Pandora - Alibi Filosofico. 2013 Italy

Just when you think you've got Pandora figured out as an Italian retro progressive rock unit, out comes Alibi Filosofico. They really do open up Pandora's Box on this one, and throw caution to the wind. If one thought Pandora was out of the metal business, then the band made sure there was no doubt they are back in. Only one minute into the release, not only are metal guitars back in vogue, but now they've introduced thrash amongst the usual prog rock mayhem. So perhaps they've decided to go the same route their fellow Italians Garden Wall did? Well.. no, not that either. There's also piano concerto's, straight jazz bits, folk, traditional prog metal, and Banco Del Mutuo Succorso inspired retro progressive Italiana. My only complaint is much of the material is geared towards genre hopping moreso than a fully integrated solution (I see I'm starting to mix my work terms into my music reviews - need to retire). This is a trend we've seen quite a bit over the last decade, and this technique gives the appearance that it's more progressive than it really is. The early 70s masters would use influences or snippets of other genres, but they were rarely self-contained pieces as we find on Alibi Filosofico. Overall, it's a very creative release, though I found myself enjoying the predecessor a bit more.

Ownership: CD: 2013 BTF/AMS

6/28/14 (new entry)

Pandora - Sempre e Ovunque Oltre il Sogno. 2011 Italy

If the debut implied that Pandora would rather be classified "heavy progressive" versus "progressive metal", then their sophomore effort Sempre e Ovunque Oltre il Sogno concludes the argument. While the metal tones haven't been completely eliminated, they have been diminished significantly, and their primary role is as an accent instrument to demonstrate power (and from my vantage point, that seems to be how metal works best in the progressive field anyway). Hammond organ, Moog synthesizer, and Mellotron all guest star in this full featured Italian film. At this point, Pandora are paying homage to their forefathers from 40 years prior, with long tracks, constantly shifting meters and dynamics, and the random capriciousness expected of the genre. I did catch one direct rip from Genesis that I couldn't find credited, and I'm sure that was an oversight on their part.

Ownership: CD: 2011 BTF/AMS

6/28/14 (new entry)

Pandora - Dramma di un Poeta Ubriaco. 2008 Italy

Pandora's debut Dramma di un Poeta Ubriaco seems like the group's own personal chronological trajectory. The album starts off in the standard prog metal zone with modern synthesizers - similar to other Italian bands like Eldritch or Pathosray. While they are good at this style, they are by no means exemplary. By track 3 'Cosi come sei', the band begins to become ever more complex. The metal guitars are still prevalent, but the keyboards are moving towards an analog sound. This along with some insane counterpoint musicianship, and Pandora are starting to sound somewhat like an updated A Piedi Nudi. Then the final 3 tracks pretty much kick the metal to the curb, with mellotron, acoustic guitars, and dramatic vocals in Italian, while pushing the gas harder on the progressive front. I remember my first impression of the album went something like "Oh no, not more prog metal.... wait, this is kind of interesting.... whoa... wow... this is freaking amazing!" It was 2008, and you could almost credit Pandora for ushering in the latest Italian retro progressive movement that we enjoy today.

Ownership: CD: 2008 BTF/AMS. Like all of the Pandora albums, it's housed in a beautiful mini-LP fold out cover.

6/28/14 (new entry)

Kelompok Kampungan - Mencari Tuhan. 1980 Indonesia

When I first announced the reissue for this album, my initial response after hearing the samples were: "This is a super rare artifact from Indonesia, a country that continues to unearth albums that few knew existed. As soon as I saw the magic word "Paebiru", I wanted to hear it. After hearing some samples, it's certainly on the folk side of the Cortes and Remalho masterpiece, but I can definitely understand the comparison. And I'm always up for hearing albums that make their own instruments! I think this title will be well received by many."

