has clear psychedelic overtones, especially considering the hazy vocal approach, and melodic disposition. The album is a mixture of styles that includes hard rock, pop, progressive, folk, and ballads. The last two long form tracks demonstrates that Spontaneous Combustion are an experimental bunch at heart, and the album becomes more unpredictable, progressive, and interesting. It's clear this guitar trio are very talented, and could really pack many ideas into a small window when they wanted to. A fine debut. 

Ownership: LP: 1972 Capitol (USA). Single sleeve. Recent acquisition from JL (2023) before the Austin Record show. I prefer the UK cartoon original, but this is fine too. 

This LP replaces the Esoteric CD (2012) that made up the review above. 

11/24/14 (new entry); 7/8/23

Fermata - s/t + Pieseň z Hôľ. 1975; 1977 Slovakia

Fermata's debut is a hard hitting fusion album from arguably Slovakia's finest group. Where Fermata creates separation from many of their peers is they never take their eye off of the composition, and actually know how to craft a memorable melody. So it's not just pyrotechnics, though there's plenty of that here too. Some fine psych edged guitar, Rhodes Electric Piano, and fat 70s analog synthesizers to bathe in here. Great start for the band.
Pieseň z Hôľ sees Fermata taking the debut and amping it up a bit. A little bit more diverse this go round from a compositional perspective, but difficult to imagine fans of the debut - or of the hard hitting Mahavishnu Orchestra styled progressive fusion - being disappointed here. And 'Priadky' has one of those kind of hard driving bass riffs you're not likely to forget soon. What a groove. Great guitar and keyboard work as expected. Another splendid album from Slovakia's finest.

Personal collection
CD: 1997 Bonton 

When I started collecting in earnest in the middle 1980s, one of the best points of entry was Eastern Europe. This is because the albums could still be had for a low price, especially fusion albums from Poland, Hungary, and the former Czechoslovakia. I know many bemoan the digitization of music, but if there was ever a region that the CD benefited most, it was the former Eastern Bloc. The final vinyl product usually was a disaster (cheap materials), but as we've come to find out, the recordings themselves were usually of a very high quality, and the master tapes all carefully stored by the State. So I quickly moved the LPs out once the first CD hit the market (3rd image). Unfortunately this CD compilation leaves off the 11 minute track 'Perpetuum III' from the first album. The 1999 CD of Dunajská Legenda does include this piece. And that's the way I own the first album as a whole. Not ideal for sure. All of the second album is here though. Apparently the 2009 CD (last image) is a 2 CD set that fixes this issue, but I haven't seen or heard it myself. As indicated prior, the sound quality of the first CD is fantastic - much better than any original vinyl of these titles.

Pocket Size - Exposed Undercurrents. 2014 Sweden

Contemporary 2014 Sweden is loaded - and I mean loaded - with rock bands emulating the sounds of the early 1970s. Most are of the US/UK hard rock variety, or they go for that "turn the amps to 11" stoner pseudo-metal sound. There are fewer bands that are making a try for the true progressive rock era sound of the early 70s era. I don't mean the all-in-proggy-prog Anglagard type either, but rather the more common sound of the day coming from Sweden like November, Saga, Flasket Brinner, and Trettioariga Kriget. There's a real psychedelic element to Pocket Size's sound as well, and that can only be considered a plus to the UTR's world.

The band themselves seem to possess a confused identity. In effect, the group is the vision of guitarist Peter Pedersen. Depending on which site you are reading (including their own), you're likely to see the band listed as Pocket Size, Pocket Size Sthlm, or Pocket Size Stockholm. No matter, as what's most important is that Pedersen brings in no less than 9 participants for his creative work. So this isn't a solo work with a monolithic viewpoint - or worse - a sterile digital sound. Not even close. What you get here is exactly what you would expect from a studio effort circa 1972, complete with all the requisite analog instruments and a certain je ne sais quoi attitude. Hammond organ, saxophone, electric guitar with a multitude of effects, spacey vocals (much of it in glorious Swedish), theremin, vibraphone, and flute give one an idea of what to expect. Put that together with a planned structure and a few melodies, a handful of complicated breaks, and some solo sections. This was the way music was presented years ago, when the last thought on Earth was obtaining a radio hit or falling in line with whatever scene a band was perceived to be associated with. A knowledge of jazz, classical, blues, and early rock and roll was all that was needed - and a strange desire to actually progress from there. Give me more of this.

Ownership: LP: 2014 Mill Hill. Single sleeve. Acquired directly from Peter Pedersen (2019).

CD: 2014 MillHill. Slip case that I include with the LP.

