Radiomobel - Gudang Garam. 1978 Sweden

Not sure how to explain it, but I really like albums such as Gudang Garam (named for an Indonesian cigarette brand). There's a Nordic charm about them as if I'm in a dark wood paneled tavern enjoying an out of world experience (fueled no doubt by a fine Swedish Imperial Stout). Radiomobel represent a combination of symphonic progressive and high flying space rock. The highlight track being 'E-matt' which comes from the latter style and borrows from Kebnekaise's penchant for indigenous melodies. Their symphonic side is best represented by the tracks featuring high pitched female soprano vocals in Swedish, which brings to mind Autumn Breeze (not to mention a host of German symphonic rock bands from this era). On the down side, Gudang Garam is very much an amateur recording, with tinny late 1970s era synthesizers in tow. The CD contains great liner notes that explains Radiomobel means Radio Furniture, which the band used as their first amplifier - and subsequently this same amp blew a fuse, causing quite the explosion at - get ready for this - Mom's house. LOL. I think it's safe to say we're not talking Abbey Road here...

Ownership: LP: 1978 Chockskivor. Single sleeve. Trade with a well known dealer in the SF Bay area (1993).

CD: 2005 Transubstans. Jewel case with superb liner notes, though it's clearly taken from vinyl (though still sounds very good - it's pretty lo-fi to begin with). There are no bonus tracks.

1993; 6/2/07 (review); 8/29/15 (new entry)

Akira Ishikawa & The Count Buffalos - African Rock. 1971 Japan

This is not my first run in with Akira Ishikawa & His Count Buffalos, as Shadoks reissued their (next?) album Uganda (1972) on LP and Tiliqua followed up with a CD reissue a couple of years after that (mentioned in the AC's notes as well). I found the album a disappointment, as it was primarily African percussion with a few cool Mizutani freakouts, but honestly it sounded as a late addition, and didn't fit the album as a whole. I'm about 10 minutes in here, and I have to say they reissued the wrong album.

Time to check the archaeology dig notes from the AC to get his impressions: "Akira Ishikawa's travels to Africa and subsequent fixation on fusing African music with modern jazz and rock is well documented, but unfortunately several of his more interesting LPs that came out during this particular period are not. First there was the avant-garde free-jazz freakout "Impression of Africa - 'Uganda'" (unrelated to the later well-known "Uganda" album), a commercially unreleased 1970 live supersession arranged by Masahiko Sato and performed by the combined forces of Akira Ishikawa & Count Buffalos, Toshiyuki Miyama & New Herd, and the Terumasa Hino Quintet. Only a couple of test press copies of this are known to exist (Columbia seemingly deemed it "too extreme" and refused to release it), making it perhaps Japan's rarest and most valuable experimental jazz LP. Interestingly, if you read the liners of the original "Primitive Community" LP, it's actually mentioned there as a "shocking" introduction to the Africa-meets-jazz/rock concept in Japan. But more relevant to the album being reviewed here was "Power Rock With Drums - The Road to Kilimanjaro" (1971, Canyon), credited to Ishikawa, but aside from his drumming actually performed by the Freedom Unity and composed (partially) by Hiromasa Suzuki. This latter name is perhaps the key point here, as although the second side of "Power Rock..." consists of nothing but pop/jazz covers, the first side features two lengthy and more interesting Suzuki pieces fusing African music and progressive jazz-rock. This seems to have laid the groundwork for "African Rock", released later the same year, for although it's credited to and performed by Ishikawa and his Count Buffalos band, all but one of the pieces were actually written by Suzuki once again. 

So, now that we've set the scene, what about the music? Well, thankfully this one is a bulls-eye for what they were attempting. Eight all-original instrumentals (aside from a little "tribal chanting") are featured, and the style can perhaps best be described as a fusion of the better parts of the following year's "Uganda" (think of "Pigmy") with some hints of "Primitive Community", filtered through the psychedelic/progressive jazz-rock stylings that Suzuki would develop over the next two years on his "Rock Joint" albums. The highlight of the album for me is the one-two punch that leads off the second side, "The Earth" featuring some of Mizutani's wildest fuzz soloing ever, followed up by "Love", a darkly mysterious flute and tribal percussion led piece that really nails that "lost in the deep jungle" vibe. An excellent album overall, and hopefully one that will be reissued someday. Confusingly, there was another identically titled "African Rock" LP released in 1972 (this one featuring a close-up of Ishikawa's face on the sleeve), but it consists of nothing but cover tunes and is of much less interest."

