ARC - Umbra. 2014 England

Umbra is the latest ARC album, this one also a live recording - coming from the E-Live festival in The Netherlands on the date of October 19, 2013. Again we are treated to a CD packed to the very brim at 78+ minutes of sequencer filled goodness. While ARC have been known to surprise in the studio - such as the drummer fueled Blaze or the moody Fracture - in a live setting they are all about letting the sequencers blast away, while adding all sorts of textures, melody lines, and synthesizer solos on top. At this point in their career, Ian Boddy and Mark Shreeve know exactly what their audience wants, and how to make it happen. And so Umbra goes, with some of the fattest and most dynamic Moog Modular sequences in the business, while setting the table for the various synthesized sounds layered as icing on the cake (including faux choir Mellotron). Berlin School music at its most professional. Some music never goes out of style, and this is one of them. Can't miss item here for fans of the genre.

Ownership: CD: 2014 DiN. Digipak

8/31/14 (new entry)

ARC - Church. 2010 England

Church was recorded live on November 14, 2009 at Old St. Mary's Church in Philadelphia. Hence the title. You can pretty much presume how this album came about. Mark Shreeve and Ian Boddy arrive in Philadelphia and setup their massive equipment, including the Big Moog (mostly donated by local musicians for the cause - it would seem a bit cumbersome to put a large Moog in the airplane's overhead bins wouldn't it?). They then ask the concert organizer Chuck van Zyl (an accomplished and respected electronic musician in his own right) what they should play. "Oh, whatever you want, I wouldn't dare suggest..." "Well, what would your audience prefer then you guess?" "Well, you know, probably the sequencer oriented material" "Yes, the sequencer stuff. Right. Of course." So if Fracture was ARC's most outside-the-lines album, then Church is smack dab in the middle of the field, giving the title a double metaphor to work with - if one sees a church as traditional that is. So what you get is two long-time masters at the art of the synthesizer, performing 74+ minutes of Berlin School sequencer driven electronic music, played in a church built in 1763. Not sure one could draft a better idea if they tried. Immaculate.

Ownership: CD: 2010 DiN. Jewel case

9/20/12; 8/30/14 (new entry)

ARC - Fracture. 2007 England

Perhaps ARC should have named Fracture something like Departure instead (and, as luck would have it, the second track is titled 'Departed'). As other reviewers have noted, this ARC album is indeed quite a bit different from its predecessors. The music can be defined as haunting and atmospheric - darkly shaded - with copious amounts of throbbing deep-bass Moog 'beats' (for a lack of a better term). This isn't a classic Berlin School sequencer fest, though one can hardly blame Ian Boddy and Mark Shreeve for trying something a bit different. Shreeve in particular has already proven himself as the king of the Modular Moog sequences with his group Redshift. Perhaps they feel at times an obligation to do nothing but shredding sequencers and synthesizer solos, but then the music is no longer fun when it becomes a job, right? The music on Fracture could easily be background music at a hipster club in Brooklyn or San Francisco. The final track 'Rapture' does finally get down to some serious sequencer business, but only after ten minutes of creepy atmospherics - Sigillum S style (and it closes in a similar manner). I appreciate the effort here to be distinctive, but it remains my least favorite ARC album to date (2014). I know, I know - some people never really evolve. I write that as my knuckles scrape the ground...

Former ownership: CD: 2007 DiN. Jewel case

9/16/12 (first listen); 8/29/14 (review / new entry); 2/24/24

Vespero - Surpassing All Kings. 2009 Russia

Vespero's sophomore effort, entitled Surpassing All Kings, sees Vespero tighten the ship a bit, and add more structure to their compositions. The exotic sounds of the debut are intact, but the energy level is higher and more kinetic. So overall it sounds like Korai Orom playing the music of Taipuva Luotisuora or Quantum Fantay, which is a highly unique combination. There are some killer ear-catching breaks here, such as the mid section of 'Salma Simiere (Cross and Crown)' which recalls Relayer era Yes, of all albums. Other highlights include the powerful psychedelic space rock numbers 'The Tower (XVI)' and 'Serata (i.n.s.i.e.m.e.)', each featuring multiple meter shifts, psychotic guitars, swirling keyboards, ethereal vocals, and complex sequences - almost Canterbury like in their execution. The latter track even has slight elements of Zeuhl, though it remains unclear if that's intentional or not. Melodies are actually thought out, and there's more to latch on here than the usual music-school charts. This is a splendid album, clearly positioning Vespero as one of the best space rock bands on the worldwide stage today.

