Terraced Garden - Melody & Menace. 1982 Canada

Not an easy band to describe, this Terraced Garden, hailing from Toronto, Ontario. Arriving very late in the progressive rock game, it's not readily apparent where the band is coming from. Especially on Melody & Menace. King Crimson is one obvious influence, especially when considering the Fripp sustained leads and the David Cross like violin. Flute and mellotron also call out an early 70s UK progressive rock heritage. But then there's the maudlin, but weirdly accented, vocals (a bit like the Canterbury bands actually) and compact song lengths, very clearly a product of the early 1980s. The album improves as it goes, and is definitely one of the progressive rock highlights of the era.

Ownership: LP: 1982 private. Single sleeve with lyric inner. You could still purchase this new in the 1990s, and that exactly what I did (1998). Never been reissued in any format (as of 8/5/24).

1998 (first listen); 10/19/10; 1/31/16 (review/new entry); 2/8/21

Vespero - Fitful Slumber until 5 A.M.. 2015 Russia

Fitful Slumber until 5 A.M. is the 7th studio album (if we include the split one with Zone Six) from Astrakhan's Vespero. They continue their drive into more progressive oriented compositions, with plenty of fiery jams, and exactly the type of ethnic sounds one would expect from a band residing near the Caspian Sea. Flute, mandolin, and local wind instruments only add to the exotic vibe. Vespero have encapsulated the best of a 40+ year old branch of psychedelic progressive space rock: 1972 era Agitation Free meets 1992 Ole Lukkoye meets 2012 Quantum Fantay. Blend it up, and you have one seriously irresistible dish. A can't miss recipe, no matter how much extra spice they add to it. Hungry yet?

Ownership: CD: 2015 RAIG

1/29/16 (new entry)

Dweller at the Threshold - Generation Transmission Illumination. 1998 USA-Oregon

Intriguing album from Dweller at the Threshold who, despite possessing a full 3 piece unit and two guests, sound somewhat like a one man electronic album. In particular, I hear strong hints of Edgar Froese, and the album comes across like a cross between Ages and Pinnacles minus the psychedelic guitar (unfortunately). A band can do worse than that. A fine album for the style, though those looking for more active sequencing will need to move on to the next album in the stack. This is for EM fans who enjoy moody melody lines, and atmospheric sequences.

Former ownership: CD: 1998 Eurock

1/27/16 (review / new entry)

Eden - Erwartung. 1978 Germany

Erwartung (Expectation) is the debut album from Eden, a large scale German symphonic band. They were one of the first of the Christian progressive rock bands that appeared in Germany/Switzerland and proliferated through the land in the late 70s and early 80s. And their sound could be considered the prototype, with multi part segments, and varied instrumentation including violin, flute, guitar, sax, etc... Along with dual male/female vocals - the latter sung in the expected soprano tone. The lyrics are sung in German, and the music has more than a passing resemblance to secular groups such as Novalis, Odyssee, Waniyetula, Werwolf, and Anyone's Daughter. Despite being a Christian album, and somewhat verbose, the lyrics clearly support the music rather than the other way around, so it is highly enjoyable strictly from a listening standpoint. That is to say, definitely a symphonic progressive rock band first, a message band second.

Ownership: CD: 1994 Pila. Jewel case release with no extras.

1/26/16 (first listen / review / new entry); 2/14/24

Sieges Even - A Sense of Change. 1991 Germany

My initial reaction to this album was very similar to many reviews you may read - except real time in 1992. To my ears back then, Sieges Even were a prog thrash, or perhaps more to the point, technical metal band who did a fantastic replication / variation on what Watchtower was doing here in the States. Steps was a radical departure from Life Cycle (see the UMR entry for it), so they did tip their hand a bit as to where they were going.

But I never saw this one coming. It was not what I had expected - nor wanted - at the time. I ditched it quick, and left rather unflattering ratings behind. Fast forward another 25 years or so, and I had a chance to source the original SPV CD on the cheap, so why not take another shot at it? As the other reviews have stated so well, A Sense of Change is very much in league with early to mid 80s era Rush. Except far more technical, and "progressive" if you will. Fates Warning's Perfect Symmetry is a good reference as well. In fact, it's not metal at all, at least if heavy sound distortion is a criteria for said sound. Now I hear the album completely different, and is very enjoyable. 