If the phrase "Mizutani's wildest fuzz ever" doesn't get your heart started, you may want to consult your doctor. Or your coroner. This album is everything you want in a funk psych jazz rock album - except you almost never do get what you want. It's the perfect blend of sweet grooves, wild psych, and deep funk. Horn charts, flute, tribal drums, and Mizutani psych guitar. What more can you ask for? A really splendid album, that the always deep diving Japanese record companies seem to come through on. It's a matter of patience at this point. But given all the wonderful Japanese reissues we've seen in the last 5 years or so, we can only hope this one will achieve top priority.  I'd be a first day buyer for sure. As for original LP's, well they're predictably expensive - more than I would want to pay for this type of album. I did find a couple of copies out there, if you are so inclined and financially secure.

Personal collection
CD: 2015 Clinck

Originals are stored in a single sleeve jacket and are pretty much extinct. This album is still just being discovered for the first time by worldwide collectors. In what has to be considered record time, the CDRWL alerted the world of the album in April, and by July we had a 100% legit reissue coming out of Japan! Coincidence? Maybe, though The AC informs us (he is fluent in Japanese) that there were hints of influence from us there. That's enough to keep us going anyway! As you can see above, I lived up to my word of being a first day buyer!

Verdaguer - Humahuaca. 1994 Brazil

Bassist Willy Verdaguer, born and raised in Argentina, took off for Brazil in the late 1960s to become part of the exciting music scene that had captured the imagination of many South Americans. His most notable contribution was with the respected early 70s underground band Secos & Molhados. After years of production work, Verdaguer reemerged without fanfare and released Humahuaca, an album that was under the radar even in its own day. The title comes from the band name Verdaguer lead in the 1970s and 80s. Flute plays a major role in Verdaguer's sound, and thus comparisons to an instrumental Camel are inevitable, and are reasonable. The pastoral sounds of Casa das Maquinas mixed with Solaris would be another observation. And the pervasive "world music" theme gives off a strong scent of Jade Warrior. If any of this sounds appealing, then most assuredly Verdaguer will satisfy. The big drawback here is the production (ironically given Verdaguer's background), which is muddy, dull, and flat. The tones, especially on the keyboards, are all digital and lack any kind of edge. It's sadly the typical sound of the late 80s and early 90s. The saving grace is the flute, adding a much needed warmth to the proceedings. There's also some fine guitar solos as well. And listen for Billy Bond as a guest vocalist. Highlights include the head raising opener 'Danca dos Dedos', the grooving 'Charara', and the 11 minute prog rock epic 'Pulomelo'. Beyond the production, there is little to find wrong with Humahuaca, and comes as an easy recommendation. While I'm not usually a fan of re-recordings, I would love to hear this album done again with all analog gear, and a crisp production. Because the music quality is there.

Ownership: CD: 1994 Record Runner

Apparently the 2005 repress includes 5 bonus tracks. I've only heard the original CD.

8/23/15 (new entry)

Acintya - La Cité des Dieux Oubliés. 1978 France

Acintya's sole album is square-on instrumental progressive rock, that recalls the symphonic debut album from Carpe Diem mixed with the mysterious Wapassou. String synthesizer along with violin play a major role in Acintya's sound. The production though, is muddy and dull, and takes away all the necessary edges this album needs to be successful. Apparently the original LP on SRC maintains these dynamics, but I only have the Musea LP reissue, so perhaps that's the issue at hand. Therefore I'll seek an original out, as this wouldn't be the first time the reissue was botched to the point of ruin (see Capsicum Red). Because from a composition perspective, the music is quite compelling. None crest the Gnosis 10 / RYM 3.5 mark, but with the right production, half a point could be appended without much thought.