The story that emerges, both from the historical essay and from a musical perspective, is that Kelompok Kampungan are operating in similar territory to that of the German politrock or Swedish progg movements. While there's not much in the way of rock music here, Kelompok Kampungan focuses on indigenous acoustic stringed instruments and percussion to bring forth their civil unrest. The album opens with a lengthy speech from Indonesia's first president Sukarno (aka Soekarno), no doubt raising the ire of the (then) current Suharto regime. And, as such, the band found it difficult to operate within Indonesia during this era. Obviously the music is lyric heavy, and its message will be lost on most of us - but the voice inflections are interesting, and the music is appropriately progressive in the same manner that any culture's native music can be. So if the idea of a creative and progressive Indonesian protest music sounds appealing, then most assuredly Kelompok Kampungan will fulfill that order.  I quite enjoyed it myself - a departure from my usual listening regimen. Strawberry Rain is to be commended for continuing to reissue such interesting albums from all corners of the world.

As we learn from the liner notes below, I find it ironic that Kelompok Kampungan means "Village People". Those expecting to see non-traditional and well chiseled men in various forms of costume, playing insipid disco music will most assuredly be very disappointed with Kelompok Kampungan...

As with Abbhama, the liner notes for "Mencari Tuhan" are available to the public from Denny Sakrie (and I encourage you all to follow the link for more photos that are not part of the reissue). I will reprint those here, with all credits and thanks to Mr. Sakrie: "Kelompok Kampungan (“Village People”)  emerged as one of the ethnical folk rock fusion group of the mid 70’s through early 80’s.They’re came  from Yogyakarta,Central of Java,Indonesia. This eclectical group who makes bewitching music was formed by Bram Makahekum an alumnus of WS Rendra’s Bengkel Theater,an Indonesia  famous theatrical group in the mid of 70’s.They present  once again the richness and important characteristics of Indonesa ethnical music which develop in the Indonesian archipelago and was enriched by a number of breakthrough from folk,jazz,classical even rock essence.Kelompok Kampungan played their original music stuff with acoustic instruments.At the time ,this was seen as a means of creativity, I called it a new direction for folk meets ethnic music and as a way of attracting the kinds of large audiences enjoyed by rock musicians.

The original members of  Kelompok Kampungan  were Bram Makahekum (lead vocalist,acoustic guitar,songwriter),Edi Haryono (Java percussions  ,Arabian percussions) ,Agus Murtono (violin,Bali percussions,cabassa),Rudra  Setiabudi (Flute,oboe,guitars,Java percussion ),Agus Salim (cello,Java Gamelans),Kelik (acoustic guitar,Java Percussions),Joko Surendro (violins,guitar,Java Gamelan) ,Areng Widodo (bass electric,Java Gamelan),Doddy Precil (Back up vocals,percussions),Sawung Jabo (vocalist,acoustic guitar,percussions) ,Innisisri (Bali drums,Drums Kit,percussions),Bujel (flute,gong).Bram Makahekum was also leader of the band and Agus Murtono was a music director.With only Bram Makahekum remaining in place throughout  the band’s life pan.
Bram Makahekum ,Sawung Jabo,and Edi Haryono all had experience playing music score for Bengkel Theater,a group of  theater led by artist WS Rendra,with Java Gamelan orchestration called Nyai Pilis.Innisisri have experienced with various rock group like The Lheps,Spider,Amudas and many others.Areng Widodo was bass player from a rock band called Golden Wings. And the others came from Akademi Musik Indonesia (Indonesia Music Academy) alumnus.

The embryo of  Kelompok Kampungan  started out in the mid of 1970s that supported Bengkel Theater play ’s performing.Bram Makahekum  was the center of the stage with  the blending of singing and poetry reading.His voices was expressive and distinctive.

In 1977 Bram Makahekum with his friends officially formed Kelompok Kampungan as a musical groups.Kelompok Kampungan for the first time played Bram Makahekum song titled “Mencari Tuhan” (In Search Of God) at Taman Ismail Marzuki Jakarta in the same  year .The audiences like their their musical concept.Kelompok Kampungan were unsurpassed  in their eclecticism,willing to borrow from folk,blues,jazz,classical  and Indonesia ethnical.Unexpectedly peoples likes their simple songs with protest lyrics.But the New Under regime under Soeharto administration banned Kelompok Kampungan music in several concerts .

Sadly,they  can’t do anything with their music.The government also banned their first recording  “Mencari Tuhan” (Akurama Records,1980). Their one and only album featured  9 tracks like  “Bung Karno” (with the excerpts of  Soekarno’s monumental  speech in 1964 ) ,”Ratna”,”Mereka Mencari Tuhan”,”Catatan Perjalanan”,”Hidup Ini Seperti Drama”,”Berkata Indonesia Dari Yogyakarta”,”Wanita”,”Terlepas Dari Frustrasi” dan “Aku Mendengar Suara”.All songs composition was written by Bram Makahekum with the assistance of Sawung Jabo,Edi Haryono and Areng Widodo.