Ownership: CD: 1991 Steamhammer. Jewel case with lyric booklet and photos.

1992 (first listen); 1/26/16 (review / new entry); 4/10/24

Nektar - Down to Earth. 1974 England

As with Magic is a Child, I hadn't actually heard Down to Earth until now. Or I probably did in snippets and walked away in disgust. This is exactly the type of album that would not have appealed to me at age 21, or 31, maybe even 41. But at 51, I hear it in a different way. Managing expectations is everything, and it's not unreasonable for someone to approach this expecting to hear the sounds of the album before (Remember the Future) or after (Recycled). In fact, the latter album probably has more to do with the negative impression in modern times, since it was rare for a band to make a "comeback" like that in the 1970s. Just about every progressive rock band found their way to commercialism over time. 1974 was perhaps a bit early to jump the shark as it were, but in retrospect this album was actually ahead of its time, though I'm sure audiences back then were quite baffled by it. So in the end, had the band renamed themselves Ratken for this album, it probably would have been received better.

And after hearing it intently, I was quite surprised at how progressive it actually is. It's tighter and doesn't possess the long stretches of progressive space rock (or classic Kosmische Krautrock like the debut), so on the surface it seems less complex. 'Nelly the Elephant' is startling in that it sounds more like a horn rock track from 1970. It reminded me of the UK band The Greatest Show on Earth actually (circus themes?). 'Early Morning Clown' wouldn't be out of place on a Jonesy or Fruupp album. And 'That's Life' sounds like an outtake from Yes' Fragile session. In fact, only the relatively dull song 'Little Boy' ended up being a slight disappointment. This is a very good album to my ears, and I suspect will always be misunderstood. I can see I'm of the minority opinion on this one. OK, fair enough.

Ownership: LP: 1974 Bacillus. Gatefold. Quad. Recent acquisition from a Denver record store (2022). The above review came from the Japanese CD that I've since parted with.

1/23/16 (first listen / review / new entry); 8/5/23

Nova - Vimana. 1976 Italy-England

Vimana is the second album from the fusion supergroup Nova. The lineup is a mix of Brand X from the UK and various members from the Italian prog scene, most notably guitarist Corrado Rustici (Cervello) and reeds player Elio D'Anna (Osanna - who includes Corrado's brother Danilo). This being 1976, the music is definitely high powered fusion, with hot technical playing, but also a good grasp at melodic songwriting. Brand X and Return to Forever are the obvious guideposts here. This is a good one for fusion fans.

Ownership: LP: 1976 Arista (UK). Single sleeve.

Former ownership: CD: 2005 Arista (Japan). Papersleeve edition.

Surprisingly, given the marquee names involved, the CD has only been pressed in Japan. 

1/22/16 (review / new entry) 

Moonwagon - The Rule of Three. 2015 Finland

The Rule of Three, is appropriately enough, Moonwagon's 3rd album. Picking right up from Foyers of the Future, the album starts off more geared towards broad strokes and atmospheric space rock. This goes on for the opening 3 tracks, with 'The Infinite Pattern' being the highlight with its strong melodic content and various meter changes. 'Run to the Sun' recalls the 90s neo psych movement, and  is the only track to feature vocals (in English). 'Skylines at Night' seems almost like a homage to the late 70s French and German guitar oriented electronic scene, with soaring guitar leads, steady beats, and a heavy synthesizer presence, perhaps like Christian Boule's Photo Musik, for example. This leads to the final epic track, where we get the payoff for the time invested. Mostly an old school early 1970s Kosmische Kouriere trip with echoed electric piano, scattered drums, acid guitar leads, and moody synthesizers. The mid section follows - but more towards the jumpy Quantum Fantay variety of Ozric Tentacles, and finally finishes with an almost Zeuhl like bass riff with atmospheric Rhodes electric piano over the top. Not like anything else I've heard prior, though still quite familiar. Superb. A new direction for the band perhaps? We can hope.