Personal collection
LP: 1989 Musea

Originals come in a single sleeve cover. Not an expensive album, but hardly common either. Your best bet is to scan European sites if in the market for one, as it was never imported to the States. And I think I will be looking for one in short order, as noted below. My first and only copy is the Musea LP reissue that I picked up not long after release. The Freeman's of Ultima Thule say this about the reissue: "The Musea LP reissue of this 1970's French prog gem would seem to be an LP transcription (or from damaged/stretched tapes) with a slight wow/slurring evident on the sustained keyboard tones. This is not so on the original SRC LP pressing. This flaw probably explains why Musea never reissued it on CD." Shortly after they published this, Musea did indeed come forth with a CD reissue. But according to readers of my CDRWL, the sound quality wasn't improved upon. So I've decided to hold off for now, and stick with the LP. I'll be most curious if the sound quality of the original is that much better.

Pierrot Lunaire. 1974 Italy

Like many Italian prog fans, my first exposure to Pierrot Lunaire was from their avant-garde masterpiece Gudrun. With that backdrop, Pierrot Lunaire's debut is a bit of a shock to the system. The album is a low-key, pastoral, folk influenced progressive rock. Flute, keyboards, vocals, and acoustic guitars are the primary set of sounds. There isn't much here to latch onto, with a low set of dynamics, and yet it's a peaceful 45 minutes of listening. If looking for comparisons, Pierrot Lunaire is more subtle than Saint Just's La Casa del Lago, and less compelling than Errata Corrige, but both are in the same ballpark. Side 2 contains the album's highlights, with the keyboard heavy symphonic piece 'Il re di Raipure' and the hauntingly beautiful 'Arlecchinata' with wordless female vocals. Pierrot Lunaire's debut is very consistent and fortunately there are no low moments to endure. A solid record that comes recommended, though it doesn't predict the brilliance of their sophomore release.

Ownership: CD: 1994 Si-Wan. Jewel case with Korean liner notes.

The above replaced the IT reissue LP that I purchased new in 1989.

1989 (first listen); 11/10/14; 8/22/15 (review / new entry); 7/18/24

Jordi Sabates - Ocells del Mes Enlla. 1975 Spain

Ocells Del Més Enllà is a Flamenco fusion style of progressive rock, with namesake Jordi Sabates on keyboards (Rhodes, Moog, organ, and piano) and Toti Soler on acoustic guitar (often playing in the traditional Flamenco way). The 7 piece band is fleshed out with electric guitar, bass, vocals, hand percussion, and drums. Some of the music reminds me of the slower/mellower tracks from the early Mahavishnu Orchestra albums but with a distinctive Spanish flavor (including the familiar hand claps). Wonderful female wordless voices augment this fine recording. Highly recommended.

Ownership: LP: 1975 Edigsa / Zeleste. Gatefold. Recent online acquisition (2023). This replaces the 2000 PDI CD which was my introduction to the album (2003).

2003; 9//04; 6//05; 8/8/15 (new entry); 8/13/23

Asoka - s/t. 1971 Sweden

Asoka were formed from the ashes of Taste of Blues (see link above). Two-fifths of that group reformed into a new band called Take Off (more on that below), and then later merged with the rhythm section of another Malmo outfit called (appropriately enough) Rhythm and Blues, Inc. The Asoka album opens in blistering fashion, with fuzz bass blasting in your face while loud guitars pile on top. 'Ataraxia' continues in similar form, with an excellent organ solo. From here, it's a smorgasbord of early Swedish proto-prog, with the usual strong accent on blues rock overriding a jazzy undercurrent. As is often the case, the tracks sung in Swedish flow more natural than those in English. Highlights, beyond the two opening tracks, include '1975', the violin driven 'If You Feel', the very Swedish 'Tvivlaren', and the Uriah Heep like 'I'm Trying (To Find a Way to Paradise)'. Overall, Asoka is more progressive than say November or Midsommar, and the album prepared local listeners to one day be prepared for the awesome heavy progressive rock outfit Trettioariga Kriget. After a few incarnations, Asoka evolved into the also much recommended Lotus.