Ownership: CD: 2009 RAIG

8/28/14 (new entry)

ARC - Arcturus. 2005 England

Arcturus is ARC's 4th album, and represents their live concert as performed at the Hampshire Jam 3 festival on October 23, 2004. They're back to a duo, with an impressive array of analog synthesizers, most notably Mark Shreeve's big ole honkin' Moog Modular. Ian Boddy brings along most of the more modern equipment to make it much easier to accomplish what they need to accomplish. On Arcturus, ARC are square-on mid 1970s Tangerine Dream style. If you're the type who can't be fed enough of Phaedra and Rubycon - and apparently I would fit in this category - then Arcturus is going to satisfy your hunger. Incredible sequences provide the foundation for the layered atmospheric synthesizers that sound like Mellotron, echoed Rhodes piano, and sundry other vintage sounds (many of which are sampled, but honestly, the effect is the same). And nobody does the throbbing fat sequences of the "Big" Moog like Mark Shreeve. He's second to none in that field for the modern era.

Ownership: CD: 2005 DiN. Jewel case

2/2/07; 8/28/14 (new entry)

Mekong Delta - In a Mirror Darkly. 2014 Germany

After 27 years, Mekong Delta keeps going at a high standard with In a Mirror Darkly, an album that sounds like a cross between its two studio predecessors Lurking Fear and Wanderer on the Edge of Time. The hyper complex technical thrash returns, but with a strong dash of accessible material as well. The opening two instrumentals recall their 2010 opus, as does the complex instrumental 'Inside the Outside of the Inside'. And there are a couple of more accessible vocal oriented progressive metal tunes here like 'The Sliver in Gods Eye' and 'Janus'. But for those looking for the heavier, more murky and mysterious trademarked Mekong Delta material, then 'The Armageddon Machine', 'Hindsight Bias', and 'Mutant Messiah' will certainly delight. As with Lurking Fear, these tracks should be heard on headphones only, as there are lot of ideas thrown out that will be only picked up with careful listen. There isn't any of the jaw dropping greatness of a track like 'The Apocalypt - World in Shards', but overall the album is an impressive listen. Mekong Delta, since their reformation, may have not regained the heights of their early 90s formation - but they have proven to be more consistent in their wizened old age. Let's hope they continue and ultimately surpass what they accomplished over 20 years ago.

Ownership: CD: 2014 Steamhammer

8/27/14 (new entry)

ARC - Blaze. 2003 England

Blaze, ARC's 3rd album starts with Rhodes piano and... could it be? Yes, a real drummer (provided by Carl Brooker). It seems the duo of ARC are paying homage to the late 70s pioneers who mixed their Berlin School electronics with real drums ala Klaus Krueger (Tangerine Dream/Edgar Froese) and Harold Grosskopf (Klaus Schulze/Ashra). Sequencers and Mellotron follow, and yee-haw, we're in Force Majeure territory in mere seconds. Half the tracks are sans drums, and all of these are atmospheric and pulsating, somewhat similar to the first half of Radio Sputnik. These tracks setup the more dynamic and rhythmic drum plus sequencer compositions that are devastating when presented in this manner. In particular 'Klangwand' and 'Pulse Train' deliver a powerful collection of analog synthesizers along with driving percussion. Another essential album from ARC.

Ownership: CD: 2003 DiN. Jewel case

2005; 8/27/14 (new entry)

