Amon Duul II - Carnival in Babylon. 1972 Germany

I have a friend on RYM that declares: "Sorry, but if you don't like this album, you're stupid". That got a belly laugh out of me. Now maybe I wouldn't have phrased it quite the same way, but nonetheless, there is something to be said for the premise. In effect, Carnival in Babylon sees Amon Duul II go from a stoned Krautrock long form jamming band into thoughtful progressive rock songwriters. Truth be told, the short songs on the first 3 opus' were mere afterthoughts, and seemed to get in the way of what they did best. There is still some evidence of their past that creeps up here and there, in particular 'Hawknose Harlequin', but otherwise this album is far more subtle in its brilliance. In fact when I first heard the LP in the mid 80s - after already owning the first 3 - I was sorely disappointed. It wasn't until years later, that I took the time to understand they were no longer the same beast of the past. 30+ years on, and I'm now of the mindset that Carnival in Babylon is almost on the same level as Tanz der Lemminge, something I would have scoffed at years ago. Special mention should go to guitarists' Weinzierl and Karrer, who both put in exemplary performances for this session.

Personal collection
LP: 1972 United Artists
CD: 2007 Revisited/SPV
LP: 1972 United Artists (USA)

The original album was released around the world, including the United States (which was my first copy). Because of the large amount of supply, I don't think this title requires an LP reissue. Eventually I secured an original German LP and that was my only copy for years, not bothering to get it on CD until the 2007 release. The latter comes with a fine history and is housed in a nice digi-pak . However there are 2 lengthy bonus tracks to consider, both modern, that are not attributed anywhere. I found these tracks far more interesting than what Amon Duul II has been releasing in modern times, and it shows the band could have continued in a relevant manner past the 70s.

Last listen: December 3, 2016

Avatarium - The Girl With the Raven Mask. 2015 Sweden

On paper, I could describe this as Candlemass meets my Post psychedelic, proto progressive with female vocals list. Fronted by the talented Jennie-Ann Smith, it comes as no surprise her influences are similar to the ones in that listing. The classic RnB, soul, and early rock singers. And it certainly doesn't hurt that she (wife of guitarist Marcus Jidell) is a stunningly beautiful woman, who could still go down the runway as she approaches age 40. And the fact that Ms. Smith isn't into metal much at all, promises a great contrast in style. Especially when you consider trusty organist Carl Westholm is on board. So Candlemass meets Goliath or Room or Julian's Treatment? Oh my heart be still!

Sigh. What we get is a Candlemass album with a talented singer that sounds like she's from 1970. Still not the worst idea I've ever heard, and that alone makes the grade here. I've been a fan of Candlemass since Epicus DM, so I can live with a new album under a different moniker. This is hardly the first time Candlemass has blended keyboards into their sound. That is, if you can hear them. I have to laugh at the thought of the classic Jon Lord / Ritchie Blackmore battles. If that's what is supposed to be happening here, then Jon Lord would have been knocked off his horse in the first 10 seconds and hauled away half dead.

Edling is playing it too safe here. He's in his comfort zone and feeding red meat to his audience. Jennie-Ann Smith often times seems compelled to sound like a female Messiah Marcolin. I would have preferred more development within the compositions, and perhaps break out some new styles and genres. Not in a mishmash way, but rather blend them together in the same way the 70s masters would do. The potential here is enormous. But for now, I can accept Avatarium as the new name for Candlemass.

Ownership: CD: 2015 Metalville (Germany). Jewel case. 12 page booklet with lyrics, photos, and recording details.

2/25/17 (new entry)

KOM Quartet ‎– Jazz-Liisa 4. 1975 Finland (archival)

KOM Quartet's contribution to the Jazz Liisa series is an interesting one. The quartet itself is the musical core of a larger troupe known as KOM-Teatteri, who basically were a politically charged group who mixed theater, music, and commentary. In Sweden the band would have been categorized as progg (with the extra g). In retrospect it's humorous that all of these bands from the 70s seemingly were so radical, and yet 100% of them carried the same leftist political message. What would have been truly nutzo would be to espouse the virtues of capitalism or imperialism. Then they would have been tagged truly radical. Anyway...

So back to KOM Quartet. No, thankfully, none of this recording recalls polit rock in the slightest. What I hear most is the avant wing of the Canterbury movement, most notably early Henry Cow. But at their most accessible. The female vocal and intonation, along with the composition style, all have a similar vibe. Combine that with Jukka Hauru's fiery jazz rock guitar solos, and you have quite an intriguing mix of styles. Quiet Sun's Mainstream is also entering my mind. This may be one of the better surprises from this series, up there with Taivaantemppeli and Taivaanvuohi. Well worth getting on its own or on LP, or even better combined with Jukka Tolonen on CD.