As mentioned above, Take Off was the interim group between Taste of Blues and Asoka. This archival compilation includes tracks from Asoka Mk. 2 and Mk. 3 (both recorded after the LP proper), Taste of Blues, and one extended piece from Take Off. The liner notes and ordering of the tracks are an historian's nightmare, however. The album starts with the best recorded track, the superb 'The Seeker', which clearly demonstrates that Asoka Mk. 3 sounded like Lotus at this point. Lotus, of course, being the next incarnation of Asoka. The liner notes make a reference that the band's twin guitar harmonies are "in the vein of Thin Lizzy 1977". Leading many to think this was recorded in 1977. No - it's just referencing Thin Lizzy circa 1977. The track was likely recorded in 1973 at the very end of Asoka's career. And in similar fashion, 'At El-Yago 9-3', the liner notes state it's an early version of a Lotus track released in 1974 (which is when the first Lotus album came out). Meaning, this was probably recorded in 1973 as well. Then there are three tracks, including two cover tunes, where the only cross reference is the writing credits on the one self-penned number go to the members of Asoka Mk. 2, which places the date around '71 or '72 . Though it's anyone's guess if the two cover tracks are from the same session. These songs are all interesting, very much in the same vein as the original LP. Though the sound quality is noticeably inferior. Tracks 6 and 7 are live recordings from Taste of Blues that (finally) have been appended a date, and these are both from 1968. Again, the sound quality is a bit iffy, but for the time and place, these are a couple of nice psychedelic blues rock nuggets. And the last track has to be considered the gem of the set (along with 'The Seeker'). This is the only known recording from Take Off (1970), and it's a fine period-piece psychedelic jam, sounding more like Flasket Brinner or International Harvester at this point. Would have loved to hear more from this bunch. Overall a worthy set for an archival album, though I'd recommend the CD since the album is included as bonus tracks - which, in essence, is really what they are.

Personal collection
CD: 2005 Mellotronen

Originals are stored in a single sleeve cover and are very rare and expensive. My first exposure to the album was via a bootleg CD edition that I picked up from a large collection buy in the late 90s. It wasn't until 2005, that legit reissues finally surfaced. The CD comes in a fine tri-fold digipak with a history of the band, and as a bonus, a full album's worth of archival material. On LP, this archival album was issued separately as Take Off.

Egg - The Polite Force. 1970 England

The album opens with the 8+ minute 'A Visit to Newport Hospital', which is a quintessential Canterbury like number. The opening chords will remind one of Black Sabbath, except as played on the organ! From there, the track unwinds into a marvelous jazzy progressive piece, with those trademark fuzz organ solos, and whimsical melodic British vocals. It is, in fact, darn near perfect. If only the whole album was like this! The 4+ minute 'Contrasong' continues in the same manner, perhaps a bit more towards the jazz spectrum. And then.... Egg completely lost their minds. 'Boilk' is 9+ minutes of painful improvisational noise. One begins to question if there are indeed Homo Sapiens in the room at all. I often wonder why bands of immense talent like Egg feel it necessary to demonstrate that they too can play like a 3rd grader on their first music lesson. What a waste of time really. This leads to the side long track appropriately titled 'Long Piece No. 3'. It's an encapsulation of everything Egg was about up until this time. Wonderful progressions, and memorable melodies, offset by tuneless improvisation. Fortunately Egg cut the excess on the latter, and the composition as a whole is thoroughly enjoyable. A fine album, stripped of masterpiece status due to a near 10 minute nasty stain. Tragedy that.

Personal collection
LP: 1970 Deram
CD: 2005 Deram/Universal (Japan)

Apparently the album wasn't released until 1971, though the copyright date is clearly 1970. Despite Egg being a high profile band, CDs were strictly the fodder of pirates  for years, since the only digital version was the obscure and expensive 1991 Japanese press. The Japanese mini from 2005 is exactly what you would expect in terms of quality packaging, and I'm guessing they used the same masters as provided back in 1976.

Jerusalem - s/t. 1972 England

"Alex, I'll take Obscure Hard Rock Bands from the 70s for $1000". "The clue is.... "1972 England"". "Who is Jerusalem?" YES!  Jerusalem's sole album is so ridiculously square on in the hard rock zone, there can be no other answer. Gritty, no nonsense, twin guitar rockin' madness with gruff and slightly psychotic vocals. Every track is a winner. The compositions aren't brainless either, and especially on Side 2, a fair amount of complexity and extra heaviness enters into the picture. Highlights include the dense 'Midnight Steamer', the heavy fuzz overload of 'Primitive Man', and the Eastern progressive rock laced 'Beyond the Grave'. And when I see the name Jerusalem, and its cover theme portrays The Crusades, I'm in.

