Berits Halsband. 1975 Sweden

Berits Halsband were an obscure band from the small coastal town of Hudiksvall, in central Sweden. Their relative isolation allowed the group an artistic freedom that ultimately created one of the greatest progressive jazz rock albums... ever.

In the mid 1970s, Sweden was harboring a handful of jazz bands looking to push the envelope beyond the usual bebop standards or electric noodling. These groups were very much influenced by the North American freaky fusion of Miles Davis and Herbie Hancock. Collectives such as Ibis, Ablution, Egba, Kornet, and Archimedes Badkar were bringing that same kind of kinetic creativity up to Scandinavia. And one has to figure those long, dark winters played a role in creating hallucinations even among the most puritan of Lutherans wandering about in their show shoes.

This was the creative environment that Berits Halsband were operating in.  Their artistic contribution to the scene, and most distinctive mark as it were, would be the musical crossover to the indigenous Scandinavian folklore of the local wooden dance hall. Berits Halsband's brand of progressive music wasn't dished up through the Zappa blender (like the popular Samla Mammas Manna for example), but rather more of an introspective art school approach. As with other large scale ensembles, the 8 piece Berits Halsband makes full use of its entire membership in unique ways. To underscore this point, consider the prominent use of trumpet, which is often filtered and heavily effected through a wah wah pedal. Their second lead instrument of choice is the lovely flute, often in unison with the trumpet, or as a peaceful solo alternative. And while Side 1 sounds like the best soundtrack to your dream Stockholm vacation, side 2 takes us closer to home, near the Arctic Circle, for some serious deep funk grooves. And here we find some added ring modulated electric piano combined with amazing fuzz electric guitar soloing. All this layered on top of a trance-like bass and a very busy percussion section. While the musical ingredients are familiar, the end result is entirely Berits Halsband - one of a kind.

In conclusion, Berits Halband's sole album is a strange bedfellow meeting of 1974 electric era Miles Davis, combined with the Swedish ethnic rock of Kebnekaise, and the psychedelic pyrotechnics of Flasket Brinner. Yes... it’s that good.

Ownership: LP: 1975 Forsaljud. Single sleeve. Online acquisition (2003).

CD: 2015 MusicBazz. Papersleeve edition with superb liner notes and great sound.

8/28/07 (Gnosis); 12/31/15 (new entry)

Navigator - Oceanic Empire. 2002 Denmark-Germany

Oceanic Empire is an essential slice of Berlin Skool Electronik Musik. The Danish/German combo offer up some of the finest sequences / guitar overlays one can find in the genre - competing mightily with legendary contemporaries such as Redshift and Radio Massacre International. 'Secret of the Cave' is about as perfect a realization of the entire genre as any track I've ever heard. If you're the sort who just can't get enough of that mid to late 70's Tangerine Dream sound - and apparently I'm one of these sorts - then do not hesitate to buy this CD when/if given the chance.

Ownership: CD: 2002 Groove Unlimited 

12/30/15 (new entry)

Subject Esq. 1972 Germany

Like fellow countrymen Nosferatu, Subject Esq. were informed more by current British rock trends, than what was happening in the German underground. So if bands like Raw Material or Indian Summer are to your liking, then Subject Esq. will most certainly satisfy. I think it's a very good example of the sound, with high energy, creativity, and plenty of great period instrumentation. They would later change their name to Sahara and embark on a similar sound, while adding more complexity to the compositions.

Ownership:  LP: 1972 Epic (Germany). Gatefold. Online acquisition (2024).

CD: 1992 Ohrwaschl. Jewel case edition. There are liner notes on the backplate, but they are in German. Includes two live tracks totaling 28 minutes. The sound is of good bootleg quality, and the tracks are more jamming in nature, hardly surprising given the era. A nice addition and much welcomed, but not essential on its own. 

2/9/98 (first listen); 2008; 12/29/15 (review/new entry); 8/6/20

Troya - Eruption. 1976 Germany

When I first bought this CD on Lost Pipedreams - not long after it was released - I hated it, and sold it immediately. Years later, I had a chance to hear it again, and my opinion softened considerably. And now I have the Garden of Delights CD in my possession, and think the album is quite good actually. What changed? Well me of course... and thousands more albums have been heard with these ears. Helps form the time and place aspect of the music. So yes it's true what they say - hardly a progressive rock masterpiece. And for certain a lo-fi recording, and with the master tapes forever lost, no chance of improving upon that fact either. All of which doesn't make for a bad album really. Musically, it's quite interesting, very much a product of its time. Melodic, semi-progressive tracks, with excellent period analog instrumentation (Hammond Organ mainly with some nice fuzz tone guitar among other usual suspects). The performance is good, vocals are subpar, and honestly it reminds me more of what you would find in "basement America" than what is typically associated with high quality German progressive rock. Charmingly amateurish.