Nowadays, Bram Makahekum (now 60 year old) still involve in music creativity.Sawung Jabo continuing his  music passionate in several bands like Sirkus Barock , Kantata Barock and Genggong,Rudra  Setiabudi has a career as sound engineer in Aqurius Recording studio,Areng Widodo still writing music especially for television music scoring,Agus Murtono was joined in some famous orchestra  in Jakarta and Yogyakarta and Innisisri was passed away in September 30,2009.Before he died,the brilliantly drummer  was being in a several idealism band like Kantata Takwa,Swami,Dalbo and Kahanan.

No doubt,Surely ”Mencari Tuhan” was a masterpiece  from  Kelompok Kampungan.It’s kinda  east meets west music with natural touched.It’s the early years of Indonesia world  music. Enjoy their music !

Denny Sakrie"

Personal Collection
CD: 2013 Strawberry Rain (Canada)

A very scarce album in original form - LPs in general are not common in Indonesia - and a copy in great condition will be expensive. The CD was my first exposure to the group. It's housed in a fine mini-LP jacket, and comes with full liner notes in English, with some additional photos. The LP replicates the single sleeve, and comes with a nice insert with the same history as the CD.

Pascal Languirand ~ Canada ~ Quebec

Vivre Ici Maintenant (1981)

The trio of classic Languirand albums is completed by Vivre Ici Maintenant. Surprisingly there is no noticeable decline in the quality. On this album, Languirand takes us a bit further to the East  Orient while adding some acoustic percussive elements. The sequencers and cosmic electronics are still ever present. And Languirand even adds a bit of Ashra styled echoed electric guitar to the stew, making this one perhaps a tad better than the previous album.

Ownership: 1981 Minos (LP)

3//08 (review); 6/27/14

Minos (1978)

Pascal Languirand is sort of the Richard Pinhas of Quebec. A one man show of dark electronics (primarily Moog) and searing electric guitar. He's a bit more cosmic than Heldon, which calls to mind Klaus Schulze. And he often uses wordless voice that reminds me of Franco Falsini (Sensations' Fix). Side 2 opens with a tripped out folk number in French that I find highly appealing in this setting. The album closes as it starts with a Heldon like psychedelic guitar electronic piece.

Ownership: 1978 Kebec (LP). Embossed.

While there does exist a compilation of the first two albums, none have been reissued in full (as of 2/21/25).

1994 (first listen); 2008 (review)

6/27/14 (new entry)

Quantum Fantay - Terragaia. 2014 Belgium

So exactly how would Quantum Fantay follow up the brilliant Bridges of Kukuriku? It would take 4 years to find out, but the band has finally reappeared with Terragaia, and the CD (that's right - a CD - remember those?) is housed in a fine triple fold out digi-pak. I would say that Quantum Fantay have found themselves back to their roots of Ozric Tentacles' inspired space rock. Unfortunately, there aren't any of the hair raising, head turning moments of the last two albums to be found. However, let's not get carried away and start pointing fingers as if this is some kind of failed effort. Hardly. The music here is as brilliant as "Ugisiunsi", but with a distinct Middle Eastern and Chinese theme running throughout the melodies (and some snippets of Caribbean and Celtic music too). There's so much to admire about Quantum Fantay in the studio - and their variation of the Gong "You" era is as fine as anyone as ever realized, including Ozric Tentacles themselves. So what you have is the usual fiery guitar solos, flute overlays, bubbling synthesizers, and hyperactive rhythms that you expect - and want - from the genre. Quantum Fantay are money, man. I'm already looking forward to the next release!