It's worth noting that the lead singer adopted the Jerusalem name starting in 2009, against the other members' wishes. I have not heard these two latter albums (including one from 2014).

Personal collection
CD: 2005 Deram/Universal (Japan)

Originals are stored in a fine gatefold cover and can get quite pricey if you're interested in securing one. Like the Strange Days album, this is an album I completely missed in the 80s and 90s. Though at least I'd heard of Strange Days, but Jerusalem was an entirely new name for me in 2005. When the Japanese CD came out, I figured it was just some rock album outside of my interest area. But no, it read well, so I popped for the deluxe version immediately, which was the first legit reissue on the market after numerous bootlegs. But as we know, the expensive Japanese CDs won't keep the pirates at bay, and it wasn't until the Rockadrome CD hit the shelves, that Jerusalem was finally available to the majority of fans. Apparently this CD comes with 5 bonus tracks (one unreleased and 4 alternate takes), plus a 20 page booklet with liner notes from band member Paul Dean and producer Ian Gillan (yes, the Deep Purple Ian Gillan). At some point, I hope to secure this CD as well, as I'm sure it's the definitive version. The Japanese CD of course looks great, and in this case is a straight master tape transfer, so even the most fussy audiophile will likely be pleased with the sound.

Snowdonia - Pallas. 1995 Spain

Well, now, isn't this a little gem hiding deep in my collection? Snowdonia is a band named after a national park region in Northern Wales. So, of course, they were formed in Madrid, Spain and the album was released in Italy. Snowdonia were part of the retro late 1960s boom that was all the rage in the middle 90s. And thus sounds like a mid 1990's band doing late 60's psychedelic progressive - especially to these 2015 ears (as I write this). Keeping up here? We're talking the type of band that Freak Emporium and Crohinga Well were pushing hard back in the day. The album was recorded in 1994/95, but not released until 1999 by Mellow.

A strong folk element is apparent with the female (some male) vocals (mostly Spanish with a smattering of English), though this squarely comes from the proto-prog cookbook of 1970. The keyboard ingredients include (typing from liners): Mini-Moog, Arp (sic), Leslie Hammond (sic again), Fender Rhodes, Mellotron, and Solina. Well, I hear no Mellotron, and the Solina is an ARP synth, one would hope they knew that (hmmm). Honestly I'm hearing a lot of simulated sounds, and they are cheating here a bit. Soooo '90s of them to do that (sigh, miss those days). And really, authenticity aside, who cares? The music is great, perhaps a bit sloppy - with little purpose other than to create interesting progressive psychedelic music, that is entirely their own, despite obvious past influences. And I haven't even hit the highlight yet: The wonderful psychedelic guitar playing of band leader Daniel Galera. The album improves as it goes, and with guest flute on the latter tracks, the music elevates to an entirely new level. Pallas peaks on the final track, the instrumental 'A Demon That's Dreaming', with wordless female voice, haunting keyboards, changing meters, and screaming fuzz guitar.

Ownership: CD: 1999 Mellow

Talk about under the radar. To illustrate this point, I am the first to register the CD on Discogs. Pallas is an album that is sadly long forgotten. The good news is that the CD is still readily available if any of this captures your imagination. I'm not selling mine that's for sure.

Spyros adds: "I agree that it is a sadly underrated album. Female vocals aside, the music in parts reminds me of a more laid-back early Camel. Great instrumental flight, but I don't like the vocals, unfortunately."

8/10/15 (new entry)

Dedalus. 1973 Italy

Dedalus' debut, despite being the first album released from one of Italy's premiere independent progressive rock labels, is actually a pure jazz rock play. The rhythm section is fast, energetic, and super tight. The soloists - namely saxophone, guitar, and cello - are loose and improvised. Odd combination that at times is highly successful, and at others quite tedious. Very much an album worth owning, but not top tier in my estimation.

Ownership: LP: 1973 Trident. Gatefold. Acquired online from a friend (1997).