Ownership: CD: 2001 Garden of Delights. Jewel case release full liner notes and photos. Recent acquisition (2015). Originals are off-the-charts expensive, and given that only 200 were pressed (and I believe it given how few I've ever seen), it's a case of no supply. Stick with the CD here unless you're wealthy or obsessive (or both). 

1994; 1//10; 12/29/15 (new entry); 11/17/23

Manfred Hubler / Siegfried Schwab - Vampiros Lesbos: Sexadelic Dance Party. 1969 Germany (archival)

Vampiros Lesbos is pretty much what you would expect from an album such as this: Psychedelic tinged jazz rock instrumentals. Nothing cutting edge, but good rhythms and wonderful early 70s analog tones. Schwab would go on to Embryo not long after, giving him future street cred. A fun set of music, and a good way to shock your neighbors next time you have them over for a glass of wine and cheese (literally and figuratively I suppose).

I did see the movie once, didn't even get through it. Pretty dull stuff, though I'm sure it was much more exciting in 1970.

Ownership: CD: 1996 Motel (USA). Comes with fine liner notes including from Jess Franco himself. Nice sound too. Very much recommended. Found this at a garage sale in the Fort Worth area (2015). From a middle aged lady about my age. Sitting right next to Willie Nelson too. You never know what you'll find in people's closets....

8/27/10; 12/19/15 (new entry); 10/9/23

Topper - At Last. 1977 USA-Missouri

As stated in many places, I truly enjoy the underground rock scene of the great American Midwest and Topper are no different. This time hailing from Kansas City, we have a band that was typically over ambitious, and wonderfully amateurish. The Moog soloing in particular is inspired. There are a lot of ideas on their one album, and it's clear they had a few Uriah Heep, Nektar, Yes, and Led Zeppelin albums in their closet. Basically a mix of hard rock, progressive, and a little bit of FM/AOR too. And they get a little too close to plagiarism in a couple of places ('Smile for the Clown' rips straight from 'Stairway to Heaven' incredibly. Guys, surely you were aware everyone knew this song already. Right?).

Ownership: LP: 1977 Scot. Single sleeve. Online acquisition (2015).

2009; 5/29/10 (CDRWL); 12/11/15 (new entry)

Charlie Mariano with the Chris Hinze Organization. 1973 USA-Netherlands

Straight up jazz session with American WWII veteran saxophonist Mariano joining forces with the Chris Hinze Combination from the Netherlands. This CD is a reissue of Charlie Mariano With The Chris Hinze Combination with the 18+ minute "bonus" title track improvisation thrown in the middle. Mariano himself was just taking baby steps into the European underground (see Osmosis for some American subversiveness) with jazz flutist Hinze's outfit. He was later to embark into an enlightening journey with Krautrock legends Embryo, and participate on some of their finest works shortly thereafter. 'Traditional South Indian (Carnatic) Kirtanam' is exactly the type of music he performed later with the underground Embryo. A real Hepcat, man.

Former ownership: CD: 1995 Black Lion (Germany) as Blue Stone. Jewel case. Booklet has original liner notes.

For a long time I didn't realize my CD of Blue Stone was the same album as this, and I couldn't understand why I never could find it on the online discographies. I ended up adding it myself to Discogs very recently, and have suggested to RYM to link them together. Freedom is the primary and original label, and is owned by Black Lion.

2003 (first listen); 12/10/15 (review / new entry); 4/23/24

Spaces - Border Station. 1981 USA-Utah

If you saw this cover in a store, you'd swear it was a typical late 1970s disco album (maybe French though...) - or perhaps even a slick fusion album. But Spaces are neither (though the opening track may have you thinking it might be). Yea it's fusion, sure. And, yes, there is a funk component. But primarily this is one hard hitting jazz rock album in the mid 1970s style, with plenty of fiery guitar, rumbling rhythms, and period keyboards (Rhodes, Mini-Moog, Clavinet, etc...). Well worth obtaining. Spaces appear to be from Provo, Utah - and the album was released in Salt Lake City.

Ownership: LP: 1981 Red Giant. Single sleeve. Online acquisition (2015). Not reissued as of 8/5/24.