Mekong Delta - Lurking Fear. 2007 Germany

After 13 years of dormancy, Mekong Delta return with Lurking Fear. Or I should say founder Ralf Hubert returned with a whole new crew in tow - all experienced and talented metal warriors (you know a band's been around the block when the "youngster" is 37 years old). Unlike progressive rock bands from the 70s, most metal groups' reunion efforts tend to be very good. I've long held the belief this is because the metal groups (many who came about in the sordid underground of the 1980s) understood their core client base far more than the bands from the 70s who were still aimlessly looking for radio hits. Not only did Mekong Delta take a long vacation, but so did the entire technical thrash movement they helped invent. So it turns out Mekong Delta's reunion also ushered back in a most welcome style of music, that has since gone on to be popularized more so than ever by a once obscure Phoenix area band known as Vektor (whose 2009 debut is considered the 3rd highest ranked album according to RYM for all albums (yes, that's right, from a technical thrash band!!)). So exactly where did Mekong Delta look for inspiration for their comeback? Of course I would have hoped for Dances of Death, but instead they chose The Music of Erich Zann, which is certainly not a bad choice at all. This is gritty stuff. Highly complex music, with some orchestrations, that is also deadly in the thrash department. The riffs are solid, and are given just enough space to stand out among the insane amount of ideas thrown around. There are even some real melodies here, which is something of an accomplishment in this field of music. I'm telling you folks, this is headphone music only. I tried listening to it in the car recently, and I just couldn't give it the focus it requires - and it sounded like a big pile of goo. Sitting down with a real stereo and listening intently with headphones (and a craft Imperial IPA of course), really opens this one up. Lurking Fear is not to be missed.

Ownership: CD: 2007 Locomotive (Spain)

8/26/14 (new entry)

The Morrigan - Hidden Agenda. 2002 England

And The Morrigan's recording career appears to have concluded with Hidden Agenda. Featuring a capture-the-imagination medieval city center painting, and with a title hinting at a possible byzantine hidden agenda, perhaps we can expect this to be The Morrigan's most progressive and thought provoking album to date? The answer is no, it's more of the same: A solid mix of progressive rock originals and unique rocked out interpretations of English and Celtic folk traditional music. Which is hardly a bad thing. I've always appreciated The Morrigan more for their handwritten material, and tracks like 'In the End', 'The Other', and the 10 minute 'A Night to Remember' do not disappoint. In fact the latter track is arguably The Morrigan's finest moment. If this is indeed their swan song then they went out on a good note. 

Former ownership: CD: 2002 English Garden. Jewel case. Lyric and artistic booklet with photos and recording details.

5/5/13 (first listen); 8/26/14 (review / new entry); 12/3/24

The Morrigan - Masque. 1998 England

Masque continues in the same manner as The Morrigan's two previous releases. There is the usual blend of original material mixed with creative progressive rock arrangements of traditional medleys. Whereas Wreckers sounds like an extension of Rides Out, Masque sees The Morrigan stretching out to new horizons - with more sophisticated arrangements and an overall heavier sound. Like Wreckers, The Morrigan held back their more adventurous material until later in the disc. Highlights include the heavy and complex progressive rock track 'Moonghost', the Cathy Alexander dominated 'The Traveller' with its Hackett-esque guitar, the jazzy variation of the traditional 'Dribbles of Brandy', and the Ozric Tentacles (with vocals) inspired 'The Demon Lover'. A very fine album.

Ownership: CD: 1998 English Garden

8/26/14 (new entry)

The Morrigan - Wreckers. 1996 England

Six years after everyone ignored Rides Out comes Wreckers which basically sounds like a re-recording of Rides Out - though the tunes are indeed different. There hasn't been much progression since, and it appears they are trying to re-energize or regain their old audience - or perhaps attain a new one with their first CD on the established English Garden label (which incidentally was an offshoot of the Background reissue label that was focused on some of the most obscure 1970s UK folk rock rarities). I also hear a timid try in a few places for a Dead Can Dance styled Darkwave sound, though they were a day late and a dollar short on that front. There are two odd tracks towards the end of the CD (both originals) that show that The Morrigan are looking to break out from their standard sound. 'Wheels Turning' is a good try at the 80's New Wave of British Progressive Rock sound as popularized by Marillion and Pallas. And 'When the Rain Comes Down' has a reggae base complete with Moog synthesizers, once again demonstrating their Festival Scene roots. So given this premise, I'd have to say Wreckers is the most superfluous album in their canon. Certainly it's a fine work, and if you haven't already heard Rides Out then the sound will be most revelatory on initial impact I'm sure.