Personal collection
CD: 2014 Progressive Promotion

6/27/14 (new enrty)

Tomsix ~ USA ~ Cleveland, Ohio

Soundbones (1974-1979 / 1994)

When I created the Midwest Progressive Rock list for RYM, one of my secret hopes was that I would receive recommendations for something similar. I knew I would get suggestions of albums that were on the fringe - or worse just anything that was from the Midwest (and I did of course). But if someone could offer a complete bullseye for the style - a band or album I'd never heard of - well, then, my list would be a complete success. The very first suggestion came in from Tony Coulter, and it was Tomsix. An absolute diamond in the rough if there ever was one. An album that's been out almost 20 years and still a complete unknown. I received a great many suggestions afterward - primarily from Tony and our good friend Mark MoeCurly - but Cleveland based Tomsix was the pick of the litter for certain.

Not surprisingly, the earlier you go in the timeline, the more progressive the music becomes. The 1974-75 period is when the band was known as Tarsier (which is arguably a much cooler name than Tomsix, which incidentally was named for the Tomsick trio of brothers that run the band). This era of material is heavily influenced by Yes (a common occurrence in Midwest America) with a smattering of Gentle Giant - and there's gobs of mellotron for fellow fans of the instrument. Starting in 1976, the band switched names to Missing Persons (no relation to Mr. & Ms. Bozzio we presume), and directed their sound even more to the counterpoint rhythms and harmonies commonly found in Gentle Giant. The music is tight, slightly commercial, but still very complex. The absolute definition of the Midwest American progressive sound. Though the liner notes aren't clear about this, it appears the band then went with Tomsix starting in 1978. Not surprisingly, this era of the band finds them at their most commercial, with even a slight funk / disco sound creeping in. I would say at this point, the band sounds most like Supertramp, but more progressive than that may imply. Tomsix never did properly record an album (such a shame too, as the quality of the sound on this compilation is very good). The material is not presented strictly from a chronological perspective, though the progressive tracks are front loaded (demonstrating to me at least, that's where the heart of the band lies).

Ownership: 1995 Behemoth (CD). Lyric booklet with a short history.

9/1/13 (first listen); 6/25/14 (review); 4/3/25 (update)

Fjodor - St. Anthony's Fire. 2014 Croatia

Fjodor are yet another great new discovery from Cosmic Eye. Like most on the label, Fjodor's focus is on instrumental space rock. Whereas a band like The Space Spectrum prefer to soak in the static intensity of psychedelia, Fjodor are much more kinetic. Great attention is applied to moving the instrumental jams forward, with frequent shifts in time and dynamics, so that the listen becomes a journey to another land rather than just staying home and meditating. As with most space rock bands, the guitarist gets the lion's share of the attention, and he owns up to his responsibility with an electric performance. Synthesizers also play a prominent role, and get more to do than tweet-tweet-tweet thus giving the band two strong protagonists. Meanwhile the rhythm section proves more than apt at keeping it all within the rails, and moving the proceedings forward in an exciting way. If looking for comparisons, certainly the 90s school of Hillage-era Gong (Ozric Tentacles et al) would have to be in the conversation, though Fjodor seem more willing to absorb the late 60s approach of Pink Floyd as well. It's progressive space rock, and certainly one of my personal favorite sub-genres. Let's hope they don't stop here!

Once again, I would like to reprint my friend Spyros' review (and he is part of the Cosmic Eye team, but also a fan of the genre, so this goes far beyond a hype sheet comment): "FJODOR are an instrumental progressive space rock band from Croatia influenced by balkan & oriental roots music, krautrock, fusion, electronic space rock and the Floydian progressive take on classic psychedelia. "St. Anthony's Fire" is their 3rd album and can be most likely described as a conceptual 46 minutes piece of pure instrumental progressive rock, mixed with heavy psychedelic guitar riffs and space synthesizer vibes that colour the music with that particular jam groove of the late 80s free festival bands. The album starts in a melodic contemplative mood and then bass starts to build up and the synths really swirl and float in and out of the mix till the guitar bursts in an Ozric Tentacles meets early Eloy style. From then onwards, the piece is intensified with a spaced-out energy enrichened by jazz rock twists and psychedelic guitar freak-outs.

"St. Anthony's Fire" is a heavy record, but in the way Eloy's "Floating" is heavy, or in the way Vespero's "Subkraut: U-Boats Willkommen Hier" is heavy. It's that patient, smoke-clogged, spaced out vibe, that gradually builds to a crescendo of an erupting riffy, psychedelic stomp wrapped in grunge and gristle to just climax in an intense heavy -yet precise- spacerock maelstrom. It's like floating on a tsunami; the wave that crosses the bridge and breaks the boundaries."