Personal collection
CD: 2016 Svart w/Jukka Tolonen Ramblin' Jazz Band

Barcelona Traction. 1975 Spain

---2/24/17

Barcelona Traction was actually a Canadian utility company (later owned by Belgians) operating in Franco's Spain, to which he went to battle with in the 1960s trying to limit foreign business influence in "his" state. It resulted in a court battle.

I learned that trying to find something interesting about this band, which I failed to do, other than they started life as "The New Jazz Trio", which is telling. Well, Barcelona Traction is an interesting name then, isn't it? What does it have to do with the sound of the namesake band? Absolutely nothing.

In fact Barcelona Traction were a very early entry for jazz rock in Spain. They favored the sunny and the tropical, predicting a type of sound that would dominate the landscape for the next few years. Electric and acoustic piano dominate the proceedings, while bass, drums, and percussion fill out the lineup. Rhodes and Mini-Moog provide much needed texture. Given that it is early in the continuum, I found this one to be a tad rawer than the usual slick cruise ship sounds. A pleasant way to watch the sunset on a beach with a frozen margarita.

---9/21/24

In hearing the album for the second time since, I picked up the sound of Philadelphia's Catalyst - minus the saxophone. The latter was a defining instrument for that band (and at times abrasive), but one can imagine the same smooth melodic approach of both groups. Every track is a winner and so pleasant to the ear, perhaps only A2 not reaching the heights of the others. An all instrumental jazz rock gem.

Ownership: CD: 2009 Picap. Jewel case. Booklet that replicates the liner notes from the LP.

2/24/17 (first listen / review / new entry); 1/13/18; 9/21/24 (update)

Happy the Man - s/t. 1977 USA

Happy the Man were a band from Washington DC, by way of Fort Wayne, Indiana. They were just the type of quirky band that found themselves on the progressive oriented Arista label in the mid to late 70s, even though the label owner wasn't really a fan himself. But he was supportive of his staff, and they did have an interest in promoting what essentially was considered an "English thing" in the States. The liner notes of the Esoteric CD indicate that the band have been called the "Grandfathers of progressive rock" in the United States, but that's a ridiculous assertion, and all one needs to do is review this list to prove my point: USA Midwest / Ontario Progressive Rock (1970's/early 80s). Even if one considers major labels, 1977 is late to the game.

With that out of the way, Happy the Man is entirely unique. If nothing else, the placement of tracks is extraordinary. Opener 'Starborne' is about as beautiful and tranquil a song as has ever been put on vinyl. Hardly the blast-out-of-the-gates hyper complex prog song that was even the norm back then. This is then followed by the complex and quirky 'Stumpy Meets the Firecracker in Stencil Forest', yet another instrumental. It's clear at this point, Happy the Man has no commercial potential whatsoever. And yet here they are on a major label, and best I can tell, the album sold relatively well in its day. 'Upon the Rainbow' is the first song that will at least sound familiar, with vocals tacked on at the end of the recordings. Why? Because once again the label owner wanted something to promote beyond an audience that in effect were a small cabal. From here, the blueprint had been drawn, and the other tracks more or less fall into the 3 buckets above. Those who are bellyaching about the vocals, clearly didn't hear the album close, as there's only two tracks total with them in place. Personally I find them quite good considering they were stand-ins to begin with.

Happy the Man is an album that stands clearly on its own, and has aged very well because of it. There's really no other album like it, even if its British prog influences are obvious.

Personal Collection
LP: 1977 Arista
CD: 1988 Edison (Japan)

Estes Brothers - Transitions. 1971 USA-Ohio

The Estes Brothers (and sisters - there were 12 of them in the family! though the band only featured 2) were from the shores of Lake Erie between Sandusky and Cleveland, right in the middle of steel country, and the epicenter of the gritty working class Midwest. The music fits this scene perfectly. A mix of blues rock and driving hard rock, and translates that feeling of no hope and despair - that ended up being quite accurate historically speaking. 'This Morning' absolutely jams, in the tradition of bands like Cargo (Netherlands), Wishbone Ash, and Man. 'Gary's Thought' adds a bit of Take 5 era Dave Brubeck piano for a cool jazzy vibe to end the day. This album is a good one, and the perfect representation of the blue collar ethos of the time.

Personal collection
CD: 2002 World in Sound (Germany)

Original LPs are extremely rare (4 figures). And both reissues are now long OOP and hard to find as well. I was fortunate to snap up the World in Sound CD recently at a good price. Second photo is the Rockadelic LP. The CD has the single version of Tomorrow's Sunlight as Track 7. There are also 4 live tracks and 3 "at home" recordings appended as bonus tracks.