Former ownership: CD: 1996 English Garden. Jewel case

8/26/14 (review / new entry); 4/4/24

The Morrigan - Rides Out. 1990 England

On paper at least, England's The Morrigan doesn't sound like my cup of tea. In essence, The Morrigan play rocked out versions of English traditional folk songs. Or self-penned tracks that sound like English traditional folk songs. Fortunately I happened upon Rides Out not long after the CD release, and was captivated immediately. Not only are these spirited reproductions - or originals - but there is definitely a psychedelic/heavy rock slant to their approach (and guitar sound), reminding me of some of the early 70s greats like Mellow Candle or The Trees. The female vocals and recorders - heck the entire production - are crystal clear and one can be forgiven for breaking into a jig mid-song. It's apparent the band had roots in the UK Festival scene of the mid 80s, though by 1990 the band had honed their sound to a professional level. Not surprisingly I found myself enjoying the original material best, but if in a positive mood, the whole album works well together. A wonderful find, especially if you tire of the endless Public Broadcasting Company's tepid vision of said sound.

Ownership: CD: 1997 English Garden. Part of a large collection buy not long after this release. Jewel case with 2 page booklet containing detailed recording info plus a photo on the back. Originally released on LP in 1990. The CD features one relevant bonus track recorded at the same time as the album.

8/26/14 (new entry); 2/1/21

ARC - Radio Sputnik. 2000 England

ARC's second album, Radio Sputnik, is a live outing from the Alfa Centauri Festival in The Netherlands (recorded March 21, 1998). It is also their debut release on Ian Boddy's own DiN label. The concert features, as one would expect, songs from their first studio album Octane including 'Steam', 'Who Walks Behind You', 'Octane', and 'Relay'. Only 'Turn and Face Me' from the debut is omitted, but they add four other tracks including their landmark 'Arc-Angel' track.

ARC's music continues to be squarely in the electronic Berlin School tradition. No surprise there given that Mark Shreeve heads up what I consider one of the finest bands in the style with Redshift. The first half of Radio Sputnik is more atmospheric with pulsating sequences, while the latter half is more heavily geared towards the classic Redshift sound. The concert is entirely improvised, so there are many shifts and changes throughout each composition – not just the usual static monotone sequences. 'Arc-Angel' is one of their finest pieces ever, with incredible rapid fire sequencing all over, and choral mellotron layered on top which creates an extraordinary listening experience. Closing with 'Relay', arguably the finest track on Octane, puts this album in the indispensable category. 

Ownership: CD: 2000 DiN. Jewel case.

2005; 8/26/14 (new entry)

Mekong Delta - Visions Fugitives. 1994 Germany

Visions Fugitives followed the excellent Kaleidoscope, and it seemed the band just went off into the ether afterward. Even back then, the album received little promotion or accord, and few paid much attention to it. I managed to secure a reissue CD copy many years after the original release on the German label Zardoz (mind you I was a fan of the band at the time - so perhaps that underscores what I'm saying about how obscure the original release was). The first opening two tracks could have easily been on Kaleidoscope, and 'Imagination' adds a very interesting psychedelic element here, not a sound commonly associated with aggressive metal. This is followed by the 6 part, 21 minute orchestrated suite. If you look back on Mekong Delta's career to this point, it would almost seem obvious this would be the conclusion of where they were headed. And while many fans shake their head in disgust, I think it's a fine addition to their catalog. I appreciate that the classical music isn't based on standards, but rather all the compositions are originally charted for this album. The Swedish band Therion would later take this concept to more grandiose heights, but Mekong Delta were pioneering this concept all the way back to the late 80s (sure, many a rock band did the same in the late 60s - but not in the thrash metal field had this been a common practice). Now one criticism that I also will get behind - is that there isn't really an orchestra! Oh for crying out loud - you write something for an orchestra than at least have one to perform it! Synthesizers aren't going to get it done. Oh well - I still appreciate the effort applied here, at least from a compositional perspective. Even if the long suite doesn't satisfy, Visions Fugitives closes nicely in the same fashion as the opening, complete with a psychedelic overtone added to the vocals, and acoustic guitar interludes. After this, Mekong Delta appeared to call it a day, seemingly accomplishing everything they had set out to do.