Ah yes, Vespero is an excellent comparison as well - another band operating between traditional progressive and space rock. 

Ownership: LP: 2014 Cosmic Eye (Greece). Single sleeve. A very nice gift from the label.

6/23/14 (first listen / review / new entry)

Parzival - Barock. 1973 Germany

For years, I'd thought of Barock as a much more inferior and straightforward folk rock album than its predecessor. On a careful listen, it's obvious that this album too possesses many delightfully odd moments, and some truly excellent progressions. In particular tracks like 'Black Train', 'Scarlet Horses', 'Thought', and 'Paradise' all feature more than enough twists and turns to keep a progressive rock fan happy. The shorter tracks act more as incidental interludes.

On a personal note, of the two band leaders, a one Lothar Siems, is most assuredly a distant cousin of mine. See, my mother's maiden name is Siems, and the family history was for hundreds of years in and around the Bremerhaven area of far northern Germany. Given that Parzival are from Bremen, only a short way south confirms that. Besides, he actually looks like some of my cousins...

Ownership: LP: 1973 Telefunken. Single sleeve. Online acquisition (2017).

1994; 9/10/99; 5/18/13; 6/22/14 (new entry)

The Space Spectrum - The Red Eyed Queen. 2014 Germany

Another great find from our Greek friends Cosmic Eye, The Space Spectrum are amongst the new crop of instrumental German bands following in the footsteps of the 70's Kosmiche Kouriers. Like most modern bands, The Space Spectrum are more about the hypnotic experience of the overall psychedelic sound. Guitars and 70's era synthesizers provide the leads while the rhythm section keeps the steady - at times pounding - beat. This is not about jazzy improvisation, wild solos, and constant shifts in time. This is music that takes awhile to cook, turning ever so slowly over an intense fire underneath. Psychedelic to the extreme, but never unpleasant or atonal. Similar to Scotland's The Cosmic Dead, though less metronomic and more spacious. A very fine debut.

For my tastes, I would like to see the band explore more options within the context of a composition. While it makes for a great opening move, I feel the chosen style inhibits growth. Let's see where they go from here. I feel the band has enormous potential.

I would also like to paste in here our friend Spyros' comments about the album (who is a member of the Cosmic Eye team), because I found them very insightful (especially calling out the landmark year of 1989 - Ozric Tentacles, Tangle Edge, Djam Karet, etc...): "There are two major trends in space rock since 1989. First is that much of it has turned simpler and heavier, oriented towards pulsating stoner music. Second is that part of it has gotten trippier by expanding considerably the psychedelic /jam side of the genre since the 70s, though at root very little of it diverges that fundamentally from what  Hawkwind/Gong/Ash Ra Tempel  etc. were doing in the era.

SPACE SPECTRUM sit definitely in the second category. They are a relatively new band from Germany that had at their earlier stage a substantial output on Bandcamp as a one-man project behind guitarist Nico Seel. At their current stage, "The Red Eyed Queen" is their first album as a real 4-piece band and we are proud to be the label that releases this milestone to their career.

The record features SPACE SPECTRUM on a mammoth trip rock opus that spans both sides of the vinyl. By listening to the band channeling their awesome mind melting spaced out tones into a cohesive ensemble, one can’t deny the influence of the early 70s acid rock vibe. There are the obvious nods to the kraut gods, zoned in on the more jam aspects of cosmic kraut bliss and taking the music way out there into Ash Ra Temple-sque jamming blow out territory. Over a magic carpet of spacious keyboards and below the bass rumble of the spaceship, the guitar wanders in real outer cosmos, transporting us through the heavenly constellation. The result is a full-out attack on the trippier aspect of space rock, a bit brutal in his modern approach (under a creeping Cosmic Dead influence) but also very far-out, when moving to outer dimensions.

SPACE SPECTRUM took creatively the floating aspects of the 70s space rock formula and adopted it to rock styles that occurred in the 90s and onward. "The Red Eyed Queen" is a true cosmic winner and is not to be missed!"

Ownership: LP: 2014 Cosmic Eye (Greece). The album is housed in a thick single sleeve cover with an informational inner sleeve. Fantastic job as always from Cosmic Eye!