Ownership: CD: 2015 Presence

1/15/16 (new entry)

Homunculus Res - Come si Diventa Ciò Che si Era. 2015 Italy

The Italian National Health continues on with their sophomore effort, with native Picchio dal Pozzo, and irreverent Stereolab, trimmings. Basically a continuation of the debut, with more prominent guest stars than prior (from Muffins, Rascal Reporters, New Trolls). Fine with me, as I can listen to this kind of melodic - and complex - music all day. Xenophobes: so sorry for you, must order from Olive Garden menu.

Ownership: CD: 2015 AltRock

1/9/16 (new entry); 12/17/17

Malady. 2015 Finland

One of the common complaints I often hear regarding the "retro prog" movement is that the various bands that attempt it either 1) use new instrumentation to emulate old sounds or 2) use newer production techniques, even if the instrumentation is authentic. I have no such qualms, but for those where 1) and 2) are a problem, then Malady is the remedy for your... (cough) malady. Hammond organ, flute, loud acid guitar, woody bass, vocals in Finnish... you know the drill by now.  This is an album that sounds like it was recorded and released in 1973. If groups with names like Tasavallan Presidentti, Kalevala, Nimbus, and Fantasia get your heart started, well then, do I have an album for you...

Ownership: CD: 2015 Svart

1/8/16 (new entry)

Landberk - One Man Tell's Another. 1994 Sweden

Landberk were first. It was they who originally brought the early 70s Swedish analog progressive sound back to light in the prog starved early 90s (yes true). Anglagard and Anekdoten were to follow shortly thereafter. So after a brilliant debut (the native Swedish version being the more preferable of course), there was great anticipation for my friends and I, as to what would Landberk followup with. And it was... not this. Almost ironic in that Landberk, on the grammatically incorrect One Man Tell's Another, copied the more atmospheric and arty portions of Anekdoten's debut. And like the latter band, began to sing in English exclusively. WTF? Well, I never gave up on the album, storing it away for future listens. Today, I judge the band on what they were doing, not what I wanted them to do (a common problem we all deal with). It's still heavily based in psychedelia, with fuzz guitar, Hammond organ, and mellotron everywhere. But the music is geared more towards 90s art rock than 70s symphonic progressive. One can hardly blame a contemporary group trying to be relevant in modern times. This was still 1994, not 2016, where retro prog is now considered cool. Back then, it was not I assure you, and these bands from Sweden were pioneers with a very small audience (there were only a few of us then - and certainly not hipsters!). Of course, even in retrospect, I would have wished for a more developed successor to the debut. But what they recorded is still quite excellent. And has stood the test of time quite well. Perhaps better, yes.

May 22, 2018 update: Sold the CD as I received a great offer. I'll do without for now.

1/6/16 (new entry)

Aardvark - Tuntematon Sotila. 2006 Finland

Finnish band Aardvark are the true modern group, since they all were living/working in various parts of the globe, and yet managed to record a cohesive band effort through the magic of the Internet (and once again, raise a glass high to The Rascal Reporters, who pioneered this idea in the cassette tape / snail mail era). Aardvark were originally presented to me as an amalgam of all things 70s Finnish rock, calling out Kaamos, Nova, and Nimbus as reference. And since I'm an obscure band kinda guy, I was already enthused. Now, to be honest, I was hoping only one of these references would truly check out. Kaamos were pretty middle of the road, and Nova (of Atlantis fame) could be quite boring in reality. But Nimbus - ah yes, now we're talking! Organ rock! Nothing fancy, just good ole' hard rock with plenty of juicy thick organ and loud lead guitar. And doggone if Aardvark didn't do just that, and zoom in on the ghost of Nimbus. Or Sweden's Rag I Ryggen. Sure, we'll throw in Blakulla since I'm in name-drop city here. 

Aardvark also recorded one track for the Kalevala epic compilation CD (2004). 