Korai Orom. 1995 Hungary

Korai Öröm's debut laid down the blueprint that the band continually draws upon to this very day. They were at once influenced by the UK Festival Psych scene, as well as many of the free spirited dance cultures that came about in the 90s. In effect, Korai Öröm are an organic chill out band. While they certainly do utilize electronics as a core component, the separation aspect is the use of real rock band instruments. In particular the electric guitar is a centerpiece, and often times played with in a fiery fuzz tone manner, and sometimes in high octane mode, which creates excitement within the generally low key "chill" environment. The unusual use of trumpet is also a fascinating addition to their sound. The musical themes often borrow from Western Asian and Australasian indigenous traditions, the latter represented by the heavy use of didgeridoo. On their debut, I'm most reminded of Ship of Fools, a band that arrived late to the UK Festival Psych scene and had a similar approach to crossing over with dance. The main drawback on this debut, is that Korai Öröm stretch their ideas a bit too far, and often times boredom ensues. The group were still finding their identity at this point, and hadn't quite seen their potential yet as a dynamic psychedelic rock unit. All the same, there's a solid 30 to 35 minutes here of excellent music (out of 55), and if you're a fan of the band, it's a must pick up.

Ownership: CD: 1995 private. Jewel case.

5//95 (first listen); 2/24/17 (review / new entry)

Ozric Tentacles - Spice Doubt Streaming. 1998 England

If you are seeking out the high octane variation of Ozric Tentacles, then look no further than Spice Doubt Streaming. This album completely eschews their reggae and new age electronic characteristics, and focuses strictly on their ability to set your stereo in flames. Which is my favorite aspect of the band. The first good clue is that the album opens with two of their most incendiary tracks - both the opening salvo on their respective albums (Become the Other, Erpland). 'Eternal Wheel' remains my personal favorite track by Ozric, and it's probably the only song on here that isn't quite up to the task of the studio version. The others I feel surpass their studio equivalents. And these aren't the only openers they chose. Perhaps best of all is 'Dissolution' (from Pungent Effulgent), which is absolutely lethal here. Elsewhere they have two of their most intense electronic pieces in 'Sploosh!' (Strangeitude) and 'Oddentity' (Curious Corn). If that isn't enough they throw in two mid album barn burners with 'Papyrus' and 'Myriapod'. Only to be bested by two new compositions 'Citadel Jam' and 'Spice Doubt', the latter renamed and rerecorded as 'Space Out' on Swirly Termination. All that's missing is 'Kick Muck'! But that track had already been well represented on prior live outings. All of these were their live debut on CD at the time.

What a smoker. This is probably my favorite Ozric Tentacles album, only in that it filters what I like best by them. And I have to say, I enjoy all of their albums! So there you have it.

Ownership: CD: 2003 Snapper

For some reason, I did not buy this when it first came out. I can recall having an opportunity to buy it at Tower Records in the SF Bay Area not long after release. I think I was suffering from Ozricitis at the time and passed. Apparently the unique oil based packaging of the private release is now a mess (first scan), so it's a good thing I did pass. A few years later I bought the Snapper reissue in a traditional tri-fold digipak (second scan).

2/24/17 (new entry)

Napoli Centrale - Mattanza. 1976 Italy

Napoli Centrale's Mattanza is an intriguing sophomore effort. This is jazz fusion with the pendulum swinging far to the jazz side of the equation. The gruff vocals are still present, often in scat form. At times, there's a late night John Coltrane vibe that permeates throughout, especially on Side 2. Some of the sax sequences get a bit shrieky for this listener, but for those predisposed to that sort of sound, I can imagine that would only add points. For my tastes, there are much better jazz rock oriented albums from Italy. I can let this one go.

Gold ~ USA ~ Florida

No Class What So Ever (1980)

Gold were a southern Florida band and I found this album to be a very appealing piece of instrumental music. I love the guitar work, both in the psychedelic tone, and with his melodic style. No shredding here - this is the emotional style that Santana or even Frank Marino (think 'Poppy') can get when they focus on their instrumental side. The compositions are tight, and they pack a lot of ideas within relatively short time frames. It's sophisticated but not complicated. And while it ostensibly comes from a jazz fusion angle, I'd say it's more in the instrumental progressive rock camp. There is no doubt that this album will improve with multiple listens, as it possesses an uncommon depth. This one really came out of nowhere, and I don't think it's on the collector radar yet.

Ownership: 1980 Alpha (LP)

9/30/13 (review); 2/18/17

Night Ride (1979)

It's hard to imagine this is the same band that released the excellent No Class What So Ever album. Especially the first half of the disc which is really no more than boogie shuffle rock, and is quite hideous in fact. By Track 5, the band started to turn to more intriguing instrumental guitar fronted fusion, and foreshadows the much better sophomore album to come.