6/21/14 (new entry)

Simon Jones - Melanie & Me. 1975 Australia

At its core, Simon Jones' soundtrack to the art film Melanie and Me is a fairly straightforward folk rock album. Dual acoustic guitars, male/female vocals, and drums form the basis for most of the material. There's some electric guitar and even some amplified fuzz to open and close the album, that most assuredly will give it street cred with the psych crowd. There are a couple of tracks that are a bit different from the norm, and does make one raise their head in wonderment: 1) 'Nine to Five' features electric organ and piano, and definitely sounds like a track from the American underground of the late 60s. Perhaps best is the jam starting at the 3 minute mark that certainly reminds one of The Doors at their peak. And 2) 'Welcome' is one of those introspective folk numbers complete with melancholic recorder, a sound that presents an imagery of the English countryside.

Personal collection
CD: 2014 Strawberry Rain (Canada)

This is another one of those super rare 100-only press folk related items that have dominated the record collecting scene for some time now. Fortunately Strawberry Rain has come to the rescue for the rest of us and reissued the title in both LP and CD formats. I own the latter, and it comes in a fine digi-pak with original photos and liner notes (i.e. what was on the original LP - no new insights are offered). As always, great care is applied to the sound. An excellent reissue.

Blind Owl - s/t. 1973 Canada

Toronto area based Blind Owl play a quiet, introspective, and melancholic folk music with harmony vocals. The latter definitely recalls Crosby, Stills & Nash. Other than piano and a small bit of percussion and harmonica, this is pretty much acoustic guitars and vocals throughout. Low budget recording adds to the vibe. Nice little obscurity reissued in fine (& legal) form, as is always the case, from Strawberry Rain.

Personal collection
CD: 2013 Strawberry Rain (Canada)

Originals apparently were pressed in a small batch of 100. I haven't actually seen the album for sale, but guessing if one did surface, it would go for an enormous sum. The single sleeve cover simply features the lyrics front and back. The CD reissue comes in a nice digi-pak and 2 bonus tracks. Not much in the way of history is afforded though.

Dreadnaught - Have a Drink with Dreadnaught. 2013 USA-New Hampshire

After 8 years of non recorded activity, Dreadnaught come back with a new EP, that shows no signs of cobwebs. For Have a Drink With Dreadnaught the group has shed the colder Crimson tones, and have added a good dose of West Coast psychedelia. This music comes across more natural to their Americana tendencies. The melodies are more thought out, and the jams flow more freely. The Grateful Dead, or perhaps even Phish, no doubt should be part of the conversation when discussing this album. I also appreciate the retro early 60s album title.

Like their idols Frank Zappa, Dreadnaught have worked hard to avoid categorization. As such, it will be difficult for a potential fan to enjoy everything the band releases - though no one should question the musicianship, hard work, and quality of the material therein.

Ownership: CD: 2013 Red Fez

6/18/14 (new entry)

Dreadnaught - The American Standard. 2001 USA-New Hampshire

The band describes themselves as thus: "Over the course of over 17 years, half a dozen albums, and more metric shifts than you can shake a stick at, the ever-evolving DREADNAUGHT has carved out a musical niche unlike any other. This is because, very simply, we're totally and utterly deranged."

LOL. Well, it's probably not far from the truth - at least from a musical perspective. If there's one persistent theme amongst the two albums I've heard, it's that Dreadnaught has a strain of Americana in them. The type of Appalachia based music one might find in Central Pennsylvania or West Virginia*. I hear elements of a contemporary fusion band such as Boud Deun, as well as historical early 70s groups from the region like Bucknell University's own Fred. On "The American Standard", there's also a distinct modern Crimson influence, with its angular melodies, and dark textures.  The tag one reviewer applied to Dreadnaught - "King Crimson at a Hoedown" - is most apt for this album. A very interesting direction to take for a band from New Hampshire.

* - I've read a few reviews where they refer to this as "Southern". That's a different concept altogether, and far more common to hear. The American roots music that Dreadnaught have focused on is a different strain, and rarely heard in progressive rock.