Ownership: CD: 2002 Zardoz

8/25/14 (new entry)

ARC - Octane. 1998 England

The ARC legacy starts with Octane, the debut studio album from this fruitful Ian Boddy and Mark Shreeve collaboration. This is an album for those who like the classic Berlin School scene similar to other like-minded bands such as AirSculpture, Radio Massacre International, and Redshift (a band, incidentally, which Shreeve leads). Heavy on the analog keyboards, especially sequencers, and mellotron (sampled according to Planet Mellotron). The best tracks are, not surprisingly, the more heavily sequenced ones - and those would be the title track and 'Relay'.

Ownership: CD: 1998 Something Else. Jewel case.

2005; 8/25/14 (new entry)

Vespero - Rito. 2007 Russia

Vespero are a space rock band from Astrakhan, a city on the northern shore of the Caspian Sea in Southern Russia, near the border of Kazakhstan. So, in effect, miles from anything familiar. And yet there are few bands today - or perhaps none - that have captured the European spirit of space rock, Krautrock, and progressive rock like Vespero has. Their music is at once exotic, and yet familiar. Somewhere between Korai Orom, Ole Lukkoye, Hidria Spacefolk, 60's Pink Floyd, Can, Ash Ra Tempel, and a yet-to-be-identified group from Kazakhstan. And with that, Vespero begin their studio recording career with the splendid Rito. Psychedelic guitar, spacey synthesizers, pulsating bass, echoed vocals, and pounding tribal drums are what you can expect here. And Rito features their finest track ever (as I write this in 2016) with 'Inna's Burst in Tears', a stunning piece of Agitation Free influenced Middle Eastern space rock with Lisa Gerrard styled wordless female vocals. This song alone leaves one breathless, and is reason enough to explore the entire band's canon. And they do not disappoint. Ever.

Ownership: CD: 2007 RAIG

8/24/14 (new entry)

Mekong Delta - Kaleidoscope. 1992 Germany

Kaleidoscope is a great followup disc to Dances of Death. Mekong Delta were at their creative peak by this point, with a jaw dropping cover of Genesis' 'Dance on a Volcano' (Progressor of Uzbekistan (RIP) once said "maybe the best metal cover ever"). Also a fascinating version of Khachaturian's 'Sabre Dance'. I don't typically go for classical covers, but Mekong Delta tend to do them better than the rest. As for the other 40 minutes of original material, it's an extension of Dances of Death, but more refined and slightly less chaotic. Dances of Death is the 'Manticore' of progressive metal stretched over an entire album and still remains my favorite progressive thrash album ever. This may well be their next best then...

Ownership: 1993 Intercord (Japan)

1994; 8/24/14 (new entry)

Mekong Delta - Dances of Death (and Other Walking Shadows). 1990 Germany

On their 4th album, Dances of Death, Mekong Delta laid down the progressive thrash album for the ages. The title track is like the instrumental segments of Emerson Lake and Palmer's Tarkus stretched to 20 minutes. It just keeps going and going... and going. At neck breaking speed. Meter change after complex meter change. If you're not seeing a chiropractor after listening to this then... you're just not listening to this! Doug Lee hits all the high notes while Ralf Hubert propels the whole thing along via his gymnastic bass. Uwe Baltrusch's guitars are just insane. And the playing is tight, tight, tight! And what amazes me most? It's a 20 minute composition that clearly is one composition. Not eight different songs under the banner of a suite (cough, cough.... Fates Warning, Dream Theater). What a ride. The two shorter pieces are great, similar to what you would hear on The Music of Erich Zann. This leads into the de facto version 'Night on a Bare Mountain'. Yep, that's right - that old classical piece and progressive rock cover chestnut. This is the definitive version. You'll never hear the composition the same again. In fact, you won't hear a thrash metal album again the same. What a monster of an album.

Ownership: CD: 1991 Aaarrg (Japan)

1993; 8/23/14 (new entry)

Steve Maxwell von Braund - Monster Planet. 1975 Australia

Monster Planet is arguably Australia's first electronic album. Influenced by the German Cosmic Courier LPs (all of which were imported to Australia), and Braund's own time spent in the English and German underground, Monster Planet mixes both rock (including vocals, sax, bass, and drums) and electronik elements. The latter proving to be the main characteristic of the album. The synthesizer was limited to strictly a Korg-700, so the possibilities were quite limited - and the album is a bit monotonous in places because of it. There are no sequencers, organ, or mellotron - just static and spacey electronics. Shortly thereafter Braund began to assemble a full arsenal of synthesizers, and thus the Cybotron legacy was born. All the same, the album has its charms, and is a good example of the pioneering 70s electronic music movement.