11/21/14 (new entry)

Bernd Kistenmacher - Outlines. 1991 Germany

Bernd Kistenmacher was one of the leading lights of the new wave of Berlin School electronic solo artists coming from Germany in the middle 1980s. Comparisons to Klaus Schulze are unavoidable, though Kistenmacher wisely borrowed from Schulze's late 70s output rather than the programmed sound he preferred at that time. By 1991, Kistenmacher himself was somewhat marginalized as his influence - and others - ushered in a boatload of new artists in the genre. This was a good time for Kistenmacher to take a break, as his sound was beginning to sound all too familiar, just as his idol had done before him. This is a nice, and varied, elektronik album performed by a seasoned veteran, and well worth the expenditure to own.

Ownership: CD: 1998 Green Tree

11/21/14 (new entry)

Zakarrias - s/t. 1971 England

After many years of mystery, turns out Zakarrias is an alias for an obscure Austrian singer slumming in London named Bobby Haumer, and most of the material came from a former power trio known as Salt. That band featured Hawkwind's Huw Lloyd-Langton on guitar and future Steamhammer member John Lingwood on drums. After Salt fell apart, Haumer was surprisingly offered a deal with Deram, where he re-purposed the material with a makeshift band including winds player Geoff Leigh (later of Henry Cow) and Peter Robinson (Quatermass) on keyboards. There's way more to the story of course, as told in great detail with the Cherry Red CD, but in effect that's the backdrop. The album wasn't promoted, and as such it barely sold any copies, hence its incredible rarity today. The music is certainly an odd mix of folk, blues, hard rock, and progressive. Haumer's vocals really do possess a Robert Plant tone, and thus the Led Zeppelin references are credible (think LZ III). And knowing these tracks were initially written with a hard rock band in mind, the compositions do make more sense. But given all the acoustic guitars, piano, and flute, the material seems just a bit off from the presentation. And that's the charm I guess. An album I definitely enjoy and recommend, but certainly lower-tier stuff when talking 1971 progressive rock from the UK underground.

Personal collection
CD: 2010 Cherry Red

This is one of the real biggies, and originals are truly scarce, with demand extremely high. Originals usually sell for well over $1K and have sold for as much as $3,500 (within the last year). Why anyone would pay that much for a good, not great, album with a single sleeve cover that looks like Howard Stern is anyone's guess. I'm kidding of course. Certainly I understand the collecting mentality, and for those who want every UK Deram release, this album will prove to be an obstacle. I didn't hear Zakarrias myself until about a decade ago, and only via a CD-R someone sent me, as even the first Japanese CD was extinct by that time. The Cherry Red CD is the definitive version to own. From the master tapes, with a much needed history to tell (see notes below). Cherry Red is the parent of Esoteric, and the material is similar to what Esoteric would normally reissue, so not sure why it wasn't to be honest.

Happy Family - Minimal Gods. 2014 Japan

It would be 17 years until we finally heard from Happy Family again. Their third album Minimal Gods sees Happy Family moving in new directions while maintaining their brand identity as it were. If you came to this album looking for a somewhat similar sound to their first two albums then... I have good news, you will not be disappointed. But as indicated, Happy Family have begun to tread new waters.  Most notably, an obvious modern math rock component has entered into their overall sound. Normally that's a term that is anathema to me, but in the capable hands of Happy Family, they are able to transcend the genre norms of clinical and cold precision, for something more alive and a sound that bursts from the speakers. Some would argue they always had a math rock type sound, and that may be true to some extent, though I personally heard more Present and even Canterbury if considering Happy Family's first album. What's most interesting to me is that Minimal Gods doesn't sound anything like the first two albums, and yet the music is entirely - and non mistakenly - Happy Family. There's a certain genius in being able to do that without alienating your fan base. Let's hope we don't have to await another generation to hear a 4th album.

Ownership: CD: 2014 Cuneiform (USA)

11/18/14 (new entry)

Happy Family. 1995 Japan

Perhaps no band arrived with such an in-your-face sound as Happy Family did in 1995. Their fabled live shows were popular amongst the tape trading crowd of the early 1990s. So there was quite a bit of buzz on what their first CD would sound like. The band insisted their albums come out on the preeminent Avant Prog label Cuneiform, and were willing to wait until that label had room on their release schedule. By 1995, anticipation was high, and Happy Family not only delivered, but exceeded, most everyone's expectation.