10/6/10 (first listen/review); 12/9/15 (update)

Atomic Simao - Nodo. 2013 Ukraine

In 1993, this wayward backpacker traveler ventured into the mysterious lands of the Ukraine - a very crazy thing to do for an American in those early post-USSR days. Sticking out wildly with long golden curly hair and a red beard, with those jeans and those white tennis shoes. An easy mark for any number of Russian mafioso roaming about. But I met a girl in Lviv... oh but yes, and not one I would ever see back home in Texas. Completely in awe I was, we struck up quite the torrid romance, one that ultimately ended up in engagement with yet another European adventure a year later with her by my side. And then came the ultimate breakup.... Ah yes, Uncle Genius Hans has lots of stories to share around the dinner table. Just not my current one, as Auntie UMR is there, who showed up but yet a few months later and is still the ever beautiful Mrs. Genius Hans some 18+ years later. And Ukrainian-girl-who-shall-not-be-named must not be named.

20 years later from that breakup event, by pure coincidence, I now own my very first album from the Ukraine. Via my very good friend Spyros... from Greece... naturally. Global economy indeed.

And he was astute enough to release this album on LP through his Cosmic Eye imprint.

Atomic Simao play an improvised space rock. So while not exactly a new concept, their execution is exemplary, and when they catch a deep groove with raging fuzz guitars on top and synthesizers flying above... well, you all know the feeling when that happens...

Ownership: LP: 2014 Cosmic Eye

12/9/15 (new entry)

Nektar - Magic is a Child. 1977 England

Well, believe it or not, I'd never heard this record until now. And probably never would have, were it not a throw-in to another LP deal I just purchased. Good thing. Had I heard this 30, or even 20 years ago, I would have dismissed it out of hand. But with my ears today (oh these ears, I tell ya...), I hear exactly what Nektar was going for... and honestly they did a great job at it!

And what they were going for was FM radio airplay. For whatever reason, the radio guys didn't feel there were any hits here. But I disagree, as 7 out of the 9 songs here could have easily caught on with the 1977 crowd. So yes, Nektar are a long way from their (recent) progressive rock past - and even further from their Krautrock roots. But this is still some fine sophisticated AOR, or what we used to call "pomp". A precursor to the neo-prog (later interpretation of said movement) sound honestly.

Good album if bands like Styx, later Starcastle, City Boy, and others of its ilk appeal to you.

Ownership: LP: 1977 Polydor (USA). Single sleeve. Recent acquisition (2022) from a local store that replaces the CD that made up this original entry.

12/6/15 (first listen / review / new entry)

Sfinx - Lume Alba + Sfinx (EP). 1974-1975 Romania

Sfinx's debut album is an extraordinary accomplishment given the time and place. Since so few rock albums were privileged to a deprived audience, Sfinx released something akin to a "Beatles Effect" album, with a mixture of popular styles. But being it was 1975 and all, progressive rock was one of those prominent styles, and this is where Sfinx excelled most. Especially on the stunningly beautiful 'Sinteze' which sounds like an underground track on the Pole label from France - and the Moog solos are divine. Plenty of highlights to go around in the progressive, folk, and hard rock genres, understanding that consistency is not what Sfinx were striving for at the time, so be prepared for some downtime too.

----Sfinx (EP) 1974 Electrecord

Debut recordings from Sfinx, who were to flesh out more on their subsequent debut LP in 1975. Opens with the hard rocking 'Coborise primavera', before delving into the pop songwriter 'Ziua ta'. Flip side consists of what could be called a "classic Midwest USA AOR" sophisticated pomp rocker, before closing with the lovely ballad 'Peste virfuri'. Nice EP.

Ownership: CD: 2015 Soft Records. Tri-fold digi-pak. Great sound, liner notes in Romanian and English (latter truncated somewhat, but informative). It contains both the album and EP as noted above.

Special thanks goes to our good friend Eddie for providing this CD!

12/5/15 (first listen / review / new entry)

VAK - Aedividea. 2015 France

The palindrome named Aedividea CD combines VAK's first two EP's (2012/2014 - minus one track 'Rheet') into one splendid Zeuhl offering. VAK blossoms from the Eskaton branch of the Zeuhl tree. And any time that great band is even whispered as an influence, Magma fans everywhere should be rushing out to obtain their very own copy. And the abundance of flute gives off more than a whiff of Dun. Wow, this is the good stuff right here. Another great find from the specialty label Soleil Zeuhl!

Ownership: CD: 2015 Soleil Zeuhl

12/2/15 (new entry)

Eye - Second Sight. 2013 USA-Ohio

Second Sight is an improvement on their already very good debut album. Eye continues to be influenced by early Nektar, and peaks on the awesome proto-prog 'Cultrider'. The title track sounds as if it were lifted from Tangerine Dream's Phaedra sessions, and 'Waiting for the Tide' has the classic early 70s Pink Floyd sound. What's not to like?