Ownership: LP: 1975 Clear Light of Jupiter. Single sleeve. Online acquisition (1999). The album was pressed in a quantity of about 2000. Braund wasn't too keen on the cover design (nor the Von designation), and so he had approximately 500 of the albums reprinted with a more favorable cover (black and white with him on the front). So convincing was the German styled cover design, that when I first read about the album from a catalog in the mid 1980s, it was simply listed as Monster Planet on the Cosmic Couriers label. For many years, dealers told me such an album didn't exist. And finally the puzzle was resolved for me, and eventually I bought the original LP. At one point I also owned both the Aztec and Dual Planet reissues, but moved them out since they were superfluous. The CD does however feature a very telling 14 minute radio interview from back then. I have to admit to wondering why Aztec would reissue such an obscure album, especially after falling into financial trouble. And the answer is provided in the extremely informative liner notes: Label head Gil Matthews plays bass and drums on the album!

1999; 8/23/14 (new entry); 7/8/23

Kenso. 1981 Japan

Kenso, who have archival recordings going back to 1976, released their first studio album in 1981. It's important to note the music culture that Kenso grew up in to appreciate their debut album. By 1980, and flush with cash, Japan had become somewhat a fanatic nation for all things European - including the 1970s progressive rock movement. Italy, in particular, seemed to fascinate the fan/collector base. And it was common for wealthy Japanese businessmen traveling to Europe to come home with box loads of records to sell to the music shops in Tokyo. It is this market that ultimately propelled progressive rock back into the limelight worldwide - and throughout the 1980s, Japan was looked upon as a leading light for all things progressive rock. While there were certainly local bands trying to capture the spirit of what they were digesting, Kenso may very well have been the most successful. And so we hear an almost encyclopedic knowledge of European progressive rock being brought forth - especially albums with flute - bands as obscure as Rousseau, Asia Minor, Gotic, Ibio, and Dice are all clearly within the minds of a young Kenso. Not only that, but they also brought forth their own Japanese legacy to the table, like their landmark track 'Umi' which successfully mixes a Camel like sound with indigenous melodies. As well, the long piece here, the 15+ minute 'Kagome' demonstrates Kenso's appreciation for Japan's own early 1970s psychedelic past - a sound remnant of acts as diverse as Toshiaki Yokota, Food Brain, Far Out, and in particular George Hirota*. Going forward, they would shed the experimental bits and focus more on their accessible instrumental European progressive sound. As such, this album is looked upon as a bit of a departure and perhaps not up the quality of subsequent efforts. I see it as an equal, though a band still clearly seeking out a signature sound. Be sure to grab the CD, as it features 6 live tracks going back to 1976, of which I believe 5 of them are not represented anywhere else. Essential album if wanting to gain the entire Kenso experience.

* Our good friend Nobuhisa of Marquee (Tokyo) informs us that it is highly unlikely that Kenso would have known these obscure Japanese bands, as they were unknown even to hardcore collectors back then. He states - and most assuredly he's correct, having witnessed the events real time - that basically they came about a similar sound, and he states further "using Japanese motif within the context of western music was a common method for a Japanese musician to make "Japanified Western music" be it modern classical, movie sound tracks, Jazz, Rock / Prog." That makes sense to me as well.

Ownership: CD: 1995 Arcangelo

I'm not entirely sure about the date of 1981 here. The CD above lists it simply as 1980, but that could have been just the recording dates (which are documented as 1980), and the release came later. I haven't seen the actual copyright of the original. Discogs has no detail here.

8/22/14 (new entry)

Accordo dei Contrari - AdC. 2014 Italy

Accordo dei Contrari's third opus, simply titled AdC, is yet another fine heavy instrumental album. The musicianship is top notch, and the analog sounds are perfectly pitched. Their loud acid guitar and grungy organ tones are tough to beat. However, the songwriting isn't overly compelling, and memorable melodies are not to be heard. At times it seems the band is out to impress rather than engage. Fans of mid 1970s fusion and space rock will find the most here to enjoy. Perhaps we're spoiled in this day and age when an album as accomplished as AdC is - and it clearly is accomplished - isn't enough to excite the listener (or me at least). It's also possible I just have too much of this kind of material in the collection already, and I'm keeping only the best. Depending on where you are with your own collection, this could be considered a must own or a repeat.