Ownership: CD: 2006 Mellow. Jewel case release with lyric booklet (in Finnish and English). Purchased new near the time of release.

2/1/07; 1/5/16 (new entry); 11/8/23

Planeta Imaginario - ¿Qué Me Dices? 2004 Spain

Out of nowhere in 2004, arrived Planeta Imaginario, a band who seemed to not be aware of the last 25 years of music before entering the studio. Lucky us. Sounding every bit like a second generation Canterbury band from the late 1970s, Planeta Imaginario absorbed and filtered the best parts out of Soft Machine and Nucleus. The 8 piece band - including 2 sax players, trumpet, trombone, Hammond Organ, Rhodes electric piano and the usual rock band plus guests on flute and percussion - created a most beautiful album from a most beautiful form of melodic jazz rock (Canterbury). And the amplified guitar recalls the greats from the 70s past. I also love the horn charts, well composed and played. It's hard not to think of National Health while listening to this fine debut. Spain had no Canterbury tradition prior to this album, and Planeta Imaginario more or less imported it for the first time (and followed also later by the great Amoeba Split). A superb album, that still sadly appears to be off everyone's radar. Let's see if we can get it a bit of recognition anyway. The band later signed to the prominent Cuneiform label where presumably more fans migrated their way. 

Ownership: CD: 2004 Margen. Jewel case.

2008 (first listen); 1/4/16 (review/new entry)

Eela Craig. 1971 Austria

Eela Craig were a band from Austria's third largest city of Linz, and their debut is completely different than the group's later symphonic keyboard heavy works from the mid 70s and beyond. On their debut they are absolutely dead center in the middle of the classic 1971 Krautrock sound, where the whirling and droning Hammond organ is king, with chirping flute melodies laid on top, and angry fuzz bursts are on the ready. Somewhere between Out of Focus, Orange Peel, Thirsty Moon, and My Solid Ground is where you'll find the sound of Eela Craig. This album is a certified classic, and very much earns its reputation. And staying power. These are the albums that bring us back again and again.

Ownership: CD: 1997 Garden of Delights. Jewel case. Comes with copious liner notes and four bonus tracks. As the label admits, the masters were lost, so the CD was mastered from a new LP copy, and it sounds like it. Apparently this is the first CD where they changed from Penner to Garden of Delights. 

1997 (first listen); 1/2/16 (review / new entry)

Aquelarre - Brumas. 1974 Argentina

Brumas is the 3rd album from Aquelarre, a band from Argentina that mirrors what was going on in Italy at the time. For those deep divers of Italian progressive rock, they'll know that the basis of some of the albums were singer-songwriter/romantic romps with long stretches of heavy instrumental rock thrown in at either predictable - or better - unpredictable times. And that's precisely what you get here. There are no head turning and flashy breaks here, so it's definitely workman like in its approach. Final track adds a nice jazzy touch to the above formula. A good album, borderline 3.0-3.5 (Gnosis 9-10), but giving the nod as the longer tracks are, as expected, more interesting. Satisfying overall, but not stellar.

Ownership: CD: 1997 Microfon/Sony. Standard jewel box release with booklet. Recent online acquisition (2016). Master tapes sound (with some hiss), with reprinted lyrics. Also has two bonus tracks from a 45 single. The first one is similar to the album proper while the latter is a throwaway pop number. Removed from collection after revisit (2023).

1/1/16 (new entry); 11/15/23

Radio Massacre International - The God of Electricity. 1994 England (archival)

In effect, The God of Electricity is Radio Massacre International's earliest album, though not released until 2000. The album was recorded throughout the summer of 1994, and later pieced together, which is a bit different than the normal RMI protocol. It's a darker work, with synthesizers dominating the proceedings even more so than later in their career. The sequencers remind us once again that Baumann-era Tangerine Dream is the blueprint for all future RMI recordings. The God of Electricity is yet another excellent album from RMI, though I wouldn't recommend it as a starting place (better to try their actual debut Frozen North to get the true Radio Massacre International experience).

Ownership: CD: 2000 Centaur

1/1/16 (review / new entry)