4/6/14 (review)

2/18/17 (new entry)

You - Wonders From the Genetic Factory. 1984 Germany

Wonders From the Genetic Factory is You's 3rd studio album, and definitely the weakest from the original incarnation. This one has quite a bit of computer drum work and happy melody lines, which can get a bit nauseous after awhile. However, there's a surprising amount of mellotron on here, which is a very unique combination, and thus I moved it up to "keeper" status. Imagine mid 1970's Stratosfear-era Tangerine Dream playing Le Parc. Well, I know, but try. They were to bounce back mightily on their 4th album Laserscape, which is one of the 1980's best Elektronik Musik albums... meiner Meinung nach, of course.

Personal collection
CD: 1996 Cue

Sun Dial - Zen For Sale. 2003 England

Sun Dial's debut Other Way Out could be considered one of the greatest psych releases from the late 1960s. Except for the small fact it was released in 1990. And then inexplicably the band dismissed the genre entirely for that annoying shoegaze/indie style that was so popular in the early 90s. I'm sure from a commercial/economic standpoint, it was a prudent thing to do. Or it better have been. But bandleader Gary Ramon was always a child of the 60s, and one had to figure eventually he'd return to his favorite style. 1995's Acid Yantra held out hope, but then the group dissipated and it seemed the dream was over. Until 2003 that is. Zen For Sale is finally the album we've all been waiting for from Mr. Ramon and company. It's a fine return to form, and the first 3 tracks are as good as anything on Other Way Out. From there it goes from merely good to great. Sun Dial, it seems, have perfected the late 1960s UK strain of psychedelic music. They tap into the best parts - the fuzz guitar, the phased and accented vocals, the charming and naive melodies - and the absolute essence of pure psychedelia. Excellent.

Ownership: CD: 2003 Acme

This album proved hard to source upon release, and was somewhat obscure. I didn't secure a copy until 2010 myself, and I had been looking for some years.

2010; 2/18/17 (new entry)

Promenade - Noi al Dir di Noi. 2016 Italy

Promenade are a band from Genoa, and Noi al dir di Noi is their debut. The album has been pitched as an Italian prog take on Canterbury, similar to perhaps the first Picchio dal Pozzo. So I had huge hopes this would fall in line with similarly minded new groups like Moogg and Homunculus Res. Uhh... no. The opening move 'Ahtletics' is a barnburner with that wacky RIO strain of circus/cartoon styled music. References to anyone from Samla Mammas Manna to Miriodor to Yugen wouldn't be out of place. And while that wasn't exactly what I was hoping to hear, it turns out to be their best style that they revisited a couple of other places throughout. Otherwise, this is pretty much straightforward indie rock. Seriously. I fear to say that I vigorously disagree with some of the reviews I've read. There is very little classic Italian progressive rock within, if at all. I've given this one a few really detailed listens (when you have a 20 hour flight to Thailand, there isn't much else to do...). It's very rare these days for me to thumbs-down a new release - primarily because all the reviews and tools we have at our disposal to research - but this one passed the filters only to find out it wasn't at all to my taste. File under indie avant-prog. Sell bin. Sorry.

Personal collection
None... sold the CD (2016 Fading)

Too bad it has to be sold, as the CD is housed in a wonderful thick tri-fold digi-pak. The album was released on Alt Rock's Fading label, which is geared towards more traditional progressive rock. IMO, this should have been on the parent label.

Zhaoze (The Swamp) - Intoxicatingly Lost / Yesternight, Yes Tonight. 2015 China

I said it before within the review of a Trail Records sampler, and I will say it again: You can be rest assured the next big wave for fans of progressive rock, and for new artists, will come from China. Is it imminent? Probably not, but it’s coming just as other populous nations like Japan, South Korea, and Russia did before them. Zhaoze is more commonly known as The Swamp, and have been releasing albums (in obscurity it appears) since 2001. Intoxicatingly Lost is basically a reissue of their last album Yesternight, Yes Tonight (2015) and filled out with tracks culled from earlier works. This is, as the label designates, their first official "Western" release. Trail Records continues to release some of the most interesting albums from around the world, and are to be commended for such. Musically, Intoxicatingly Lost is really more in the post rock category. Long instrumental pieces that are built on atmospheric passages, taking the late 70s Pink Floyd ethos into Tortoise and Godspeed You Black Emperor! realms – all with indigenous instruments mixed in (primarily the guqin) with the usual rock setup. I also found the rare use of flute as highly effective in this setting. The final title track gives us a glimpse into Zhaoze leaning in the space rock direction, and is the highlight. From a government regime/controversy standpoint, the album is about as subversive as a glass of milk. And the fact the band didn’t ignore their own native sounds, it seems the album will appeal to many worldwide as well as closer to home. At least of those who know of its very existence, that is to say.