Ownership: CD: 2013 private

12/1/15 (new entry)

Drahk Von Trip - Heart and Consequence. 2005 Sweden

Drahk von Trip are a southern Swedish group who play a unique mix of space rock and aggressive neo psychedelia. A large scale 6 piece band complete with female vocals and plenty of different instrumentation (violin, flute, "vintage synthesizers", multiple percussion contraptions, and some highly unusual wind instruments like the yidaki, a specific type of didgeridoo, as well as the Didjeribone). Some of the guitar work found here is quite inspiring. Though they have elements of many bands from White Willow to Hawkwind to Azalia Snail to Ozric Tentacles to Magma (mainly found in the bass work on 'One of a Kind' and 'Gahn'), Drahk Von Trip do not remind me of any one particular group. 10 lengthy, and somewhat complex, tracks allow for much discovery for each future listen.

Ownership: CD: 2005 Transubstans

11/26/15 (new entry)

The Tony Williams Lifetime - Ego. 1971 USA

The negative opinions are pretty strong on this one. I can appreciate the expectation that one would have for such a talent as Tony Williams in the highly creative year of 1971. And this definitely doesn't come through as a landmark winner of the year. But is it an abject failure? No, not in my opinion anyway. There's 3 throwaway percussion songs, and they are all the shortest, so that helps. The remainder is a fine jazz rock effort, and it closes well with the final 3 compositions. Anything with Larry Young on organ is worth an ear, and he does a fine job here. Final two tracks are the highlights. Overall the tone is pretty loose and raw, which are pluses. Williams' vocals are not a highlight for sure, but we've all certainly heard worse.

Former ownership: CD: 1999 Verve. Digipak. Includes the original LP liner notes.

2000 (first listen); 3/14/15; 11/24/15 (review / new entry); 1/21/24 

Darediablo - Feeding Frenzy. 2003 USA-New York

Welcome to the Hard Rock Cookin' Show. Today we have Darediablo from New York City. Tell us, Darediablo, what is your secret recipe?

Thanks for having us on the show today, Bob. We look at both the past and present for our recipes. On Feeding Frenzy, from the past we take one part Uriah Heep and one part Captain Beyond. And from the modern chefs, we like one part Kyuss and one part Tortoise. Blend. Drain the vocals out. Serve.

Yum.

Darediablo are very much a typical Under the Radar band from the 2000's. They never really had much exposure to the progressive rock community, and yet that may have been a better audience for the group in the long run. Today, the band seems long forgotten, only brought to life by archivists like myself. Like many before them, Darediablo arose from the New York City indie scene. They did have quite a bit of exposure 15 years ago, with their music showing up most prominently on ESPN's The Life among others. Their sound has been described (as recounted by the band themselves) as anything from Medeski, Martin & Wood meets MC5, to a combo of Black Sabbath and AC/DC. Since I've only heard Feeding Frenzy, I can't really say if these comparisons are accurate or inaccurate. My own description certainly points to another branch of the progressive hard rock tree. After Twenty Paces, the band seems to have disappeared altogether, and I cannot find any active internet presence. At some point, I need to make an effort to hear their other three albums, as Feeding Frenzy is most certainly a solid organ based instrumental progressive hard rock album. 

Ownership: CD: 2003 Southern. Jewel case. Simple booklet with recording details.

1//05; 11/23/15 (new entry)

Eye - Center of the Sun. 2011 USA-Ohio

When you name your band Eye and your first album is entitled Center of the Sun, then you are more than likely to draw comparisons to early Nektar. And indeed that is just what this Columbus based band seems to be aiming for: Journey to the Center of 1971 Nektar. Early Pink Floyd would also have to be mentioned, only in that Nektar themselves were indebted to those that set their controls for the heart of the sun. A sufficiently muddy production - complete with fuzz bass, distorted guitar, mellotron, and disembodied voices - will likely enthrall anyone who thought 1972 was way too glossy of a year. And honestly, what can one complain about? It's not exactly like the world is filled with Nektar copy bands. Sit back and enjoy a new interpretation, if "new" is a term one is allowed to utilize here. Originally there was no CD for this album. I presumed that's because one needs to leave the fuzzball on the needle to truly appreciate.

Ownership: LP: 2011 Kemado. Single sleeve.

CD: 2015 private. Simple slip case. I store it with the LP.

11/17/15 (new entry)

French TV - After a Lengthy Silence. 1987 USA-Kentucky

Fine sophomore album from French TV, a band that continued to grow leaps and bounds from album to album. After a Lengthy Silence is mostly an instrumental progressive rock, heavily influenced by jazz fusion, with a surprising space rock ending. The production is typical of the muddy late 1980s, and holds back the potential of the material. This aspect of the band would also improve as time went on.

Ownership: LP: 1987 Y Records. Single sleeve. Acquired not long after release (1990).