Ownership: CD: 2001 Red Fez

6/14/14 (new entry)

Abbhama - Alam Raya. 1979 Indonesia

I know very little about Indonesian prog rock pre-Discus, other than the outstanding Guruh Gipsy, but Abbhama seems to me the prototype of what to expect. At its core, Abbhama are a pop group with female vocals (oops they're male - they fooled me!) (Ed:  These notes are from when I first heard the album 5 years ago)  - darn near close to a lounge act. Then suddenly, when you least expect it, an obvious progressive rock segment will follow, perhaps something you might hear on a classic Yes or Genesis album. And while Abbhama wear their influences on their collective sleeves, it's all good fun. 

In addition to the Yes influence mentioned, the liner notes also point out Supertramp, which is very perceptive I think. Speaking of the liner notes, they are available online, so I'll publish them here with credits to Mr. Denny Sakrie:

"Abbhama were underrated progressive rock short-lived band from Jakarta Indonesia. If you asked what’s the meaning of Abbhama? The rest of the band  didn’t know the meaning yet. "I don’t know the meaning of Abbhama exactly. The word came suddenly when we prepared to recording our material at Tala & Co studio” said Iwan Madjid, leader of the band. But some says the band name was coined by Iwan Dharsono  the owner of Tala & Co 24 Tracks Studio. And still with no meaning.

Abbhama founded in 1977 by the music  students at Lembaga Pendidikan Kesenian Jakarta (Jakarta Art College).They’re Iwan Madjid (lead vocalist,piano,mellotron,flute ),Darwin B.Rachman (bass,keyboard),Cok Bagus (gitar),Hendro (oboe),Robin Simangunsong (drums),Oni (mini Moog synthesizers,keyboard),Dharma (flute) and Ivan (viola). Mostly the  songs in Abbhama’s one and only album called Alam Raya was written by Iwan Madjid with the lyrics by provided  the lyricist Tubagus Benny. Before Abbhama was formed, Iwan Madjid, a classically trained player  and Tubagus Benny a lyricist with some theater experience  had played together ini Operette Cikini with the  experience to create some rock opera adapted  from Mahabarata epic like “Ramayana” and “Mahabarata” in the mid 70s. When Abbhama formed, the music scene in Indonesia is a change in the trend of music that is the emergence of record albums-style progressive rock such as “Barong’s Band” – Barong’s Band (Nirwana Record, 1976), Titik Api – Harry Roesli (Aktuil Musicollection.1976), Guruh Gipsy – Guruh Gipsy  (Dela Rohita,1977), Giant On The Move – Giant Step (SM Recording, 1976), Putri Mohon Diri – Contrapunk (Pramaqua, 1977) and the film’s soundtrack album Badai Pasti Berlalu (1977) which brought Erros Djarot of Barongs Band, Chrisye of Guruh Gipsy  and Yockie Surjoprajogo from God Bless. Abbhama often appeared in several small performances on campus and arts venues such as the TIM Jakarta around their campus LPKJ in Cikini Raya Street Jakarta. The rest of  band members  love the classics repertoire such as Johann Sebastian Bach and Claude Debussy works.And of course, they were inspired by the works of progressive rock bands in 70s era like King Crimson, Yes, Genesis and Emerson,Lake and Palmer (ELP). Abbhama first appearance in front of an audience in as an opening act for  a Keenan Nasution concert called  Negeriku Cintaku held at Taman Ismail Marzuki, Jakarta November 1978. Keenan Nasution was one of  Guruh Gipsy’s mastermind. With the support of chamber music line up, Abbhama  played one long compositions by Vangelis, entitled Heaven and Hell Part 1 and 2  from Greek lectronic composer  Vangelis .Abbhama  did not played  the songs of their work for fear of the audience won’t recognised their own songs.  In 1979 Tala & Co was released Abbhama debut album titled “Alam Raya” (The Universe). Abbhama music core was based  on a format of eccentric pop songs and complex instrumentals with some pseudo classical flavor. Iwan Madjid has  a god enchantment .He does a very proficient work with the piano and mellotron including flute. And the most impressive fact is the angelic  voice of Iwan Madjid,, something like Jon Anderson (Yes) meets Roger Hodgson (Supertramp). Abbhama  have combined aspects of many musical forms to create a great work.The arrangements are very solid  and  enriched with  folk,classical and rock emphasis. Here listen for  an extremely beautiful folkie acoustic  tune guided by the flute,oboe  and  later viola in a surface of song called  Indonesia. There such a chamber music with easy poppy touches.  Dharma (flute),Hendro (oboe) and Ivan (viola) were presents a dazzling musical harmonization. Abbhama even experimented deliver the kind of order the sound of chamber music through the flute and oboe sounds in instrumental composition called Terlena. In some other songs featuring acoustic guitar and flute harmonization which overshadowed mellotron sound which is reminiscent of the heyday of prog rock music in the late 60s to 70s. One year after releasing their debut album,Abbhama disbanded.Iwan Madjid with bassist Darwin B Rachman  then formed a new band  Wow  with muliti instrumentalist Fariz RM in 1983. In  November 2007 Rolling Stone Indonesia was chosen Alam Raya Abbhama in 100 Greatest Indonesia Albums All Time. Alam Raya was at number 70. If you’re a fan of progressive rock music, then you must listening this rare album from Indonesia. Enjoy this reissue album.