Personal collection
CD: 2016 Trail (USA)

Bandhada - s/t. 1984 Chile (archival)

Very much in the Gotic school of Mediterranean influenced jazz rock. Flute is the predominant melody instrument, as if Jeremy Steig played in a late 70’s Spanish progressive rock band. Or one from Quebec. Great songwriting throughout, only drawbacks being the use of early 80’s synthesizers and electric drums. If only this had Moog and Fender Rhodes instead of Yamaha’s, this would be a slam dunk classic**. The two live tracks have a rawer quality in the instrumentation, which is especially nice to hear considering the guitar department.

** - Ah, what the hell... Despite this potential shortcoming - it's still a classic.

Personal collection
CD: 2004 Mylodon

After doing some research, I don't believe there is an original LP of this title. It appears this is an archival release. The online discographies still mention the existence of the LP, but I couldn't evidence of that.

Agusa - Katarsis. 2016 Sweden

Agusa's first live album, and third album overall, sees the band do what they do best: Jam. Recorded in Greece, and released on CD in the same country, this was obviously a planned event and Agusa clearly prepared heavily for it - meaning the band is sharp on all fronts. The material is culled from two tracks taken from their debut. Both are stretched considerably here, especially 'Kärlek Från Agusa' which was only a short bonus track on the original. Musically, the band hasn't changed one iota. This is 1972 Sweden brought forth and distilled for the modern age. Folk based melodies, progressive rock structures and changes, with psychedelic sounds (Organ, flute, acid guitar, pulsating bass, and pounding drums). It's a recipe that has patrons lined out the door for more. No point in tweaking that now. Given the improvisational nature of the concert, this album is entirely unique to the studio offerings, and as such, is a worthy investment on its own.

Personal collection
CD: 2016 Sound Effect (Greece)

As with all Agusa releases to date, the album was originally released on vinyl from Kommun 2. Which makes sense of course, since the owner of the label is the bass player. As noted above, the CD is from Greece, and comes in a nice over-sized cardboard mini-LP styled cover. It's available in two colors. Mine is blue, and that's my sole copy to date.

Syd Arthur - Apricity. 2016 England

Apricity is the 3rd album from Syd Arthur and sees the band shifting away from late 60s/early 70s Canterbury style prog rock, to one of a more modern band. They still retain their "Englishness" as it were, and the vocals still possess that Richard Sinclair soft affectation. But it's applied differently. Syd Arthur has bet the farm on their ability to craft a good song, because they are no longer obfuscating it with instrumental flights of fancy. Which for this author is a bit of a disappointment. 10 tracks in the 4 minute range, without much variation within, is a tall order and there are times the album tends to blend together. Admittedly they do have a knack for penning thoughtful compositions. In some ways they are to the Canterbury scene what Stereolab was to Krautrock. That is, there's no denying it's a modern interpretation, but it does not lack for charm. All the same, I'd like to see the band return to a progressive rock slant, where they mix the best of both worlds.

Former ownership: CD: 2016 Harvest (USA). Nice booklet with full lyrics and credits.

2/18/17 (first listen / review / new entry); 5/1/20; 4/7/24

El Reloj. 1975 Argentina

Like many bands from Argentina, El Reloj had a case of the blues. But they were an impetuous bunch, and didn't have the patience necessary to wallow in their sorrows. So they kicked out the jams instead. More hard rock than progressive, though El Reloj did flash signs of the brilliance to come, as you can hear the guitars working through some more complicated patterns. I had been pretty tough on this album in the past, but a fresh listen demonstrates the album has aged well. A timeless sound.

Ownership: CD: 1996 Record Runner. Jewel case. Fold out booklet with history and lyrics. The four bonus tracks (from two singles) show that El Reloj could capture their unique sound in a tighter frame. Just as good as the album proper.

1995 (first listen); 2/15/17 (review / new entry)

Vespero - Droga. 2013 Russia

Droga is the 6th studio album from Astrakhan's Vespero. Here the band seemingly understands what they do best, and exploits the heck out of it. This may be the perfect place to start your exploration of what is possibly the best space rock group of the last 10 years - and that's saying something given the competition. What you'll get here is Vespero's core competencies: The exotic sounds of Western Asia, crystalline female voices, ripping guitar solos, complex rhythm patterns, and various instrumentation to keep you guessing throughout. Every track is labyrinthine in its execution. It's the Korai Orom meets Hidria Spacefolk recipe that they've long since perfected with their own spices. And this time, they have a surprise up their sleeve: How about a big dollop of aggressive space rock similar to the first Nebelnest album? Oh my heart be still. This is Red Bull mixed with espresso.

Ownership: CD: 2013 RAIG. Housed in a printed cardboard box.