Ownership: CD: 2014 AltRock. Fine triple foldout digipak. 

8/21/14 (new entry); 11/2/23

Mekong Delta - The Music of Erich Zann. 1988 Germany

The Music of Erich Zann is a huge improvement on their muddled debut. The music is still raw, but the production gives the instruments clarity. And when you play as complex and fast as Mekong Delta does, then this aspect of their overall sound is highly important. Perhaps 'True Lies' is the ultimate example of this era of Mekong Delta. Complicated, thrashy, yet melodic. In control. 'Interludium' was my initial introduction to the band, as it was played - perhaps unbelievably - on a local radio station in Dallas back in 1988 (!!). It was one of their first collaborations with orchestra and highly successful at that. And the Dead Can Dance styled closer 'Epilogue' is disarming. Overall, a definitive statement in the progressive thrash genre. Definitely a good place to start with this excellent band.

Ownership: LP: 1988 Steamhammer. Single sleeve.

CD: 2002 Zardoz

1988; 8/20/14 (new entry)

Irish Coffee. 1971 Belgium

Irish Coffee's debut is practically the definition of the Continental European rock sound of the era. Heavy guitar and Hammond organ are the main instruments, while the English vocals are delivered in a forceful gruff style. The music is deceptively complex, and a casual listen will likely result in labeling the album as "hard rock" and it definitely rides that fence. Tracks like 'Can't Take It', 'When Winter Comes', and 'Hear Me' pack a lot of ideas and meter shifts into their sub 5 minute time frames. The single tracks are indeed more straightforward, and the last recordings come from 1974 where it appears the band hadn't progressed at all.

Ownership: CD: 2007 Thors Hammer / Garden of Delights. Full historical liner notes, new photos, scans of all their singles (and all 7 extra singles are here as bonus tracks), and great sound. 

My first taste of the album, along with dozens of other people I'm sure, came via the Voodoo CD reissue (1992) which I picked up sometime in the 90s. Over the years, this reissue had been tagged a pirate edition, but I was pretty certain it was legit. And sure enough, the band themselves reissued it in a limited edition (Voodoo was an early name for the band). It featured 7 bonus tracks and a small history. Naturally it vanished into various collections over the years, and the bootleggers hit the market hard. 

Fortunately Garden of Delights came to the rescue (under their non-German Thors Hammer moniker), and this is the de facto reissue. Here we learn of the authenticity of the original CD (but points out one glaring recording error), as well as confirming the original LP release date as July 1971 (I still see 1972 appended on some discographies). It would be great to get an original, but that's not likely to ever happen. While I think it's a great album, I don't think it's worth four figures honestly (and yea, I do think some albums are worth that - personally speaking of course).

8/20/14 (review / new entry) 

Light Year - Reveal the Fantastic. 1974 USA (archival)

Today we have a real gem. And it's been out there for 4 years now, and I'm just hearing it for the first time!(?) I discovered it the old fashioned way: Research. This is the type of album I'm usually tipped to ahead of time by my loyal friends and researchers. So perhaps today I can return the favor? I hope so. I think all of my readers will adore this one.

An extraordinary find, Light Year were a band from San Francisco circa 1974 that played a cross between heavy fusion and progressive rock, with dominant female vocals. To me it sounds like the Belgian band Cos playing the music of Mahavishnu Orchestra! Yes... I'm serious - Pascale Son fronting John McLaughlin and crew. A 6 piece of guitar, keyboards, bass, drums, vocals, and percussion (much of it tuned). Mixing a Bay Area band with an additional percussionist will call to mind who? Yes, that's right, Santana. And guitarist Randy Sellgren certainly possesses that hyper kinetic electric technique of Mahavishnu John meets Carlos type sound. The music is jazz oriented, but with ferocious rock segments, in the same manner as Santana's "Lotus". And the final track, clocking in at a whopping 20:20, has a distinct space rock element - propelling the album to its greatest height.