My introduction to the album was via the Vinyl Magic CD (1990). In 1994, I obtained a brand new LP that was unsold from a shop in Cheyenne! The owner had since moved to Tucson, Arizona, and I acquired it from her a few months later after tracking her down (with help from an antique market in Cheyenne). I made the unfortunate decision to trade that copy off (I was still desperate for new sounds, and I already owned the CD). Fortunately only three years later I acquired another copy that was also close to mint. That one is going nowhere. Occasionally I'll place it on my wall of albums.

1990; 7/3/94; 1997; 8/8/15 (new entry)

Afroskull - To Obscurity and Beyond. 2009 USA-Louisiana

To Obscurity and Beyond, 9 years after their debut, continues with Afroskull's unique blend of: Hard rock - meets Jazz - meets Horn chart driven Funk - all similar to classic mid 1970s Mandrill. When I first heard this album back in 2010, I wrote: "This is the band that Jay Leno should have picked to replace Kevin Eubanks. How badass would have that been? And they're from New Orleans, so he could have scored Politically Correct points right there." A few years later (2015), it's hard for me to argue with that sentiment. Jay Leno and Eubank's replacement Rickey Minor are long gone, and now Jimmy Fallon has his pet band with him. While I like The Roots as much as the next guy, Afroskull - after one of their incendiary jams - leave them smoldering in the wood pile with no hope of recovery (and no annoying hip-hop to get in the way either). Afroskull has two brilliant albums with a niche sound that is rarely heard. As I indicated on their debut, take the Budos Band and mix them with a traditional hard rock outfit, and you have Afroskull. I want to hear more music like this. Really, I do.

Ownership: CD: 2009 Skullsound

8/7/15 (new entry)

Guru Guru - Dance of the Flames. 1974 Germany

This is the odd album out in the Guru Guru canon. Former Eiliff guitarist Houshang Nejadepour took over the reins from Ax Genrich, and it's obvious he took over the musical direction of Guru Guru at this point too. And they needed it, after releasing the halfway stupid (and halfway great) self-titled 4th, and the ridiculous Don't Call Us We Call You albums. Heavily influenced by the McLaughlin/Santana opus Love Devotion and Surrender, Nejadepour gives us an intense guitar centric blast of emotional instrumental rock. Neumeier gets a rare chance to shows his formative jazz percussion chops while special mention should go to jazz bassist Hans Hartmann (AR & Machines, ID Company) who turns in a monster performance. Still, you can just hear Mani in the studio "oh please, please, let me do one goofy thing, pleeeassssssse." And so he gets his fun on the first track with a Donald Duck impersonation and bad vocals throughout (though the music is excellent). "Very nice Mani... now go back to your drum kit and shut up". 'The Girl From Hirschhorn' is a truly remarkable track, an extremely intense emotional and melodic workout, and the song that states this album was going to be a great departure from whatever came before it. 'The Day of Timestop', and 'God's Endless Love for Men' could have been lifted from Mahavishnu Orchestra's "The Inner Mounting Flame" sessions. 'Rallulli' sounds more like acoustic Embryo than Guru Guru.

After one album of spiritual enlightenment, Mani obviously wanted no part of that, and the group went back to being the goofball vehicle it had become, and never again was Guru Guru to release anything of that much interest IMO. Houshang was gone. Neumeier himself, however, did immerse in interesting projects, even today with the UFO styled Neumeier – Genrich - Schmidt and Gurumaniax projects. But Guru Guru as a band never again reached the heights of Dance of the Flames. Whatever happened to Nejadepour? What a talent!

Personal collection
LP: 1974 Atlantic
CD: 2006 Revisited / SPV

The first reissue to market was the Revisited CD, that came along later in the game, as this was one of my Priority 1's for many years. The CD is excellent, and is housed in a thick tri-fold digipak cover. The liner notes include a full history of Guru Guru and a separate one for the album itself. Nice photos and an excellent 7+ minute live track round it out. It does sound to my ears that this was mastered from vinyl however. Have to guess the masters are lost or in poor condition.

Trikolon - Cluster. 1969 Germany

That Trikolon's sole album exists at all is the result of a sheer force of will. This live concert was privately released in a tiny run of 150 copies, so that an original album today is nothing short of a small fortune. This kind of musical entrepreneurship just wasn't done in 1969 Germany.