Jakarta  February 5,2014.

Denny Sakrie
Rock Critics and Rolling Stone Indonesia contributor."

Personal collection
CD: 2014 Strawberry Rain (Canada)

Like yesterday's Leong Lau entry, Abbhama is an album I'd never even heard of until about 5 years ago. Like most (all?) Indonesian albums from the 70's, the only existing format is a cassette. The Strawberry Rain CD has just been released and is obviously the best way to own the album (and certainly my only copy). Comes with full liner notes, and utilizes the same digipak cover as the Lau album - this time they have added the lyrics (all in Indonesian). In general Strawberry Rain reissues albums in LP format as well, and I suspect this will be no different. But it's not released as of this writing. BTW, the historical notes do clarify the album was released in 1979, thus correcting the standard 1978 date appended on all current websites. The second photo is the CD cover, and is a bit different than the scans on the internet. As you can see from the photo of the original cassette, the cover we were used to seeing was the middle part of the cassette cover fold.

Leong Lau - Dragon Man. 1976 Australia

Here are my original CDRWL scribblings from 2010: 

Cover is a bit misleading, showing head honcho Lau holding up a saxophone, which would indicate a honk fest. In contrast, this is a deep psychedelic funk album, with lots of wah wah guitar, phased / echoed sax, flute, heavy bass & drums with plenty of  ranting from Lau, channeling his best Frankie Dymon imitation. Picking up a strong Hendrix influence as well. Considered by many to be one of the most expensive albums from Australia, and it's easy to see why. Super album.

Worth noting that Lau's second album That Rongeng Sound, while no less rare, is quite a disappointment when compared to the monster Dragon Man album.

Ownership: CD: 2014 Strawberry Rain. Tri-fold digipak where the top folds out replicating the poster insert. Also has two bonus tracks from a 1977 single that we covered on The 45 Revolution.

8/30/10 (first listen / review); 6/6/14 (update / new entry)

An ebay auction included a full history (credits and thanks go to the author): "Born in Malaysia of Chinese ancestry, Leong Lau studied Chinese Opera and played flute with the Chinese Community Orchestra.  He joined the Sydney Dance Company in 1969 as a dancer and was trained in ballet, modern and improvisational dance.  After five years, he entered the Sydney Conservatorium of Music where he trained in professional music performance and composition, and then played concert flute with the Sydney Symphony Orchestra. Leong Lau has remained somewhat of an anomaly in the record collecting scene. “Dragon Man” is a fantastic LP loaded with wah-wah guitar, fuzz solos, flute solos & wild vocals.  An artist with a sound that's as wild as his look on the cover – a definite individual from the Australian underground of the 1970’s – serving up some incredibly offbeat vocals alongside a range of his own  instrumentation on guitar, alto, tenor, and flute!  The album has some nice heavy bass at times, which creates a raw funky edge that's a real surprise – not straight funk, but kind of a psych-funk groove that really fits with the rawer bluesy energy that Leong Lau is trying to convey in his music.  A very compelling fusion of sounds from many different corners – with titles that include the long jammer “Deep In The Jungle”, the funky flute workout “Dragon Man”, and the tracks “Soul Baby”, “The Atlas Revolution”, and “Rhythm Pounding”"