And the story doesn't end there. And this is perhaps the most fascinating aspect for me; the liner notes don't mention it. And there's only one reference to it on the label's home page. And (lots of ands on this one...) this is how I discovered it in the first place: I recently bought a second LP copy of Mingo Lewis' "Flight Never Ending" which I have listed in the CDRWL. This copy, however, included a promotional insert, where it says (typing it out literally): "Mingo's band lingo (sic) is a tight, young outfit: Drummer Dave Logemen (22), bassist Eric McCann (17), plus the remains of another San Francisco band called Light Year which includes guitarist Randy Sellgren, synthesizer specialist Michael Kapitan, and keyboardist Kincaid Miller." The latter two are not mentioned in the CD liner notes (Mingo's album came out two years later) - but then again, neither is Mingo Lewis. Holy smokes - who knew??

This album is absolutely essential.

Personal collection
CD: 2010 Green Tree (Germany)

The CD comes in a nice digipak and features newly written liner notes (from 3 of the members), lyrics, and photos. The sound is excellent. The LP is a gatefold, though I haven't possessed one myself. I know that Green Tree has a somewhat checkered past, but this one is clearly legit, and a superb archival album. Buy this one before it gets away. Special thanks is given to Doug Larson, who I presume had something to do with this release.

L'Orchestre Sympathique - En Concert a la Grande Passe. 1979 Canada-Quebec

L'Orchestre Sympathique's jazz rock sound (recorded live, but perfect sound) is defined by flute and tuned percussion, and thus draws comparisons to Pierre Moerlen's Gong and fellow Quebecois legends Maneige very easily. And those references are certainly on the mark. One band that isn't mentioned often, but I pick up in the more intense spots, is that of Dun's Eros. There's no hints of Zeuhl here, and it certainly isn't a dead-on reference, but there are a few similarities especially on 'Houmalaya'. As with any live jazz oriented album, there are a couple of loose improvisation spots that get stuck in the mud, but in general those moments are fortunately held at bay. About 15 years after this album, the Argentine band Las Orejas y La Lengua would release a similar type effort. Highly recommended.

Personal collection
CD: 2005 ProgQuebec

Original LP is a single sleeve cover. The album was included in their concert pricing  - a novel idea that helped fund the project. It's only been in the last couple of years that I was first introduced to the album. The CD features liner notes and wonderful sound like all of ProgQuebec's product.

Madder Lake - Stillpoint. 1973 Australia

Madder Lake's debut is a varied work, that references many of the influences of its day. Anything from the Oz standard of boogie/shuffle ('On My Way to Heaven') to catchy folk rock pop ('Goodbye Lollipop') onto Santana influenced jazz rock - it all can heard on Stillpoint. Perhaps the best track is the opening 8 1/2  minute 'Salmon Song' (wait a minute, was Steve Hillage...? Naw...), a primarily instrumental jazz rock piece that features some fantastic guitar and organ leads. Other highlights include 'Helper', which sounds like it could have fit in the middle of Blue Oyster Cult's Tyranny and Mutation album; the first half of 'Listen to the Morning Sunshine' is typical boogie, but the second half is all psychedelic goodness; and the two progressive oriented closers 'Song for Little Ernest' and '12-lb Toothbrush'. Ironically the latter track had a pop vocal motif that they filtered out for a hit single (as presented on the Aztec CD as a bonus track) - and became somewhat of a caricature sound for the band. They apparently never recovered their reputation locally because of it ("a millstone around their neck" as the liner notes put it). From my perspective, this is by far their better of two albums, and I could never reconcile with their sophomore effort Butterfly Farm despite a splendid cover.

Ownership: LP: 1973 Mushroom; CD: 2008 Aztec. The LP comes in a nice rough paper, non-laminated gatefold. Of historical interest, this was the first album on the Mushroom label, and was more or less created by the manager of Madder Lake. And of personal historical interest, this was the first LP I ever bought on ebay (Apr 1999 to be precise). Such an odd choice, but it remains the fact. The fantastic Aztec reissue comes with 8 bonus tracks. I've spoken at length already about how great these Aztec reissues are, so I'll stop here.