2/12/17 (new entry)

Flight ~ USA ~ Florida

Flight (1975)

Flight were a Florida based progressive rock/fusion band with mellotron, Moog, guitar, trumpet, and quite a bit of kinetic energy. This is one of the most confused releases from a most confused time in American history (think Gerald Ford and hyper inflation). The album opens up as if Starcastle had decided to sound like Yezda Urfa instead of you-know-who. But then there's trumpet. Trumpet? OK, then. This leads to 'Make a Miracle' which is more like Earth, Wind, and Fire. "Baa-bay, I need you...baa-bay" It's actually quite accomplished for the style. Then how about some fusion runs similar to Mingo Lewis' Flight Never Ending? And so it goes, yo-yo-ing back and forth from insane prog to complicated fusion to radio soul hits. What a cool and dopey album, really. Too sophisticated for chart topping; too mainstream to be an underground cult classic. Can't imagine what the hell Capitol were thinking here. The more I review albums on the Capitol label, the more I wonder just how drugged up were those guys in the 70s? Flight were to get even more bizarrely contrasting on their followup album. Awesome.

Ownership: 1975 Capitol (LP)

No reissues as of 2/21/25.

8/18/10 (review); 2/10/17 (update)

Incredible Journey (1976)

Florida based Flight's second album is a super tight and intense fusion like Return to Forever.... mixed with AOR Midwest styled 1970s FM pomp like Styx or Starcastle. Just the most bizarre blend of contrasting styles one can imagine. As if the band were made fun of for being musical wizards, so in order to be cool they put out crowd pleasing rock music. WTH? I like it in any case. One of a kind that's for sure.

Ownership: 1976 Capitol (LP) 

8/18/10 (review); 12/28/13 (new entry); 4/4/18

Food Brain - Social Gathering. 1970 Japan

Food Brain's sole album starts off wonderfully. In fact, all of Side 1 is an aggregate of the heavy psych UK scene of the same era. There are few albums from this time period that are as concise and consistent as Food Brain are here. But then comes 'The Hole in a Sausage' and everything comes to a screeching halt. And when I say screeching that is also a description. Free improvisation has its place, but one would hope for a bit of direction or spiritual guidance within. There's none of that. This is 15 minutes of pure noise making hell. No melody, no structure, no jams, no anything but what are random sounds from the various instruments in the studio. When you consider the blessed side 1, and you have Shinki Chen on guitar and Hiro Yanagida on organ within your midst, this can only go down as one of the biggest wastes of time in the annals of rock music. I think the reviewers sort of gloss over this, but it represents 40% of the album, and I don't think it can be overlooked so easy. 

Ownership: CD: 1998 P-Vine. Mini-LP that replicates the original. Purchased new online upon release.

2/10/17 (new review); 12/29/23 (remove from collection)

Moogg - Italian Luxury Style. 2016 Italy

With a name like Italian Luxury Style, one could be forgiven in thinking that Moogg has abandoned progressive rock for the Shibuyu-kei style, similar to Pizzicato Five and Fantastic Plastic Machine. Well, noooo, but it's not entirely unfair to tag some of this as kitschy. There is a cool jet-set late 60s vibe, mixed with a slick 70s jazz funk tone throughout. All mixed in with their patented Italian take on the Canterbury sound. This is one of those albums that sounds very familiar, and yet is entirely unique, which is quite an accomplishment actually. Multiple listens reveals something new every time, and there's a subtle complexity that lurks underneath what seems like gloss - similar to some of the best 70s fusion artists. Melody is Moogg's strength, and they are anxious to exploit. Another strong outing from Moogg, perhaps a step down from the awesome debut, but it's clear the band is stretching out a bit here and taking chances.

Ownership: CD: 2016 Mellow

2/10/17 (new entry)

Ingranaggi della Valle - Warm Spaced Blue. 2016 Italy

Warm Spaced Blue is an odd sophomore release from Ingranaggi della Valle. Their debut was a kinetic progressive rock album, with powerful Italian vocals, jagged rhythms, and fiery instrumental chops. Very much in league with the Italian school of symphonic fusion like Deus Ex Machina or DFA. On Warm Spaced Blue, they've embraced more modern progressive tendencies, some angular dissonance, representing King Crimson, Anekdoten, and even the Avant Prog contingency of Thinking Plague. In effect they've gone from being an Italian prog rock band to a prog rock band from Italy, if that makes sense. Similar to Not a Good Sign perhaps. As such, the album has been praised in international progressive rock circles, as it's a popular sound amongst the faithful. Personally, I was a bit disappointed, as it seemed Ingranaggi della Valle were poised to take the baton from the much missed DFA, who are unlikely to ever reform. All of this to say, Warm Spaced Blue is hardly an abject failure. To be honest, I'm a bit tired of this sort of cold and clinical modern progressive style. And yet Ingranaggi della Valle somehow brings it to life, adding just the right amount of romantic touches to what could have been just another academic exercise. Having Warm in the title, whether intentional or not, provides an ingenious hint. The compositions are dense, as these kind of albums tend to be, and requires multiple listens to absorb. Even with that, I'm not sure I have - absorbed that is. Which is fine - makes future listens all that much more intriguing.  I'll give it 4 stars on faith.