1990; 2009; 11/14/15 (new entry)

Quantum Fantay - Dancing in Limbo. 2015 Belgium

Quantum Fantay have always been a Masters Class course at the Ozric Tentacles University. And on their 6th studio effort, Dancing in Limbo, yet another thesis has been proposed and accepted. So much so, that the professor himself - one Ed Wynne - even guests on the album! If you're the sort that appreciates Ozric Tentacles most in full blown space rock mode with fiery guitar solos and fluttering flute, meanwhile constantly twisting and turning with jumpy rhythms, then Quantum Fantay will certainly blow your socks off. I'm of that sort, and my socks are missing. Dancing in Limbo earns Quantum Fantay yet another "A".

Personal collection
CD: 2015 Progressive Promotion

11/4/15 (new entry)

Dungen - Allas Sak. 2015 Sweden

After a 5 year break, we receive Dungen's 7th studio album, though if we're to use their numbering system, I suspect they would say it's their 6th (witness album called 4). No matter as Dungen continue with their brand of Swedish psychedelic progressive... pop. The latter perhaps a bit more pronounced this time, especially on the opening trio of tracks. I still can't get over just how popular Dungen are (including a guest appearance on prime time USA late night TV). Me and about 20 other people from Sweden have a full collection of this kind of Swedish psych from 1970-1974, sung in the native tongue. Not a single album anyone would ever have heard of today. Speaking of which, it took me 10 years to figure this out, but now I know precisely where Gustav Ejstes got his main ideas from. If you're a big fan of Dungen, then you should make an effort to hear this album Till dej, one I assure you Gustav has framed on his wall at home.

As mentioned, there is quite a bit more pop this time around than prior, though there is plenty for the more adventurous listener to dig their teeth into. 'Franks Kaktus' is an absolutely stunning instrumental and among Dungen's finest compositions to date. 'En gång om året' is the mournful downer Scandinavian psych that is Dungen's signature sound. 'Åkt dit' gives us the requisite mellotron drenched sound we so crave. 'En dag på sjön' reminds us just how popular Santana's fusion era was in Sweden in the early 70s (think the live Lotus album here). 'Sova''s attempt at a psychedelic ending is admirable, though ultimately boring, and the fast forward button was looked at. More than once.

Personal collection
CD: 2015 Mexican Summer (USA)

11/3/15 (new entry)

Rogue Element - Premonition. 2004 England

Not only is the duo of Rogue Element's debut influenced by Tangerine Dream, but very specifically 1976 and 1977 era Tangerine Dream. There's gobs of mellotron (as played by both gentlemen), "Modular System" sequencer action, and electric guitar soloing. If you love everything about Stratosfear, Sorcerer, and Encore, and the multitudes of bootlegs (official or not) from this era, then Rogue Element will fit in perfectly with your listening routine. Make sure the CD is labeled, or you may confuse it with your existing Tangs collection. From my perspective, this is a style that allows for multiple interpretations, so other variations are much welcome.

Ownership: CD: 2004 Acoustic Wave

11/2/15 (new entry)

Yang - A Complex Nature. 2004 France

Amazing how many new sounds the guitar-guitar-bass-drums instrumental quartet can come up with. Former Shylock and Philharmonie guitarist Frederic L'Epee goes for the throat on this, Yang's debut album. Seems to me this is what we were expecting from Djam Karet during this era – let it loose and bang that head that doesn't bang. What separates this from other albums of its ilk is the inventive use of the rhythm guitar. Nice melodic structure as well. Good album that delivers what it promises.

Ownership: CD: 2004 Cuneiform

10/20/15 (new entry)

Iskander - Boheme 2000. 1982 Germany

The CD issue contains significantly more music, much of it superb, including the magnificent full 4 part suite of 'Winterhagen', which now clocks in at over 18 minutes. Iskander's debut is a real under the radar delight, and mixes symphonic rock with psychedelic guitar and a variety of progressive ideas. The album is pretty much forgotten today, but was quite well known within those that were tuned into the "Eurock" circle back in the 1980s. I've had this CD almost since it was released, and it has passed the test of time quite well.

Ownership: CD: 1989 Iron Curtain (as Boheme 2000)

1990; 11/22/11; 10/19/15 (new entry)

Radio Massacre International - Septentrional. 2006 England

Radio Massacre International have to be viewed as one of the most innovative of recent groups. Certainly within the electronic music space, a field that has the same devotion and non-wavering loyalty to sub-genres as does heavy metal. You're either "Berlin School" or "Ambient" or "Techno" or any other such labels, but you shouldn't be all of them - say many fans. RMI, who started out pretty much strictly "Berlin School", are now all the above and more, with recent excursions into tripped out Krautrock, and whatever else they feel like doing. Septentrional is one of their most polarizing CD albums (their privately released CD-R's are even more controversial). Produced by Ian Boddy, and released on his DiN label, Septentrional is RMI at their most modern and cutting edge. But in a paradoxical way. See, Septentrional has more of that ancient mellotron than any of their other albums. Of course it's put through the production grinder and is echoed, techno'd, phased, manipulated, and ultimately tortured through Boddy's mad scientist lab. It's all rather fascinating. Headphone music for the modern age. If looking for just one composition to leave your jaw hanging, may I suggest 'Trident', which is truly a beautiful thing to hear and behold.