I bring this up, because it would be easy to criticize the album in retrospect. Rocked out versions of classical music are yawn-inducing today, but I would imagine it was quite enlightening to the audience that had gathered for this show. And keyboardist Hendrik Schaper puts on quite the performance for those who did attend on this fortuitous night.

Opening track, Brian Auger's 'In Search of the Sun' (from Streetnoise), is extended beyond recognition here. This track features the only vocals on the album, and it surprisingly sounds like Eric Burdon and The Animals. Schaper actually declares the lyrics rather than singing them, just like Burdon would. On 'Trumpet for Example' the ever talented Schaper blows a few notes on his horn, and then gets back to banging on the organ until silly. ''Hendrik's Easy Groove' is indeed a piano recital, and while I'm sure it was quite fun for the audience this one night, it proves to be quite a dull listen for everyone else. Perhaps his mother would have been proud however. Too bad it wasn't "Hendrix's Easy Groove" with an accompanying 11 minute wah wah guitar solo, while the stringed instrument is burning an inferno in front. Ah well. From here on out, it's Rockin' the Classics, where Schaper goes ballistic on his poor organ of older vintage, beating the living crap out of it. 22 minute bonus track 'Fuge' continues in a similar manner, where all of the trikolon get in on the frenetic action.

So imagine Soft Machine circa "III" playing the music of The Nice, and you'd have an idea where Trikolon land. Historically a phenomenon, though modern audiences may get bored. A good one for the collection, though it won't get played often.

Personal collection
CD: 2003 Garden of Delights

The album is a single sleeve private release, at a time when no one did such a thing in Germany. With a small pressing of only 150 copies, this album is through the roof in terms of price. Of course, the Garden of Delights CD is the way to go here (which I dutifully picked up upon release), with a complete history, photos, good sound (from a mint vinyl copy provided by the band), and a 22 minute bonus track.

Ole Lukkoye - Dyatly. 2015 Russia

Dyatly is Ole Lukkoye's 7th studio album (not counting the various compilations), and their first one since Kumeneira over nine years ago. And for me, this is the first Ole Lukkoye album I've heard since Crystal Crow Bar, nearly a generation ago. And it's probably been that long since I last heard this band at all, but my recollection was that Ole Lukkoye played a modern space rock style similar to Ozric Tentacles, with copious amounts of Central Asian indigenous music, somewhat like Korai Orom (Hungary) or the modern Russian band Vespero. But Dyatly is definitely more geared towards a mix of electronica and folk. The kind of folk one might hear on an Atman or Magic Carpathians (Poland) album. And it is here I learn of a new genre, but one I wholeheartedly agree with: Folktronica. Wikipedia defines it as such "a genre of music comprising various elements of folk music and electronica, often featuring samplings of acoustic instruments—especially stringed instruments—and incorporating hip hop or dance rhythms".

And yes, Dyatly definitely projects this club like atmosphere. Chill out music for nomadic tent dwellers on psilocybin.

Given my initial expectations of Ole Lukkoye's sound, 'Kommuna Ra' was a bit of a rough start for me. I kept waiting for the space rock parts, but they were never to arrive. Perhaps it wasn't the best way to start the album, but then again, it's possible I've been way too out of touch with the evolution of the band. But by the title track, I was completely absorbed. This is the highlight for sure, with so many ethnic sounds and psychedelic trimmings, I felt myself being swept away to another world. When 'Bela Dama' opened with the female vocals in an almost prayer like chant, I fully expected to be blown into orbit. But here they chose to introduce the club beats, and it suddenly was all too familiar. But then again, Ole Lukkoye are from the (relatively) western European city of Saint Petersburg, which is a long way from the music the band is emulating. 'Just Wind' continues in a similar manner, at times reaching the highs of 'Dyatly'. The album closes pleasantly with 'Veni, Vidi, Vivi'. And at only 4 minutes, it occurred to me that this is one of the problems with the album: The other songs are just too long (all between 14 and 18 minutes). Perhaps a nice mix of 10 different compositions would have made for a better offering.

All in all, a very solid work. One that has me excited to revisit the Ole Lukkoye albums that I already own. This album comes highly recommended to those who would like to hear a band like Atman take their sound to a psychedelic night club... at 2 in the morning.

Ownership: CD: 2015 Trail

8/3/15 (first listen / review / new entry)