Ownership: CD: 2016 Black Widow

2/10/17 (new entry)

Corsair - One Eyed Horse. 2015 USA-Virginia

Corsair's blueprint comes from that exciting time when the late 70s hard rock movement first transitioned into heavy metal. It was a period where muscle and might met thoughtful compositions and progressive ambitions. And most importantly, melody was front and center, not an afterthought or an inconvenience. Where Corsair really shines is in their ability to write awe-inspiring breaks, followed by twin guitar melodies and further followed up with psychedelic solos. On this latter front, the band moves away from the 70's, and more into modern times, somewhat similar to the more sophisticated stoner bands emulating the late 60s, and who actually know how to play their instruments - for example a group like Colour Haze. The vocals are almost too soft affected for the music, bordering the indie style, but just enough grit to earn its 70s badge. In the end, the influences are wide ranging, and provides a different path than the usual metal revivalists. I'm not really sure of any other band that has the sound of Corsair - past or present. When looking at similar bands from the late 70s like Alkana, Legend, Granmax, Manilla Road, and Thin Lizzy, not a one of them really sound like Corsair. They have found a small niche inside a crowded field. Not sure what the market is, but I'm sure it should be larger than it is. This is the kind of music I wish I was hearing on the radio when still a teenager.

Ownership: CD: 2015 Shadow Kingdom

2/10/17 (new entry)

Opossum - Bear's Banquet. 1974 Germany (archival)

Opossum is the predecessor group to Morpheus. And after hearing this archival release, one can tell that Opossum is much looser in their embryonic stages to the more rigid Morpheus. Despite lacking cohesion and strong melody composition, the rough styling here can be quite appealing. Maybe like a less avant-garde Exmagma perhaps. I also hear some Xhol especially considering their own archival releases. Or even Missus Beastly with Eddy Marron. It's at that borderline area of jazz and Krautrock. 'The Sun and Moon Have Come Together' is actually a cover of the title track from the relatively obscure American jazz rock outfit The Fourth Way (what an odd choice...). Interesting to note for an album cover that prominently displays a flute, it’s surprising how little the instrument is used. And that's because the gentleman displayed is also their second drummer and percussionist.

Personal collection
CD: 2003 Garden of Delights

Τα 4 επίπεδα της ύπαρξης (The Four Levels of Existence). 1976 Greece

The Four Levels of Existence are at once ahead of their time... and behind. On a cursory listen, one can hear a ferocious modern styled hard rocking album along the lines of Icecross or fellow countrymen Socrates Drank the Conium. But a more careful study reveals that of a late 60s garage band, somewhat like the primitive grass roots American bands that emerged during that tumultuous era. The songwriting is not one of the levels of existence apparently. Most of the tracks begin to blur together, as they feature the same loud dynamic. Non stop fuzz guitar, slightly higher pitched vocals and standard drum fills define this highly collectible work. It sticks out primarily due to the time and place. Not essential, but a good one for late psych / hard rock genre fans.

Ownership: CD: 2005 Lion (USA). Originals are hyper rare and expensive. Even the LP reissues are going for decent money now, though I don't recall getting that much for mine which I sold off less than a decade ago. The CD version comes with excellent liner notes penned by the band.

Tetragon - Stretch. 1971 Germany (archival)

Stretch was to be the second album from Tetragon, and the third when considering Trikolon. This bunch never were what I would consider a classic Krautrock band. Definitely more of an English vibe. Colosseum is certainly one guidepost. But even more so, from the beginning with Trikolon, keyboardist Hendrik Schaper was heavily influenced by a one Brian Auger. The two cover tracks are the same ones Auger had recorded recently ('Listen Here' and 'Dragon Song'). But where Tetragon earn their namesake shape is the performance and the orientation. This is Brian Auger for the instrumental prog rock set. And while the music certainly is jammy in nature, it is remarkable how composition acumen is continually portrayed. 5 long instrumental tracks is a recipe for boredom, and yet Tetragon are anything but. Since this album was completely in the can and ready to be released, you are getting far more than the usual archival release here. It's as if a new treasure had been found in the caves. Not one to miss.