Ownership: CD: 2006 DiN

2008; 10/18/15 (new entry)

Sinkadus - Aurum Nostrum. 1997 Sweden

Sinkadus. The other 90's Swedish band that consolidated all that was good from the analog early 70s progressive rock scene and created an album from that premise. You can always tell when a reviewer comes from the 90s "scene", on how much they despise the album because it sounds like the almighty Anglagard. As if the world was filled with such tiresome bands. And yet, had they heard this album without any reference to Anglagard - and in fact many young folks today may do just that by accident - then they would have been justifiably impressed. Despite the fact that there were precisely 933 Genesis imitators by this time, the thought of one other band treading down the same path as Anglagard was simply unacceptable. All real silly in retrospect, and it says more about the reviewers than anything else. The members of Anglagard are the first to admit they didn't create anything new under the sun - just filtered what they liked best from 1973/74 Europe, and went about their business. And it was well received by most everyone - perhaps to the point of religion. And, as such, Sinkadus suffered the unfair accusation of plagiarism (Wobbler were later to be subjected to similar abuse). Don't bother with any of that, and enjoy the album as it is presented. Heavy guitar, Hammond organ, flute, mellotron, woody bass, and Swedish vocals is what you'll hear. All multi-tiered, constantly changing, and melodic. If you're a fan of intricate analog progressive rock circa 1973, hard to imagine not walking away impressed with this one. Unless you have an Anglagard complex. Many do.

Our friend Bas adds from the UTR: "Aurum Nostrum is a great album... I guess. The thing is: I've got the excellent Live at Progfest album, which comes with a bonus disc with some sort of demo version (version 1 as they call it) of Aurum Nostrum. Great music, but I've no idea how it compares to the final version. I'd love to hear that version, but I'm sure it's way OOP and I don't fancy paying over the odds for it, only to find out it's not very different. I guess I could have a listen on youtube to get an idea, though.

Strange how Änglagård got all the plaudits and Sinkadus were labelled copycats. Even if they were, I don't mind: that would mean more Änglagård!"

Ownership: CD: 1997 Cyclops. Standard jewel case release with a nice booklet that includes full lyrics, unique art, and band photos. The disc face on my CD is different. Will need to add to Discogs.

10/18/15 (new entry); 4/16/20

Winterhawk - Revival. 1982 USA-Illinois

Chicago based Winterhawk have quite the reputation among those predisposed to enjoying the hard rock genre. Like me. Almost all the tracks clear the 5 minute mark to allow for a few more ideas to creep in per composition. And to also allow more time for the unrelenting guitar solos - each, I might add, with a solid amount of creativity. This latter point alone would most certainly have found its way to the cutting room floor back in 1982. As well, the rawness of the production is a big part of the charm here. Makes you feel like you're in an old abandoned brewery on the South Side. Lead dude Jordan Macarus can play the strings with the best of them - and a strong nod goes to the Nuge (right down to the cow leather lace-up boots!). Every major US city had a Jordan Macarus that never got their due. In those days, you would check out Winterhawk live at the "Agora Ballroom", bring your main squeeze, and boast to the bartender you're a good friend of the band. If your girl stayed through the concert without complaining - and as an extra bonus got tanked on Pabst - she was a keeper.

Personal collection
CD: 1998 Monster

The CD is awesome with liner notes, bonus tracks, and from the master tapes.

Praxis - La Eternidad de lo Efimero. 1987 Mexico

Praxis' sole work is a solid instrumental progressive rock album from Mexico. The primary composer, Ricardo Moreno, is the same keyboardist behind Iconoclasta and the music is remarkably similar - especially the Iconoclasta albums that came after Praxis. One reason for this is that Praxis' guitarist Hector Hernandez joined Iconoclasta not long after. The other is that Praxis had eschewed the local regional Latin American influences - as did Iconoclasta in their later years. The album's faults lie in the muddy Third World sounding 1980s production, and the lack of variety in tone - especially considering the rather cheap sounding synthesizers. But the charms outweigh the negatives here. A finely crafted album, that I'm sure today would sound fantastic, especially if afforded a room full of analog gear.