Consider the first track 'Rock & Young'. Hard to imagine anyone delivering such a strong overpowering opening punch as Happy Family did here. If this track doesn't move your heart rate up a few beats, you're probably dead already, and no one told you (did Aunt Sally forget your birthday for the first time? well, there you go...). And it gets more intense from there. With fuzz bass, fiery sustain electric guitar, staccato piano, buzzing synthesizers, spastic rhythms, and an incredible imagination, Happy Family has to be in the discussion as one of the best albums of the 1990s. The label's comparison of a mix between Magma, King Crimson, Weidorje, Area, and Univers Zero are just flat out spot on. Happy Family took what Belgium's Present were doing in the 1980s, and accelerated it by 100 mph. Strap your seat belt on - hit play - and roar through 50 minutes of incredible intensity and complexity. Get rid of your treadmill, you'll burn 1000 calories just listening to this album. Need.... Gatorade.

Ownership: CD: 1995 Cuneiform (USA)

1995; 11/18/14 (new entry)

Exponent - Upside Down. 1974 Germany (archival)

Well... here's the next big thing for archival progressive rock collectors. Imagine Spektakel as played by Eloy. This is more German symphonic than classic Krautrock, and I know many of you are nodding your head to that observation. This is definitely a dream for keyboard fans, and there's oodles of organ, Moog, electric piano, and mellotron to absorb and treasure. While there is guitar, it definitely plays second banana to the awesome banks of keyboards. And, as indicated prior, the album is geared more towards the symphonic progressive genre with plenty of meter breaks and compositional acumen. This is not a atmospheric Krautrock zone out. Side 2 is a bit more of a blues based jam, and also possesses a slightly lesser sound quality, but still no less awesome of a listening experience - perhaps calling out a more classic German sound ala Sixty-Nine here. On the topic of sound quality, it's very good for an archival recording, but hardly Abbey Road Studios standard, so be sure to keep expectations in check. Top drawer this one goes in.

Ownership: LP: 2014 Korusuro. Single sleeve with brief liner notes in German.

CD: 2015 Garden of Delights. Jewel case. Full historical liner notes in English. One 6 minute bonus live track.

11/18/14 (new entry); 7/9/16

Happy Family - Toscco. 1997 Japan

Happy Family's second album is a bit more "avant prog by the numbers" than the debut which was more of a consolidation of personal influences (Zeuhl, Symphonic rock, Canterbury, Chamber) and then sped up 10x. The intensity is still apparent, though there's more of an attempt to integrate cutesy type melodies - a hallmark of the genre - as if to overcompensate for the unrelenting tension the band brings forth. There's really no standout tracks, though the two lengthier numbers seem to play to Happy Family's strength of producing massive - and fast moving - slabs of sound. Toscco is an excellent sophomore effort, and many see it as an improvement, though I felt it was more of a step back to a safe zone, and thus less influential and reckless than the debut.

Ownership: CD: 1997 Cuneiform. Typical new jewel case release. Contains original cartoon artwork. 

1997; 11/18/14 (new entry) 

Poobah - U.S. Rock. 1976 USA-Ohio

Carrying on from the debut Let Me In, U.S. Rock adds in keyboards, and there’s a distinct move to an AOR / radio friendly sound. In fact, listening to these tracks with modern ears, it’s almost beyond belief that Poobah weren’t one of the big names of the day. Catchy melodies, powerful and technical guitars, and that sound that made every major band in the 1976/1977 a hit on FM radio. But due to a remarkable run of bad luck, they once again were resigned to releasing the album themselves (and one would presume a major label would advise against the hilariously bad cover).

Personal collection
CD: 2014 Ripple

The easiest to find and least expensive of the 3 original 70s Poobah albums. As one can see, it features a ridiculous cover, and one presumes it's honoring or making fun of the US Bicentennial that was all the rage in 1976. The CD is excellent, as is usual for Ripple. I had to laugh at the photos, which reminded me of my own high school's yearbook! There are an additional 23 minutes of fine live material added as bonus tracks. Still no liner notes though, which is a pity.

Zeit - Waves from the Sky. 2008 Italy

Tommaso Cino (aka Zeit) is most known for his collaborations with ambient artist Alio Die. On Waves from the Sky, Cino demonstrates his passion for the German Kosmische movement, from which he takes his name from. This is pure mid to late 1970s styled analog elektronik musik - haunting, hypnotic, and introspective - influenced by the masters like 'Nightdust' era Ashra, Klaus Schulze's masterful 'Crystal Lake', Pascal Languirand's three albums, as well as home country cosmic minimalist hero Roberto Cacciapaglia. Cino was only 30 years old when this was composed and recorded, so let's hope he plans on future works of a similar cloth.

Ownership: CD: 2008 Hic Sunt Leones

11/10/14 (new entry)