Personal collection
CD: 2009 Garden of Delights

Gotic - Gegants i Serpentines. 1978 Spain (archival)

Gotic’s second album, never released in its day and forever bootlegged it seemed, has finally seen the light of day courtesy of the band themselves. Well worth the wait, as Gegants I Serpentines is a worthy successor to the fantastic Escenes. Perhaps a bit more typical in the fusion department, as was protocol for the day. But there are also a couple of tracks that amp up the progressive quotient, with a bit more variety and meter shifts within each track. No worry though, the happy and magical melodies of the debut are carried forth here, while flute, keyboards, and guitar are still front and center. In fact, the guitar is more fuzzed out than prior. Highly recommended.

Personal collection
CD: 2016 private

There are a couple of releases for this album (legit that is, not counting bootlegs), the first as a CD-R, and the second as a fully pressed CD (which I own). The latter has the catalog number of CDR-001 (oh brother!). Be sure to inquire first, as obviously the factory pressed CD is the better asset for the long term. The tri-fold digi-pak is fantastic, no matter which version you buy.

Purson - Desire's Magic Theatre. 2016 England

Purson’s second album, like spiritual sisters’ Blood Ceremony, finds the band going further back in time from their prior album. So if The Circle and the Blue Door was their recreating of 1971, then Desire’s Magic Theatre is their homage to 1969. This is a rather straightforward psych album, where the progressive rock influences are becoming more rubbed out. That’s not to say the album is without thought or merit – far from it – in fact had it come out in 1969, it would be hailed as a period semi-masterpiece. Rosalie Cunningham is obviously gaining confidence, and this is her band, no more questions asked. Their sound still fits squarely into my Post psychedelic, proto progressive with female vocals list – though this time they border outright Jefferson Airplane/Savage Rose-like psychedelia at times. ‘Electric Landlady’ is not only a funny title, but it is indeed Hendrixian. And while I do like the album, I would hope for some more creativity the next go ‘round. This one plays it too safe, and the songs aren’t memorable enough to sustain interest over repeated listens. Purson certainly have the potential for better.

2/10/17 (new entry); 6/25/22 (removed from collection)

Tabletom ~ Spain

Mezclalina (1980)

Such a strange little album, perhaps mirroring the surrealistic cover. On the surface, Tabletom seem to opt for a light, Spanish flavored, jazz rock sound. Flute is the initial featured instrument of choice. Then comes these crunchy power chord guitars, and irregular flamenco style rhythms. Violin and sax also make appearances. The vocalist reminds me of some of the more gravelly Italian guys as found on Jumbo or Odissea. It takes a bit to get into, but this one has a lot to recommend. The last 9 minute track is a barnburner. I had thrown the Mezquita name out in the past, but that's a bit misleading, as Tabletom aren't quite as Andalusian influenced as that may imply. They had a few albums after this debut, but I understand they are of less interest, but don't know for certain. Great Dali-esque cover.

Ownership: 1980 RCA (LP)

Still not on CD as I update this entry (2/21/25)

2001 (first listen); 5/20/09 (review); 2/3/17 (new entry)

Gutura ~ France

Des êtres au Cerveau Apparent (1980)

Gutura's sole album features an anguished and fast paced instrumental post-punk music,combined with distorted lead guitar and a chanting manic female voice who blurts out nonsensical wordless sounds. Very French. What I mean by that is France is the only possible country an album like this could have come out in 1980. Closest band that I can think of that sounds similar is Noa, another French band of course, though Gutura are definitely more harsh in their approach to rock. In reality, Gutura are one of a kind.

Ownership: 1980 Sterne (LP)

No reissues as I update this post (2/21/25).

1994 (first listen); 2008 (review); 2/3/17 (new entry)

Claude Léveillée ~ Canada ~ Quebec

Black Sun (1978)

Organic is the best word I can use to describe Black Sun. Hard to believe this rather famous songwriter / composer really never ventured into the progressive rock world before - or after - this album (to my knowledge that is to say). At its best, the album possesses a nice space rock vibe to it like Sensations Fix. The low points are geared towards his electronic oriented music which contains thin sounding string synths but without sequencing or strong melodic content. Some nice guitar work can be found here ala Heldon but not near as fierce (Michel Le Francoise is the main instrumentalist here). Pretty laid back overall.

Ownership: 1978 Polydor (LP)

Not a rare album in original form, but it never did get reissued on CD (as of 2/21/25). 

1999 (first listen); 9//04 (review); 2/3/17 (new entry)

Atlantic Ocean ~ Sweden

Tranquillity Bay (1970)

Atlantic Ocean were a Swedish group whose sole album was released only in Finland. A mixture of UK styled pop psych and one long progressive instrumental journey that makes up all of Side 2. Not a bad album at all, and ahead of its time. The side long track has been included in a Love compilation (original label), which probably nullifies the need for Tranquillity Bay to be reissued on CD separately - presuming that's what drives the interest in this album (as it does for me).

Ownership: 1970 Love (LP). Opens in the middle. Lyric booklet.

2003 (first listen); 2/3/17 (new entry)