CD: 1994 Mellow (Italy). The CD is a straight reissue with good sound and nice historical liner notes. You really have to be a vinyl-only junkie to not want the CD for this title.

CD removed from collection (2022).

10/16/15 (new entry); 6/8/22

Tantra - Misterios e Maravilhas. 1977 Portugal

On the surface, Tantra sounds like an odd cross between Mahavishnu Orchestra and Genesis. There really isn't any other band from Portugal that sounds anything like Tantra, and with revisionist history on our side, the band have a somewhat international flavor. The fusion tracks sound like Argentina's Crucis whereas the vocal numbers recall Carpe Diem of France. The heavy use of the Farfisa Synthorchestra and the distant, sparse, and mysterious vocals add credence to this latter claim. Meanwhile, on the middle tracks, the insane bass and drum rumblings with wild soloing made me think of Los Delerios del Mariscal. As many have said, the production is lousy, and detracts from the overall immense potential for greatness here.

Ownership: LP: 1977 EMI. Single sleeve. Online acquisition (2019). Note back cover of the original. There are two pressings, and the one with "1877-1977 100 year" seal is the true original. I started with the 1983 press that I purchased in 1990. That was replaced by the Musea CD. I've decided to part with the latter after capturing the excellent liner notes, and there are no bonus tracks. 

1990; 10/15/15 (new entry); 12/11/19 (LP acquire); 2/18/23

Siniaalto. 2002 Finland

Finnish trio Siniaalto (Sine Wave) can trace their musical heritage back to an earlier electronic music era, primarily Tangerine Dream circa Phaedra. A full array of keyboards, both analog and digital, are on display here. Though it’s the good old Rhodes piano, heavily echoed and treated, that truly gives their debut album an early 1970s feel. I could swear there is a Mini-Moog in play as well, but it’s not listed. The general modus operandi for each composition is to start out by creating a dark atmosphere followed by a plodding, low pitched, sequence. This is then followed by the group adding a series of alien sounds, of which the most notable is the treated Rhodes piano as mentioned prior. There are only four tracks, clocking in at close to an hour, so plenty of room for meditative listening. A good start from a promising band in the ever increasing fold of groups performing in the Berlin School style of electronic music.

Ownership: CD: 2002 If Society

10/14/15 (new entry)

Cosmic Debris. 1980 USA-Oklahoma

Cosmic Debris were a band from Oklahoma City that married electronic sequencer based music with rock instrumentation such as guitar and drums. Very much like a mixture of Klaus Schulze's Moondawn with Edgar Froese jamming on top. Or Wolfgang Bock's Cycles album. Side 1 is made up mostly of 'Spectrum' with only a brief introduction of Aaron Coplan's generally overused 'Fanfare'. This is the only side that guitarist Shawn Phillips appears on. And he wails wonderfully in a psychedelic manner throughout. The flip is more atmospheric, though the driving drum set is still in place, with sequencer based Moog, atmospheric sounds, and percussion, recalling perhaps late 70s Jade Warrior in places. Mixed with Heldon. Cool.

There are no reissues, however there was a time when the band was selling homemade CD-R copies, but we don't technically count those. There's some debate on the date and title of this release. The copyright date on the original LP is 1980. However there are two typed inserts (with my copy anyway - and I reprinted them below this review). One is dated 1.1981 and the other 1.1.981, so we'll presume bad editing on the latter... So the evidence is there that the album wasn't released until 1981, though I'm personally a fan of copyright dates. Depends on the discography site and their rules eh? Based on these inserts, it's pretty clear to me, that the 3.7K title that has recently been appended this album is in reality the catalog number, not the album title. This becomes even more evident once you realize their second album While You're Asleep has 4.6K as a catalog number.

----Here are the two inserts included:

Insert #1 (dated 1.1.981) says:

"Cosmic Debris Biographical Information

Cosmic Debris was founded in 1977 as an experimental synthesizer ensemble. From their first performance at the Friends Jazz Festival in July 1977, Cosmic Debris has constantly strived to bring subtlety, elegance and control to live electronic music. Cosmic Debris has expanded beyond strict electronic electronic horizons. In 1979, the ensemble performed in the fusion jazz format. Growing out of that format, Richard Bugg (founder of the Debris) and Joel Young (percussionist with the fusion jazz edition), have gone on to incorporate elements from all musical areas.  "We present the listener with a choice of ever changing perception of reality". The Cosmic Debris can be heard on Non Compos Mentis Records number 3.7k"

--- It should be noted that the above was riddled with spelling and grammatical errors which I attempted to fix (not that I'm an English ace or anything, but jeesh!)

Insert #2 (dated 1.1981) says:

"In their debut album for Non Compos Mentis, Cosmic Debris (Richard Bugg, Shawn Phillips, and Joel Young), have managed to fuse the control available to modern electronic musicians, with the freedom of expression that typifies contemporary music. The result is a true meta-language that express the positive power of emotion and mind. An intelligent sound that aggressively fuses pulsating undercurrents of raw power with an intricate interplay of sonorities."

--- This one needed little editing. But who the heck knows what it means? 

Personal collection

LP: 1980 Non Compos Mentis

Manilla Road - Open the Gates. 1985 USA-Kansas

Nobody mixed riff based metal with psychedelic hard rock better than Manilla Road. All wrapped up with fantasy Medieval lyrics and artwork to cuddle up with. It's a big sloppy mess, but wonderfully so. Imperfection never sounded so good. At times Shelton sounds like Frank Marino, as he noodles away wildly, seemingly without purpose, with a crazy racket storming behind him. 'The Ninth Wave' is yet another perfect Manilla Road epic metal track - one that basically reiterates their invention of the style. Manilla Road are for those of you who like Hollywood leading men with scars and lots of wrinkles. If you came here looking for crisply executed, slickly produced, and perfectly played metal - then you cannot possibly be more lost.

Ownership: LP: 1985 Black Dragon (France). Single sleeve. LP+EP

CD: 2001 Dragonheart (Italy)

10/13/15 (new entry)

Cos - Postaeolian Train Robbery. 1974 Belgium

Cos' debut from 1974 comes after many years of performing and writing, and as such, is a very mature opening move. The group's background, and home base as it were, is definitely from the jazz school, though they had recently broken into rock forms - influenced by the French groups Magma and Zao, and fellow countrymen Arkham. It is Zao where you find the closest comparison, though Cos are not Zeuhl in the slightest, and Canterbury is an easy backup reference, though not entirely accurate either. Truth is, Cos were their own thing, always a trait worth admiring. Pascale Son's (wife of bandleader Daniel Schell) strictly sings in the scat style, where enunciation, intonation, and pitch are key to the composition. The tracks are all well composed, and thoroughly thought out, and played to perfection. And it rocks out especially towards the end of the disc. Not a weak moment to be found, though it does lack the extreme highs a masterpiece calls for (though the UMR has one friend who states this is the greatest album ever, so file that away for reference). All the same, an exquisite work for fans of progressive jazz rock.

The predecessor group to Cos was Classroom, who contribute 4 tracks to the Musea CD. These compositions are clearly more indebted to jazz, but are certainly the same type of band in a non rock setting.

Personal collection

CD: 1990 Musea (France)

A few interesting items of note about this album's release. The original Plus album (first photo) comes in a fine gatefold cover and apparently sold out in 2 weeks, just as the label was going bankrupt (a day late and a dollar short apparently?). Shortly thereafter the better funded IBC came along with a single sleeve second press, and this is the more common one you will see (though hardly any supply in original form). The Musea CD reissue liner notes confirms that the Plus edition from 1974, with the red and yellow stripes, is indeed the original LP issue. Despite this fact, they went ahead with the IBC photo cover. Furthering the confusion, the Musea CD omits 'Karbok', apparently a more commercial effort, because of bandleader Daniel Schell's objection to it. However, as a bonus, the CD adds 4 tracks from Classroom (discussed below in the Notes). The Belle Antique CD uses the original Plus cover, but the Musea CD as the source (incl. Classroom), making that an entirely frustrating release (while no doubt leaving off Musea's excellent liner notes). It appears, finally, that the Wah Wah release gets the original LP correct (but no Classroom tracks), also with the permission of Schell, who now apparently has gotten over his objections to 'Karbok'. Surprisingly I could not find this one track online, so technically I haven't heard the original album in full! I didn't realize that until researching/reviewing this entry - 25 years after first purchasing the CD. Crazy stuff.

Hoelderlin - Rare Birds. 1977 Germany

Rare Birds follows the unique Genesis meets cosmic / space rock hybrid of Clowns and Clouds, with yet another difficult-to-pin-down progressive rock album. The compositions are increasingly more accessible, with a certain soft lens focus coloring their sound. Viola is clearly their defining instrument at this point. Vocals are airy and melodic. The songwriting is excellent, and given the right commercial backing, Hoelderlin would have been household names. From a prog fans standpoint (i.e. me), the album's highlight is the driving instrumental 'Necronomicon'. This is an album that has grown on me tremendously over the near 30 years I've been acquainted with it. Definitely not an "immediate" release, so something to consider if you're encountering the music for the first time.

Ownership: LP: 1977 Spiegelei. Single sleeve. Purchased at Half Price Records in Dallas (1987).

1987 (first listen); 9/12/07; 8/14/12; 10/11/15 (review / new entry); 2/7/23